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Journal articles on the topic 'Modern art movements (from late 19th century)'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Székely, Miklós. "Vocational Schools and Arts & Crafts Influences in Transylvania from the Great Exhibition to Bauhaus." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 67–94. http://dx.doi.org/10.24193/subbhistart.2020.04.

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"The paper discusses the approximately 100-year presence and transformation of the approach and mentality of arts and craft movements which emerged in the mid-19th century from the aspect of industrial education workshops in Transylvania. In late 19th-century Hungary, the approach of artistic innovation, spread with the help of William Morris’s and Walter Crane’s works, is perhaps most immediately seen in the creative workshops that approached the relationship between aesthetics and technology rather differently. It appeared in the works of the British Arts & Crafts movement and also in th

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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.

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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of paintin

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Ovchinnikova, Natalia A. "The Fate of the Epistolary Heritage of the Veliky Ustyug Merchant Family Buldakovs of the Late 18th – the First Quarter of the 19th Century." Herald of an archivist, no. 2 (2021): 331–42. http://dx.doi.org/10.28995/2073-0101-2021-2-331-342.

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The article presents the history of the epistolary heritage of the Buldakov merchant family. The object of the research is letters of M. M. Buldakov, a representative of the Veliky Ustyug merchants, the leading director of the Russian-American company. These documents contain valuable information on the history of Russian merchants in the last quarter of the 18th – first third of the 19th century and the activities of the Russian-American company. Similar to all sources of epistolary genre, their distinctive feature is that they were created without additional edits and censorship and thereby

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Mykhailova, O. V. "Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts." Aspects of Historical Musicology 15, no. 15 (2019): 119–37. http://dx.doi.org/10.34064/khnum2-15.06.

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from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the m

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Tailanga, Soranat. "Modernist Thai Short Stories, 1964–1973: The Relationship with Art." MANUSYA 11, no. 2 (2008): 125–41. http://dx.doi.org/10.1163/26659077-01102007.

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A number of distinguished Thai short stories from 1964 to 1973 reveal new and distinctive features in terms of subject, form, concepts and style. These features are similar to those of modernism, which was an international movement in literature and the arts that began in the late 19th century and continued into the early 20th century. The similarity suggests the direct and indirect influences of the modernist style upon Thai writers. Furthermore, the change in style of some of the short stories indicates a relationship with the art movements: impressionism, expressionism, cubism and surrealis

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Ozturk, Fatma, and Ozlem Berksan. "A study for the impact of impressionism period’s coloring, style and mode on fashion designers." Global Journal of Arts Education 5, no. 2 (2015): 40. http://dx.doi.org/10.18844/gjae.v5i2.243.

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Impressionism is a result of scientific and social developments’ influence on art and cultural movements during 1870’s. Impressionism, as being the brand new and the most important development in art during 19th century, has represented the modern painting with a strict separation from former understanding of art. While other art movements of 19th century have been maintained the relations or bore trace from classical understanding, impressionists severed all these ties. Instead of observing the nature in a realistic manner, they used impressions of observing it on art.Fashion in the most gene

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Lucas, Scott C. "ABU BAKR IBN AL-MUNDHIR, AMPUTATION, AND THE ART OF IJTIHĀD." International Journal of Middle East Studies 39, no. 3 (2007): 351–68. http://dx.doi.org/10.1017/s002074380707050x.

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Few Islamic concepts have undergone as radical a semantic shift over the past couple of centuries as ijtihād. This Arabic term, confined for centuries to sophisticated works of legal theory (uṣūl al-fiqh), has been liberated and transformed into the handmaiden of modern Muslim reformists throughout the world. Numerous Western scholars have investigated either the classical legal ijtihād of the first definition above or the modern employment of ijtihād among reformists encapsulated in the second, succinct gloss of this word. Valuable studies have been published on topics ranging from the relati

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Skliarenko, Halyna. "Interpretation Peculiarities of the Impressionistic Trends in Ukrainian Ar." Folk art and ethnology, no. 1 (February 28, 2022): 30–45. http://dx.doi.org/10.15407/nte2022.01.030.

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The article is dedicated to the interpretation peculiarities of the impressionistic trends in Ukrainian art. Impressionism as the first modernist style has a huge impact on world art, been marked in it both by new purely formal, plastic and also world-view features. Ukrainian art hasn’t also avoided it and attracts its experience to the search for a new artistic language of the turning point in the artistic development of the period of the late 19th – early 20th century in its own way. Although impressionism hasn’t formed a definite exact trend in Ukrainian art, its ideas, in particular, the i

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Tarasenko, M. "SHABTIS IN THE COLLECTION OF THE MUSEUM OF ORIENTAL ART IN ZOLOCHIV CASTLE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 136 (2018): 74–82. http://dx.doi.org/10.17721/1728-2640.2018.136.1.16.

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A group of six shabtis from the collection of the Museum of Oriental Art in Zolochiv Castle, Lviv region, Ukraine are published and analysed in the paper. 1. Green glazed shabti of Psamtek, Late Period, inv. no. 5879. 2. Sky blue glazed faience shabti of Pa-di-Amun, 21st Dynasty, inv. no. 5890. 3. “Female” brown terracotta pseudo-shabti, Roman Period or modern imitation, inv. no. C-I-284. 4. “Female” brown terracotta pseudo-shabti, Roman Period or modern imitation, inv. no. C-I-2286. 5. Small blue glazed faience shabti without inscriptions inv. no. ЕP 7117. 6. Small brown terracotta shabti wit

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Dvorkin, Ihor. "JEWISH POGROMS OF THE LATE 19th – EARLY 20th CENTURY IN CONTEMPORARY UKRAINIAN HISTORIOGRAPHY." Almanac of Ukrainian Studies, no. 29 (2021): 66–73. http://dx.doi.org/10.17721/2520-2626/2021.29.9.

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The article analyzes modern tendencies in Ukrainian historiography of XIX – and early XX century Jewish pogroms. General works on the history of Ukraine, special works devoted to anti-Jewish violence, and the study of the similar problems, that has been published in the last two decades, are considered. The general context of works, their sources, previous researches influence, conclusions of which the authors came, etc. are analyzed. Reading the intelligence on the pogroms, we can see, that the pogroms were largely the result of modernization, internal migration, the relocation to Ukraine of

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Mather, George. "Visual Image Statistics in the History of Western Art." Art and Perception 6, no. 2-3 (2018): 97–115. http://dx.doi.org/10.1163/22134913-20181092.

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The history of Western visual art is traditionally divided into a succession of stylistic movements on the basis of the art-historical provenance and visual qualities of artworks. Little is known about how the visual statistics of Western artworks have changed over time, though this data could inform debate about the transitions between art movements. This longitudinal statistical study shows that two measures of the statistics of Western paintings remained relatively stable for 500 years, and similar to the values found in photographic images depicting the same subjects. Dramatic changes bega

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Lyan, Tszitao. "The image of Andrea from the opera “Andrea Chenier” by U. Giordano: the history of vocal interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 29–42. http://dx.doi.org/10.34064/khnum1-50.03.

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Formulation of the problem. U. Giordano is a bright representative of the late romantic tradition of the Italian opera of the turn of the 19th-20th centuries. Among the brightest stage versions of his most famous opera “Andrea Chenier”, within this study we have selected a number of the key implementations of Andrea Chenier’s part, which show the constant and mobile signs of the interpretation of this famous opera image. The purpose of the study is to identify the features of interpreting the image of Andrea Chenier from the opera of the same name by the performers of various schools in the as

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Alviz Fernández, Marco. "De Gibbon a Riegl. Una nota sobre los precedentes historiográficos del «descubrimiento» de la Antigüedad Tardía = From Gibbon to Riegl. A Note on the Historiographical Precedents of the «Discovering» of Late Antiquity." Espacio Tiempo y Forma. Serie II, Historia Antigua, no. 30 (December 3, 2017): 13. http://dx.doi.org/10.5944/etfii.30.2017.19320.

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En el presente artículo nos aproximamos sucintamente a la historia de la investigación y al contexto literario en torno al periodo histórico de la Antigüedad tardía. El eje vertebrador del mismo es la idea de decadencia o declive que persistió en el imaginario de los distintos autores y corrientes literarias que se interesaron por el periodo desde el humanismo italiano y centroeuropeo, pasando por las letras anglosajonas en tiempos de la Ilustración, hasta el siglo XIX. Gibbon instituyó el topos del declive en la tardoantigüedad estableciendo así la problemática de estudio de generaciones de h

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Juvan, Marko. "The Aesthetics and Politics of Belonging: National Poets between “Vernacularism” and “Cosmopolitanism”." arcadia 52, no. 1 (2017): 10–28. http://dx.doi.org/10.1515/arcadia-2017-0002.

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AbstractJameson’s concept of modern third-world literature as national allegory is also pertinent for the 19th-century peripheries of the first-world literature. Aware of their dependence on imperial powers, the protagonists of (semi)peripheral national movements longed for the recognition of their nascent collective identity by the lawgiving Other – the symbolic order of ‘universal’ tradition. The figures of “national poets” (Nemoianu) were invented to represent their respective nations to the gaze of the Other, symbolized by the emerging world literature and empowered through the inter-state

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Макаренко, Евгения Константиновна. "GENRE SPECIFICITY OF BIOGRAPHICAL SKETCHES ABOUT RUSSIAN MOVEMENTS BY E. POSELYANIN." Tomsk state pedagogical university bulletin, no. 1(213) (January 11, 2021): 95–103. http://dx.doi.org/10.23951/1609-624x-2021-1-95-103.

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Введение. Известный в дореволюционной России публицист и духовный писатель Евгений Поселянин (настоящая фамилия Погожев), пройдя путь сомнений в вере и получив духовное возрождение в Оптиной Пустыни, стал участником развернувшейся между интеллигенцией и представителями Русской Православной Церкви дискуссии начала XX в. Церковность эстетического сознания Е. Поселянина определила основную задачу всего его творчества, заключавшуюся в воспроизведении и передаче духовного мира Русского Православия. Цель. Творчество известного духовного писателя и публициста конца XIX – начала XX в. Евгения Николаев

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Häßler, Miriam. "Moscow Merz and Russian Rhythm." Experiment 23, no. 1 (2017): 117–26. http://dx.doi.org/10.1163/2211730x-12341305.

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Abstract The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assu

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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.

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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibi

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Wójcik, Zbigniew. "Italian Horse Riding School." Physical education, sport and health culture in modern society, no. 1 (49) (March 31, 2020): 60–63. http://dx.doi.org/10.29038/2220-7481-2020-01-60-63.

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The system solutions in the field of horse riding technique appeared for the first time in Italy in the 16th century, but at the same time equestrian academies also functioned in other countries, e.g. Austria, France, Germany and Russia. They formed the horse riding system which was based on such movements that horse never performs in its natural habitat. Therefore, according to the methodology research, applicable in historical and pedagogical sciences, an attempt was made to determine stages of the Art of Horsemanship on the European continent. In the research process, it was established tha

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Parfentyeva, Irina. "National-patriotic education of future teachers of musical art in the study of the disciplines of the conductor-choral cycle (on the example of the revival of the choral heritage of A. Wedel abroad)." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 224–27. http://dx.doi.org/10.33310/2518-7813-2019-65-2-224-227.

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The article deals with the problems of the national-patriotic education of future teachers of musical art by means of choral art on the example of one of the outstanding representatives of the Ukrainian composer and choirmaster school – Artemy Lukyanovich Vedel. The stages of knowledge of the choral heritage of the Ukrainian composer of the late eighteenth and early nineteenth centuries in Western Europe and America of the twentieth century are considered. Sources from periodicals allow us to analyze various forms of perception of his works by a foreign listener during concert performances. Na

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Borisova, Valentina. "Евангельский текст в творчестве Ф. М. Достоевского: проблемы и перспективы изучения". Проблемы исторической поэтики 18, № 4 (2020): 186–208. http://dx.doi.org/10.15393/j9.art.2020.8582.

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The article reflects on the results and prospects of studying the gospel text in the works of F. M. Dostoevsky at the present stage, identifies the main directions and methodological problems of their analysis and interpretation in the framework of ethnopoetics as a new scientific direction in literary studies of the late 20th — early 21th century. Its principles are rooted in historical poetics, which aimed to define the role and boundaries of the Christian tradition in Russian literature. As a result, the scientific discourse included new poetical categories of conciliarity (“sobornost”) and

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Stupin, Sergey. "The Art as a Representation of the Existential." Chelovek 32, no. 4 (2021): 172. http://dx.doi.org/10.31857/s023620070016694-0.

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The survey research was fulfilled within the interdisciplinary approaches “anthropology of art” and “existential art science”, updating the concept of “anthropic principle in artistic creativity” demanded by modern humanitarian science. The relevance of the topic is due to the special attention of the art of modern times to existential problems: art practice of the late 19th – the first two decades of the 21st century to the present day in its species, style and genre diversity actively present anthropological terms and meanings. The author of the article emphasizes the immanent nature of the

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Lee, A. J., I. E. Gibb, and T. Stevenson. "How has military use of medical imaging in austere environments changed? A comparison between deployments of the Victorian era and today." Journal of The Royal Naval Medical Service 104, no. 2 (2018): 139–47. http://dx.doi.org/10.1136/jrnms-104-139.

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AbstractOver 100 years ago, in the late 19th century, the British military first deployed radiological equipment to theatres of war, notably to Afghanistan during the Tirah campaign and to Sudan during the River War. The efforts of early radiological pioneers, and the clear diagnostic utility their equipment offered, quickly saw radiology formally incorporated into military medicine as its own discipline. The two World Wars saw the specialisation advance rapidly in scope and capability. To draw comparison with earlier conflicts, the early 21st century saw modern medical imaging equipment utili

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Савицкая, Т. Е. "The Leiden views in the collection of the Radishchev State Art Museum in Saratov: reality and fantasy." Iskusstvo Evrazii [The Art of Eurasia], no. 1(24) (March 30, 2022): 156–63. http://dx.doi.org/10.46748/arteuras.2022.01.015.

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Статья посвящена исследованию двух городских пейзажей, обозначенных как виды Лейдена, из собрания Саратовского государственного художественного музея имени А.Н. Радищева. Пейзаж, поступивший в 1920 г. как работа голландского художника XVII века, является имитацией старой голландской живописи, выполненной, предположительно, на рубеже XVIII–XIX веков. Имитатор, изображая в качестве типичного голландского городка XVII века фантазийный образ Лейдена, стремится указать на связь с традициями старых голландцев. Другой пейзаж, поступивший как работа неизвестного мастера, атрибутирован голландскому мас

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Danish, Miroslav, and Galina V. Rokina. "Archival Rossica in Slovakia: Documents on the History of Slovak-Russian Contacts in the Archive of the Slovak Matica." Herald of an archivist, no. 2 (2021): 543–54. http://dx.doi.org/10.28995/2073-0101-2021-2-543-554.

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The article traces the process of formation of archival Rossica in one of the oldest archives of the Slovak Republic. The authors analyze documentary materials on the history of the Slovak-Russian contacts in the 19th century, the period when ties between Slovak and Russian scientists and public figures were most intense. It was at this time that the process of national identity formation of the Slovaks took place. The article is to investigate the content of documents from the standpoint of methodology of historical memory and that of principles of historicism. Despite the fact that the histo

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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.

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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the a

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Zavidovskaya, Ekaterina A. "Tradition, Innovations and Historical Events in the Early 20th Century Chinese Calendars from the Russian Collections." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 204. http://dx.doi.org/10.31857/s086919080015487-2.

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The paper discusses two types of Chinese calendars – a traditional agricultural calendar “nongli” which existed in China since the 9th century and a Westernized “yuefenpai” calendar that emerged in Shanghai in the late 19th century and flourished until the 30-40s of the 20th century. Apart from the lunar and solar calendars and a table of 24 seasons woodblock “nongli” calendar featured a Stove God Zao-wang alone or with a spouse surrounded by a suite, fortune bringing deities and auspicious symbols, Stove God was believed to ascend to heaven and report good and bad deeds of the family members

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Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.

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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the cu

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Wais-Wolf, Christina, Petra Weiss, and Christoph Tinzl. "Austrian Stained Glass in the Interplay of Research and Conservation: Reflections on How to Preserve an Endangered Art Genre." Heritage 5, no. 1 (2022): 509–25. http://dx.doi.org/10.3390/heritage5010029.

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In 2021, two projects for the protection and preservation of Austrian stained glass were performed in close cooperation between the Federal Monuments Authority Austria and active members of the Corpus Vitrearum Austria. Both projects are dedicated to difficult topics that will increasingly challenge how we tackle the preservation of monuments in the coming decades. There are questions regarding the correct conservation and restoration treatment of stained glass from the late 19th and early 20th century (stained glass from the so-called art period of Historicism), which, despite all the Guideli

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Domokos, Mária, and Katalin Paksa. "The Hungarian folk song in the 18th century." Studia Musicologica 49, no. 1-2 (2008): 105–25. http://dx.doi.org/10.1556/smus.49.2008.1-2.6.

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In Hungary, the concept of “folk song” was clarified at the beginning of the 20th century only, accordingly, there were no “folk songs” noted down in the 18th century. Still, the number of music sources relating to folk music increased significantly in the 18th century. As a result of their scientific analysis the melodic parallels of some five hundred 18th-century tunes were found in the central folk music collection of the Institute for Musicology of the Hungarian Academy of Sciences. These melodic parallels involve 153 folk song types. In a specific era of folk culture there is always a coe

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Kucherenko, Anastasia L., and Nina A. Konopleva. "Adaptation of Spanish Flamenco Dance to the Cultural and Language Environment Conditions of Contemporary Russia." ICONI, no. 1 (2019): 176–83. http://dx.doi.org/10.33779/2658-4824.2019.1.176-183.

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The article reveals the phenomenon of the existence of Spanish flamenco dance in the cultural and language environment of modern Russia. The premises for introducing of this art form in the Russian society of the 19th century have been considered, as well as its dissemination throughout Russia up to the present time. A brief analysis of the etymology of the term “flamenco” is carried out, emphasizing the inconsistency and ambiguity of this concept, which complicates its adequate interpretation in the Russian language. The authors have developed a classification of flamenco styles from the pers

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Chukwujekwu, Ejike Sam-Festus. "African Philosophy in the Contemporary World." Logos et Praxis, no. 2 (September 2019): 143–49. http://dx.doi.org/10.15688/lp.jvolsu.2019.2.13.

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This author focuses on African philosophy issues, ideas and the major trends of its development in the contemporary world. The researcher emphasizes that one of the main trends in the development of African philosophy in the contemporary world is the search for African identity, ideas of African renaissance. The development of African philosophy in the early and mid 20th century had the immense influence of the anticolonial movement, which resulted in rapid development of socio-political movements. The article discusses the most influential of them, such as negritude, Pan-Africanism, African s

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Dredge, Paula, Richard Wuhrer, and Matthew R. Phillips. "Monet's Painting under the Microscope." Microscopy and Microanalysis 9, no. 2 (2003): 139–43. http://dx.doi.org/10.1017/s1431927603030198.

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An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found

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PERRY, SEAMUS. "Tennyson and the Legacies of Romantic Art." Romanticism 14, no. 1 (2008): 1–12. http://dx.doi.org/10.3366/e1354991x08000056.

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Everyone knows that a number of important concepts gained a new resonance and prestige around the turn of the nineteenth century: the phenomenon is called (or is symptomatic of what is called) ‘romanticism’; and any account of romanticism's legacies might well choose to consider the continuing life of those new significances within subsequent literary thinking. The terms that matter are words such as art, aesthetic, imagination, literature, poetry; and the intricate pattern of changes in their meanings has been drawn most influentially by Raymond Williams, initially in Culture and Society and

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E. Childs, Peter. "Curriculum development in science - past, present and future." Lumat: International Journal of Math, Science and Technology Education 3, no. 3 (2015): 381–400. http://dx.doi.org/10.31129/lumat.v3i3.1036.

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Science only became a recognised school subject at the end of the 19th century. The study of science subjects remained an elitist pursuit until the mid-late 20th century, but it is now seen as a core subject in many countries, especially in the junior secondary cycle. Since the 1950s there have been major reforms in science education – in the USA, UK and other countries – with a shift away from a focus on content and prescribed practical work, to emphases on inquiry (thinking and working like scientists) and the social aspects of science (in the STS and context-based movements) and on the natu

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Søvsø, Mette Højmark. "Snøreendedupper og snørenåle – Krop, køn og mode i senmiddelalder og nyere tid." Kuml 63, no. 63 (2014): 265–90. http://dx.doi.org/10.7146/kuml.v63i63.24468.

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Lace tags and bodkins Body, gender and fashion in Late Medieval and Modern TimesChanges in fashion beginning in the middle of the 14th century led to the employment of new kinds of dress accessories. Costumes for both men and women had to be close-fitting and use was made of buttons, hooks and eyelets and laces or drawstrings to close the long vents (fig. 8). Of these items, metal tags from corset laces occur most frequently as both archaeological and metal-detector finds in Sydvestjyske Museer’s area. These tags prevented the ends of the laces from fraying and made it easier to thread them th

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Teixeira, Izabel Mello, and Edson Pereira Silva. "História da eugenia e ensino de genética." História da Ciência e Ensino: construindo interfaces. ISSN 2178-2911 15 (May 5, 2017): 63. http://dx.doi.org/10.23925/2178-2911.2017v15p63-80.

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ResumoEugenia pode ser definida como um movimento científico e social que foi iniciado por Francis Galton no final do século 19. Como ciência, seu foco era o estudo da herança biológica de características físicas e não físicas dos seres humanos. Sua má reputação vem, principalmente, dos movimentos sociais que se espalharam durante o século 20, especialmente o holocausto nazista. O ideário eugenista permanece vivo hoje em dia, especialmente devido à ideologia do determinismo biológico, que está presente nas modernas tecnologias relacionadas à reprodução humana, a chamada "reprogenética". Neste

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Melnyk, Ivan. "The role of Ukrainian folk ornament in the Art Nouveau graphic: theoretical and applied aspects." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 11–18. http://dx.doi.org/10.37131/2524-0943-2019-41-02.

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Background. The article deals with the basic conceptual foundations of the "Ukrainian style" in the art of the late 19th – early 20th centuries, primarily in the field of searching for actual ways of adaptation and creative rethinking of Ukrainian folk ornament motifs. A special role in this process was played by the use of graphics, whose artistic language has evolved rapidly under the influence of contemporary European styles. However, in the graphic works of Ukrainian artists, the appeal to folk ornamentation was one of several ways of self-identification with the national artistic traditio

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Сем, Татьяна Юрьевна. "Mythology in the Ornamentation of the Orochons: The Symbols and the Semantics of the Images." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 41–50. http://dx.doi.org/10.26158/tk.2020.21.2.004.

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Статья посвящена анализу особенностей символики и семантики орнамента одного из малочисленных народов Сибири - тунгусоязычных орочонов Забайкалья, Верхнего Амура и Маньчжурии - как отражения этнической идентичности. Пластический фольклор орочонов характеризует чувственное восприятие мира, космоса, природы и человека в нем. Исследование специфики орочонского орнамента проводится впервые на основе материалов конца XIX - начала XXI в. из российских и китайских музеев. Изучение орнаментальных мотивов и композиций осуществляется в рамках сравнительно-исторического анализа традиционной и современной

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Wåhlin, Vagn. "Folkelige og sociale bevægelser. Nyere forskningsretninger og kvalitative forståelser." Grundtvig-Studier 54, no. 1 (2003): 7–44. http://dx.doi.org/10.7146/grs.v54i1.16435.

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Folkelige og sociale bevagelser. Nyere forskningsretninger og kvalitative forstaelser[Popular and Social Movements. Recent Research Approaches and Qualitative Interpretations]By Vagn WahlinHowever fascinating Grundtvig himself is as a central figure in 19th century Denmark, we, the citizens of the Third Millennium, have to ask why and how he is also interesting today and how his word, work and influence spread. Part of the answer to that fundamental question lies in the fact that he was the right man at the right place at the right time, with the right tidings to tell some clergymen and many p

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Boeva, Luc. ""Yet another book on nationalism." Enkele recente bijdragen tot de theorievorming." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 72, no. 1 (2013): 68–86. http://dx.doi.org/10.21825/wt.v72i1.15954.

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Deze bijdrage bespreekt aan de hand van een aantal recente publicaties drie thema's uit het actuele theoretisch debat rond nationalisme: de moderniteit van naties en nationalisme, nationale identiteit en de comparatieve methode. Over het eerste verscheen een boek dat een nieuwe, op historische bronnen gebaseerde, start voor de studie van het nationalisme wil betekenen, tegen het modernistisch paradigma in. Volgens auteur Caspar Hirschi ligt de oorsprong van nationalisme in de late Middeleeuwen, vroege vormen van nationalisme kwamen reeds tijdens de Renaissance voor en modern nationalisme kon e

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Shalygina, O. V. "Time and space in the motor aesthetics of A. Volynsky." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 100–113. http://dx.doi.org/10.17588/2076-9210.2019.4.100-113.

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The article describes the original aesthetic and philosophical concept – the motor aesthetics of Akim Volynsky. Volynsky uses the concept of «motor aesthetics» in the Kniga likovanii, describing the value of circular lines for the «all aesthetics, visual, sound and motor», and particularly pirouette for motor aesthetics. The term «motor aesthetics of Akim Volynsky» is used in this article for the first time and is studied by the author from an interdisciplinary perspective. Motor aesthetics is developed by Volynsky for plastic art as a language of description of classical ballet, he introduces

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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.

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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comp

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Pihel, Karl Joosep. "Narratiiv ja topos Heino Elleri “Sümfoonilises legendis”." Mäetagused 81 (December 2021): 91–120. http://dx.doi.org/10.7592/mt2021.81.pihel.

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This article focuses on the narrative analysis of late-romantic instrumental music. Having adopted the structuralist-semiotic conception of musical narrative as proposed by Byron Almén (2008) as the transvaluation of an opposing hierarchy, and the concept of the musical topic as musical elements with specific stylistic-cultural associations, I analyse the expressive form of Heino Eller’s early symphonic poem “Symphonic Legend” (1923). Narrative logic was found to permeate the musical work despite its collage or suite-like form, as the composer introduces characteristic musical actors that re-a

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Pylypchuk, Oleh, Oleh Strelko, and Yuliia Berdnychenko. "PREFACE." History of science and technology 11, no. 2 (2021): 271–73. http://dx.doi.org/10.32703/2415-7422-2021-11-2-271-273.

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The issue of the journal opens with an article dedicated to the formation of metrology as government regulated activity in France. The article has discussed the historical process of development of metrological activity in France. It was revealed that the history of metrology is considered as an auxiliary historical and ethnographic discipline from a social and philosophical point of view as the evolution of scientific approaches to the definition of individual units of physical quantities and branches of metrology. However, in the scientific literature, the little attention is paid to the pro

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Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.

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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realizat

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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbol

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Krinko, Evgeny, and Evgeniya Goryushina. "The Events and Participants of the Time of Troubles in the Russian Memorial Culture." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 2 (April 2019): 203–14. http://dx.doi.org/10.15688/jvolsu4.2019.2.17.

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Introduction. The study of historical memory has recently become one of the most relevant research areas. The Time of Troubles of the early 17th century is one of the most acute socio-political crises in the history of the country which has been arousing the interest of many historians. At the same time, the features of reflecting events and participants of the Time of Troubles in various forms of historical memory are becoming the subject of special studies. Methods and materials. The authors used the institutional approach,general scientific methods of logical analysis, the comparative histo

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Linnik, M. S. "Refl ection of the scientifi c-critical position of R. Genika in his letters to N. Findeisen." Aspects of Historical Musicology 13, no. 13 (2018): 14–26. http://dx.doi.org/10.34064/khnum2-13.02.

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Background. The present article is devoted to the consideration of the critical activity of R. Genika, one of the most prominent creative personalities in the musical life of Kharkov during the period of the turn of the 19th and 20th centuries, the founder of the Kharkov professional music school. The present study is based on the material of the correspondence between R. Genika and his long-term mentor N. Findeisen – the chief editor of the Russian Musical Newspaper, the publisher of historical essays. The system of R. Genika’s critical views, his assessment of the intonation situation of the

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Kodenko, I. I. "Specificity of performance of Еarly Music: historical aspect". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, № 56 (2020): 93–105. http://dx.doi.org/10.34064/khnum1-56.06.

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Background. In today’s performing arts, more and more musicians are turning to the trends of historical performance. Therefore, musicology is actively searching for new approaches to the detailed study of authentic performance, to the reproduction of the most adequate ways of interpreting the music of previous eras. Among such methods of interest is the correlation of methods of reconstruction and deconstruction considered in this study. The object of the study is historically oriented performance of music works. The aim of the article is to determine the basic approaches of a number of modern

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Hanovs, Deniss. "THE ARISTOCRAT BECOMES A COURTIER… FEATURES OF EUROPEAN ARISTOCRATIC CULTURE IN THE 17th CENTURY." Via Latgalica, no. 1 (December 31, 2008): 62. http://dx.doi.org/10.17770/latg2008.1.1590.

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As John Adamson outlined in his voluminous comparative analysis of European court culture, „in the period between 1500 and 1750 a „Versailles model” of a court as a self-sufficient, situated in a free space, architectonically harmonious city-residency remote from the capital city, where the king’s household and administration was located, was an exception.” The Versailles conception and „model” both architectonically and in terms of practical functioning of the court was spread and secured in the 18th century, developing into a model of absolutism which was imitated to different extents. The s

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