Chicago School

2020 ◽  
Author(s):  
Joanna Merwood-Salisbury
Keyword(s):  
20Th Century ◽  
American West ◽  
Chicago School ◽  
Commercial Buildings ◽  
Office Buildings ◽  
New Objectivity ◽  
Avant Garde ◽  
International Style ◽  
Select Group ◽  
The Subject

While contemporary scholars question the existence of a cohesive “Chicago School” of architecture, there is no doubt that by the mid-1890s Chicago came to be recognized nationally and internationally for the technological and aesthetic innovation evident in a number of commercial buildings erected in the downtown business area known as the Loop. These buildings serviced the rapid growth of a city founded earlier in the century as a major trading hub linking the East Coast and the American “West.” Principally office buildings, some were erected for particular companies while others were built as speculative ventures. These innovations were known first as the “commercial style,” then simply as “tall office buildings”; the term “skycraper” came into popular use around 1895. In order to find the correct expression for this unprecedented building type, local architects adapted historical styles including the neo-Gothic, the Romanesque, the Venetian, and the neoclassical. In their published writings, they positioned their work as the development of an indigenous American style particular to the region. By the 1920s, critics described this style as the product of an identifiable “Chicago School.” The idea of such a school played, and continues to play, a significant role in histories of modern architecture. For much of the 20th century, the term referred to a select group of commercial buildings erected between roughly 1883 and 1910. During that period, the Chicago School was positioned as precursor to the modern or International style, prefiguring the functionalism and “new objectivity” of the early-20th-century European avant-garde. Since the 1980s, scholars have dismantled the narrow and monolithic view of the subject, placing its key monuments back within the specific social and economic concerns of the late 19th century, introducing a wider range of projects and typologies for consideration, and including projects constructed up until about 1920. There is less emphasis on aesthetic commonality, and more on the diversity of built responses to the forces of industrialization, urbanization, and capitalism that shaped the American city. The texts listed here survey the Chicago School as it was defined during the 20th century as well as more recent scholarship that questions the canonical view.

The Russian Futuristic Experiment: the Language of the Poetic Resistance

2020 ◽  
Vol 29 (2) ◽  
pp. 261-272
Author(s):  
Magdalena Kostova-Panayotova
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Creative Mind ◽  
Avant Garde ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
The Mind

The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.

Holst – Astrology and Modernism in ‘The Planets’

Tempo ◽  
1993 ◽  
pp. 15-24 ◽  
Author(s):  
Raymond Head
Keyword(s):  
World War I ◽  
20Th Century ◽  
Indian Philosophy ◽  
Early 20Th Century ◽  
World War ◽  
Avant Garde ◽  
British Music ◽  
The Subject ◽  
Modern Movement

The subject of modernism in early 20th-century British music is rarely examined: partly because it is often thought that British composers were not interested in the Modern Movement before World War I, and partly because in discussing Modernism (a convenient umbrella term for the whole cultural avant-garde whose components included Expressionism, Futurism, Primitivism and Surrealism) one must be prepared to engage subjects which, in this country, are normally considered Verboten. There is no doubt, for instance, that the development of the Modern Movement on the Continent was partly inspired by a widespread awareness of Theosophy, and the interest, which it encouraged, in such esoteric areas as Indian philosophy and astrology. In this article I want to look at this aspect of Modernism in relation to Gustav Hoist, and especially in The Planets (1914–16): his, and British music's, first striking testament to the Modernist outlook. The very bases of this work are Hoist's understanding of astrology, his friendships of the time, and his Theosophical upbringing.

The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century

2019 ◽  
Vol 2 (12) ◽  
pp. 199-216
Author(s):  
Maryla Renat
Keyword(s):  
20Th Century ◽  
Sound Production ◽  
Final Conclusion ◽  
Formal Concept ◽  
Avant Garde ◽  
The Third ◽  
Individual Concept ◽  
The Past ◽  
The Subject ◽  
Composition Technique

The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.

scholarly journals AUTHORSHIP / SUBJECTIVITY IN THE EXPERIENCE OF RUSSIAN BIOGRAPHICAL PROJECTS OF THE FIRST HALF OF THE 20th CENTURY

2020 ◽  
Vol 69 (4) ◽  
pp. 84-92
Author(s):  
Natalia V. Veselkova ◽  
Keyword(s):  
Civil War ◽  
20Th Century ◽  
Social Memory ◽  
Chicago School ◽  
Raw Material ◽  
The Past ◽  
Great Patriotic War ◽  
History Of ◽  
The Subject ◽  
The Masses

In the first half of the 20th century a number of projects with a historical and biographical “stuffing” were carried out in our country, from psychologist N. Rybnikov’s activity to establish Biographical Institute up to Gorky’s “History of the Civil War”, “History of Factories and Plants” and the Mintz Commission on the History of the Great Patriotic War. The affiliation of these projects to the first stage of the development of the biographical method, better known from the studies of the Chicago school, is asserted. The article attempts to analyze Russian projects on the subject of authorship / subjectivity constructions arising in them in an interdisciplinary way of the biographical method, as well as using a multiscalar approach to the study of social memory. It has been shown that “mass character” in these constructions has several aspects: a) involvement of the “masses”, b) key to verification and consensus in describing the past through the recollections of many participants, c) performativity. The democratization of biography-writing is considered in the context of the ‘Halbwachs Theorem’. In order for people unaccustomed to producing memories to be included in biographical practices, as well as to ensure the completeness and comparability of information obtained not only for political, but also for research purposes, semi-formalized methods were developed. Nevertheless, with all the declarations that the workers are now writing history, for the most part they were only suppliers of raw material, and the complex constructions of distributed authorship actually acted.

Tradycja modernizmu i awangardy w ukraińskim malarstwie II połowy XX wieku

2018 ◽  
Vol 6 ◽  
pp. 397-416 ◽  
Author(s):  
Marta Zambrzycka
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Socialist Realism ◽  
Socialist Republic ◽  
Soviet Socialist Republic ◽  
Avant Garde ◽  
Social Activists ◽  
The Sixties ◽  
The Subject

The subject of the article is the infl uence of the Ukrainian modernism tradition and avant-garde on painting evolving in the second half of the 20th century in the Ukrainian Soviet Socialist Republic. The author of this article focuses on trends that do not correspond with the aesthetics of socialist realism being developed in opposition to it. The subject of the analysis is the generation work that debuted during the “Khrushchev Thaw” (1956–1964), called the generation of the sixties or nonconformists. The fi rst term includes painters, writers, poets, cinema and theater makers, as well as social activists. The second term both narrows the fi eld of interest to visual arts and extends the timespan from the Khrushchev Thaw to Perestroika.

Frank Lloyd Wright, Vertical Space, and the Chicago School's Quest for Light

1985 ◽  
Vol 44 (1) ◽  
pp. 66-74 ◽  
Author(s):  
Meredith L. Clausen
Keyword(s):  
19Th Century ◽  
Chicago School ◽  
Commercial Buildings ◽  
Office Buildings ◽  
Natural Light ◽  
Frank Lloyd Wright ◽  
Original Function ◽  
Late 19Th Century ◽  
School Architecture ◽  
Motivating Factor

Throughout his career, top-lit vertical spaces played a prominent role in Wright's work, in his domestic as well as civic and commercial buildings. Their source lies in late-19th-century tall office buildings, where the need for natural light was crucial. The quest for light as a major motivating factor in the development of Chicago School architecture, the solution of the glazed light court and Wright's familiarity with it, and the paramount importance of these impressive light-filled spaces in his work well after they had outlived their original function, are all factors long overlooked by historians.

Immigrant Arab Women in Chile during the Renaissance (Nahda), 1910s-1920s

1970 ◽  
pp. 47-55
Author(s):  
Sarah Limorté
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Thematic Analysis ◽  
New World ◽  
Arab Women ◽  
Arab Woman ◽  
The Subject ◽  
The 19Th Century

Levantine immigration to Chile started during the last quarter of the 19th century. This immigration, almost exclusively male at the outset, changed at the beginning of the 20th century when women started following their fathers, brothers, and husbands to the New World. Defining the role and status of the Arab woman within her community in Chile has never before been tackled in a detailed study. This article attempts to broach the subject by looking at Arabic newspapers published in Chile between 1912 and the end of the 1920s. A thematic analysis of articles dealing with the question of women or written by women, appearing in publications such as Al-Murshid, Asch-Schabibat, Al-Watan, and Oriente, will be discussed.

Planification: Potential and role in XXI century market economy

2016 ◽  
pp. 63-80 ◽  
Author(s):  
A. Buzgalin ◽  
A. Kolganov
Keyword(s):  
Economic Development ◽  
20Th Century ◽  
Market Economy ◽  
Critical Analysis ◽  
New Economy ◽  
Real Socialism ◽  
The Subject ◽  
Planning Institutions

The authors, basing on a critical analysis of the experience of planning during the 20th century in a number of countries of Europe and Asia, and also on the lessons from the economics of "real socialism", set out to substantiate their conclusions on the advisability of "reloading" this institution. The aim is to create planning mechanisms, suited to the new economy, that incorporate forecasting, projections, direct and indirect selective regulation and so forth into integral programs of economic development and that set a vector of development for particular limited spheres of what remains on the whole a market economy. New planning institutions presuppose a supersession of the forms of bureaucratic centralism and a reliance on network forms of organization of the subject and process of planning.

John of Kronshtadt and Leo Tolstoy

2020 ◽  
Vol 102 ◽  
pp. 471-478
Author(s):  
Peter A. Shevchenko
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Real Life ◽  
Leo Tolstoy ◽  
Russian Society ◽  
Common People ◽  
Religious Consciousness ◽  
The Subject ◽  
Main Components

The article provides a comparative analysis of the influence of L.N. Tolstoy and I.I. Sergiev (John of Kronstadt) on the formation of personal worldview in Russian society. The analysis is based on the testimonies of the contemporaries and the previously not reissued publication of “Novy Put” (“New Way”) journal on the subject. In the context of the declared problematics, special attention is paid to the question of transformation of religious consciousness in the course of the personality formation in relation to the period under consideration (the beginning of the 20th century). The author reveals and analyzes the main components of the life stand of Tolstoy and Father John of Kronstadt in the context of their influence on contemporaries. The results of the study allow to reveal the following antitheses that characterize Tolstoy and John of Kronstadt, respectively: doubt - faith, search for oneself – following the once chosen path, preaching of non-resistance as part of the philosophy of not-doing (not doing evil) – preaching of active upholding of faith (doing good), “simple living” – real life with and for common people.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

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