Mesoamerica

2020 ◽  
pp. 16-49
Author(s):  
David M. Carballo
Keyword(s):  
Team Sports ◽  
Central American ◽  
The Political ◽  
Central Mexico ◽  
History Of Art ◽  
History Of

A deep history of Mesoamerica traces how the transition from nomadic foragers to settled farmers of maize and other crops resulted in the first villages, unifying art styles, and later cities, states, and empires. Cultures such as the Olmecs, Mayas, Teotihuacanos, and Toltecs preceded the Aztecs, who incorporated elements of all of them, particularly the last two from the same region of central Mexico. This chapter examines millennia of Mesoamerican history known through archaeology, the history of art, and epigraphic study of the few extant Native texts from the pre-Hispanic era. It explores how Mesoamericans first cultivated maize and other crops to establish an agricultural base somewhat familiar to readers as Mexican and Central American cuisine; the development of the earliest team sports involving rubber balls; urbanization into populous cities featuring pyramidal temple complexes; the invention of hieroglyphic scripts and the concept of zero before it existed in Europe; and the political rise and collapse of successive civilizations prior to the Aztecs.

Religious Themes in Contemporary Art

2016 ◽  
pp. 188-218
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

Encounters from the Twentieth Century: Introduction

2019 ◽  
pp. 39-41
Author(s):  
Jan Bryant
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Intellectual History ◽  
Italo Calvino ◽  
Maurice Blanchot ◽  
The Political ◽  
Henri Lefebvre ◽  
Political Aesthetics ◽  
History Of Art ◽  
History Of

The disappointments that flowed from the squashing of the student uprisings in 1968 is discussed as a way to underline a rupture in progressive thinking in the latter years of last century. Of particular concern for Marxists was a loss of faith in the proletariat as the revolutionary subject. It introduces three case studies that form the content of the next chapters, each revealing intellectual differences which became apparent the post 1968 era: (1) Paolo Pasolini and Italo Calvino; (2) Henri Lefebvre and Maurice Blanchot; and (3) the political aesthetic of Neue Slowenische Kunst (NSK). The aim is to offer detailed encounters between left thinkers, not only to reveal a clash of approaches to resisting forms of power, but to offer an alternative for understanding how recent intellectual history has informed contemporary political aesthetics. It is also a way to avoid restaging another history of art, or received canon, to offer instead a non-totalising picture of history. [157]

George Roerich Annual International Meeting (Ancient and Medieval India and Central Asia Text and memory of Culture)

2019 ◽  
Vol 2 (1) ◽  
pp. 191-203
Author(s):  
E. V. Tyulina
Keyword(s):  
Central Asia ◽  
Textual Analysis ◽  
The Political ◽  
International Meeting ◽  
Language Philosophy ◽  
History Of Religion ◽  
Textual Tradition ◽  
History Of Art ◽  
History Of ◽  
Medieval India

Abstract: The article offers a review of the 58th George Roerich Annual International Meeting. The meeting was attended by 34 scholars from Russia and Ukraine who conduct their research in the fields, which did interest the late Yu.N. Roerich, such as Tibet, India and Central Asia. The talks were held on the subjects closely related to the political history, history of art, language philosophy and the history of religion. The scholars analyzed mostly unknown or very little texts, both ancient and medieval, written in Sanskrit, Pali, Tibetan, Nepalese, Chinese, Japanese and other languages. Along with the textual analysis they also offered results of their research in such areas as textual tradition, migration, as well as interpretation and translation into other languages.

scholarly journals University Art History in Slovakia after WWII and its Sovietization in 1950s

2019 ◽  
pp. 161-190
Author(s):  
Katarina Kolbiarz Chmelinová
Keyword(s):  
Art History ◽  
The Political ◽  
Social Changes ◽  
History Instruction ◽  
New Rhetoric ◽  
History Of Art ◽  
History Of ◽  
The 1950S ◽  
Post War ◽  
The University

In post-WWII Slovakia, art history was available only as a university field of study at Bratislava University (in 1954 regaining its name Comenius University) at the Seminár pre dejiny umenia / Seminar of Art History, a separate part of the Faculty of Arts of the university, where art history had been taught as an independent discipline since 1923 before its conversion to a department. Post-war changes in state structures and the new political system radically affected Slovak society and the education system in the country. This article is the very first attempt to present in detail the extent and character of changes in university art history instruction in the part of the socialist era of the Czechoslovak Republic. It is based on the study and comparison of previously unprocessed sources from various university and state archives and their classification in the context of known historical facts. This contribution represents an in-depth probe into the post-war efforts to build a new university foundation and system of art history instruction in Slovakia within the Czechoslovak Republic, and its Sovietization as well. The text analyzes the university environment, the curriculum, the study program of art history and the relevant changes resulting from political pressure from 1945 to 1960. They were the consequence of two directly related, significant moments in the history of Slovakia: the establishment of the Third Czechoslovak Republic in 1945 and the communist coup in 1948, which was followed by the most totalitarian period in the history of the state. The article also discusses the personal changes in the art history staff forced by the political situation (J. Dubnický, V. Wagner, V. Mencl, A. Güntherová-Mayerová, R. Matuštík, T. Štrauss, K. Kahoun). After a brief presentation of the situation in Czechoslovakia at the time, the article first deals with the ad hoc activities and efforts of scientists seeking to maintain art history studies in Slovakia at the university level immediately after the end of the war. The central issue in the article is the changes in the way of teaching resulting from the political upheaval in February 1948. Against the background of political and social changes, the new law on higher education (Act No. 58/1950), which forces significant organizational transformations, is discussed. As part of the process of Sovietization of university education in Slovakia, the modified Seminar of Art History lost its independent status for a long time, and its staff was largely replaced. At the same time, throughout this period, there was a visible tendency to stabilize the teaching system and attempts to become independent again and to develop discipline, undertaken contrary to the imposed system. The 1950s, with their new rhetoric and propaganda optimism, appear to be a decade devoid of internal consistency. It started the most totalitarian period, which lasted until Stalin’s death in 1953, but was followed by a short thaw and then by a new wave of repression after 1957, which chose victims even at the beginning of the next decade. The article focuses on two sides of the 1950s – centralization and the dominant ideological control of the Communist Party, on one hand, and on the other, the obvious effort to unify and professionalize the teaching of the discipline. The factual material presented here shows the scale of changes interpreted in the context of the political and social changes of that time. The case study provides an analysis of system efforts made in the 1940s and 1950s to establish new principles of university teaching for the history of art in Slovakia as part of the Czechoslovak Republic. It aims to broaden the factual basis and existing overview of knowledge of art history in Slovakia and supplement existing studies on the history of art history in the country (J. Bakoš, I. Ciulisová, B. Koklesová).

Religious Themes in Contemporary Art

2021 ◽  
pp. 242-272
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

Can One Eat Art? The Political, Socio-Economic and Artistic Role of Food in Peter Greenaway’s Film The Cook, The Thief, His Wife, And Her Lover

2018 ◽  
Vol 2 (56) ◽  
pp. 156-166
Author(s):  
Malgorzata Kowalewska
Keyword(s):  
Great Britain ◽  
20Th Century ◽  
Social Problems ◽  
Social Situation ◽  
Upper Class ◽  
The Political ◽  
History Of Art ◽  
History Of ◽  
The Relationship

The aim of the article is to present the relationship between food and politics based on the example of Peter’s Greenaway film The Cook, the Thief, his Wife, and her Lover. This particular Greenaway’s film is compelling for the purposes of the presented analysis, as he is an accredited painter and he uses food as references to historic paintings. In my article, I analyse the role of food (as an element of scenography in Greenaway’s film) as a means of explaining political and social problems presented. I will reference to history of art, political and social situation, as well as approach to food in the upper class in Great Britain in ’80s of the 20th century

The Social Origins and Provenance of the English Bishops during the Reign of Edward II

1959 ◽  
Vol 9 ◽  
pp. 51-79
Author(s):  
K. Edwards
Keyword(s):  
Middle Ages ◽  
Social Background ◽  
Early Career ◽  
The Political ◽  
Social Origins ◽  
Political Activities ◽  
Edward Ii ◽  
The Social ◽  
Complete Study ◽  
History Of

During the last twenty or twenty-five years medieval historians have been much interested in the composition of the English episcopate. A number of studies of it have been published on periods ranging from the eleventh to the fifteenth and early sixteenth centuries. A further paper might well seem superfluous. My reason for offering one is that most previous writers have concentrated on analysing the professional circles from which the bishops were drawn, and suggesting the influences which their early careers as royal clerks, university masters and students, secular or regular clergy, may have had on their later work as bishops. They have shown comparatively little interest in their social background and provenance, except for those bishops who belonged to magnate families. Some years ago, when working on the political activities of Edward II's bishops, it seemed to me that social origins, family connexions and provenance might in a number of cases have had at least as much influence on a bishop's attitude to politics as his early career. I there fore collected information about the origins and provenance of these bishops. I now think that a rather more careful and complete study of this subject might throw further light not only on the political history of the reign, but on other problems connected with the character and work of the English episcopate. There is a general impression that in England in the later middle ages the bishops' ties with their dioceses were becoming less close, and that they were normally spending less time in diocesan work than their predecessors in the thirteenth century.

Essays of a “comparatively progressive” economist (On the 150th birth anniversary of Vladimir Geleznoff)

2019 ◽  
pp. 135-145
Author(s):  
Viktor A. Popov
Keyword(s):  
Economic Theory ◽  
Political Economy ◽  
Economic Thought ◽  
History Of Economic Thought ◽  
The Political ◽  
Russian History ◽  
Working Ability ◽  
Intellectual Inquiry ◽  
History Of

Deep comprehension of the advanced economic theory, the talent of lecturer enforced by the outstanding working ability forwarded Vladimir Geleznoff scarcely at the end of his thirties to prepare the publication of “The essays of the political economy” (1898). The subsequent publishing success (8 editions in Russia, the 1918­-year edition in Germany) sufficiently demonstrates that Geleznoff well succeded in meeting the intellectual inquiry of the cross­road epoch of the Russian history and by that taking the worthful place in the history of economic thought in Russia. Being an acknowledged historian of science V. Geleznoff was the first and up to now one of the few to demonstrate the worldwide community of economists the theoretically saturated view of Russian economic thought in its most fruitful period (end of XIX — first quarter of XX century).

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

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