Gotowe bibliografie tematyczne / 20th century Avant-Garde

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Gotowa bibliografia na temat „20th century Avant-Garde”

Autor: Grafiati

Data publikacji: 3 czerwca 2025

Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "20th century Avant-Garde"

Oblučar, Branislav. "Avangarda poslije avangarde u hrvatskoj poeziji." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 159–73. http://dx.doi.org/10.14746/pss.2020.18.9.

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The article discusses the problem of the avant-garde in Croatian poetry during the second half of 20th century. It supports the thesis about the continuity of the avant-garde before and after World War II, and perceives the artistic and literary experiments of the neo and post-avant-garde as a part of a long avant-garde tradition. The analysis brings forward the different perceptions of avant-garde in the works of Radovan Ivšić and Josip Sever, and post-avant-garde poets of 1970s and 80s.

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Kantor, Maxim. "The Renaissance versus the Avant-Garde." Forum Philosophicum 18, no. 2 (2014): 139–68. http://dx.doi.org/10.35765/forphil.2013.1802.09.

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The essay contrasts two recurring phenomena of European culture: renaissance and avant-garde. The author discusses the paradigmatic Renaissance of 15th and 16th centuries and the paradigmatic Avant-Garde of early 20th century from the point of view of a practicing artist, interested in philosophical, social, religious, and political involvements of artists and their creation. The author shows the artistic and social history of 20th century as a struggle between the Avant-Garde and the Renaissance ideals, which, as he points out, found a fertile ground in in the 20 years that followed immediate

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Kirdina-Chandler, S. G. "Economists of the Russian Avant-Garde." AlterEconomics 22, no. 1 (2025): 141–60. https://doi.org/10.31063/altereconomics/2025.22-1.10.

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The paper highlights the contributions of early 20th-century Russian economists who were ahead of their time. Referred to as the “economists of the Russian avant-garde,” they are considered part of the broader Russian avant-garde movement — a cultural phenomenon associated with creative innovation in times of social upheaval and increasing complexity. Such periods, known as systemic crises, necessitate going beyond established knowledge in both art and science. Key figures in the Russian economic avant-garde include Pyotr Kropotkin (1842–1921), Alexander Bogdanov (1873–1928), and Nikolai Kondr

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Pavlovets, Mikhail G. "Russian Poetic Neo-avant-garde of the 2nd Half of the 20th Century: On Issue of the Term’s Use Boundaries." Studia Litterarum 8, no. 2 (2023): 10–31. http://dx.doi.org/10.22455/2500-4247-2023-8-2-10-31.

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The article is devoted to the neo-avant-garde literary trend that emerged in the Soviet underground of the 2nd half of the 20th century. The paper states that the use of the term “neo-avant-garde” with respect to post-war avant-garde has already become conventional in European art and art studies, however it has not yet established in the Russian scientific vocabulary. Moreover, in the field of literary study a significant amount of research material has been collected, which allows us to indicate the existence of Russian poetic neo-avant-garde in the 2nd half of the 20th century. Its authors

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Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.

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The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion an

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Kiseleva-Afflerbach, Evgeniya. "The Sensory Legacy of the Russian Avant-Garde: Haptics, Scent, Movement, Immersion." Experiment 30, no. 1 (2024): 165–79. http://dx.doi.org/10.30965/2211730x-12340067.

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Abstract Aside from its obvious influence on 20th century art in general, the Russian Avant-Garde was a precursor to many conceptual trends, not always directly related to our general notion of “Avant-garde”, but more as the fulfilment of its prophecies. This paper explores the legacy of the Russian Avant-garde through the prism of a multisensory study, involving haptics, optics, immersion and participation. Revisiting manifestos of the early 20th century in the context of contemporary theories of art and perception, the paper traces intersections and “dreams come true”. Inter alia, the paper

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Davis González, Ana. "La vanguardia de los Contemporáneos, una estética de la dilación." Literatura Mexicana 33, no. 1 (2022): 149–77. http://dx.doi.org/10.19130/iifl.litmex.2022.33.1.7122x15.

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This paper seeks to dialogue with the preceding critic about the possible classification of Contemporáneos texts as avant-garde. Our proposal is that some of their poems can be classified as avant-garde if we understand the avant-garde as a 20th century art paradigm and not only as a historical category during the beginning of the century. For this purpose, in the first place, the dichotomy “threshold aesthetics / dilation aesthetics” is proposed to explain two avant-garde poetic modalities, starting from the expression “threshold aesthetics,” coined by Luciana Del Gizzo (2017). Secondly, the

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Dudareva, D. "THE VALUE OF THE HISTORY OF AVANT-GARDE ART FROM ITS INCEPTION TO THE PRESENT DAY." Sciences of Europe, no. 135 (February 26, 2024): 14–16. https://doi.org/10.5281/zenodo.10704305.

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The purpose of research: The subject of this work is Avant-garde art. this is a trend in art that arose at the beginning of the 20th century. It rejects traditional and outdated art forms, and strives for innovation and experimentation. Research methods: distinctive features of avant-garde art have been studied using a historical critical method. Research results: Avant-garde artists and writers are looking for new ways of self-expression to represent a new reality and the coming era. Practical application: Familiarization wit

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Rodríguez González, Alberto. "El Corno Emplumado y la vanguardia en el umbral de la nueva era." Sincronía XXV, no. 80 (2021): 383–416. http://dx.doi.org/10.32870/sincronia.axxv.n80.18b21.

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This article analyzes the case of the Mexican magazine El Corno Emplumado and its role as an avant-garde publication based on Renato Poggioli's idea of avant-garde movement and the notions of epoch threshold and aesthetics of threshold formulated by Hans Robert Jauss and Luciana del Gizzo, respectively. The intention is to examine the way in which the magazine edited by Margaret Randall and Sergio Mondragón updates the utopian impulse of the avant-gardes based on their vision that social change at the beginning of the 60s of the 20th century would come thanks to renewal spirituality that only

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Dvoynishnikova, M. P., T. F. Semian, and E. A. Smyshlyaev. "Traditions of the Russian avant-garde in children’s poetry." Culture and Text, no. 51 (2022): 167–80. http://dx.doi.org/10.37386/2305-4077-2022-4-167-180.

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The article presents the experience of understanding the traditions of Russian avant-garde in children’s poetry. In poems for children poets, whose work is traditionally classified as avant-garde, focus on the techniques of minimalism and primitivism, guided by children’s perception. The article deals with the mechanisms of organization and specifics of children’s poetry by G. Sapgir, J. Grants, as well as artistic parallels between the works of representatives of the Russian avant-garde of the 20th century and contemporary poets of the Ural region.

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Rozprawy doktorskie na temat "20th century Avant-Garde"

Gagné, Marie 1961. "Le mouvement "Tel Quel": neo-avant-garde et postmodernite." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74534.

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Cette etude propose une analyse de "Tel Quel" en tant que mouvement de neo-avant-garde situe a la frontiere de la modernite et de la postmodernite. Nous y considerons tous les textes de creation (roman et poesie) publies dans la collection "Tel Quel" entre 1960 et 1982, sans negliger l'etude de leur rapport avec la reflexion theorique exposee dans les essais et les articles de la revue. Cette these represente en meme temps un effort de synthese des principales typologies ou tentatives de definition proposees par la critique occidentale pour caracteriser les mouvements litteraires issus des soc

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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.

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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). R

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Kirk, Elizabeth Gail. "Neo-orientalism : ugly women and the Parisian avant-garde, 1905-1908." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28091.

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The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined

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Maslowiec, Anna. "Sonorism and the Polish Avant-Garde 1958-1966." Phd thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/8205.

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Devaney, Kieran John Michael. "Europe after the rain : Alan Burns and the post-war avant-garde." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/15212.

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Alan Burns was one of the key figures in the group of experimental writers working in Britain in the nineteen sixties and early nineteen seventies, which included writers such as B.S. Johnson, Christine Brooke-Rose, Ann Quin and Giles Gordon. All of them sought ways to update and radicalize the techniques of modernism to make them relevant for their contemporary situation. Alan Burns took the novel to more radical extremes than his counterparts, eschewing traditional narrative in favour of a dense accumulation of detail. This is the first full length study of Burns' work, which has largely bee

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Sacau-Ferreira, Enrique. "Performing a political shift : avant-garde music in Cold War Spain." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df601c57-c9f0-4320-9a3a-8493ecf1101a.

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In my thesis, Performing a Political Shift: Avant-Garde Music in Cold War Spain, I argue that towards the end of the 1950s the Spanish ultra-conservative regime of Francisco Franco started to promote avant-garde music. This music contrasted with the aesthetically conservative one that had been promoted since the end of the Civil War (1936-1939). I examine the causes of this shift and reveal for the first time that they are connected to specific trends in Spanish politics and policies. In terms of national politics, the second phase of the Spanish dictatorship, from the late 1950s until Franco’

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Maloy, Jennifer. "Making an Avant-Garde Composition: Intersections of Composition Theory and Innovative Poetics." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/126719.

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English Ph.D. The Making of an Avant-Garde Composition: Intersections of Composition Theory and Innovative Poetics, explores how current discussions in the field of Composition and Rhetoric intersect with the theories and practices of select members of the avant-garde poetry community, focusing on the issues of genre, identity, and language. It examines each of these issues by juxtaposing discussions of leading Composition and Rhetoric scholars with creative and critical work of avant-garde poets, identifying common concerns, and describing diverse approaches to creating innovative writi

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Strugnell, James Paul. "Paintings by numbers : applications of bivariate correlation and descriptive statistics to Russian avant-garde artwork." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/10722.

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In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009. The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-

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Song, Sun-Ju. "Music Analysis and the Avant-Garde Compositions of Post-World War II: Four Case Studies." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367570.

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This thesis examines four iconic piano works composed from 1949 to 1952 in relation to the discipline of music analysis: Olivier Messiaen’s Mode de valeurs et d’intensités (1949), Pierre Boulez’s Structures Ia for two pianos (1952), Karlheinz Stockhausen’s Klavierstück III (1952) and John Cage’s Music of Changes (1951). The primary aim is to investigate how music analysis has engaged with these four works over the last fifty years. Investigating the nature and content of earlier analyses reveals various aspects of the discipline: its aims and functions, its governing ideologies and, most impor

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Beckman, Seth. "The traditional and the avant-garde in late twentieth-century music : a study of three piano compositions by Frederic Rzewski (1938- )." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026705.

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Frederic Rzewski (1938- ) is a composer and pianist fluent in the styles of traditional pianism as well as the contemporary avant-garde. His musical breadth is most clearly demonstrated through his piano compositions, which are often large-scale, virtuosic, and tonal. For these reasons, they are frequently compared to works of the Romantic era. Furthermore, his pieces also display experimental, avant-gardistic leanings and thereby demonstrate complexity and eclecticism. The thread of continuity in Rzewski's works may be found through his incorporation of programmatic associations, which embrac

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Książki na temat "20th century Avant-Garde"

Dietrich, Scheunemann, ed. Avant-garde/Neo-avant-garde. Rodopi, 2005.

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Duteurtre, Benoît. Requiem pour une avant-garde. R. Laffont, 1995.

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Duteurtre, Benoît. Requiem pour une avant-garde: Essai. Les Belles Lettres, 2006.

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Kuspit, Donald B. Health and happiness in 20th-century avant-garde art. Cornell University Press, 1996.

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Ades, Dawn. The 20th-century poster: Design of the avant-garde. 2nd ed. Edited by Brown Robert K, Friedman Mildred S, and Walker Art Center. Walker Art Center, 1990.

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Los Angeles County Museum of Art., ed. Avant-garde in the eighties. Los Angeles County Museum of Art, 1987.

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Dawn, Ades. The 20th-century poster: Design of the avant-garde : posters. 2nd ed. Edited by Brown Robert K, Friedman Mildred S, and Walker Art Center. Walker Art Center, 1990.

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Ades, Dawn. Posters: The 20th-century poster : design of the avant-garde. 2nd ed. Edited by Brown Robert K, Friedman Mildred S, and Walker Art Center. Abbeville Press, 1990.

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Taylor, Brandon. Avant-garde and after: Rethinking art now. H.N. Abrams, 1995.

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Giampiero, Bosoni, and Montreal Museum of Fine Arts., eds. Il modo italiano: Italian design and avant-garde in the 20th century. Montreal Museum of Fine Arts, 2006.

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Części książek na temat "20th century Avant-Garde"

Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Janković-Beguš, Jelena. "4. Debating the Noise." In Meta-Xenakis. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.06.

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I examine the reception of Xenakis's music in Serbia and its capital city of Belgrade, during the period when this republic was a constituent of the Socialist Federal Republic of Yugoslavia (SFRY). The critical texts which are examined here encompass a period of nearly three decades, from the early 1960s until the end of the 1980s. This timeframe was chosen because the beginning of the 1990s marked the onset of dissolution of the SFR Yugoslavia and a profound change in the cultural landscape in Serbia. Generally speaking, the musical establishment in post-WWII Serbia failed to develop a partic

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Ulivieri, Denise, Marco Giorgio Bevilacqua, Mattia Patti, and Alessia Domenichini. "For “A Positive and Feasible Architecture”. The Contribution of Mario Chiattone to the Avant-Garde Movements of the Early 20th Century." In Digital Modernism Heritage Lexicon. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76239-1_24.

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Sokolova, Olga V. "Mayakovsky and Italian Experimental Poetry of the Second Half of the 20th Century: Every Single Word Is Now a Tempest of Gestures." In The Works of V.V. Mayakovsky. Issue 5: Interdisciplinary Approaches and Global Reception (For the 130th Anniversary of the Poet’s Birth). A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. https://doi.org/10.22455/3034-4026-2024-5-565-581.

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The article examines the links between Russian Avant-garde poetry of the early 20th century and Italian Experimental poetry of the second half of the 20th century. Although the Avant-garde poetic trends in these literatures developed in parallel, the Cubo-Futurists laid the foundations for a linguistic experiment that had a significant influence on Italian experimental (and especially Neo-avant-garde) poetry. In addition, the theoretical works of the Formalists were of great importance to the Italian Neo-avant-garde. Among the main achievements of the Russian literary Avant-garde and the Forma

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Wojnowski, Konrad. "Introduction." In Probabilistic Aesthetics of the Avant-Gardes. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781474488969.003.0001.

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Probability has evolved from a simple tool for managing uncertainty into a fundamental concept that shapes our understanding of reality. This chapter traces this evolution, highlighting how probability infiltrated various fields, including physics, economics, and avant-garde art. By the early 20th century, this shift challenged deterministic worldviews and paved the way for new aesthetic forms that embraced randomness and uncertainty, setting the stage for the book’s exploration of how avant-garde artists harnessed probabilistic thinking to revolutionize art and perception.

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Zlydneva, Nataliya. "Hoax as a Gesture in Visual Ptactices of Avant-Garde." In Hoax in Slavic Cultures: Poetics and Practices. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/7576-0480-0.17.

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Based on the 20th century painting and performance the article examines the poetics and pragmatics of mystification. The cases of the Russian avant-garde of the 1910s (Malevich), Soviet conceptualism of the 1980s (Komar & Melamid, Kabakov, etc.) and the neo-avant-garde of Yugoslavia of the 1970-1990s (Meduza, Gorgon and Weekend Art groups) are examined. The typological comparison of the forms and functions of mystification as a gesture makes it possible to trace its historical evolution from myth-making and playful behavior to social protest.

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Török, Ágnes. "The Notation of the 20th and 21st Century Choral Music." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/3.

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The Avant garde schools required a notation style different from the traditional one both in instrumental and vocal music. This study points to the historical background of contemporary notation and the interdependence of the graphic representation of sound and notation. The illustrations are primarily quotes selected from the Hungarian choir literature and further material is used to introduce the authentic elements used for modes of expression. Key words: choral music, contemporary musical notation, graphic elements, chance

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Vidal, Adolf Piquer. "Catalan Identity in the 20th Century Novel." In Advances in Religious and Cultural Studies. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6614-5.ch011.

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The 20th century is definitely the consolidation of Catalan literary movements in which Catalan identity plays a fundamental role. Modernism and avant-garde movements prompted a renewal of literary genres. The Spanish Civil War (1936-1939) was a point of conflict that led to the exile of most writers in Catalan. However, they continued publishing their works in Catalan. That´s the case of La Plaça del Diamant by Mercé Rodoreda and Cròniques de la veritat oculta by Pere Calders. That process of exile came to an end between 1962 to 1975 (death of Franco). Terenci Moix, Montserrat Roig, and other

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Shatko, Evgeniia. "Serbian Literary Manifestos of the First Half of the 20th Century." In LITERARY MANIFESTOS IN THE CULTURAL SPACE OF SLAVIC MODERNISM AND AVANT-GARDE. Institute of Slavic Studies of the Russian Academy of Sciences, 2024. https://doi.org/10.31168/7576-0501-2.13.

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Streszczenia konferencji na temat "20th century Avant-Garde"

Panfilova, O. G. "KREMENETS AS A CENTER OF OF POLISH AVANT-GARDE ART IN THE 1930S 20TH CENTURY." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-37.

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Windisch, Rudolf. "The Romanian language in historical, literary and linguistic context in the 20th century, until 1989." In Simpozion Internațional de dialectologie. Presa Universitară Clujeană, 2024. http://dx.doi.org/10.33993/sid.2022.308.329.

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After the peace treaties of Saint-Germain and Trianon (1919, 1920), Romania was able to significantly increase its borders as compared to the pre-war period, becaming „Great Romania”, which inspired writers, such as Liviu Rebreanu, Camil Petrescu or Cezar Petrescu, to an artistic and literary movement, emphasizing national identity. Lucian Blaga triggered a philosophical-poetic current. Mihail Sadoveanu should not be forgotten either. Tristian Tzara proclaimed „Dadaism”, which also influenced the French avant-garde. Iorgu Iordan, the grammarian, attem¬pted to align the innovations of Romanian

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SANDU-DEDIU, Valentina. "Nationalistic tendencies and 20th century music – the German case." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2024. https://doi.org/10.35218/icds-2024-0001.

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I belong to a generation of Romanian musicologists educated during the last years of the Communist period, and the idea of balancing historiography and structuralist analysis has been on my mind a lot. I inherited from Romanian historiography clichés such as “the tension between national and universal”, the “transfiguration” of the folkloric source (in avant-garde composition), the “Moldavian Orpheus” etc. Over time, I felt the need to reformulate, nuance, fight such clichés and other previously accepted ideas, and each time I encountered manifestations of nationalism in music. But these are n

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Ponomareva, Anna. "The Avant-Garde on a Planetary Scale: in the Middle of Colours." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.3.8942.

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The turn of the 20th century and the first several years of the new millennium was the time of great experiments in Arts related to adding unusual novel facets to their traditional artistic forms. As contemporary artists and composers, literary figures took part in similar trials and mixed the verbal with the visual in their texts. This article is going to illustrate the use of colours by two Symbolist writers, Andrey Bely (1880-1934) and Grigol Robakidze (1880-1962), and to explain the importance of the light paradigm in creating multi-layered meaningful messages in their novels of 1926, Bely

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Зорина, И. Л. "INFLUENCE OF THE IDEAS OF RADICAL DESIGN OF THE 60S ON THE EUROPEAN ARCHITECTURE OF THE FOLLOWING DECADES." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.02.

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Радикальный дизайн — авангардное направление 60-х гг. ХХ в., олицетворяющее независимость дизайна от социальных процессов. Истоком радикального дизайна является протест по отношению к функционализму как стандартному решению организации городской среды. Исследован исторический контекст, проанализированы проекты архитектурной группы Archigram, которая являлась яркой представительницей данного направления, успешно работала над альтернативой неподвижному застывшему городу и искала новые схемы организации городского поселения. К наиболее значимым авангардным проектам Archigram можно отнести следующ

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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.

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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the

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Marinković, Miloš. "Dragutin Gostuški’s Ballet Rummy: From the Award of the Croatian National Theatre to the Premiere at the Music Biennale Zagreb." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.211m.

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One of the most significant works in the opus of Dragutin Gostuški as a composer is Rummy – A Fantastic Ballet Scene (1955). The ballet’s plot is based on the universal theme of the relationship between a woman and a man, and the music, although of neo-Romantic provenance, reveals some of the composer’s modernistic compositional techniques. After winning an award in a competition announced for new drama, opera, and ballet works on the occasion of the centenary of the Croatian National Theatre (1961), this ballet premiered two years later at the Music Biennale Zagreb (MBZ), an international fes

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