Learning from Past Mistakes and Living a Better Life: Report on the Workshop in Istanbul on “Ottoman Ego-Documents”

2020 ◽  
Vol 54 (2) ◽  
pp. 294-302
Author(s):  
Selim Karahasanoğlu
Keyword(s):  
Art History ◽  
Historical Society ◽  
Turkish Literature ◽  
History And Literature ◽  
Large Scope ◽  
First Time

A workshop entitled “Ottoman Ego-Documents” was held at Istanbul Medeniyet University on March 11–13, 2020. The workshop was organized by Istanbul Medeniyet University's Faculty of Letters in collaboration with the Center for Ego-Document Studies and supported by the Turkish Historical Society and the Foundation for Science, Art, History and Literature (İSTEV). It was attended by specialists in history, literature, law, and theology. This event marked the first time in Turkey that this topic was discussed with a large scope. The only previous organized discussion in Turkey on “ego-documents” seems to have been “Autobiographical Themes in Turkish Literature: Theoretical and Comparative Perspectives,” held jointly by Boğaziçi University and the Orient-Institut der DMG in 2003. This discussion was mostly theoretical and the material covered belonged mainly to the post-Tanzimat era. A volume edited by Olcay Akyıldız, Halim Kara, and Börte Sagaster, the organizers of that event, was subsequently published by Ergon.

Migrants in Medieval England, c. 500-c. 1500

2020 ◽  
Keyword(s):  
Art History ◽  
Historical Linguistics ◽  
Source Material ◽  
Modern World ◽  
Future Research ◽  
Medieval England ◽  
Medieval Studies ◽  
Wide Range ◽  
Different Types ◽  
First Time

This book is a ground-breaking study of the phenomenon of migration in and to England over the medieval millennium, between c. AD 500 and c. AD 1500. It reaches across traditional scholarly divides, both disciplinary and chronological, to investigate, for the first time, the different types of data and scholarly methods that reveal evidence of migration and mobility within the medieval kingdom of England. England offers the opportunity for studying migration and migrants over the longue durée, because it has been a recognisable political unit for over a millennium and because a wealth of source material has survived from these centuries. The data vary unevenly in quality and quantity across this period, but become considerably more powerful through multi-disciplinary approaches to data collection and interpretation. Fifteen subject specialists synthesise and extend recent research in a wide range of disciplines, including archaeology, art history, genetics, historical linguistics, history, literature and onomastics. They evaluate the capacity of different genres of evidence for addressing questions around migration and its effects on the identities of groups and individuals within medieval England, as well as methodological parameters and future research potential. The book therefore marks an important contribution to medieval studies, and to modern debates on migration and the free movement of people, arguing that migration in the modern world, and its reverberations, cannot be completely understood without taking a broad historical perspective on the topic.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

Homage to Irving A. Leonard: Essays on Hispanic Art, History, and Literature.

1978 ◽  
Vol 58 (3) ◽  
pp. 505
Author(s):  
Harold Eugene Davis ◽  
Raquel Chang-Rodriguez ◽  
Donald A. Yates
Keyword(s):  
Art History ◽  
History And Literature

A Course Connecting Astronomy to Art, History, and Literature

2015 ◽  
Vol 53 (7) ◽  
pp. 396-400
Author(s):  
Don Olson
Keyword(s):  
Art History ◽  
History And Literature

scholarly journals Technology as a factor in the cultural development of mankind: a study of the production nature of primitive culture

2021 ◽  
pp. 57-60
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Art History ◽  
Integrated Approach ◽  
Cultural Development ◽  
Fire Control ◽  
Production Technologies ◽  
The Subject ◽  
Organization Of Production ◽  
First Time ◽  
Metal Melting

Purpose of article. Explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools of labor have become cultural artifacts, works of art. The emergence of production technologies (stone processing, fire control, metal melting) radically transformed the specifics of the organization of production activities, and therefore changed the course of cultural development. Therefore, in the course of the study, the formative role of technology in the formation of artistic culture was proved.

scholarly journals Directing of the contemporary French avant-garde theater Nanter-Amandier: stylistic and conceptual innovations

2021 ◽  
pp. 245-250
Author(s):  
Maryna Tatarenko
Keyword(s):  
Art History ◽  
Modern Human ◽  
Avant Garde ◽  
Functional Methods ◽  
Creative Solutions ◽  
Historical Processes ◽  
The World ◽  
Close Relationship ◽  
Relationship Of ◽  
First Time

The purpose of the article is consideration of stylistic and conceptual innovative ideas directed by the modern French avant-garde theater Nanter-Amandier. The methodology consists of the application of empirical, art history, analytical, axiomatic, functional methods of researching the concept of ideas of avant-garde directing of Nanterre-Amandier theater, its innovations, and search for radical reforms of stage skills, phenomenal artistic techniques of theatrical forms. Scientific Novelty. For the first time, empirical analysis and substantiation of the concept of ideas of avant-garde directing of the Nanterre-Amandier Theater, its innovations in the search for original artistic and creative solutions of stage forms. Conclusions. Directors of the modern French avant-garde theater J.-P. Vincent, J.-L. Martinelli and F. Ken successfully embodied innovative artistic techniques by transforming the reality surrounding the modern human and transmitting it to the viewer - this breaks the close relationship of artistic intentions with the socio-cultural environment. The depiction of the world by modern directors of the French avant-garde theater is characterized by a deep and holistic rethinking of it in accordance with the specifics of socio-historical processes, the development of scientific and technological progress, the general philosophical and aesthetic picture of the world, and others.

scholarly journals The aesthetic category of the comic in the musical characterization of characters (on the example of Yuri Shevchenko's ballet “Buratino and the Magic Violin”)

2021 ◽  
Author(s):  
Vladyslava Aksiutina
Keyword(s):  
Art History ◽  
Rhythmic Pattern ◽  
The Aesthetic ◽  
First Time

The purpose of the article. To analyze the embodiment of the comic on the material of Yuri Shevchenko’s ballet “Buratino and the Magic Violin” through the analysis of musical and choreographic elements, as well as the peculiarities of their synthesis. Suggest a typology of ballet characters. Methodology. Methods of comparison and matching helped to determine the differences between comic and lyrical characters, as well as to identify the means of expression that created the appropriate comic image. Scientific novelty. For the first time in Ukrainian art history, an analysis of musical and choreographic elements was carried out to identify the comic component of the characters in Yuri Shevchenko’s ballet “Buratino and the Magic Violin”. The synthesis of musical and choreographic components of ballet is emphasized. A typology of ballet characters is proposed. Conclusions. The analysis allowed to divide the characters of Yuri Shevchenko’s ballet “Buratino and the Magic Violin” into comic, semi-comic, humorous, and lyrical. The means of expression (musical and choreographic) used to characterize the characters with an emphasis on the comic group were identified. In music, this is the leittimbre of the trombone mainly in low registers, “broken” intervals, as well as leitintervals (dissonances), tremolo trumpet, and glissando of copper and, most importantly, the characteristic rhythmic pattern with syncope. In choreography, it is the dominance of non-classical elements and movements, as well as specific, street techniques ― leitelements (falling, pushing, pulling, kicking). Keywords: aesthetic category comic, choreographic elements, synthesis of elements, leittimbres, leitelements, leitintervals, comic, semi-comic, humorous, lyrical characters.

From the History of Scientific Communications of the Russian Emigration: Egyptologist Gregory Lukyanov and the Kondakov Archaeological Institute in Prague

Istoriya ◽  
2021 ◽  
Vol 12 (6 (104)) ◽  
pp. 0
Author(s):  
Mikhail Kovalev
Keyword(s):  
Art History ◽  
Russian Translation ◽  
Scientific Communication ◽  
Professional Activity ◽  
Czech Academy ◽  
History Of ◽  
History Of Translation ◽  
Academy Of Sciences ◽  
First Time

The article deals with the history of relations between Gregory Lukyanov, Russian Egyptologist and antiquarian, and his colleagues from the Kondakov Archaeological Institute in Prague in the 1930s. The article is based on materials from Czech archives (Archives of the Art History Institute of the Czech Academy of Sciences and the collection of manuscripts of the Slavonic Library in Prague). The author of this work reveals the unknown page of the history of scientific communications in the midst of the Russian emigration, shows the existence of intellectual contacts between the «Russian Czechoslovakia» and «Russian Egypt». The article is devoted to the analysis of the internal contacts of Gregory Lukyanov, the motives of his professional activity abroad, the basic directions of his cooperation with colleagues from Prague and attempts to create there a collection of Coptic textiles and to publish its catalogue, which unfortunately failed. For the first time, the history of translation of «The Poem of Pentawer» by Lukyanov and attempts of publication of its Russian translation have been described. The author reveals the various contradictions between Gregory Lukyanov and his Prague colleagues that arose in the process of scientific communication.

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