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Artículos de revistas sobre el tema "Arts, african – 20th century – exhibitions"

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Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Flam, Jack. "Africa Explores: 20th Century African Art." African Arts 25, no. 2 (1992): 88. http://dx.doi.org/10.2307/3337064.

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2

Oguibe, Olu, and Susan Vogel. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (1993): 16. http://dx.doi.org/10.2307/3337105.

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3

Pellizzi, Francesco. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (1993): 22. http://dx.doi.org/10.2307/3337106.

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4

REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States." American Anthropologist 111, no. 4 (2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.

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5

Benetti, Alessandro. "GAIA CARAMELINO; STÉPHANIE DADOUR (a cura di): THE HOUSING PROJECT: DISCOURSES, IDEALS, MODELS, AND POLITICS IN 20TH-CENTURY EXHIBITIONS." Proyecto, Progreso, Arquitectura, no. 27 (2022): 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.

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La casa e la mostra d’architettura sono i due oggetti di ricerca che s’incrociano in The Housing Project. Discourses Ideals, Models and Politics in 20th century exhibitions, co-curato da Gaia Caramellino e Stephanie Dadour nel 2020 per i tipi di Leuven Press. Il volume s’ispira alle discussioni del convegno On the Role of 20th Century Exhibitions in Shaping Housing Discourses (2016, ENSA Paris Malaquais e Politecnico di Milano). I dieci saggi di altrettanti autori europei e americani esplorano il ruolo delle mostre come medium in una fase cruciale di elaborazione e circolazione internazionale
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6

Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.

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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importanc
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7

Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century." Prospects 29 (October 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.

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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.
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8

Hill-Thomas, Genevieve. "African Apparel: Threaded Transformations Across the 20th Century." African Arts 54, no. 4 (2021): 81–83. http://dx.doi.org/10.1162/afar_r_00615.

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9

Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnograph
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10

Buchli, Victor. "The Destruction of Gemütlichkeit? Programmatic Exhibitions on Domestic Living in the 20th Century." Home Cultures 4, no. 2 (2007): 201–6. http://dx.doi.org/10.2752/174063107x209028.

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11

Achten, Anastasiia R. "Imitation of Ottoman ornaments the Italian ceramics of the 14th – 20th centuries." Vestnik of Saint Petersburg State University of Culture, no. 1 (58) (2024): 108–13. http://dx.doi.org/10.30725/2619-0303-2024-1-108-113.

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This article is devoted to the Italian tradition of imitation of Ottoman ceramics from the 14th century to the beginning of the 20th century. The first period covers the pottery industry of the 14th and 15th centuries; the second period lasts from the end of the 15th century to the 18th century, and the last one is the industrial age, the end of the 19th – the beginning of the 20th century. The first period represents only regional touches and the use of similar artistic techniques and colors. The second period is illustrated with more specific examples, such as the use of the Turkish ornament
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12

Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications." Journal of Visual Culture 17, no. 1 (2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.

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The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment
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13

Park, Hyesung. "Rethinking the 20th-Century Korean Embroidery from Gender Perspectives." Korean Journal of Art History 320 (December 31, 2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.

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The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory value
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14

Gribanova, Valentina. "On the Question of the Trends in the Development of Islam in South Africa." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020261-6.

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The article discusses the ways of penetration of Islam into South Africa and the forces that played a significant role in its spread in this territory. The development of reformist tendencies in South African Islam during the second half of the 20th century is analyzed. It is noted that although in South Africa there were supporters of progressive trends in the reform of Islam, their number was minimal. There were significantly more adherents of the conservative trend in Islam. The special role of the Deobandi school and the Tablighi Jamaat movement among the supporters of the conservative dir
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15

Glinternik, Eleonora M. "Exhibitions of the First Third of the 20th Century in the Imperial Academy Arts — Leningrad VHUTEIN." Actual Problems of Theory and History of Art 10 (2020): 436–47. http://dx.doi.org/10.18688/aa200-3-38.

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16

Webb, Barbara L. "The Black Dandyism of George Walker: A Case Study in Genealogical Method." TDR/The Drama Review 45, no. 4 (2001): 7–24. http://dx.doi.org/10.1162/105420401772990306.

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17

Zabalueva, Olga. "Multimedia Historical Parks and the Heritage-based “Regime of Truth” in Russia." Culture Unbound 14, no. 2 (2022): 83–106. http://dx.doi.org/10.3384/cu.3975.

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This article focuses on the 2013–2016 exhibitions in Moscow Manege which were later transformed into a network of entertainment centres (“historical parks”) Russia––my (hi)story. The exhibitions are built on multimedia technologies and include no authentic artefacts/museum objects. There is a growing network of such centres all over Russia, all organized in a similar manner, appealing to the visitor’s emotions and creating a relation of affect through the unravelling of a nationalistic historical narrative. Claimed to present “the objective picture of the Russian history” the exhibitions are f
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18

Matějová, Judita. "Muzejní časopis Mittheilugen des Mährischen Gewerbe-Museums in Brünn (1883–1918) v kontextu časopisů uměleckoprůmyslových muzeí v českých zemích." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 3-4 (2023): 131–37. http://dx.doi.org/10.37520/amnpsc.2022.031.

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The article focuses on the museum journal Mittheilungen des Mährischen Gewerbe-Museums in Brünn, one of the important source materials for research on the arts and crafts of the last third of the 19th century and the early 20th century not only in Moravia but also in the cultural areas of the Austrian monarchy. The journal was published in the Moravian Industrial Museum in Brno in 1883–1918, when the museum was headed by two important directors – August Prokop (1883–1893) and Julius Leisching (1893–1922). Under the influence of the latter, the museum became the press authority of the Associati
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19

Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the h
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20

Федорук, Олександр. "The Kyiv artistic life in the late 19th and early 20th centuries. Polish discourse." CONTEMPORARY ART, no. 18 (November 29, 2022): 307–20. http://dx.doi.org/10.31500/2309-8813.18.2022.273817.

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The article focuses on the problem of the local isolation of art at the turn of the 19th-20th century and the role of Ukrainian-Polish creative contacts in establishing Ukrainian artistic discourse. The works of K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska, artists who are half-forgotten today, were discerned by the importance of experience exchange and the need to find new imagery. The aforementioned artists performed together with I. Rashevskyi, M. Pymonenko, and Ya. Stanislavskyi. The connection of the latter with Ukraine is studied in particular through his pedagogical a
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21

Rusakov, Serhii. "Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition." Studia Warmińskie 59 (December 31, 2022): 111–24. http://dx.doi.org/10.31648/sw.8330.

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The origins of the art market in Ukraine are analyzed on the basis of the life of artists, art exhibitions, art salons and creative circles of the 17th - early 20th centuries. The author researches the socio-cultural processes of different periods of Ukrainian culture that influenced the phenomenon of the art market, in particular its educational and commercial aspects. The peculiarity of the art market in Ukraine is connected with the popularization of young Ukrainian artists, the creation of favorable conditions for the realization of their talent, the unification of artistic forces from dif
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22

MAMONTOVA, O. S. "ETHNOGRAPHIC SUBJECT IN EXHIBITION ACTIVITIES ALTAI STATE MUSEUM OF LOCAL LORE IN 2023." Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 18, no. 1 (2023): 254–63. http://dx.doi.org/10.37386/2687-0584-2023-18-254-263.

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Using the example of two temporary exhibition projects of the Altai State Museum of Local Lore, the place of ethnographic materials in the exhibition activities of the museum is considered. Today, a significant part of ethnographic objects is taken into account not only as part of the ethnographic collection, but also in the historical and household collection and the collection of decorative and applied arts, which is due to errors in the museum accounting system in the 20th century. Despite this, relying on the concept of «ethnographic object» formulated by A. V. Konovalov and E. Ya. Timofee
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23

Shelach-Lavi, Gideon. "Archaeology and politics in China: Historical paradigm and identity construction in museum exhibitions." China Information 33, no. 1 (2018): 23–45. http://dx.doi.org/10.1177/0920203x18774029.

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In China, as in many other modern and contemporary states, the past is often used to inform public opinions and legitimate the political regime. This article examines two examples of archaeological exhibitions in China: at the National Museum of China (中国国家博物馆) in Beijing and the Liaoning Provincial Museum (辽宁省博物馆) in Shenyang. It discusses the development and change over time in the content of these archaeological exhibitions, the way they were organized and presented to the public, and the explanations that accompanied the prehistoric artefacts. I argue that the way the past, and in particul
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24

Popova, Kseniya. "Trends in European Historiography of African History in the Second Half of the 20th Century." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020927-8.

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The article is devoted to the main trends in Western historiography of Africa in the second half of the XX century. The author examines how approaches and ideas in the study of African history by European and American scientists were changing during the formation of African studies as a separate science. There is a change in the perception of Africa by Western scientists from the “unhistorical” object of the world history to the region with its own unique history. The article highlights the influence of historical processes on changes of the views and approaches of Africanists. The author has
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25

Cohen, Joshua. "Stages in Transition." Journal of Black Studies 43, no. 1 (2011): 11–48. http://dx.doi.org/10.1177/0021934711426628.

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Les Ballets Africains, the first globally touring African performance company, debuted in the United States as a private Paris-based troupe in 1959 and toured again in 1960 as National Ballet of the newly independent Republic of Guinea. Although rarely considered in scholarship, Les Ballets Africains’ history during these years—encompassing the company’s first U.S. appearances and reflecting the influence of its founder, Fodéba Keita—are significant in relation to 20th-century trajectories of staged African dance, convergences between African and American performing arts practices and liberati
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26

Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 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 tendenci
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27

Taylor, Lauren. "Introduction to Alioune Diop's “Art and Peace” (1966)." ARTMargins 9, no. 3 (2020): 87–96. http://dx.doi.org/10.1162/artm_a_00274.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the a
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28

Diop, Alioune. "Art and Peace (1966)." ARTMargins 9, no. 3 (2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the a
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29

Lanzarini, Orietta, and Emanuela Ferretti. "Una nuova idea di museo tra passato e futuro." Opus Incertum 9 (December 13, 2023): 8–15. http://dx.doi.org/10.36253/opus-14836.

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The Madrid Conference of 1934 sanctioned the affirmation of a new idea of the museum with an enhanced educational and social scope, which was shared internationally. The main objective of the reform, already underway in the first decades of the 20th century, was to enable the general public entering museums to understand the value of history, of the arts and of sciences in the ‘construction’ of the present. This process of profound transformations involves various design and theoretical concerns, which are explored in this issue of the Journal in three sections and in a photo album. The first
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30

Buchalik, Lucjan. "THE NEW ASPECT OF THE MUNICIPAL MUSEUM IN ŻORY. HISTORY AND COLLECTION." Muzealnictwo 58, no. 1 (2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2668.

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Two attempts were made to found the Museum in Żory, each time when the anniversary of the town’s founding was being celebrated. The Municipal Cultural Centre then organised exhibitions devoted to the town’s history. Since the interest in celebrations dropped off once they were finished, the museum was never founded. In 1999 the concept was changed, and African culture started to predominate. The interest in such an exhibition was huge, and thus the Municipal Museum was founded in December 2000. It has two branches, one devoted to the history and culture of the region, and one devoted to non-Eu
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31

Hargreaves, Tracy. "The Power of the Ordinary Subversive in Jackie Kay's Trumpet." Feminist Review 74, no. 1 (2003): 2–16. http://dx.doi.org/10.1057/palgrave.fr.9400068.

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In Jackie Kay's award-winning novel, Trumpet (1998), the main character Joss Moody, a celebrated jazz trumpet player, is discovered upon his death to be anatomically female. The essay traces both postmodern and humanist affirmations of constructions of self-hood. Situating Virginia Woolf's version of a metaphysical and escapist androgyny as one kind of aesthetic against the material politics of the transgendered subject, the essay argues that Kay's novel can be seen as part of a 20th century tradition of literature and film which satirizes, parodies and painfully exposes the discontinuities of
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32

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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33

Adamska, Katarzyna. "An Apartment as a National Issue: On the Exhibitions of the Polish Applied Art Society at the Zachęta Gallery in 1902 and 1908." Ikonotheka 26 (June 26, 2017): 7–29. http://dx.doi.org/10.5604/01.3001.0010.1671.

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Towarzystwo Polska Sztuka Stosowana (TPSS) organised two exhibitions at the Zachęta Gallery. Their aim was to shape the national culture of living and to propagate ornamental design inspired by indigenous motifs. The 1902 exposition was arranged in accordance with the traditional perception of arts and crafts, which disregarded their function and construction in favour of the external form. New critical categories, borrowed from the language of functionalism and from ideas regarding living space as developed by the German Kunstgewerbe circles, induced the members of the TPSS to arrange their 1
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34

Vignioli, Marcela. "Lola Mora in Tucumán: Personal Costs and Benefits of Creating Public Art, 1890-1904." Ameryka Łacińska Kwartalnik analityczno-informacyjny, no. 116 (June 30, 2022): 89–104. http://dx.doi.org/10.7311/20811152.2022.116.06.

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From a traditional perspective, women who have triumphed in the arts, literature, or science have been seen as an anomaly or “exceptional women” by historians. In 1895, only a third of girls under 14 could read in the small provincial town of Tucuman, in northern Argentina. However, Lola Mora displayed her sculptures in her first exhibitions in the same year. Her career as a sculptor was legitimized and recognized in her hometown Argentina, after spending years in Europe developing her talent. Her career as an artist has historically been seen as a distinct rarity, and few people have attempte
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35

Sidorova, Galina. "Belgium: a History of African Exploration." ISTORIYA 14, S23 (2023): 0. http://dx.doi.org/10.18254/s207987840025641-4.

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In the late 19th — early 20th centuries, the European states paid special attention to the African continent, which for many was then terra incognita, despite geographical discoveries and scientific information available. The rumors that spread in Europe about barbaric tribes, cannibals and wild animals frightened and repelled ordinary people. However, businessmen and merchants saw enormous benefits in the acquisition of colonies. The distant continent promised them fabulous profits from colonial goods, raw materials for new industry and cheap labor. In addition, having overseas territories wa
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36

Simour, Lhoussain. "Blurring the Boundaries of Gendered Encounters: Moorish Dancing Girls in Nineteenth and Early Twentieth-Century American Fair Exhibitions." Hawwa 11, no. 2-3 (2014): 133–59. http://dx.doi.org/10.1163/15692086-12341250.

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Moroccan dancing women appeared as entertainers in 19th and 20th-century American fair expositions. Their physical and epistemological journeys and their performances on the fair midways have been largely missing from the histories of the Moroccan and American entertainment industries. Their experiences and narratives overseas are stimulating and worth recovering, because they offer suitable settings in which to engage with the complexities of cultural and racial contacts between self and other, and add an interesting dimension to the notion of travel and border crossing in which gendered rout
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37

Moskalenko, Denis. "COMECON and Socialist Ethiopia: a New Stage of Trade and Economic Relations in the 1970s." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020928-9.

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Recently, interest in the African continent has increased again. Africa, with its rapidly growing population, is a promising market for Russia and other countries of the world. For favorable interaction with African countries, it is necessary to take into account the experience of the past years. The article deals with the period of the 70s of the 20th century. At that time, the economies of the CMEA member countries were growing. The socialist countries were actively looking for new allies and expanding their political and economic presence in the newly independent African contingent. At the
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38

Volgusheva, Alla O., and Svetlana A. Vorobyova. "Proletarian Culture and Leftist Trends in Russia at the Beginning of the 20th Century." Observatory of Culture 20, no. 2 (2023): 212–22. http://dx.doi.org/10.25281/2072-3156-2023-20-2-212-222.

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The low level of development of this topic in Russian historiography can be explained by the fact that, most often, this problematics is considered through the prism of general issues of culture of the Soviet period, party and state cultural policy, aspects of intelligentsia studies.This study aims at identifying the artistic concept of the leftist direction in the visual arts of the early 20th century, considering its variability, showing its origins, relations with the Soviet government and within the artistic environment, analyzing the reasons for its prohibition and exodus for many decades
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39

da Costa Junior, Martinho Alves. "Maurício Wellisch: A Forgotten Modern in Brazil." Athens Journal of History 10, no. 4 (2024): 275–90. http://dx.doi.org/10.30958/ajhis.10-4-1.

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This article aims to give visibility to the work of Maurício Wellisch (1904-1961). An artist active in the first decades of the 20th century, Wellisch stood out especially with his illustrations. He participated in exhibitions as a painter and was a prolific chronicler and critic of the arts. Graduated in law in 1925, he soon embarked on a political career, working continuously at Itamaraty. A career diplomat, he served in numerous cities, such as Antwerp, Prague, etc. During this period, he moved away from his brushes, remaining, however, faithful to writing in a continuous approach to cultur
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40

Логдачева, Н. В. "The study of sculpture at the beginning of the 20th century: E.P. Tarkhanova- Antokolskaya." Terra artis. Art and Design, no. 4 (January 31, 2024): 32–39. http://dx.doi.org/10.53273/27128768_2023_4_32.

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В статье впервые представлены материалы о жизни и творчестве скульптора Е.П. Тархановой-Антокольской. Она не получила профессионального художественного образования, ваянием начала заниматься под руководством родного дяди, известного скульптора Марка Антокольского. Елена Павловна принимала активное участие в художественной жизни Петербурга, с успехом экспонировала произведения на выставках в Императорской Академии художеств. Ее натурные зарисовки «Читающая старуха», «Вышивальщица», «Краковский тип», «На балконе» и другие нередко получали положительные отзывы критиков. Единственной известной мон
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Turchak, Lesia. "Ukraine at the Venice Biennale." Bulletin of KNUKiM. Series in Arts, no. 38 (August 16, 2018): 290–300. https://doi.org/10.31866/2410-1176.38.2018.141831.

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The purpose of the article. The research is devoted to the study of the facts of the spread of Ukrainian fine arts in the world art space in the 20th and 21st century. The purpose of the article is to consider the presentation of Ukrainian art projects of the period of independence of Ukraine in the context of the Venice Biennale. The research methodology consisted in using general scientific methods as well as theoretical and practical approaches to analyze the Ukrainian art projects. The scientific novelty of the work lies in the systematization of research
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42

Kharitonova, Natalya Stepanovna. "Silver Age. Interference of the Russian and German Cultures." Journal of Flm Arts and Film Studies 6, no. 4 (2014): 86–95. http://dx.doi.org/10.17816/vgik6486-95.

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The author explores the specific interaction of Russian and German art, their differences, forces of attraction and direct contact. Only conscious and meaningful differences could have reveal the strength and true value of each culture and, most importantly, become a pretext for new and creative quest for ones own way in art. Two-sided interest of Russian and German cultures implies a two-way process mutually contributed and enriched on both parts. The fact that Russian and German art at the turn of the 19th-20th centuries was developing under different conditions does not mean that the exchan
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43

Gyul, Elmira, and Tereza Hejzlarová. "Amulet as Jewel, Jewel as Amulet Uzbek, Tajik, and Karakalpak Amulet Cases Using the Example of Museum Collections." Annals of the Náprstek Museum 43, no. 1 (2022): 27–51. http://dx.doi.org/10.37520/anpm.2022.003.

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The study presents amulet cases of the Uzbeks, Tajiks, and Karakalpaks from the late 19th century until the early 20th century taking example from the collections of the State Museum of Arts of Uzbekistan, Samarkand State Museum-Reserve, State Museum of Applied Art and History of Crafting of the Republic of Uzbekistan and National Museum – Náprstek Museum of Asian, African and American Cultures, Czech Republic. In particular, the types and forms of amulet cases, material, processing technique, ornament, and the resulting ethnic and local specifics are analysed. The study aims to differentiate
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Kotovskaya, Mariya G., and Elina G. Shvets. "Painting-report as visual document of an event (based on graphic sketches of F. Reshetnikov’s polar expeditions)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 333–44. http://dx.doi.org/10.37816/2073-9567-2021-61-333-344.

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The exploration of the Russian north at the end of 19th – the beginning of the 20th centuries went along with the emergence of the topic “the conquest of the Arctic” in visual arts. The artists would travel as part of research polar expeditions to the North again and again. Picturesque images of Arkhangelsk, Karelia, Northern Dvina, Novaya Zemlya, the northern sea passage would appear in mass media in front of the viewer in artistically perfect images. Fyodor Reshetnikov took part in an expedition to the North in the 1930s. The artist was young; the desire to perform a feat for his country pro
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Zakharov, Ivan. "State Regulation of the Activities of Faith-Based Organizations in African Countries in the Late 20th — Early 21st Centuries: Macro-Regional Tendencies." ISTORIYA 13, no. 6 (116) (2022): 0. http://dx.doi.org/10.18254/s207987840021692-0.

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The article focuses on reasons and manifestations of restrictive policies on the operation of religious and faith-based organizations (FBO) on the example of Africa. The problem is regarded as a result of (1) intensification of religious competition during the transformation of the African religious landscape, and (2) developing self-reliance and efficiency of religious organizations and FBO’s throughout the implementation of the “humanitarian” or “civilizing” mission. The later allowed some of these organizations to take place of the key economic and political actors in the region in the end
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46

Renwick, Margaret E., Jon Forrest, Lelia Glass, and Joey Stanley. "Vowel trajectories of African Americans in Georgia, USA." Journal of the Acoustical Society of America 152, no. 4 (2022): A284. http://dx.doi.org/10.1121/10.0016283.

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Within the United States, dialectal variation is often characterized by vowel shifts: systematic differences in vowels' relative qualities and vowel-inherent dynamics. The African American Vowel Shift (AAVS), in particular, includes raising and fronting of front lax /ɪ ɛ æ/, among other features. The more recent pan-regional Low Back Merger Shift (LBMS), by contrast, includes lowering and backing of the same vowels. We evaluate these two shifts in an audio corpus of over 40 Black speakers from the Southern state of Georgia. Speakers, born between the 1930s and 2000, represent five demographic
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47

Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.

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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe ex
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Luiza Freire de Castro França, Bianca. "A contribuição de Berta Gleizer Ribeiro para a antropologia brasileira no século XX: cultura material, arte visual e uso social da tecnologia indígena." Revista Crítica de Sociologia e Política 25, no. 3 (2024): 103–25. https://doi.org/10.59901/2318-373x/v25n3a4.

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This article aims to explore Berta Gleizer Ribeiro’s life and work, focusing on her contributions to Brazilian anthropology throughout the 20th century. Berta Gleizer Ribeiro (1924-1997) was a Romanian-Brazilian anthropologist of Jewish origin. With a background in geography and history, she worked as an anthropologist, ethnographer, and museologist. Her career contributed significantly to Brazilian anthropology, particularly in material culture and visual arts of Indigenous peoples, and studies on human adaptability, a central theme in ecological anthropology. Berta used studies on material c
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Kallenberg, Vera. "Die Pionierinnen der Pionierin. Zu Gerda Lerners »The Grimké Sisters from South Carolina. Pioneers for Women’s Rights and Abolition« (1967/2004)." Aschkenas 33, no. 2 (2023): 313–27. http://dx.doi.org/10.1515/asch-2023-2016.

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Abstract This article traces the history of the double biography »The Grimké Sisters« (1967/2004) by Gerda Lerner, an American Jewish historian who, as a Viennese Jew, escaped Nazi Europe for the United States in 1939. Focusing on the history of the making of »The Grimké Sisters«, the essay analyzes Lerner’s book as ›life writing‹. It demonstrates Gerda Lerner‘s (1920–2013) becoming scholarly persona in the context of her self-interpretation of the Grimké Sisters as her own figures of identification and role model. By showing the nexus of African Americans’ rights and women’s rights in the Gri
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Nikočević, Lidija. "Voices Heard (Again)." Narodna umjetnost 60, no. 1 (2023): 107–27. http://dx.doi.org/10.15176/vol60no106.

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The emigration of Istrian Italians after the Second World War, most often called the “Exodus”, has been a frequent topic of many historical and anthropological studies. This paper reports on new findings based on the EU project Identity on the Line, which studied and interpreted a series of involuntary migrations and unwanted consequences for peoples, communities and individuals in Europe in the middle of the 20th century. In the research of the Istrian “Exodus”, an effort was made to find new testimonies and stories and reach voices that had not been “heard” thus far. In this process, it beca
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