The Danish landscape and landscape gardening: on the visualization oj the aesthetic potential for nature in cultivation in the twentieth century

1997 ◽  
Vol 17 (4) ◽  
pp. 295-309
Author(s):  
Lulu Salto Stephensen
Keyword(s):  
Twentieth Century ◽  
The Aesthetic ◽  
Landscape Gardening

The Labour of Laziness in Twentieth-Century American Literature

2019 ◽  
Author(s):  
Zuzanna Ladyga
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Ernest Hemingway ◽  
Gertrude Stein ◽  
Value System ◽  
John Barth ◽  
The Status ◽  
Twentieth Century American Literature ◽  
The Aesthetic ◽  
Historical Moment

The Labour of Laziness in Twentieth-Century American Literature focuses on the issue of productivity, using the figure of laziness to negotiate the relation between the ethical and the aesthetic. This book argues that major twentieth-century American writers such as Gertrude Stein, Ernest Hemingway, John Barth, Donald Barthelme and David Foster Wallace provocatively challenge the ethos of productivity by filtering their ethical interventions through culturally stigmatised imagery of laziness. Ladyga argues that when the motif of laziness appears, it invariably reveals the underpinnings of an emerging value system at a given historical moment, while at the same time offering a glimpse into the strategies of rebelling against the status quo

scholarly journals Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role

Muzikologija ◽  
2008 ◽  
pp. 185-202
Author(s):  
Aleksandar Vasic
Keyword(s):  
Twentieth Century ◽  
Negative Attitude ◽  
Music Criticism ◽  
Educational Mission ◽  
Violin Concerto ◽  
The Public ◽  
Educational Role ◽  
And Performance ◽  
The Aesthetic ◽  
Professional Critics

Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccol? Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubel?k. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.

scholarly journals SOM E FÉ: DA PRÁTICA COMUNITÁRIA RELIGIOSA PARA A COMPLEXIDADE DO PENSAMENTO MUSICAL ERUDITO DO ÚLTIMO QUARTEL DO SÉC. XX

2020 ◽  
Vol 13 (1) ◽  
pp. 23
Author(s):  
José Luís Postiga
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Religious Practices ◽  
The West ◽  
Communicative Practice ◽  
Musical Concepts ◽  
Musical Works ◽  
The Aesthetic ◽  
Different Cultures ◽  
Western Classical Music

When faced with the artistic-musical concepts developed in the second half of the twentieth century, it is common to observe them from the perspective of the scientific advances they have promoted or resulted from, the abstract organizations in which they are based, the aesthetic principles they create or and almost always fall within the individuality of the interpretation present in the creative act and its representativeness, regardless of the support in which it presents itself. Paradoxically, some of the main classical musical works written in the last quarter of the twentieth century resulted from the musicological study and/or musical representation of concepts, rites, religious practices representative of different cultures of the West and especially the East. In this sense, throughout the present article will be addressed works by composers of Western classical music, such as the case of Jonathan Harvey and Tristan Murail, characteristics of the musical currents that fit, from serialism to spectralism, as well as acoustic and electronic casts, which result. reinterpretations of religious practices of Hinduism and Buddhism, as well as sound behaviors of the communicative practice of peoples, such as the songs and instruments of Tibet and Mongolia.

scholarly journals MYSTERY AS A META-GENRE IN THE DRAMA OF THE TWENTIETH CENTURY

2021 ◽  
pp. 18-26
Author(s):  
K. Oliinyk
Keyword(s):  
Twentieth Century ◽  
World Order ◽  
Semantic Content ◽  
Point Of View ◽  
Dramatic Works ◽  
Life And Death ◽  
The Matrix ◽  
General Feeling ◽  
The Aesthetic ◽  
Definition Of

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it. The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres. A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.

The Critical-Linguistic Critique of the Aesthetic Ideology in the Late Writing of Paul de Man

Labyrinth ◽  
2021 ◽  
Vol 22 (2) ◽  
pp. 9
Author(s):  
Jeremy Spencer
Keyword(s):  
Twentieth Century ◽  
Political Practice ◽  
Paul De Man ◽  
Aesthetics And Politics ◽  
Property Relations ◽  
Aesthetic Ideology ◽  
The Aesthetic ◽  
De Man ◽  
The Relationship

The focus of this essay is Paul de Man's provocative antipathy towards the category of the aesthetic in his late writings on philosophical aesthetics. I introduce de Man's critique of what he terms aesthetic ideology – a form of ideological communication – which he considers manifest in the aesthetics of Schiller in particular but also in more scrupulously critical philosophers. I begin the essay with Benjamin's well known observation that twentieth century fascisms aestheticized political practice as part of a defence of existing property relations. I introduce de Man's critique of aesthetic ideology as a way of developing or elaborating on what are relatively sketchy comments on the relationship aesthetics and politics in Benjamin's earlier essay.

Futuro pasado. la evolución del concepto Poesía en Octavio Paz

2021 ◽  
Vol 66 (4) ◽  
pp. 173-186
Author(s):  
Alí Calderón Farfán ◽  
Keyword(s):  
Twentieth Century ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Octavio Paz ◽  
Marcel Duchamp ◽  
Spanish Speaking ◽  
Time Semantics ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Horizon Of Expectations

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

In the Kingdom of Whomever: Baldwin’s Method

Empty Houses ◽  
2011 ◽  
Author(s):  
David Kurnick
Keyword(s):  
Twentieth Century ◽  
James Baldwin ◽  
The Political ◽  
The Novel ◽  
Political Costs ◽  
The Aesthetic ◽  
Generic Difference

James Baldwin is not only one of the more notable Anglophone twentieth-century novelists to attempt continually and with minimal success to enter the theater. He is also one of the major inheritors of the aesthetic and political problematic we have repeatedly encountered in the course of this book. Baldwin is perhaps the most important twentieth-century novelist to seriously explore what it means to make interiority the bearer of collective desire. This chapter argues that the novel of interiority reaches an impasse and a breakthrough in the work of Baldwin precisely when the contradictions inherent in the attempt to think collective problems through sexual interiority becomes unavoidably insistent—and does so through Baldwin's negotiation with the generic difference of the theater. His career makes clear that if the novel relentlessly personalizes collective issues, its theatrical preoccupation constitutes a record of the political costs of that reduction, one that demands to be read at the level of form.

Di Yunge

2018 ◽  
Author(s):  
Saul Noam Zaritt
Keyword(s):  
Twentieth Century ◽  
The United States ◽  
Inner Life ◽  
Yiddish Literature ◽  
Political Purpose ◽  
European Immigrants ◽  
Artistic Achievement ◽  
The Aesthetic ◽  
The Individual ◽  
Eastern European Immigrants

Di yunge is a group of American Symbolist Yiddish writers and critics that achieved prominence during the first two decades of the twentieth century and remained active through the mid-century. The name of the group is Yiddish for ‘the young ones’, referencing not only the youth of its founding members but also the sense of newness and dramatic change that they intended to bring to Yiddish literature of the period. The group was made up largely of Eastern European immigrants to the United States who had experienced the failed Russian Revolution of 1905 and the pogroms that followed in its wake. These young writers arrived in America disillusioned with socialist and nationalist politics and instead sought out new forms of cultural expression that focused on artistic achievement in Yiddish rather than any political purpose. Taking European and Russian forms of Symbolism as models, Di yunge is the first movement in Yiddish literature to emphasize the importance of the aesthetic, focusing on the poetic potential of the everyday and on the inner life of the individual writer. Di yunge was comprised of several of the most important Yiddish writers of the twentieth century, including the poets Mani Leib, H. Leivick, Zishe Landau, I.J. Schwartz, Yoysef Rolnik, and Moyshe-Leyb Halpern and the prose writers David Ignatoff, Joseph Opatoshu, Isaac Raboy, and Lamed Shapiro. Members of Di yunge were among the first to infuse Yiddish literature with the forms and themes of international modernism.

Epilogue

2021 ◽  
pp. 223-240
Author(s):  
Mark A. Allison
Keyword(s):  
Twentieth Century ◽  
Political Institutions ◽  
Labour Party ◽  
The Other ◽  
World State ◽  
Collective Ownership ◽  
Political Tradition ◽  
Socialist Movement ◽  
The Aesthetic ◽  
The One

This Epilogue sets the waning of British socialist anti-political aspiration in the context of the literary career of H. G. Wells, on the one hand, and the coalescence of the Parliamentary Labour Party, on the other. In their respective spheres, both Wells and the Labour Party represent a decisive turn toward a statist—and forthrightly political—conception of socialism in the early decades of the twentieth century. Wells, the new century’s most prolific and influential socialist writing in English, shares with his antecedents an abiding preoccupation with the aesthetic dimension of socialism. In stark contrast to his predecessors, however, he self-consciously subordinates this aesthetic impulse to his overmastering vision of an emerging socialist world state. Concurrently, the fledgling Labour Party became a locus for the longstanding debates about how socialism was to be made and what posture the socialist movement should adopt to Britain’s existing political institutions and traditions. These debates were foreclosed by the party’s adoption of a new constitution and party program in 1918, which were drafted by the Fabian socialist Sidney Webb. The constitution includes the famous Clause IV, which affirms the party’s commitment to the collective ownership of the means of production. Labour’s reorganization effectively confirmed that in Britain, socialism would be pursued via the parliamentary road—and that state socialism would be its ultimate institutional goal. Consequently, 1918 provides a symbolic end to the anti-political tradition Imagining Socialism delineates—and of the socialist century that it surveys.

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