Towards a Social History of Art: Defining "Mozarabic"

1999 ◽  
Vol 5 (3) ◽  
pp. 272-288 ◽  
Author(s):  
Cecily Hilsdale
Keyword(s):  
Social History ◽  
Historical Development ◽  
The Other ◽  
History Of Art ◽  
Art Historians ◽  
History Of ◽  
Spanish Art ◽  
The One

AbstractMedieval Spanish art posed a particular problem for art historians due to the difficulty in reconciling strcmg formal differences between perceived Classicism on the one hand and foreign "Mozarabic" elements on the other. The connotations of such formal designations reveal much about larger perceptions of historical development at the beginning of this century. The term "Mozarabic" in early essays by Meyer Schapiro among others attained its definition solely in opposition to other earlier and later styles. It was understood in a pejorative light as the inferior counterpart to other formal idioms such as the Romanesque.

scholarly journals On the History of Ante(s): Exaptation of Adverbial –s?

Languages ◽  
2018 ◽  
Vol 3 (4) ◽  
pp. 45
Author(s):  
Dorien Nieuwenhuijsen
Keyword(s):  
Historical Development ◽  
Quantitative Data ◽  
The Other ◽  
16Th Century ◽  
Other Hand ◽  
History Of ◽  
The One

In this paper we will describe the historical development of the Spanish doublet ante-antes (‘before’) and explore the question whether a process of exaptation is involved (cf. Lass 1990). We will argue that the final –s of antes, that originally marked the adverbial status of the word, in the course of time had become a kind of morphological ‘junk’ (cf. Lass 1990) and, subsequently, could be exploited in order to encode the semantic opposition between temporal meaning on the one hand, and adversative meaning on the other hand. However, based on quantitative data we will show that the incipient semantic redistribution over the course of the 16th century rather suddenly collapsed, leading to a differentiation between the prepositional ante and adverbial antes.

Britannia on Roman coins of the second century A.D.

1924 ◽  
Vol 14 (1-2) ◽  
pp. 142-157
Author(s):  
Jocelyn Toynbee
Keyword(s):  
Second Century ◽  
Ancient World ◽  
The Other ◽  
Accurate Representation ◽  
Roman Coins ◽  
Greek Revival ◽  
History Of Art ◽  
Greek Tradition ◽  
History Of ◽  
The One

The history of art in the Roman period is the history of the interplay of two opposite tendencies. On the one hand there is the Roman taste for realism and accurate representation, combining with the Italian love of naturalism; on the other, the fostering of the Greek tradition of idealism in art both by the Greek artists who worked at Rome and by the Greek enthusiasts among their Roman employers. After the culmination of Roman historical art under the Flavians and Trajan, the second century, as is well known, was marked by a great reaction in favour of things Hellenic, and it is with one small part of the Greek revival under Hadrian and the Antonines, when Greek art blossomed afresh for the last time during the history of the ancient world, that I propose to deal in this paper.

Latin vulgaire, latin familier

2015 ◽  
Vol 38 (1) ◽  
pp. 1-12
Author(s):  
Vojin Nedeljković
Keyword(s):  
Social History ◽  
The Other ◽  
Linguistic Variation ◽  
The Social ◽  
History Of ◽  
The One

The author examines the scope and interrelation of two traditional notions concerning non-literary Latin: sermo uulgaris, or plebeius, and sermo familiaris, or cotidianus. While these are really disparate terms, the one designating a sociolect and the other a language register, the author maintains that the old confusion between Colloquial and Vulgar Latin is not merely due to flawed reasoning within an insufficient model of linguistic variation, but rather reflects a fundamental development that took place in the social history of Latin.

Modernism and World Art, 1950–72

ARTMargins ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 55-76
Author(s):  
Nikolas Drosos
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
American Art ◽  
Global Perspective ◽  
The Other ◽  
Soviet Bloc ◽  
Universal History ◽  
History Of Art ◽  
History Of ◽  
The One

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

Mound Building at Parchman Place

2019 ◽  
pp. 90-117
Author(s):  
Erin S. Nelson
Keyword(s):  
Detailed Analysis ◽  
Social History ◽  
Social Hierarchy ◽  
The Other ◽  
Community Values ◽  
History Of ◽  
The One ◽  
White Clay

Chapter 4 describes excavations, coring, and salvage work in mound contexts at Parchman Place and presents a detailed analysis of mound stratigraphy in Mounds A and E. The results of stratigraphic analyses reveal a complicated social history of mound building at the site that played out over the course of the 14th and 15th centuries and alternately emphasized social hierarchy on the one hand and heterarchical values related to balance and autonomy on the other. A number of typical and atypical mound building practices were identified, including founding events, mantle construction, building and dismantling of summit structures, veneering, truncation, and incorporation. Veneering is interpreted as a challenge to the hierarchical tendencies typically associated with mound building and Mississippian leadership in that it bundled the meaningful substances of white clay, shell, and ash. These substances, when used together, invoke ideas about wholeness and balance between different realms of the cosmos. Mound building and depositional practice were thus salient ways of negotiating community values related to status, leadership, kin group autonomy, and the Mississippian cosmos.

La tv come casa dell’arte. Sperimentazioni e utopie

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Silvia Bordini
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Double Point ◽  
Point Of View ◽  
The Other ◽  
Audiovisual Communication ◽  
History Of Art ◽  
History Of ◽  
The One ◽  
Short Essay

The involvement of art in tv devices is examined from a double point of view: on the one hand, the use of tv as a divulgation tool that compares the history of art, entertainment and spectacularization; and on the other, the interpretation of tv as a tool for artistic experimentation. The hypothesis of a cultural use of the potential of audiovisual communication is elaborated in particular by numerous art historians, with different initiatives that reflect the variants of the very notion of art history and art criticism. The hypothesis of TV as a possible tool for making art according to unprecedented linguistic modulations starts from Lucio Fontana in the context of spatialist theories and then develops autonomously in the specific of new technological languages: the programs, the devices and the physicality of the television itself were in fact the first "material" that the artists used to elaborate what went down in history as "videoart". In the paths outlined in this short essay, television has taken on the significance of a strongly symbolic medium, in the alternation of different and often contrasting messages and models, linked to a variety of cultural and ideological positions.

The symptomatology of a surpassing disaster: Narrativization and temporality in the work of Walid Raad

Maska ◽  
2020 ◽  
Vol 35 (200) ◽  
pp. 84-101
Author(s):  
Kaja Kraner
Keyword(s):  
Standard Treatment ◽  
Arab World ◽  
The Other ◽  
Historical Documents ◽  
American Artist ◽  
History Of Art ◽  
Common Thread ◽  
History Of ◽  
The Common ◽  
The One

Since the 1990s, the common thread to artistic practices based on the collection, archiving and presentation of historical documents can be derived from what is happening with the space, time and the regimes of visibility and knowledge as part of digital reproductivity. Nevertheless, roughly two separate key approaches can be identified: construction approaches that are often designed as an intervention in the dominant historiographical practice, on the one hand, and approaches focusing on the study of infrastructural, epistemological and other conditions for the possibility of archiving and historicization in general, on the other. The latter approaches frequently question the standard treatment of documents that is most often based on the ability to trace their origin as well as on their presumptive expressive and narrative potentials. The article therefore analyses the approach to studying history adopted by Lebanese-American artist Walid Raad, drawing from the performance-lecture Les Louvres and/or Kicking the Dead, which is part of a broader project about “a history of art in the Arab world”. In the process of defining the specifics of Raad’s approach based on the concepts of “spaces of interrupted histories” and “self-historicization”, the article draws a comparison between artistic uses of documents in the context of former socialist countries and the Middle East or, more specifically, the Lebanese socio-political context. Instead of unifying both “spaces of interrupted histories” by focusing on narrativization and temporality in Raad’s work, I concentrate mostly on the differences.

Introduction

2021 ◽  
pp. 1-18
Author(s):  
Laura Carter
Keyword(s):  
Everyday Life ◽  
Social History ◽  
Methodological Approach ◽  
The Other ◽  
Origin Stories ◽  
The Everyday ◽  
History Of ◽  
The 1960S ◽  
The One

The introduction proposes the key argument that the twentieth century was Britain’s educational century. It discusses how the democratization of historical knowledge in Britain between 1918 and 1979 occurred as a process of negotiation between policymakers, elites, and educationists on the one hand, and ordinary people on the other. The concept of the ‘history of everyday life’ is introduced and defined. The introduction then discusses the important role of women in the making of popular social history, and its relationship to classed, gendered, racial, imperial, and national categories. The ‘history of everyday life’ is briefly discussed in relation to other ‘origin stories’ of British social history, especially the new academic social history of the 1960s and the importance of the ‘everyday’ in mid-century social science. Finally, the introduction discusses the book’s methodological approach and provides an overview of each of the chapters.

Nature, Freedom, History

2021 ◽  
pp. 258-283
Author(s):  
Brady Bowman
Keyword(s):  
Historical Development ◽  
Human Action ◽  
The Other ◽  
Self Determination ◽  
Human History ◽  
Organic Life ◽  
The World ◽  
History Of ◽  
The One

Post-Kantian philosophers historicize the world soul, reconceiving it as an implicitly rational, progressive, yet impersonal agency, at work throughout nature as a formative principle, more especially, however, in the progressive liberation and self-determination of spirit in human history. This chapter outlines the concept’s career in the thought of Kant, Maimon, Schelling, and Hegel, focusing especially on the overlapping functions they accord to the world soul. On the one side, it serves to mediate within nature between the opposing spheres of mechanism and organic life; on the other, between those of unconscious currents of historical development and self-consciously free human action. In thus tasking the world soul with mediating between nature and the history of human freedom, German idealists are faithful to their Platonic source of inspiration, even as they refashion the concept in a distinctively modern, post-Enlightenment spirit.

scholarly journals História da ciência, práticas discursivas e comunicação didática: uma breve reflexão

2019 ◽  
Vol 20 ◽  
pp. 435-441
Author(s):  
José M.C. Belo
Keyword(s):  
Science Teaching ◽  
History Of Science ◽  
Historical Development ◽  
Scientific Activity ◽  
The Other ◽  
Other Hand ◽  
Keywords History Of Science ◽  
History Of ◽  
The One ◽  
The Way

Resumo De que falamos quando pretendemos falar da história da ciência no ensino? Falamos do ensino da(s) ciência(s)? Falamos do ensino da história da ciência? Falamos de ambos? Se falamos do ensino de história da ciência, então poderíamos falar de todas as disciplinas (unidades curriculares) que constituem o currículo porque, de algum modo, a ciência – a sua história – é transversal a todas. Por outro lado, se falamos da história da ciência como adjuvante do ensino das ciências - do lugar que a história da ciência deve ocupar no quadro do ensino das ciências - então estaremos a falar de algo bem diferente que tem merecidamente ocupado muitos dos que se preocupam com estas questões. Pela nossa parte, na necessariamente breve reflexão que vamos efetuar, tentaremos pôr em relevo, por um lado, a importância do conhecimento do desenvolvimento histórico da atividade científica como elemento agregador e motivador para todos os estudantes de ciências, ao mesmo tempo que evidenciaremos o modo como o discurso didático está carregado de elementos causadores de ruído no processo de comunicação didática. Palavras-chave: história da ciência; comunicação didática; paradigmas Abstract What do we talk about when we want to talk about the history of science in education? Are we talking about science(s) teaching? Are we talking about the teaching of the history of science? Are we talking about both? If we talk about the teaching of the history of science, then we could speak of all the disciplines (curricular units) that constitute the curriculum because, in some way, science - its history - is transversal to all of them. On the other hand, if we speak of the history of science as an adjunct to science teaching - the place that history of science must occupy in science teaching - then we are talking about something quite different that has deservedly occupied many of those who care about these issues. On our part, in the necessarily brief reflection that we are going to make, we will try to highlight, on the one hand, the importance of the knowledge of the historical development of scientific activity as an aggregator and motivator for all students of science, and, at the same time, we will try to show the way as the didactic discourse is loaded with elements that cause noise in the process of didactic communication. Keywords: history of science; didactic communication; paradigms

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