scholarly journals SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY

2021 ◽  
pp. 137-145
Author(s):  
T. Vilhovchenko
Keyword(s):  
20Th Century ◽  
Historical Development ◽  
Modern Dance ◽  
Specific Form ◽  
Historical Period ◽  
Early 20Th Century ◽  
New Era ◽  
Historical Aspects ◽  
The Aesthetic ◽  
Spiritual State

The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.

E.N. Trubetskoy on the Interrelation of the Sacred and the Aesthetic in Ancient Russian Iconography

2021 ◽  
pp. 34-40
Author(s):  
Elena V. Kovaleva
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Religious Philosophy ◽  
The Aesthetic

The article studies the problem of interrelation of the cult and aesthetic components of iconography and analyzes the approach to its solution in the works of the representative of Russian religious philosophy of the early 20th century E. Trubetskoy.

scholarly journals Иван Грозев. „Новата културна раса“ в естетикорелигиозния проект на българския модернизъм

2020 ◽  
Vol 20 ◽  
Author(s):  
Цветана [Tzvetana] Георгиева [Georgieva]
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Rudolf Steiner ◽  
New Type ◽  
The Aesthetic ◽  
Hellenistic Philosophy

Ivan Grozev and the “New Cultural Race” in the Aesthetic Religious Project of Bulgarian ModernismThe aesthetic-religious views of Ivan Grozev, a Bulgarian writer, poet and spiritual awakener, combine various aspects whose unifying center is the mystical ability of man to reach God: the Christian idea of man’s aspiration for God; theosophical and Masonic conceptions; and elements of Hellenistic philosophy and mystery. In his articles and studies that he published in the journal Hyperion, Ivan Grozev promoted ideas about the poet as “a priest and a prophet”, his “worldly sacrifice”, and “the steps towards godly knowledge” (scientist, genius, mystic). As a true Theosophist, he contrasts his utilitarian times with the spiritual from past eras (reason vs. mysticism), affirming the idea of a “New Heaven” and a “New Cultural Race” for the devoted ones. The Bulgarian modern consciousness from the late 19th and early 20th century perceived such ideas as a new type of religion of the aesthetic, and at the same time as a new ethic of the creator (prophet, Übermensch in the sense of Nietzsche or Rudolf Steiner) as a necessity of spiritual creation of a new cultural race that abandons mercantilism for the sake of ideal values. Iwan Grozew i „nowa rasa kulturowa” w religijno-estetycznym projekcie bułgarskiego modernizmuPoglądy estetyczno-religijne Iwana Grozewa, bułgarskiego pisarza, poety, działacza na rzecz duchowego przebudzenia społeczeństwa, łączą aspekty chrześcijańskiej idei dążenia człowieka do Boga, koncepcje teozoficzne i masońskie, elementy hellenistycznej filozofii i misteriów, a ich wspólnym jądrem jest mistyczna zdolność człowieka, aby dotrzeć do Boga. W artykułach i studiach publikowanych na łamach czasopisma „Хиперион” Iwan Grozew propaguje idee dotyczące poety „kapłana i proroka” i jego „ziemskiej ofiary”, „kroków w kierunku boskiej wiedzy” (naukowiec, geniusz, mistyk); jako wyznawca teozofii, utylitarne czasy, w jakich żyje, przeciwstawia epokom duchowym z przeszłości (rozum przeciwko mistycyzmowi), potwierdzając ideę „nowego nieba” i „nowej rasy kulturowej” dla osób poświęconych. W bułgarskiej świadomości modernistycznej przełomu XIX i XX wieku takie idee postrzegane były jako nowy rodzaj religii estetycznej, a jednocześnie jako nowa etyka twórcy (proroka, nadczłowieka w rozumieniu Friedricha Nietzschego lub Rudolfa Steinera), pojęta jako konieczność duchowego stworzenia nowej rasy kulturowej, która odrzuca postawę merkantylną w imię wartości idealnych.

ANTHROPOLOGICAL DOCTRINES OF THE RUSSIAN THEOSOPHISTS OF THE EARLY 20TH CENTURY

2020 ◽  
Author(s):  
Artem I. Shevchuk ◽  
Keyword(s):  
Human Nature ◽  
20Th Century ◽  
Spiritual Practices ◽  
Early 20Th Century ◽  
Christian Tradition ◽  
Scientific Concepts ◽  
New Era ◽  
Universal Nature ◽  
The Invisible

The article suggests a typology of Russian theosophical anthropological theories of the early 20th century and offers an analysis of the root causes of disputes between theosophists on anthropological matters. Christian theosophists, who were critical about the Orientalist elements of theosophical doctrines, preferred to draw upon the Christian tradition, while synthesizing it with certain theosophical concepts. Russian theosophists, leaning towards the traditional theosophical doctrine, espoused the idea of universal nature of religious anthropology and often preferred the Oriental approach to anthropology. Nevertheless, they had regard to the Christianity and sought to homologate Oriental anthropology with the Christian one. Millennial expectations were common with the theosophists; they believed that a new era was approaching that would result in a change of the human nature. Many of them reckoned that the human nature could be transformed through spiritual practices. Like many other advocates of Esotericism of those times, theosophists engaged scientific concepts to justify their anthropological views and referred to experimental evidences that would allow revealing the Invisible. For all of their differences, theosophical approaches to anthropology had some shared features and reflected the trends that were common in that age

ANTHROPOLOGICAL IDEAS OF CARL DU PREL AND ITS RECEPTION BY RUSSIAN SPIRITUALISTS IN THE LATE 19TH - EARLY 20TH CENTURY

2020 ◽  
pp. 58-68
Author(s):  
Tikhon V. Spirin ◽  
Keyword(s):  
20Th Century ◽  
Human Life ◽  
Science And Religion ◽  
The Other ◽  
Early 20Th Century ◽  
Human Being ◽  
Perception Threshold ◽  
New Era ◽  
The Core ◽  
The One

The article addresses the core anthropological concepts of Carl Du Prel’s philosophy and explores the significance of those concepts for the Russian spiritualism of the late 19th – early 20th century. The Du Prel’s theory built up upon the concept of Duality of the Human Being. Du Prel insisted on simultaneous co-existence of two subjects – one pertaining to the sensible world and the other related to the extrasensory (‘the transcendental subject’) – that are divided by the ‘perception threshold’. He argued that in dormant and somnambular state the threshold would shift and thus enable the Transcendental Subject to act in the Extrasensory World. Du Prel believed that the human evolution is not over yet. He suggested that one could estimate what the new form of the human life would be judging by the conditions in which the transcendental subject comes out. Like many other spiritualists, Du Prel foretold the upcoming dawn of a new era where the boundary between science and religion on the one part and the Sensible and Extrasensory World on the other part will vanish. Anthropological doctrine of Du Prel correlated well with the views on the future human being held by the Russian spiritualists, and therefore he became one of the most reputable authors for them

The Theoretical Foundations and Historical Development of Interdisciplinarity

2017 ◽  
pp. 1-13
Author(s):  
Mohammed Nasser Al-Suqri ◽  
Salim Said AlKindi
Keyword(s):  
20Th Century ◽  
Historical Development ◽  
Early 20Th Century ◽  
Theoretical Understanding ◽  
Research And Education ◽  
Theoretical Foundations ◽  
Over Time

The concept of interdisciplinarity has a long history but interpretations of this term and the importance of interdisciplinarity in research and education have varied over time. This chapter traces the theoretical understanding and historical development of interdisciplinarity to provide background and context for the book. First it examines the ways in which interdisciplinarity and similar phenomena have been conceptualized in the literature. A roughly chronological account of the main theoretical and empirical developments in interdisciplinarity is then set out, divided into three main periods dating from the early 20th century to the present day.

scholarly journals Feodosia of Konstanin Bogaevsky

2020 ◽  
pp. 137-147
Author(s):  
Анастасия Сергеевна Сиренко
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Main Theme ◽  
Chronological Order ◽  
The Enlightenment ◽  
The Aesthetic ◽  
The City ◽  
High Skill

Статья посвящена интерпретации образов города Феодосии в творчестве Константина Федоровича Богаевского – представителя «Киммерийской школы живописи». Приводятся итоги исследования вех творческой биографии художника, выстроенные в хронологическом порядке, учитывая особенности изменений стилистической манеры и решаемые им эстетические задачи. Охарактеризованы параметры и круг мастеров «Киммерийской школы живописи». Выбрав главной темой своего творчества в самом начале пути загадочную страну Киммерию, художник претворял ее в больших панорамных живописных произведениях и малоформатных рисунках и акварелях, отмеченных высоким мастерством и глубокой мифопоэтикой. Рассказывается о мастерской живописца, ставшей местом притяжения для многих гостей, представлявших творческую интеллигенцию Москвы и Ленинграда. Освещается вклад уроженца Феодосии и почитателя творчества К.Ф. Богаевского – И.М. Саркизова-Серазини в просвещение родного города среди модных курортов начала ХХ века, а также судьба его необычайной коллекции. The article is devoted to the interpretation of images of the city of Feodosia in the creativity of Konstanin F. Bogaevsky – the representative of the “Cimmerian painting school”. The results of the study of the milestones of the artist’s creative biography are presented, arranged in chronological order, taking into account the peculiarities of changes in the stylistic manner and the aesthetic tasks that he solves. The parameters and circle of masters of the “Cimmerian painting school” are described. Having chosen the mysterious country of Cimmeria as the main theme of his work at the very beginning of his work, he embodied it in large panoramic paintings and small-format drawings and watercolors, marked by high skill and deep mythology. The article tells about the artist’s workshop, which has become a place of attraction for many guests representing the creative intellectuals of Moscow and Leningrad. The contribution of the native of Feodosia and admirer of the work of Konstantin F. Bogaevsky – Ivan M.Sarkizov-Serazini to the enlightenment of his native city among the fashionable resorts of the early 20th century and the fate of his extraordinary collection is highlighted.

scholarly journals GENERAL OVERVIEW TO DRUM KIT IN TURKISH POPULAR MUSIC DURING THE PERIOD 1970-1980

2018 ◽  
Vol 7 (46) ◽  
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
Historical Development ◽  
Music History ◽  
Main Topic ◽  
Early 20Th Century ◽  
General Overview ◽  
Starting Point ◽  
Popular Music History ◽  
Set Up

The invention of Drum has been known to trace thousands of years.However, the drum kit came to exist in the early 20th century. Considering its historical development and our country's popular music history, development of this instrument in Turkey is the starting point of this research. In this study, the cults and playing attitudes that influenced the drummers, the location of drum kit in the studio environment, the set up prefrrences in the band with equipments used will be commented by analysing the data obtained via interviews. Within this framework, questions in 4 main topic have been asked to Osman İşmen and Turhan Yükseler, two of the significant arrangers of the period; Okay Temiz, one of the significant drummers of the period; Cahit Berkay, one of the founders of the band Moğollar; İsmail Soyberk, the bass-guitarist; the drummer Mert Türkmen as the representative of Cezmi Başeğmez. In accoedance with the data obtained, it has been concluded that jazz and rock drummers influenced our country, Anadolu Pop attitude was seen in the playing attitudes and set ups of that period drummers, Studio Hayri and sound technician Sıtkı Acim (tonmeister) rose to prominence in terms of studios where drum records were made, Ludwig drums were used together with Turkish brands in equipments. Keywords: Drum kit, drums, popular music, turkey, drummers, drum playing

scholarly journals „Auf das Material kommt es an“ – Franz Friedrichs Roman Die Meisen von UUsimaa singen nicht mehr als Reflex auf den Umbruch ins digitale Zeitalter

2017 ◽  
Vol 141 ◽  
pp. 135-149
Author(s):  
Beate Sommerfeld
Keyword(s):  
Digital Media ◽  
20Th Century ◽  
Walter Benjamin ◽  
Roland Barthes ◽  
Literary Texts ◽  
Early 20Th Century ◽  
Media Discourse ◽  
The Novel ◽  
The Aesthetic ◽  
Analogue To Digital

Der Artikel behandelt den Roman Die Meisen von UUsimaa singen nicht mehr 2014 des Experimentalfilmers und Autors Franz Friedrich als Reflex auf den Umbruch vom analogen zum digitalen Zeitalter. Stark polarisierend bezieht der Roman zum Medienwandel Stellung und schlägt sich auf die Seite der Analogmedien Fotografie und Film, wobei er auf den Fotografie- und Filmdiskurs des 20. Jahrhunderts von Bela Balazs, Walter Benjamin bis hin zu Roland Barthes und Georges Didi-Huberman zurückgreift. Indem der Roman ein Gewebe aus photoästhetischen Topoi, Metaphern und Diskursen spinnt, modelliert er eine Ästhetik des Abdrucks und der Berührung, die auf Roland Barthes’ Modell des “vokalischen Schreibens” rekurriert. Das Unbehagen an der Repräsentation, das aus Friedrichs Roman spricht, geht mit einer nostalgisch gefärbten Sehnsucht nach dem Authentischen einher.“The material matters” — reflections on the upheaval from analogue to digital media in the novel The Tits of Uusimaa Don’t Sing Any More by Franz Friedrich The purpose of the article is to show how literary texts reflect upon the upheaval from analogue to digital media using the example of the novel The Tits of Uusimaa Don’t Sing Any More by the experimental filmmaker and author Franz Friedrich 2014. Friedrich approaches the technological shift from analogue to digital and the transforming landscape of media from a critical viewpoint by looking back at the early 20th-century scenario of intermedial exchange. Doing so, he refers to the 20th-century media discourse Béla Balázs, Walter Benjamin to Roland Barthes and Georges Didi-Huberman, scrutinizing and redefining analogue media by referring to various topoi, metaphors the analogue as a mental imprint of the real. Friedrich confronts the representation paradigm of literature to the aesthetic of contact and resonances, strongly related to Roland Barthes’ concept of “vocal writing”.

The Historical Roots of Local Self-Government in Czech and Slovak Republics

2015 ◽  
Vol 13 (1) ◽  
pp. 1-19 ◽  
Author(s):  
Eduard Bakoš ◽  
Jana Soukopová ◽  
Jan Šelešovský
Keyword(s):  
Public Administration ◽  
20Th Century ◽  
Historical Development ◽  
European Countries ◽  
Early 20Th Century ◽  
The Public ◽  
The Past

The paper deals with the historical development of local self-government in the context of the development of the public administration as a whole during the First Czechoslovak Republic. It presents historical roots of the public administration in the former imperial Austria-Hungary, which was different from other European countries with its complex bureaucratic structures. Certain elements of the complex political and administrative developments during the early 20th century can be seen even one hundred years later. It is becoming apparent that history repeats itself in a number of issues and that it is unforgivable not to learn lessons both from the mistakes and the successful solutions of the past.

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