Lu Märten: An Introduction to Four Texts

October ◽  
2021 ◽  
pp. 3-14
Author(s):  
Jenny Nachtigall ◽  
Kerstin Stakemeier
Keyword(s):  
Labor Conditions ◽  
The Core ◽  
History Of Art ◽  
History Of ◽  
Material Turn ◽  
Full Life ◽  
Proletarian Art ◽  
Life Work

Abstract This article presents an introduction to four texts that the German feminist-materialist art historian Lu Märten (1879–1970) published between 1903 and 1928. It outlines some of the major concepts of and contexts for this unduly neglected thinker. Her writings covered a wide terrain that spanned studies on the labor conditions of female artists, polemics against “proletarian art,” and a monist, rather than dialectical, view on film, art, and what she called the “full life-work of a human.” At the core of her multiple endeavors was the demand for remaking the history of art as a history of form that is more capacious than art's institutionalized Western field. Situating Märten's work in historical debates (e.g., on Marxist aesthetics in the 1930s), the introduction also points to the new legibility that her nonaligned materialism gains with the material turn in the humanities.

Adler and Sullivan's Guaranty Building in Buffalo

1996 ◽  
Vol 55 (1) ◽  
pp. 6-37 ◽  
Author(s):  
Joseph Siry
Keyword(s):  
Structural Stability ◽  
Office Building ◽  
Urban Context ◽  
Monumental Architecture ◽  
Labor Conditions ◽  
Unit System ◽  
History Of Art ◽  
History Of ◽  
Hippolyte Taine ◽  
Civic Center

As the last of Adler and Sullivan's tall steel office buildings, the Guaranty responds in form and ornament not only to Sullivan's aesthetic program, but also to functional and constructive demands of the type articulated by Adler and others, and to an urban context of monumental architecture in Buffalo's civic center. The Guaranty's spatial and structural planning were based on a unit system of design, which also underlay the proportions of its street elevations and fenestration. The Guaranty was related to Adler and Sullivan's earlier Wainwright Building, whose fronts may reflect concern for conveying structural stability in light of concurrent debates on high buildings. Use of terra-cotta rather than brick in buildings like the Guaranty was prompted in part by labor conditions. The accentuated verticality of the elevations, which exemplifies ideas expressed in Sullivan's essay "The Tall Office Building Artistically Considered," also recalls the theory of Hippolyte Taine (1828-1893), professor of aesthetics and history of art at the Ecole des Beaux Arts, whose ideas Sullivan had studied.

Introduction

2017 ◽  
Author(s):  
Jamie Gilham ◽  
Ron Geaves
Keyword(s):  
Public Interest ◽  
First Century ◽  
Religious Leader ◽  
The West ◽  
The Core ◽  
History Of ◽  
Twenty First Century ◽  
Life Work

This introduction explains the resurgence of scholarly and public interest in the Muslim convert, Abdullah Quilliam, after some seventy years of near total neglect following his death in 1932. It situates the current spotlight on Quilliam and the revival of his reputation amongst Muslims and non-Muslims in the context of post-9/11 interest in the history of Islam in Britain and the West. This introduction then points to the core themes of the book and the key arguments that are addressed in the subsequent chapters. It suggests that Quilliam’s life, work and legacy as a pioneering religious leader are set to continue to inspire and provoke debate through the twenty-first century.

scholarly journals Museos y género: una asignatura pendiente

2019 ◽  
pp. 184
Author(s):  
Marta Torregrosa
Keyword(s):  
Cognitive Maps ◽  
Cultural Institutions ◽  
Critical Position ◽  
The Core ◽  
Palabras Clave ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Cultural Sphere ◽  
Las Mujeres

Resumen: El presente artículo trata de aproximarnos a la realidad representativa de las mujeres tanto en la historia del arte como en el escenario de las instituciones museísticas, desde una perspectiva de género. Emprenderemos un viaje a través de la historia, deambulando por las entrañas que estructuran la esfera cultural, observando las bases del discurso androcentrista que prevalece, aun hoy en día, en la realidad expositiva de los museos. Recorreremos la historia del arte, contemplando las múltiples y diversas representaciones que ha tenido la figura femenina a lo largo de la historia, además de la mirada del artista creador, quien ha perfilado la imagen de la mujer bajo su criterio, imponiendo unos estereotipos y roles que se han repetido a lo largo de los siglos. Transitaremos por las teorías desde un posicionamiento crítico en términos feministas, para descubrir la ausencia de las artistas en el arte y en el contexto de las instituciones culturales. Revisaremos las acciones y nuevas miradas que se han planteado a lo largo de los últimos años, para cuestionar la ausencia de figuras femeninas como sujetos activos y creadores, con el fin de alcanzar la inclusión de la mujer en ámbito artístico y cultural y así mismo, crear nuevos mapas cognitivos desde la igualdad de oportunidades y la recuperación de la memoria de las artistas, que han sido invisibilizadas en nuestra historia.  Palabras clave: Museos, género, mujeres, representación, feminismo.  Abstract: This article tries to approach the representative reality of women both in the history of art and in the setting of museum institutions, from a gender perspective. We will embark on a journey through history, wandering through the core that structures the cultural sphere, observing the foundations of the androcentric discourse that prevails, even today, in how museums show themselves. We will go through the history of art, contemplating the multiple and diverse representations that the female figure has had throughout history, as well as the creative artist, who has shaped the image of women according to his criteria, imposing stereotypes and roles that have been repeated over the centuries. We will go through the theories from a critical position in feminist terms, to discover the absence of artists in art and in the context of cultural institutions. We will review the actions and new perspectives that have been proposed over the last few years, to question the absence of female figures as active and creative subjects, in order to achieve the inclusion of women in the artistic and cultural sphere and also, to create new cognitive maps from the equality of opportunities and the recovery of the memory of the artists, that have been made invisible in our history.  Keywords: Museums, gender, women, representation, feminism.   DOI: http://dx.doi.org/10.7203/eari.10.14430

scholarly journals Chemistry, Society and Uncertainty

2021 ◽  
Vol 25 (2) ◽  
pp. 241-265
Author(s):  
Luciana Zaterka ◽  
Ronei Clécio Mocellin
Keyword(s):  
General Aspect ◽  
History Of Chemistry ◽  
Chemical Substances ◽  
The Core ◽  
Multiple Contexts ◽  
History Of ◽  
Material History ◽  
Material Turn ◽  
History Of Sciences ◽  
Chemical Reasoning

In recent years, besides the increased interest in philosophy of chemistry, we have witnessed a "material turn" in philosophy and the history of sciences with an interest in putting instruments, objects, materials and practices at the core of historical reports. Since its alchemic past, chemistry has worked with and on materials, so that its history is also a "material history". Thus, in the wake of this "material turn", it is up to philosophy and the history of chemistry to perceive the chemical substances, the chemists that create them and the industries that produce them as part of culture, society and politics. This overlap between chemical reasoning and materiality as well as the artificial character of its products makes chemistry an eminently technoscientific science. In this context, we will analyze the most general aspect that led us to identify it as "technoscientific", the hybrid that exists between chemistry and society. With that, we intend to argue in favor of considering the modern societal necessities (material, environmental, and human) with chemistry, in an effort to build a more harmonious relationship, being that it will be long and, maybe, indissoluble. Following that, our aim is to develop a concept that cannot be separated from the capillarity of chemistry in societies and the environment, the imprevisibility and essential uncertainty of the behavior of chemical entities in multiple contexts. Finally, we will highlight some reflections concerning chemical ethics associated with the production and creation of new substances that may become a part of the lifeworld.

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).

THE CORE AND PERIPHERY OF THE CURRENT CULTURE OF ARTISTIC CREATION ABOUT THE GREAT PATRIOTIC WAR IN THE STUDENTS’ VIEWS

2020 ◽  
Vol 6 (3) ◽  
pp. 130-149
Author(s):  
Elena N. NARKHOVA ◽  
Dmitry Yu. NARKHOV
Keyword(s):  
Historical Memory ◽  
Soviet Period ◽  
Russian Society ◽  
Student Culture ◽  
The Core ◽  
Musical Works ◽  
Great Patriotic War ◽  
History Of ◽  
Current Student ◽  
Historical Periods

This article analyzes the degree of demand for works of art (films and television films and series, literary and musical works, works of monumental art) associated with the history of the Great Patriotic War among contemporary students. This research is based on the combination of two theories, which study the dynamics and statics of culture in the society — the theory of the nucleus and periphery by Yu. M. Lotman and the theory of actual culture by L. N. Kogan. The four waves of research (2005, 2010, 2015, 2020) by the Russian Society of Socio¬logists (ROS) have revealed a series of works in various genres on this topic in the core structure and on the periphery of the current student culture; this has also allowed tracing the dynamics of demand and the “movement” of these works in the sociocultural space. The authors introduce the concept of the archetype of the echo of war. The high student recognition of works of all historical periods (from wartime to the present day) is shown. A significant complex of works has been identified, forming two contours of the periphery. Attention is drawn to the artistic work of contemporary students as a way to preserve the historical memory of the Great Patriotic War. This article explains the necessity of preserving the layer of national culture in order to reproduce the national identity in the conditions of informational and ideological pluralism of the post-Soviet period. The authors note the differentiation of youth due to the conditions and specifics of socialization in the polysemantic sociocultural space.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Sign in / Sign up

Export Citation Format

Share Document