Journal articles: 'Modern Art – 20th century – Themes'

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Ulicka, Danuta. "Między światami. Rzeczywistość w literaturze – literatura w rzeczywistości – rzeczywistość literatury." Przestrzenie Teorii, no. 28 (May 8, 2018): 21–75. http://dx.doi.org/10.14746/pt.2017.28.1.

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The author attempts to reconstruct a short history of modern Polish literary studies not from the perspective of schools or methodological orientations that are usually applied, but from the perspective of what is known in sociology as cultural themes. This point of view offers the opportunity to (re)construct the process of continuity /discontinuity in the whole field of research focused on the problem of reference, which has been recognized as the most important one in Polish studies (as well as in Polish literature, and art) since its beginning in the first decade of the 20th century. In the broader scope the article attempts to rearticulate the definition of the discipline conventionally called “the theory of literature”, and to propose a new way of writing its history.

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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.

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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.

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Rita, Annabela, and Zuzana Burianová. "Apresentação - Dossiê Temático." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes, no. 09 (December 29, 2022): 9–13. http://dx.doi.org/10.53943/elcv.0222_09-13.

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Literature, like other art forms, has always served an instrument for resistance, which through various discursive strategies responds to manifestations of oppression, despotism and dogmatism of various kinds. Above all, 20th century literary production — a century that witnessed a proliferation of dictatorships and authoritarian regimes, armed conflicts, wars and genocides, despite humanity's extraordinary progress in multiple areas — was marked by a strong sense of social, cultural or political engagement, which also extends to literary creation in the 21st century. Also in the Portuguese-speaking countries, one of the recurrent themes in modern and contemporary literary production has been the criticism towards the arbitrariness by authoritarian governments, as is the case of the Salazar regime — which stifled Portuguese society for over forty years and prolonged colonial exploitation in Africa — and by the dictatorial regimes established in the second half of the last century in Brazil and other Latin American countries. The aim of this dossier is to present some expressions of critical thinking on the literary production that deals with this subject. Therefore, eight studies devoted to the analysis of works by Portuguese and Brazilian authors who, at different times and through different forms of expression, reacted against authoritarian tendencies in Lusophone societies are gathered here.

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Rasmussen, Leah. "Curating Russia: The Shchukin Collection, Nationalism, and Border Crossing from Lenin to Putin." Canadian Journal of European and Russian Studies 15, no. 1 (September 20, 2022): 43–60. http://dx.doi.org/10.22215/cjers.v15i1.3288.

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Russia’s relationship with nation is marred by contradictions that stem from its place in comparison to the West. Cultural nationalism in artistic production originated with the arrival of the Peredvizhniki [Wanderers] in the 1870s. Moscow merchant Pavel Tretyakov, in collecting Russian and European art, openly embraced a nation that encompassed Western ideas in conjunction with distinctly Russian themes. The unparalleled collecting of French modern art by Moscow merchants Sergei Shchukin and Ivan Morozov in the early 20th century continued this embrace. The nature of their collected paintings produced shockwaves in late tsarist and Soviet society and politics before being inculcated into Russian national identity in the 21st century. This article explores the life of Henri Matisse’s The Dance (1909), commissioned by Sergei Shchukin. It follows the work across time and regimes as it assumes pride of place in not only Russia’s national collections but also within its identity. Through a focus on the 2008 exhibition From Russia at the Royal Academy of Arts in London, this article examines Russia’s relations and protection of this work to understand, why even as the country seeks to define itself once more actively through its opposition to the West, their cultural diplomacy speaks to an openness built on a transnational history of the most prized works in their national collections.

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Gultyaeva, Galina S. "CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 127–38. http://dx.doi.org/10.17223/22220836/41/10.

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Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.

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Shulgina, O. M. "A.L. Gorbunkov and Iconographic Sources of the Walrus Ivory Carving Art of the Chukchi and Asian Eskimos in the First Third of the 20th Century." Art & Culture Studies, no. 3 (August 2022): 184–219. http://dx.doi.org/10.51678/2226-0072-2022-3-184-219.

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This article traces the history of the establishment and development of the walrus ivory carving art of the Chukchi and Asian Eskimos through the lens of the question of “the far” and “the near”. This question is examined based on a range of sources used by A.L. Gorbunkov, the first art director of ivory carving workshops in Chukotka, during his interaction with local artists. The novelty of the research topic and the introduction of Gorbunkov’s diary entries into scientific circulation prove the relevance of the selected problem, which has not been sufficiently covered in the research literature before. Revealing the materials of the former Scientific Research Institute of Art Industry (NIIKhP), the author attempts to consider the process of the establishment and development of the walrus ivory carving arts and crafts of Chukotka in the first third of the 20th century not in isolation but holistically, taking into account the cultural and historical context and the experience gained by the experts of NIIKhP by the 1930s. The analysis of “the far” (pictures and ornaments on various ritual objects or household items, ancient petroglyphs on a site close to Pegtymel, drawings on walrus skins, materials of ethnographic expeditions, folklore of the peoples of the Far North) and “the near” (among which is the sculpture of American Eskimos and works by a number of American and European artists) origins of the walrus ivory carving art of Chukotka in the 1930s allows representing the genesis of the Chukchi and Asian Eskimo handicraft in the first third of the 20th century and demonstrating the correlation of traditions and innovations in the new phase of this craft. The complex tasks of the research condition the use of the historical, cultural, and chronological approach, the comparative method and formal stylistic analysis. The author comes to the conclusion about the important role of Gorbunkov in the successful combination of traditional and modern trends in the art form under research: based on national artistic practices, Gorbunkov updated the assortment and themes of ivory carving products in accordance with the new demands of the epoch.

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Tulchinskii, G. L. "Man‐Machine and Machine‐Man in Art: Meeting in Digital." Art & Culture Studies, no. 3 (October 2021): 112–27. http://dx.doi.org/10.51678/2226-0072-2021-3-112-127.

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Digitalization has given rise to a substantially new civilizational and existential situation. The mankind development was associated with the creation of collective memory in the form of culture as a system for generating, storing and transmitting social experience, including the creation of an artificial environment. For the main part of history, man likened the world to himself, which made the world understandable. However, over time, the tools and means became less and less anthropomorphic. The world has increasingly become like complex mechanisms. Since the beginning of the 20th century, the relationship between man and machine has become one of the main themes in art. They gave rise to a wide horizon of aesthetic comprehension of this topic: from the pathos of transforming reality (including the person himself) to alarm and horror. However, modern digitalization creates an artificial environment that involves not only the natural environment, but also the biological nature of man. The person himself turns into an artifact. Moreover, under the conditions of digitalization, culture turns into a kind of machine, when reality appears as the realization of a “transcendental” digital code, which acts as an original source for any number of artifacts as its copies. This situation cannot but affect art and aestheticization, which are reduced to the flow of processing digitized data. It is not about new digital technologies in art. It is about changing the format of the entire process of artistic creation and aesthetic reception. A person is transformed from a user of consumption and creativity options into one of the options for a digital mega-machine.

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Lin, Ziye. "The comparative analysis of Gibson girls of 20th century and contemporary females." Highlights in Art and Design 1, no. 3 (November 22, 2022): 65–67. http://dx.doi.org/10.54097/hiaad.v1i3.2962.

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There is a complex relationship between fashion and dress to identity. It's worth noting that given twining, cloths can be a portrayal of one's identity because they tell people something about class, gender, status, and so on. Also, the author asserts that cloths can lead to misinterpretation because they are not able to speak (Entwistle, 2000: 112). It is because of this argument that copious theories have emerged in an attempt to explain the relations. Entwistle, in her book, highlights the centrality of dressing to people's identities, gender, and sexuality (2000, p.40). These sentiments are also held by Stroope, Walker, and Franzen (2017, 85), who posit that the portrayal of identity has led to theories such as feminism. Therefore, feminism has existed in all aspects of life since it came into being in early 1910. These concepts are also used in various ways in the fashion industry making it significant in contemporary times. Feminist theory mainly accentuates the analysis of gender inequality. Therefore, it aims to gain a deeper understanding of the nature of gender. In her book, Butler believes that gender is used sometimes as a way to secure heterosexuality (2006, 5). Therefore, according to Griffin (2015, p.196), feminism wanted to transform the entire realms of the lives of women: social, political, cultural, personal, and economical. Consequently, Zinn and Dill (2016, 76) assert that feminists meant to remove all psychological and structural obstacles to the financial independence of women. The reason is that most of them believed that gender was produced and considered though sexual hierarchy as outline by (Butler, 2006, 5). Some of the themes explored in these theories entail objectification, contemporary discrimination, and art history. Indeed, feminists combined lots of reasons that became related to a New Woman. Some crusaded for woman voice, others fought for labor and socialism, whereas others still called for birth control and ‘free love.’ As a result, Butler (2006, 7), in her book, she continues to point out that feminist views attempt to eliminate and overthrow gender, because it is a typical signal of women. The feminism resurgence in the recent past has been integral in the evolution of the modern fashion industry. It is a relief that females are no longer anticipated to fit into a particular mold for them to be perceived as beautiful. The stereotypical thinking, as well as the labeling of females as sexual objects, often have negatively impacted how several women dress Entwistle (2000, p.40). As denoted by Fraser (2017, 167), this is something that most women seem to be reluctant to dress because of the fear that they might be perceived as sexually provocative. Seabrook, Ward, and Giaccardi (2019, 556) also echoed this sentiment but went further to posit that fortunately for feminists, especially those in the fashion industry, feminism has led to the promotion of females as sexual beings rather than sexual objects. Many people are happy that the industry is catching up, though centuries later.

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Al-Rahbi, Ahmed Mohammed. "Modern Arabic Literature. “The Breaker” Edwar Al-Kharrat." Asia and Africa Today, no. 8 (2022): 78. http://dx.doi.org/10.31857/s032150750021327-1.

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The article is devoted to the developing of modernism in Arabic prose and the art of one of the most prominent figures of this trend - Edwar al-Kharrat (1926-2015). The end of the dominance of the classical novel exactly in the first half of the 20th century and the turn of the generation of the 60s to new artistic techniques is directly associated with the historical events of 1967 (Six-Day War). It is noted that one of the consequences of these events for literature was the change of discourse - from revival (an-Nahda) to defeat (an-Naksa). The artistic method of Edwar al-Kharrat is characterized in detail on the examples of his early story “Station” and the novel “Rama and the Dragon”, which was included in the top ten Arabic-language novels of all time by the Union of Arab Writers. The authors distinguish thematic blocks in the works of al-Kharrat: the eternal themes of love, life and suffering, which are passed through Hellenistic and Middle Eastern mythologies and Christian philosophy. Such techniques of al-Kharrat as playing with the chronotope, narration through the subjective perception, attention to sensations, replacing the plot with a description, using dichotomy - the opposition of male and female, Christianity and Islam etc. are highlighted. Also the authors stress the significance of al-Kharrat's theoretical works on literature, where the artistic method, defined by him as a “new sensibility” and opposed by critics to what was called “al-Mahfuzia”, is comprehended. The question is raised about the role of al-Kharrat in the history of the latest literature of the Arab countries, while the authors try to remove the contradiction that is seen in the inimitability of al-Kharrat and his simultaneous fundamental influence on subsequent generations of prose writers.

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Aristova, Ekaterina P. "TO DEFINE SOVIET EXISTENCE: SOVIET, RUSSIAN AND WORLD RESEARCHES OF THE SECOND HALF OF THE XX CENTURY AND THE BEGINNING OF THE XXI CENTURY." Yaroslavl Pedagogical Bulletin 116, no. 5 (2020): 184–92. http://dx.doi.org/10.20323/1813-145x-2020-5-116-184-192.

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Thе article explores works about soviet life by soviet, russian, european and american researchers, written in the second half of the 20th century and at the beginning of the 21st century. The understanding of soviet life by european and american authors was determined by studying the nature of totalitarianism. The authors analyzed the features of classical european metaphysics that determined the formation of ideologies (the concept of the ideal state of Plato, the concept of rational laws of historical development of K. Marx), the psychology of the «man of the masses», the influence of propaganda and alternative ways of controlling the masses, the importance of the image of a Superpowerful Empire for modern Russia. The key authors are K. Popper, H. Arendt, Z. Brzezinski and K. Friedrich, J. Nye, W. Laqueur. Soviet authors analyzed the themes of protecting humanistic values and civil rights and freedoms, transforming culture under state control and formation of the aesthetics of totalitarian art, the existence of an individual in collectivist environment, the formation and destruction of the special communication environment of the soviet world: a system of signs and myths. The most interesting authors are G. S. Pomerants, I. N. Golomstock, B. E. Groys, P. Weil and A. Genis, G. L. Smirnova, A. A. Zinoviev, M. K. Mamardashvii, M. P. Kapustina, Yu. A. Levada. Some studies are concentrated on the legacy of the USSR as a kind of lost civilization – the analysis of everyday life, creating dictionaries and encyclopedias of soviet life, the studying of memories and diaries. The works by L. V. Belovinsky, I. B. Orlova, N. B. Lebina, N. N. Kozlova are notable.

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Buchok, L. V. "Pianoforte compositions “Etude” by D. Zador and “Impromptu” by I. Marton in the context of the problem of analysis and interpretation of the creative idea." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 113–26. http://dx.doi.org/10.34064/khnum2-13.09.

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Background. In the time of Ukraine’s state independence, the interest of scholars in reproduction of a coherent historically formed image of regional cultures arose. The thing is, that almost throughout the twentieth century the priority issue was that the term «international» was considered as «assimilated». However, in the second half of the 20th century signifi cant processes took place in Transcarpathia, which manifested the formation of a professional Transcarpathian composer’s school – a movement led by Dezyderiy Zador and picked up by other composers, in particular Ishtvan Marton. In particular, the interest of Transcarpathian composers in piano compositions is of considerable interest as one of the segments of the European professional tradition: on the one hand, it is a testimony to the higher level of professional training and the practice of possession of classical experience; on the other hand, a geographically designated vector of stylistic modelling in the context of the intonational fund and the semantic fi eld of the European academic piano music in its inextricable connection with historically contemporary European-style stylistic phenomena. In its turn, the style shaping initiatives of the Transcarpathian composers of the second half of the 20th century caused signifi cant changes in their theoretical understanding – in accordance with the change of the mental paradigm of artistic creativity from the classical to the post-classical, when the method of tracing “style features” (the initial model of the formation of the method of style analysis) can no longer clarify the essence of the author’s concepts and requires orientation to methodologically predetermined transformations in the basis of the theory of style (for example, the human-dimensional nature of style). The problem, therefore, is that, on the example of selectively taken piano compositions of Transcarpathian composers of the period of the second half of the 20th century to present methodologically updated position of their stylistic analysis and executable interpretation – in view of the achievements of musicological thought at the border of the 20th – 21st centuries concerning the interpretation of stylistic phenomena of the modern age as a certain innovation project and its development in the conditions of post-traditional professionalism. Thus, today the task is to expand the perceptions of the piano creativity of the composers of Transcarpathia in the context of the whole 20th century, which includes the phases of modernism, modernism and avant-garde, united by the idea of the ultimate autonomy of the style. The scientifi c novelty of the conducted research is the broadening of the ideas of the pianoforte art of the Transcarpathian composers in the context of the intonation fund and the semantic fi eld of the European academic piano music of the whole 20th century, which contains the phases of modern, modernism and avant-garde, united by the intention of extreme style autonomy. Objectives. The purpose of the work is to comprehend the specifi cs of the analytical elaboration and performer’s interpretation of the «Etude» by D. Zador and «Impromptu » by I. Marton as such that, given the characteristic of the Transcarpathian region, the priority of choral compositions in the fi rst half of the 20th century testifi es to the formation of the original style initiatives, namely instrumental, in particular piano music in the middle of the twentieth century. Methods. The comparative, phenomenological and functional methods of research are used, which in aggregate gav e an opportunity to relate to the realities of the development of the national (Ukrainian) musicology, to reveal the world-view specifi cs and the vectors of individual stylistic modeling in the pianoforte art of Transcarpathian composers of the middle of the twentieth century, to provide knowledge of the semantic structure of the studied musical works. Results. It has been found out that on the background of changes in the mental paradigm of musical creativity from classical to post-classical, the analysis and interpretation of real musical text requires its semantic decoding in the intention of an accurate explanation of the idea and the intention of a particular musical work. However, as it has been established, there is an urgent need to focus on the immanent property of the semantic structure of innovative musical «projects», which exactly in the second half of the 20th century mostly show heterogeneity of style modelling – in the version of the active associative of correspondence range in the space of historical styles. This will provide an opportunity to eliminate the disadvantages of the formal-logical analysis method, which usually provokes the establishment and description of purely stylistic values of the real musical text without attempts at their fi gurative and semantic interpretation, and even provides an approximate summary of the analysis data at the level of the creative idea and the composer’s plan. It is proved that «Etude» с-moll of Dezyderiy Zador is a brightly modern (secessionist) stylistic model based on the characteristic of post-romanticism author’s stylization of historically known stylistic systems, and at the same time it has a distinctly individual, characteristic image concept, whose dynamic structure is determined by dramatic (semantic) perspective of the inclusion of various sorts of allusions and reminiscences concerning the manner of piano music; in turn, «Impromptu» by I. Marton is an example of mastering modernist trends with their expressionist (pathologized) expression of their perception of themselves in a spiritually declined world, when the declamative articulation of sound forms and their crystalline fragility, which are intended to recreate the ratio of the vulnerability of the alienated subject and inexorably terrible destructive power from the outside. Instead, it has been observed that not always the performers of the mentioned works read their idea and decode the image system. In general, this indicates an inability to adequately respond to styling in the version of the neo-stylistic formation (neo-romanticism, neoclassicism, etc.) – when the attachment of auditory experience to a historically known style (like manners – romantic, classical, etc.) tends to subconsciously ignore the transition to a hierarchical level of renewal (neo – renewed) by introducing innovations (sonorism, abstractly tuned block model of themes etc.) and the search for a stylistic centre of gravity using the allusion way of style development (allusion as the kind of indirect quoting) that ensures the existence of the concept of the so-called mixed style. Conclusions. The comprehension of the stylistic character of the creative ideas and intentions of piano art of Transcarpathian composers of the second half of the 20th century based on methods of semantic decoding of the real notations is heuristically productive for their hermeneutic reception – in order to maximize the probable approximation to the essence and concept of a musical composition and its adequate (meaningful) reproduction by the performers.

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Bergamaschi Novaes, Bárbara. "As forças saturninas nas Fotomontagens do poeta Jorge de Lima / The Saturnine Forces in the Photomontages of Jorge de Lima." Cadernos Benjaminianos 15, no. 2 (March 13, 2020): 55. http://dx.doi.org/10.17851/2179-8478.15.2.55-74.

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Resumo: A partir de uma análise seletiva de oito fotomontagens do livro “Pintura em pânico” (1943) de Jorge de Lima traçamos correspondências entre as imagens do poeta alagoano, a iconografia barroca e alegórica estudada por Walter Benjamin, e as tópicas privilegiadas pelos artistas surrealistas europeus. Veremos como a praxis e os procedimentos criativos de Lima bebem das fontes dos artistas da vanguarda francesa do início do século XX, ecoando as investigações empreendidas pelo movimento encabeçado por André Breton e Georges Bataille – que, por sua vez, se configurou, nas palavras do crítico Ronaldo Brito, como: “uma tentativa heróica de atacar o cogito cartesiano” e “denunciar a falência do projeto moderno”. Para tal nos apoiaremos nas preposições, escritos e obras destes escritores supracitados, bem como nas trocas epistolares entre os poetas, Murilo Mendes e Jorge de Lima, bem como a relação de ambos com o pintor Ismael Nery.Palavras chave: Surrealismo no Brasil; artes visuais; vanguardas modernas; fotografia.Abstract: From a selective analysis approach of eight photomontages of Jorge de Lima’s book “Pintura em Pânico” (1943), we point to several correspondences between the photo-collage images of the Alagoan poet, and the baroque and allegorical iconography studied by Walter Benjamin, as well as the themes favored by surrealist’s french artists. We will regard how Lima’s creative praxis and procedures had nourished from the early-20th-century French avant-garde surrealist artists, echoing the investigations undertaken by the movement headed by André Breton and Georges Bataille – described by art critic Ronaldo Ronaldo Brito as: “a heroic attempt to attack the Cartesian Cogito” and “denounce the bankruptcy of the modern project”. For such can we will base our analysis on the writings and works of Surrealism movement members, as well as in the epistolary exchanges between poet Murilo Mendes, Jorge de Lima and the painter Ismael Nery.Keywords: Surrealism in Brazil; visual arts; modern avant-garde; photography.

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Matveeva, Iuliia. "The theme of civil war in Russia in modern Russian literature: prospects of movement or completion of the cultural cycle? (A. Makushinsky and L. Yuzefovich)." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 131–38. http://dx.doi.org/10.31648/pw.3090.

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In the article an attempt is made to apply the idea of nomadism to the process of transforming literary themes and plots that have taken shape and are fixed in the framework of certain national and cultural paradigms. In this case, it is a process of transforming such a topic, suchs so significant for Russian literature of the 20th century, as the Civil War in Russia. At present, it is experiencing a unique revival, but the means for its artistic implementation change significantly, as can be seen from the comparison of two contemporary novels dedicated to this topic: L. Yuzefovich’s “Winter Road” and A. Makushinsky’s “City in the Valley”. As a result of the analysis, it is concluded that in the sense of literary and artistic psychology, which assumes living in an image, the topic of the Civil War in Russia can be considered as closed, while the resources of historical evidence are able to open a new emotional, intellectual and artistic potential for it.

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Lydin, Nikolai N. "Main Scientific Fields of Modern English-Language Historiography of the Thirty Years' War History." Vestnik Tomskogo gosudarstvennogo universiteta, no. 472 (2021): 128–32. http://dx.doi.org/10.17223/15617793/472/15.

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The article explores the history of the Danish period of the Thirty Years' War in the English-language historiography of the 20th and 21st centuries. The main characteristics of British historiography at the beginning of Modern History are presented. The article gives a brief overview of the main scientific patterns of studying events of the Danish period. English-language historiography refers not only to achievements of scientists from the United Kingdom and the United States, but also to publications of any other European historians made in English and actively used in historical society. In general, the use of achievements of scientists from other countries in the study of the Thirty Years' War history is quite typical for English-language historiography. This can be explained by the situation when parallelly with this “continental” war came the outcome of the English Civil War, which is steadily more interesting for British historians. The English-language historiography of the Thirty Years' War at the present stage represents both traditional themes of military history and new topics that appeared in the second half of the 20th century. Among the traditional, we can highlight descriptions of various military campaigns and battles, biographies of talented generals, kings and politicians. Among the new, we can note different attempts to expand the chronological and territorial framework of the war, as well as the use of the Thirty Years' War as one of the illustrations of the processes of military revolution or evolution in the European military art and technologies of the 16th-17th centuries. In relation to the Danish period, the concept that evaluates the war as a catalyst for further changes in the Danish political structure seems to be the most relevant. In general, the historiography of the Thirty Years' War can be characterized as successive, using many of predecessors' achievements; on the other hand, there is a high degree of openness in British and American scientific community for foreign researchers and the emergence of a sufficiently large number of fundamentally new areas of research. At the same time, unfortunately, the Thirty Years' War is still not the most demanded topic of military history, substantially inferior to the national English and American, as well as Modern History, topics. The Danish period of the war turned out to be the least interesting for historians. Its chronological arrangement between the issues of religion and the alignment of forces at the beginning of the war and the Swedish “military revolution” leads to the fact that the Danish period remains a rather poorly studied stage of the Thirty Years' War.

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Wango, Kamau. "‘Drawing with My Students’ - The Role of Surrealism in Self-Expression among University Art Students. Analysis of Selected Surrealistic Work by Fourth Year Students at Kenyatta University." International Journal of Advanced Research 3, no. 1 (February 17, 2021): 1–19. http://dx.doi.org/10.37284/ijar.3.1.272.

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Surrealistic art is one of the most engaging and intriguing art genres. Surrealism itself is considered to have been the most influential art movement of the 20th century. Started in the 1920s as a literary movement that eventually took on a visual dimension, its foundational principles have continued to influence the thought process and style of many modern artists in the realm of self-expression. In their studies of many disciplines in the art including genres of painting, drawing and sculpture, students of art at the University usually find the concept of surrealism initially difficult to decipher mainly because of the uniqueness of its own description. The dream-like imageries of surrealism are derived from dreams and the unconscious mind; hence, the students have to contend with the derivation of subject matter from an unusual source. This is challenging for most of them since they are used to formulating subject matter from a purely academic perspective and from themes that they ordinarily relate to in their environment or can easily reference. Although students embark on drawing from their first year of study, they are introduced to surrealistic drawing as a unit in their final year. With their drawing background, it is presumed that by their final year, they have attained adequate levels of drawing skills for application in any artistic challenge. This study examines, through analysis of selected works, firstly, the extent to which students are able to internalise the concept of surrealism and apply it in the construction of the artistic composition, and secondly whether their drawings demonstrate an individual capacity for self-expression and the derivation of meaning, through dream-like imageries drawn from the unconscious mind. The students were exposed to preliminary studies and examination of surrealistic work, discussions of subject matter, origination, style and technique in the course of their unit programme. For the purpose of uniformity of medium, they were instructed to work only in pencil. They were subsequently accorded adequate time and space to embark on their work with class presentations and discussions at prescribed intervals. The resultant drawings were many and varied and the ones selected are those that displayed good artistic execution and/or displayed a certain profoundness of meaning or interpretation.

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Kossyva, Angeliki. "Life and death in ancient Hermione. Excavations in the necropolis." Opuscula. Annual of the Swedish Institutes at Athens and Rome 14 (November 1, 2021): 157–67. http://dx.doi.org/10.30549/opathrom-14-09.

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The wealth of ancient Hermione is no longer visible: continuous habitation from c. 3000 BC down to the present day has obliterated most traces. Important information on the social organization and economy of Hermione can however be drawn from the tombs that have been unearthed. A large cemetery was discovered in the early 20th century just outside the city gate, stretching along the road leading to ancient Mases and in continuous use for a period of 1,500 years. It covers an area of 1.5 km east–west along the modern Hermione–Kranidi rural road, taking in the terrain to either side to a width of 160 m and extending south to Pron Hill and north to a patch of level ground some 60 m wide. In this article we focus on cemetery finds unearthed in the area south of the present-day Gymnasium-Lykeion school of Hermione, as they typically reflect the urban organization and economic development of the ancient city. These two themes comprise some of the goals pursued in the collaborative research programme between the Ephorate of Antiquities of the Argolid and the Swedish Institute at Athens.

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Wagner, Keith B., and Michael A. Unger. "Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture." Visual Communication 18, no. 1 (January 3, 2018): 83–106. http://dx.doi.org/10.1177/1470357217742333.

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As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film).

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Sediuk, I. O. "The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 154–68. http://dx.doi.org/10.34064/khnum1-56.10.

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Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.

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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.

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Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

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Asanuma, Keiji. "20th Century-End of Modern Art?" TRENDS IN THE SCIENCES 6, no. 2 (2001): 56–58. http://dx.doi.org/10.5363/tits.6.2_56.

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Sviridova, Irina. "Features of the Implementation of the Conceptual Method of the Musical and Historical Analysis in the Choral Conducting Class." Musical Art and Education 7, no. 4 (December 30, 2019): 97–117. http://dx.doi.org/10.31862/2309-1428-2019-7-4-97-117.

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The significance of the indepth analytical work of future musicians and teachers with the artistic image and its need for the process of conducting training are considered in the article. As the most important mechanism for the formation of students’ analytical competencies, the conceptual method by A. I. Demchenko for musicalhistorical analysis of choral works is considered. The essence of the proposed method is to determine the leading idea of the work and its subsequent disclosure in the form of a plan of capacious theses that concentrate the musical content. The features of its application in the conditions of university conducting and choral training are examined on the example of an analysis of a Russian spiritual concert of the last third of the 20th century, represented in the works by A. G. Schnittke – “Concert on verses by Grigor Narekatsi”, “Penance poems” and G. V. Sviridov “Concert in memory of A. A. Yurlov”. Two interrelated directions for training are proposed in the conducting class: analysis of spiritual concerts through the prism of the genre and through the prism of musical drama. The twovector orientation of the study of compositions provides the opportunity for students to fully understand the phenomenon of a spiritual concert in modern musical art, not only to understand the trends leading to the emergence of its innovative models, but also to clarify students’ ideas about ways to discover musical content during performance. A direct study of the conceptual method of musical and historical analysis of choral works by students allows to avoid the narrowly professional interpretation of the conductor’s activity, to overcome the unambiguousness and static character of the performing interpretations of the musical text.

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Nabytovych, Ihor. "LITERATURE OF EMIGRATION. EXPERIENCE OF HISTORICAL PROSE IN THE FIELD OF FOREIGN CULTURE." Слово і Час, no. 6 (December 16, 2022): 3–16. http://dx.doi.org/10.33608/0236-1477.2022.06.3-16.

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Historical novel, as a special genre formation born of Romanticism, has become an artistic tool for the reproduction of the past, its discovery and invention. Historical prose is the literary space where two worldview narrative strategies intersect, overlap, and sometimes collide: these are history that (in its academic sense) seeks to recreate the ‘true past’, and literature, which is a particular representation and development of the world. Historical prose of Ukrainian emigration appears as a fairly integral literary and aesthetic phenomenon during two interwar decades of the 20th century and ends at the border of the 1990s — aft er Ukraine gained its independence. For nations that lost their statehood, the return of the past, its glorification is an important means of forming national identity and self-consciousness. The historical novel of the Ukrainian emigration is a relentless attempt to root its next generations in the national tradition of collective memory. In general, for societies in which the state tradition has been interrupted, historical prose can be an essential factor in restoring / maintaining national memory, as well as a means of creating national myths, projecting the past into modern problems of a stateless nation, and preserving national traditions. The historical prose of the Ukrainian emigration was actually focused on these aims, taking responsibility for the nationalist and philosophic perspective rooted in the past in order to preserve and increase it in the future. The aspiration and experience of Ukrainian emigration in other countries carries a number of tasks that it set for itself. Th ese were, in particular, the preservation of the native language, culture, and creative activity, including historical prose on the themes prohibited in the mainland literature, the formation of the strategy of collective memory through historical prose.

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Selber, Kimberly A. "Influence of Modern Art on Early 20th-Century Advertising Art." International Journal of the Arts in Society: Annual Review 2, no. 1 (2007): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35350.

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Gevel, Olga E. "The Goldfinch at Eastern Europe’s Crossroads: Russian Subtexts of Donna Tartt’s Novel." Imagologiya i komparativistika, no. 15 (2021): 264–79. http://dx.doi.org/10.17223/24099554/15/16.

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Attention to the western reception of Eastern Europe has been relevant for several centuries, but it is especially characteristic of the turn of the 21st century. The inertia of the Cold War is still felt in popular culture: evil is essentialized in the images of Russia/Eastern Europe and Russians/Eastern Europeans every time. Another tradition prefers to create the image of a Russian relying on the harmless, inactive characters of Russian fairy tales and novels, such as Emelya and Oblomov. Russia itself is often not named or portrayed in films and texts; it is replaced by Eastern Europe, Siberia, and fictional cities. The article highlights the main characteristics of the Eastern European text according to Larry Wolff: remoteness, coldness, savagery, passionateness, ambivalence, theatricality, frightening suspense. Eastern European images by the contemporary American writer Donna Tartt (Boris Pavlikovsky and other Slavs in her novel The Goldfinch) are compared with the interpretation of such images in the popular culture and by the writers of the 20th century (in William Somerset Maugham’s novel The Razor’s Edge). In Tartt’s novel, we encounter heroes who are not just interested in Russia and Russians/Eastern Europeans, but are literally fascinated by them, trying to learn the language, study Russian literature. It has been suggested that Fyodor Dolokhov from Leo Tolstoy’s War and Peace, one of the key novels in the world literary tradition, could be the prototype for a significant number of Eastern European images. This ambivalent image combines all the main characteristics of the Eastern European text and allows both negative (most often) and positive (with careful consideration of the plots and characteristics) interpretations. For example, coldness, winter, blizzard can be considered as negative characteristics (especially considering some connotations), but, in the classic novel, which is also oriented towards Dickens, they are naturally connected with the Christmas theme of the miraculous elimination of contradictions, the fabulous resolution of all problems, and transformation. Therefore, it is not surprising that the “code” of the character is repeated, from name to separate themes and motifs. The characteristics Wolff lists – robbery, philosophizing, masquerading, duality – generate both repulsion and attraction. It is possible that the positive perception of Eastern Europe is rooted in the approach to the theme through the prism of literature and literary criticism. Tartt as a philologist is expectedly more influenced by modern literary theory inspired by the formalists, Propp, Bakhtin, Jakobson, and Lotman, than by political clichés.

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Burganova, Maria A. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-4-6-9.

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Dear readers, We are pleased to present to you Issue 4, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal opens with articles by Chinese researchers devoted to the art of Ancient China. In the article "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty", Xiang Wu analyses the idea of heaven-and-man oneness, which was important for the art of this period. It was based on the Confucian view, the rituals of a strict social hierarchy and Taoist metaphysics. Qiu Mubing’s scientific research topic is “Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty”. Examining archaeological sources, the author concludes the high achievements of Chinese artisans during the Han Dynasty on examples of works of arts and crafts made of precious metals. In the article “Aesthetics of the Song Dynasty. The Origins of the New Style of Furniture Design in China", N.Kazakova and Qiu Qi analyse the vector of development of the furniture industry through the prism of the industrial design evolution. The reasons for the emergence of the New style in furniture design in China are studied. They are analysed in detail against the background of changing economic, political and cultural realities. The issues of the influence of Ancient China aesthetics on the formation and development of a new language in furniture design are touched upon. In the article "Problems of Colour Harmonisation of Composition and Development of Associative and Imaginative Thinking in the Environmental Design", N.Bogatova reveals the potential of colouristic graphic two-dimensional modelling in artistic and imaginative thematic compositions. On the example of the compositional laws of colouristics, the author traces the path of ascent from the concrete to the abstract, pictorial to the expressive, and emotional to the figurative. P.Dobrolyubov presents the text “Sculptor Alexander Matveev’s School and His Students”, which includes many archival documents and photographs. The author describes the process of learning from teacher and sculptor A.Matveev, names the main dates in his creative work, reveals the details of the sculptural craft, talks about the variety of moves in the master’s plasticity, analyses the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the entire course of historical milestones in the sculptor’s creative biography. In the article "The Golden Age of PRC History Painting (1949–1966): Origins, Searches, Achievements”, K.Gavrilin and L.Xiaonan consider the issues of the formation of the modern Chinese art school. Its foundation was laid in the framework of the creative and educational dialogue between China and the Soviet Union at the beginning of the second half of the 20th century. The authors believe that the characteristic features of the golden age of Chinese historical painting were, on the one hand, the popularisation of painting as an art form and, on the other hand, the predominance of the dominant position of realism over the traditional styles of Chinese painting. It is noted that during this period, two main plots became widespread: scenes of socialist construction and historical events of the revolution. S.Zubarev considers theoretical and practical aspects of the activities of military musicians in the article "Academic Music in the Practice of Russian Military Bands of the 19th - early 21st Centuries". In the process of studying military bands, special attention is paid to the study of the features of military band service development in the 19th and 20th centuries. Factors revealing the role of Russian composers in the history of military musical culture are highlighted, and several works of academic music performed by military bands are analysed. In conclusion, the author notes that in the national culture, unique conditions for the development of military musicians’ arranging activity were created. They made it possible to preserve the traditions of the military band service and form the value principles of academic art. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

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Yakhno, О. І. "Paradigms of rock music and jazz: comparative discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 161–76. http://dx.doi.org/10.34064/khnum1-53.10.

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Objectives and methodology. The article is devoted to the revealing of the relation and differences between rock music and jazz, as the phenomena of the “third” layer. It is noted, that, in methodological terms, such a comparative approach is advisable to implement with the use of a paradigm apparatus that fixes a certain commonality in the development of each of the studied phenomena at different stages of evolution. The application of this concept to the phenomena of art is a characteristic feature of modern musicology. In the broadest sense, the paradigm is the possibility of “thinking by analogy” (according to Aristotle), and in music it relates both to the field of theory (views on music as a form of art) and practice (musical and artistic phenomena as the products of composer and performing art).The article proposes a classification of rock music paradigms, which are based on the available data on the aesthetics and communication of jazz and notes that rock music on the path of its evolution has passed a number of stages, which in general can be designated as paradigms. The article suggests a comparative description of the movement of aesthetic and communicative paradigms of jazz and rock music. It is noted that in jazzology this issue has long been relevant, which is not the case for the study of rock music. Despite all the differences in the time of emergence and the nature of evolution, vocabulary and semantics, social functions, jazz and rock have many “common points”. The results of the research. Such features, of jazz and rock music, as improvisational nature, a variety of intonational sources that combine multinational and diverse trends are revealed and systematized as common points. Among the special features are distinguished such as the reliance of jazz mainly on the instrumental and rock music on a mixed vocal and instrumental basis; first is referring to “elitist”, second is referring to “mass”. Various syntheses are also common in jazz and rock music, as well as the correlation of composition and improvisation, performing and authorial principles. It is not so much about mutual influences and syntheses, but about the directions of evolution, the general nature of which is defined as the movement from “realistic” to “phenomenological” (A. Soloviev on the jazz paradigms). At its onset, rock music, like jazz, has been “embedded” in the system of the social and political movement, where its autonomous aesthetic function was not yet identified (youth movements of the 1960s, within which the corresponding “protest music” arose). In the process of mastering vocabulary specific to rock music as a phenomenon of the “third” layer, a new paradigm arose, characterized first as conventionally realistic, and then as conventionally autonomous, where rock music reaches the level of professional art in which laws and rules are established by its representatives themselves (this period begins from the Beatles and will continue further by their followers – “Rolling Stones”, “Led Zeppelin”, “Deep Purple” and other groups). It is noted that “people of rock” as well as “people of jazz” are a special social and communicative community, in which the idea of free communication is the main and determining one, where social, interpersonal, and actually musical factors intertwine. The unifying communicative factor in jazz and rock music is the art of improvisation, in which, in symbiosis, the processes of creating and performing music coexist spontaneously, but are subject to certain paradigm settings. It is emphasized that in the social context, jazz and rock differ in ethnic and age factors, which, however, is eventually overcome in modern global society through consolidation (convergence of African-American and European sources of jazz, transition of rock groups to a more general theme that differs from the original youth focus). It is also noted that rock music, unlike jazz, is too deeply connected with social factors and is always based on topical themes, generalized with varying degrees of artistry. Therefore, its degree of autonomy is much lower than that of elite jazz, which by the last decade of the 20th century had turned into the officially recognized salon art, or into a “conglomerate” consisting of pop elements of various kinds close to the aesthetics of the show industry. It is proved that the differences between jazz and rock music are most clearly manifested at the level of radical-and-phenomenal paradigm, which means plunging into the realm of banal “nothing”, where acts (but actually – does not act) the principle of “no wave” (A. Soloviev about jazz) . While jazz in the post-bop period developed towards elite art under the Free rubric, the extreme expression of which was spontaneous collective “impersonal” (lack of leadership, lack of frontman), the style of rock music developed in a different direction, the vector of which can be considered the opposite of jazz. Firstly, in the field of stylistics and language as its primary carrier, rock music meant a return to improvisational syncretism – a dramatic combination of poetry and music. Secondly, rock music is directly immersed, unlike elite jazz with its style of full linguistic freedom and collage, in the realm of relevant musical and poetic vocabulary, coming not from the rhetorical type of creativity (translating “artificial” into “new artificial”), but from the realities of the set of generally accessible linguistic means, which exists at a given historical moment (and in a certain “geography”). In the conclusions of the article, it is noted that rock music, even in its experimental radical and phenomenological manifestations, associated mainly with the sound realm (electronics, dynamics), remains, as a whole, the phenomenon of pop culture. This does not mean the absorption of rock art by the realm of mass consumerism. The best rock music pieces, which have already become classic, combine in reasonable proportions the “elite” (innovative) and “mass” (traditional), give a special rational embodiment of the idea of combining improvisation and composition – the “cornerstone” in the musical art of the entire “third” layer. The aesthetics and communication of rock music in its latest paradigms are differentiated according to the criteria of various stylistic inclinations – genre, national, regional, personal. Therefore, the study of modern rock music is the task of a number of separate studies devoted to specific issues of the problem, in particular, its main difference from jazz, namely, in the vocal and instrumental nature.

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CIRLOT, L. "THE KEY TO MODERN ART OF THE EARLY 20TH CENTURY." Art Book 1, no. 3 (June 1994): 16f. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00130.x.

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Marynchak, A. V. "Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 213–29. http://dx.doi.org/10.34064/khnum2-18.12.

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The objectives of the research. The article is devoted to the study of the main parameters of the Marian theme embodiment in the art of music, with highlighting the aspects of history and genre stylistics. It is noted that the choice of the topic is related to the study of the works by the Kharkiv composer of Polish origin Konstanty Antoni Gorski, who worked in Kharkiv for many years (1880–1910) and belongs to the founders of his academic musical culture. The article lays the methodological basis for studying interpretation of the Marian theme in the works by this author, for that the analysis of the relevant sources (theological, musicological, etc.) has been carried out to derive the genre-stylistic classifications for this phenomenon (confessional, genre, national classifications). The results of the study. It is noted that the Marian theme in music can be classified as one of its central themes. This is due to the general ethical and natural content of the European music of the academic layer, which itself, as it is known, originated from the Church music and retained the features of high contemplation inherent in the cult genres, which determined the prospect line for the subsequent development of the Christian world music. The study emphasizes that the image of the Blessed Virgin Mary acts as a part and an important component of the New Testament, where two her main hypostases are presented. The Virgin Mary is honored and praised, firstly, as the Mother of the Son of God, who experienced suffering with him for the good of humanity, and secondly, as the intercessor and guardian of people who believe in her divine power and destiny. Here, the two interpretations of the Blessed Virgin’s image should be borne in mind, which are implemented at the confessional level – in the Catholic and Orthodox liturgical service. The whole branch of knowledge, called Mariology, is devoted to the study of these issues in the European theology and art history. The musical aspects of this field, presented in the monograph by O. Nemkova (2013), are closely related to religious teachings, as well as to their secular reflection at the level of the genre, style and stylistics of the musical works. The musical interpretation of the Blessed Virgin’s image, coming from Catholicism is based on the postulates of Her Divine destiny, which is reflected in the canonical texts in Latin, among which two main ones stand out – “Stabat Mater” and “Salve Regina”. These texts are realized in the cantata genre, the basis of which is the style of da chiesa, that is, the concerto itself in the church that accompanies the service in honor of Virgin Mary. The latter takes place in such holidays: Conception of Mary by Her mother Anna, Nativity of Mary, Presentation of Mary, Annunciation, Dormition of the Mother of God. The prayer “Ave Maria” is also very popular, and it has become for many European authors the basis of both applied religious and secular works, an example of which is the music of Early Baroque, Romanticism and Modern times. The secularization processes that began in the music of the Christian world on the turn of the Late Renaissance and Baroque (the watershed here is the 1600 year, the official year of the opera genre birth), called to life two groups of works on Marian themes: 1) the compositions nearby to the canonical original, as a rule, Latin texts (they were distributed among Catholics by religion and in Catholic countries); 2) the works modified, based on translations and free narrations of canonical texts given in the national languages and in suitable stylistics of one or another national culture (this is characteristic of Protestantism, as well as of Orthodoxy). There is also a deep line of interpretation of the Blessed Virgin’s image, personifying the eternal idea of motherhood and femininity, which is equally characteristic of many national musical cultures, in particular, the non-religious wave that manifested itself in Slavic music, first at the turn of the 19th – 20th centuries, and then – during the last two decades of the 20th century. It is noted that Gorski, remaining a devout Catholic by the nature of his activity in such interfaith cultural center as Kharkiv in the late 19th – the first two decades of the 20th centuries, embodied in his work the traditions and demands coming from the Polish (Catholic) as well as the Ukrainian (Orthodox) and French and German (Lutheran, Protestant) musical cultures. On this basis, three of his opuses devoted to Virgin Mary arose: the Catholic cantata “Salve Regina” (for voice, violin and organ), the concerto-cantata in French “Salutation a la Sainte Vierge” (for soprano accompanied by choir, organ, string quintet and two French horns), and the choral concerto for the Orthodox mixed choir “Zriaszcze mia bezglasna” on the Old Slavonic text. Each of these works is a special genre form, with which Gorski works as with a standard model equipped with a lexical layer of a certain musical stylistics, primarily national. The Polish song and romanza sources are traced in the first of the works, along with the obvious influence of the opera arias. In the cantata on the French text, echoes of not only opera scenes are heard, but also the elements of the programme music, story-telling, characteristic of French musical style. Finally, the Orthodox choral Concerto on the Old Slavonic text demonstrates the typical genre of the Ukrainian music – the large form intended for collective choral performance that was the equivalent of a symphony in the Western European musical culture. Conclusion. It is proved that, guided by the world experience, Konstanty Antoni Gorski embodies all these models in three Marian works – the canonical church cantata, the larger-scale secular cantata, the a cappella choral concerto, while remaining a composer with original and unique intonational thinking. Gorski in these three compositions appears as a neoclassic, subordinating the original genres to his own creative intentions, which makes the music of these compositions comprehensible and accessible to a wide audience. It was that for the purpose to popularize the opuses by Gorski this article has been written.

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Artemov, Andrej. "Axiology of “Russian“ in the prose of Jaroslav Rudiš." Przegląd Wschodnioeuropejski 11, no. 2 (December 30, 2020): 227–38. http://dx.doi.org/10.31648/pw.6506.

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The article is devoted to the assessment of the “Russian” aspect in Czech history and culture based on the prose of Jaroslav Rudiš. Jaroslav Rudiš, one of the most prominent contemporary Czech writers, was born in Turnov (1972). Since the publishing of “The Sky under Berlin” (2002), his work has positively attracted the attention of critics and has won a wider community of readers, which is evidenced by several reprints of his books and a considerable interest in the new one. Jaroslav Rudiš distinguishes himself from the other modern Czech authors by the ability to soberly, aptly and relevantly describe the problems of contemporaries. His characters are people who personally experienced the “whiff ” of the history and felt changes in Czech society over the second half of the 20th century. Despite the fact that Rudiš does not write explicitly about Russia, does not talk about the eternal themes of Russian philosophy and culture and does not discuss positive or negative aspects of Russian influence on international politics, he shows the impact of the “Russian” aspect on the course of the newest Czech history quite accurately and ironically, although infrequently. Russia and the “Russian” in the prose of the author are mentioned in connection with the events in the lives of individual heroes who perceive the Russian aspect as given and periodically interacting with their lives depending on the circumstances. The views of his characters are ambiguous: they are not strictly negative with regard to important events, but they are not thoughtlessly positive, when the breathtaking spirit and depriving rational thinking of the wonderful creative ability of the Russian soul are praised. The tonality of Rudiš’s prose is comparable to Dovlatov’s irony of the “Reserve” or to the poetry of the Yerofeyev’s “Moscow − Petushki”. The study of Rudish’s prose was carried out by the method of excerpt from the available Czech texts of the writer. Axiological characteristics (more than 120 citations from 7 works of the author) relevant for representing the image of the “Russian” in Czech literature were analyzed from the point of view of imagological criteria.the religious feeling.

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Heusser, Hans-Jörg. "AICARC and the Archives of Modern Art." Art Libraries Journal 11, no. 2 (1986): 4–8. http://dx.doi.org/10.1017/s0307472200004582.

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Since the 1960s AICA, the Association Internationale des Critiques d’Art, has been increasingly concerned with the primary resources on which research depends. In particular, access to archival material was felt to be necessary in order to counter a dominant, highly selective, ‘modernist’ interpretation of 20th century art, with a more objective, comprehensive, and thoroughly researched history of the period covering all countries. The AICARC-Bulletin, founded in 1974, is devoted to primary sources, archives and documentation centres, archival techniques, and the ‘documentary’ approach to art, in relation to the art of this century.

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Keser, Sezer Cihaner. "20th Century quest for new art and interdisciplinary approach." Global Journal of Arts Education 7, no. 2 (June 12, 2017): 61–65. http://dx.doi.org/10.18844/gjae.v7i2.1835.

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AbstractArt; when setting up the combined connection of feelings and thoughts, it is a very effective helper of learning and development. It developes one's source of explanation better, form of expression and other disciplines. That is why, in modern eductaion systems science and art should be nested together. Collaboration of different disciplines in art education started to gain importance towards the end of the 20th century. Because both fields are aimed for service development and discovery of the new, when feelings are educated, mental abilities, thoughts and intelligence have been seen to be developed. In this study, the key actions of the art education in the 20th century education has been briefly noted and towards the end of the 20th century with the importance gained from different disciplines with art the new created discipline based art education and approach to interdisciplinary art has been investigated. Keywords: art, education, interdisciplinary art, mental abilities, learning, development.

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N.I., Ilinska. "JOHN FOWLES’ NOVEL “THE COLLECTOR” IN THE PARADIGM OF “DOUBLE CODING”." South archive (philological sciences), no. 86 (June 29, 2021): 45–52. http://dx.doi.org/10.32999/ksu2663-2691/2021-86-7.

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The purpose of the article is to trace the creative dialogue between elite and mass literature in J.Fowles’ novel “The Collector” as a factor in creating genre modifications in the game field of postmodern literature.Methods. The complex methodology is used in the article. Structural-semantic, intertextual methods, mythopoetic approach, methods of close reading are used for the interpretation and analysis of works of art and essays by J.Fowles.Results. The article examines the strategies of the relationship between the mass and elite in J.Fowles’ novel “The Collector” (1963), which gained special development in the literature of the 20th century and was called “double coding”. Some aspects of J. Fowles’ creative self-identification are traced. The categories “double coding”, “genre polyphony”, and the socio-cultural concept of “success” are considered. It is revealed that the principle of “double coding” is genre-modeling at all levels of the structure of the work, its productivity in the plot-compositional organization of the novel, artistic embodiment of the external and internal themes is clarified. The interrelation of problems, plot and linguistic-stylistic components of the work is considered. It is proved that the author unfolds the model of human relations in an internal topic. In a complex set of problems, the author emphasizes the confrontation between “The Few and the Masses” (J.Fowles), which is manifested in a conflict between the “man of the masses” – Frederick Clegg and the intellectual and spiritual personality of the artist Miranda Gray. The confrontation takes place on a value-mental level, in a situation where two people choose between light and darkness, reason and intellectual limitations, beauty and utilitarianism, freedom and imprisonment, ugly pleasure from power and the injustice of the victim, nobility and meanness. The correlation between traditional genres of high literature and modern mass in the creation of new novel modifications is revealed.Conclusions. In J.Fowles’ postmodernist novel “The Collector”, the principle of “double coding” is one of those that models the genre, participates in text creation, and corresponds to the author’s communicative and receptive strategies. The study of the work in the paradigm of “double coding” proves that such a synthesis contributes to the intellectualization of mass literature, which loses its one-dimensionality, and adds readability to experimental literature by returning it to the plot, intrigue, methods of interest of the recipient. The author combines the objectivity of a traditional novel with the subjectivity of a new 20th century novel.Key words: elite and mass literature, external and internal theme, genre, parable, polygenre. Мета статті – простежити творчий діалог між елітарною й масовою літературами у романі Дж.Фаулза «Колекціонер» як фактор творення жанрових модифікацій у ігровому полі літератури постмодернізму. Методи. У роботі використано комплексну методологію. Для інтерпретації та аналізу художніх творів і есеїстики Дж.Фаулза застосовано структурно-семантичний, інтертекстуальний методи, міфопоетичний підхід, методики «пильного читання» (close reading). Результати. У статті досліджено стратегії співвідношення масового й елітарного в романі Дж.Фаулза «Колекціонер» (1963), що набули особливого розвитку в літературі ХХ століття й одержали назву «подвійне кодування». Простежено деякі аспекти творчої самоідентифікації Дж.Фаулза. Розглянуто категорії «подвійне кодування», «жанрова поліфонія», соціокуль-турне поняття «успіх». Виявлено, що принцип «подвійного кодування» є жанромоделюючим на усіх рівнях структури твору, з’ясовано його продуктивність у сюжетно-композиційній організації роману, художньому втіленні теми зовнішньої та теми внутрішньої. Розглянуто взаємозв'язок проблематики, сюжетних і мовно-стильових компонентів твору. Доведено, що у темі внутрішній автором розгортається модель людських взаємин. Ускладному комплексі проблем автор акцентує протистояння «Небагатьох та Маси» (Дж.Фаулз), що оприявнено у конфлікті «людини маси» – Фредеріка Клегга та інтелектуально-духовної особистості художниці Міранди Грей. Протистояння відбувається на ціннісно-ментальному рівні, уситуації вибору двох людей між світлом та пітьмою, розумом та інтелектуальною обмеженістю, красою й утилітаризмом, свободою та ув’язненням, потворним задоволенням від влади і безправ'ям жертви, шляхетністю та ницістю. Виявлена кореляція між традиційними жанрами високої літератури та сучасної масової у створенні нових романних модифікацій. Висновки. У постмодерністському романі Дж.Фаулза «Колекціонер» принцип «подвійного кодування» є одним із тих, що моделює жанр, бере участь у текстотворенні, відповідає комунікативно-рецептивним стратегіям автора. Дослідження твору в парадигмі «подвійного кодування» доводить, що саме такий синтез сприяє інтелектуалізації масової літератури, яка втрачає свою одно-вимірність, та додає читабельності літературі експериментальній завдяки поверненню їй сюжетності, інтриги, прийомів зацікавлення реципієнта. Автор поєднує властиву традиційному роману об’єктивність зі суб’єктивністю нового роману ХХ сторіччя. Ключові слова: елітарна і масова література, тема зовнішня і внутрішня, жанр, притча, поліжанровість.

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Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 1 (March 1, 2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.

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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.

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Hryhorov, V. "Monumental and decorative art of the second half of the 20th century in specialized literature." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.

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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.

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Penney, David W., and William Rubin. ""Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern." African Arts 18, no. 4 (August 1985): 27. http://dx.doi.org/10.2307/3336253.

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Karpova, Elena A. "TEXTILE ART AS PART OF CITY'S ARCHITECTURAL SPACE." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 20. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-20.

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The article is devoted to the interaction of textile art with architecture. The prototypes of tent architecture were temporary and mobile structures and ancient tent shelters. Decorative fabrics were used to decorate city streets during festivals and processions. They served as an essential color dominant emotionally affecting the viewers. The textile art of the 20th – early 21st century has seen the emergence of three-dimensional forms named "new tapisserie" and "environment". In the 20th century, architectural tent structures received extensive engineering and technical development, which influenced the form and plasticity in modern textile art, existing in synthesis with the architectural space of the city.

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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum2-49.12.

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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.

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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum1-49.12.

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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.

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Eskilson, Stephen. "Thomas Wilfred and Intermedia: Seeking a Framework for Lumia." Leonardo 36, no. 1 (February 2003): 65–68. http://dx.doi.org/10.1162/002409403321152347.

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The most successful early-20th-century artist of colored light in the United States was undoubtedly Thomas Wilfred (1889–1968). In the 1920s, his “Lumia” compositions were praised by art critics and performed throughout the U.S. After initially embracing a musical analogy to explain Lumia, in the early 1930s he shifted to an analogy based on painting. In pursuit of this new context, Wilfred sought to legitimize Lumia through a relationship with the Museum of Modern Art in New York. His career is emblematic of the difficulties inherent in the creation of art using technology early in the 20th century, years before the postmodern embrace of pluralism.

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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 82–98. http://dx.doi.org/10.17816/vgik11182-98.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 102–15. http://dx.doi.org/10.17816/vgik112102-115.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Khrenov, Nikolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 94–106. http://dx.doi.org/10.17816/vgik11394-106.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Khrenov, Nikolay. "Modern Art History As a Human Science in a Situation of Cultural Turn." Journal of Flm Arts and Film Studies 11, no. 4 (December 30, 2019): 98–113. http://dx.doi.org/10.17816/vgik11498-113.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Kuhutiak, Mykola, Ihor Raikivskyi, and Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.

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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others

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RADU-GIURGIU, Cristina-Ioana. "Opera Agents in 20th Century (1). Opera business and singers’ careers." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 147–54. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.14.

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The key point in promoting singers’ careers in the 20th century was the Agent (known also as impresario, the art manager, the promoter). The business of opera is quite old, starting in the mid-17th century together with the newborn genre of lyric show, but in the 20th century, it has developed in more advanced forms, as a real institution. The “Opera Agents in 20th Century” is built in 2 parts. This first article presents the impresario throughout history, focusing on the development and the notable transformations of the opera business in the 20th century. The second part will consist of a related article, focusing on the role of the agent in developing and promoting the singers’ careers, different models of business contracts, agents’ fees (Compensation), and the modern agencies.

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Umarova, Zarrina. "Characteristics of development of Tajik jewelry art at the turn of the 21st century." SHS Web of Conferences 50 (2018): 01226. http://dx.doi.org/10.1051/shsconf/20185001226.

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The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.

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Petrov, Vladislav O. "Synthetic Ideas of Giovanni Lorenzo Bernini in the 20th Century: to the History and Theory of Performance." Observatory of Culture, no. 5 (October 28, 2015): 66–71. http://dx.doi.org/10.25281/2072-3156-2015-0-5-66-71.

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The article demonstrates relevance of the synthetic ideas of the Italian architect, sculptor and artist Giovanni Lorenzo Bernini (1598-1680) in the modern performance art, which has become a landmark in the 20th century in terms of the Actionism manifestation. The chosen subjects (the absurdist situation and the actual event), as well as the methods for their dramatic composition and the applied means of their expression, characterize the performance of the 20th century, which gives us a reason to examine the position of Bernini and the position of one of the most actual genres in the modern world more closely.

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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.

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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results. The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky). The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky. The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.

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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.

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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.

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Nikitina, Irina Petrovna. "Artistic Space as a Modern Aesthetical Category." Journal of Flm Arts and Film Studies 5, no. 2 (May 15, 2013): 66–80. http://dx.doi.org/10.17816/vgik5266-80.

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The article describes the process of transforming the concept of “artistic space” into a category of modern aesthetics due to the work of various 20th century philosophers (O. Spengler, M. Heidegger, P. Florensky, etc.) The author argues that unlike the chronotope, which is a local notion relevant only for temporal arts, the notion of “artistic space” is universal and valid for all art-forms.

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Journal articles on the topic 'Modern Art – 20th century – Themes'

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