scholarly journals Gustav Klimt and Egon Schiele in contemporary Russian Poetry

2021 ◽  
pp. 153-163
Author(s):  
Alexander Markov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Postmodern Literature ◽  
Gustav Klimt ◽  
Russian Poetry ◽  
The Common ◽  
Cultural Symbolism ◽  
The Aesthetic ◽  
Egon Schiele

Leading Austrian artists of the first quarter of the 20th century, Gustav Klimt and Egon Schiele, did not attract the Russian writers attention until the 1990s, when the development of Russian postmodern literature was conductive to the attention to their experiments, polystylistics, cultural symbolism and aestheticism. It is stressed that although the heritage of these artists was adapted to the aesthetic project of Russian postmodernism, poetic statements about them revealed aspects of art that are not obvious to the common viewer. First of all, in the Russian poetry of the 1990s and the early 2000s (Alexander Ulanov, Alexander Skidan, Irina Mashinsky, Polina Barskova, Elena Fanailova) it was convincingly shown that Schiele’s expressionism directly takes it start from the symbolism of Klimt, and Klimt’s aesthetics already contains Schiele’s one, but Schiele’s manner retains the achievements of Klimt. Further, the author shows a connection between these artists and the achievements of physics along with the cultural and political atmosphere of the time. Finally, it was reported that the achievements of these artists opposed Nazism because Klimt and Schiele demonstrated the inadmissibility of any form of oppression. Regardless of the private thoughts or the works of Klimt and Schiele, these ideas are conveyed by the very form of their works and the approach to style: the semanticization of the material and the ability to give life to the depicted characters. Particular techniques and devices of expressiveness of both artists were interpreted as auxiliary to their humanistic ideas, and it should be recognized as the contribution of poetry to art history.

scholarly journals SOBRE A ARTE ENTRE OS S�CULOS 19 E 20: UMA ABORDAGEM A PARTIR DAS REPRESENTA��ES DO ATELI� VAZIO / On art between the 19th and 20th centuries: an approach from representations of the empty studio

2022 ◽  
Vol 27 (42) ◽  
pp. 172-187
Author(s):  
Nat�lia dos Santos Nicolich
Keyword(s):  
Nineteenth Century ◽  
Present Article ◽  
20Th Century ◽  
19Th Century ◽  
Art History ◽  
Paradigm Shifts ◽  
Starting Point ◽  
The Aesthetic ◽  
The 19Th Century ◽  
19Th Century Art

O estudo da hist�ria da arte no Brasil costumava tratar o s�culo 19 e o 20 como dois per�odos bastante distintos, quase conflitantes, sobre os quais n�o era poss�vel conceber que houvesse di�logo. Nos �ltimos anos, com as revis�es historiogr�ficas sobre a abordagem modernista, os pesquisadores valorizaram a produ��o oitocentista e por consequ�ncia abriram o campo para novas possibilidades de estudo sobre a arte nas primeiras d�cadas dos anos 1900. O presente artigo intenciona contribuir com essas pesquisas, propondo uma leitura para al�m das transforma��es est�ticas ocorridas nesse per�odo, tendo como ponto de partida as representa��es do ateli� vazio. Assim, considerando o ateli� vazio um tema por excel�ncia na arte do s�culo 19, investigamos sua persist�ncia no s�culo 20 apesar das mudan�as de paradigma na pintura. Para tanto, reunimos algumas obras realizadas entre os anos 1880 e 1950 aproximadamente, nas quais observamos aspectos sobre a posi��o do artista como profissional, a concep��o da arte e da realidade que os cerca.Palavras-chaveAteli� vazio. S�culos 19 e 20. Pintura. Artista.�AbstractThe study of Art History in Brazil used to treat the 19th century and the 20th century as two very distinct, almost conflicting periods, about which it was not possible to conceive that there were dialogues. In recent years, with the historiographic revisions on the modernist approach, researchers have valued the nineteenth-century production and consequently opened the field to new possibilities of studying art in the early 1900s. The present article intends to contribute to this research, proposing a reading beyond the aesthetic transformations that occurred in this period, taking as a starting point the representations of the empty studio. Thus, considering the empty studio a theme par excellence in 19th century art, we investigate its persistence in the 20th century despite the paradigm shifts in painting. To this end, we gathered some works from approximately 1880 to 1950, in which we observed aspects about the position of the artist as a professional, the conception of art and the reality that surrounds them.Keywords:Empty studio. 19th and 20th centuries. Painting. Artist.

scholarly journals Ranciere’s Challenge for the Lithuanian Modern Art Histories: The Possibility of New Sensible Structures

Problemos ◽  
2020 ◽  
Vol 97 ◽  
pp. 198-208
Author(s):  
Karolina Rybačiauskaitė
Keyword(s):  
20Th Century ◽  
Modern Art ◽  
Binary Oppositions ◽  
The Common ◽  
The Aesthetic

By analysing Jacques Rancière’s conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from the binary oppositions still prevailing in the interpretations of modern art in post-soviet and post-socialist countries, and also escape the current narratives of late and silent modernisms implying the belatedness and disability of modern art created in Soviet Lithuania. By writing histories of modern art with Rancière, it is possible to claim that at least a part of Lithuanian modern art is neither late nor silent. On the contrary, the part operating in the aesthetic regime of art becomes a space of search for the new tropes of expression and of the common sensual fabric of life.

Rumohr's Falscher Rehschlegel: The Significance of Venison in German Cuisine

2006 ◽  
Vol 6 (4) ◽  
pp. 53-58
Author(s):  
ursula heinzelmann
Keyword(s):  
20Th Century ◽  
Cultural Symbolism ◽  
Culinary History

Carl Friedrich von Rumohr's Falscher Rehschlegel: at first glance the recipe in his Geist der Kochkunst, Spirit of Cookery of 1822 seems to belong to the category of mockfood - but does that make sense from the pen of a highly rational, reality-obsessed empiricist? Similar instructions for how to prepare meat, notably mutton, as game can be found in a row of popular German cookery books of the 19th and the beginning of the 20th century, whereas other examples for mockfood in German culinary history are rare and restricted to periods of shortage. So the story behind Rumohr's surprising recipe really is the story of hunting and venison in Germany. The article looks at both and explores their socio-cultural symbolism through the centuries in a gastronomic context.

scholarly journals Fertilization Narratives in the Art of Gustav Klimt, Diego Rivera and Frida Kahlo: Repression, Domination and Eros among Cells

Leonardo ◽  
2011 ◽  
Vol 44 (3) ◽  
pp. 221-227 ◽  
Author(s):  
Scott F. Gilbert ◽  
Sabine Brauckmann
Keyword(s):  
20Th Century ◽  
Human Embryos ◽  
Diego Rivera ◽  
Frida Kahlo ◽  
Embryo Formation ◽  
Human Fertilization ◽  
Gustav Klimt ◽  
The Universe ◽  
Early Human

Fertilization narratives are powerful biological stories that can be used for social ends, and 20th-century artists have used fertilization-based imagery to convey political and social ideas. In Danae, Gustav Klimt used an esoteric stage of early human embryos to indicate successful fertilization and the inability of government repression to stifle creativity. In Man, Controller of the Universe, Diego Rivera painted a mural of a man controlling an ovulating ovary, depicting Trotsky's view that society will rationally regulate human fertilization. His former wife, Frida Kahlo, refuted this view in Moses: Nucleus of Creation, wherein she painted images of fertilization and embryo formation as the ultimate acts of erotic consummation and generation.

Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture

2021 ◽  
Vol 7 (5) ◽  
pp. 3344-3351
Author(s):  
Xinquan Ma ◽  
Xiaofang Yao ◽  
Kwon Hwan
Keyword(s):  
Art History ◽  
Song Dynasty ◽  
Global Perspective ◽  
Chinese Art ◽  
Landscape Painting ◽  
Environmental Aesthetics ◽  
Northern Song Dynasty ◽  
Modern Cities ◽  
Northern Song ◽  
The Aesthetic

Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.

E.N. Trubetskoy on the Interrelation of the Sacred and the Aesthetic in Ancient Russian Iconography

2021 ◽  
pp. 34-40
Author(s):  
Elena V. Kovaleva
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Religious Philosophy ◽  
The Aesthetic

The article studies the problem of interrelation of the cult and aesthetic components of iconography and analyzes the approach to its solution in the works of the representative of Russian religious philosophy of the early 20th century E. Trubetskoy.

scholarly journals Thematic comparasion Hermann Hesse’s novel names Beneath The Wheel (Unterm Rad) and Michael Haneke’s film names The White Ribbon (Das Weiße Band) Hermann Hesse’nin Çarklar Arasında (Unterm Rad) adlı romanı ile Michael Haneke’nin Beyaz Bant (Das Weiße Band) adlı filminin tematik açıdan karşılaştırılması

2019 ◽  
Vol 16 (2) ◽  
pp. 543-560
Author(s):  
Funda Kızıler Emer ◽  
Esma Şen
Keyword(s):  
World War I ◽  
20Th Century ◽  
German Literature ◽  
English Summary ◽  
World War ◽  
Education Policies ◽  
Hermann Hesse ◽  
The Common ◽  
Ideological Education ◽  
Education Concept

Hermann Hesse, one of the most renowned and well-known Nobel laureates in German literature, is the first years of the 20th century, described in his novel, Beneath The Wheel (Unterm Rad, 1906). The film The White Ribbon. A German Children's Story. (Das Weiße Band. Eine deutsche Kindergeschichte, 2009) of Michael Haneke, one of the world-renowned screenwriters and directors of contemporary German cinema, covers the years of World War I 1913-1914.The main point of criticism in both works is the criticism of education and ideological education policies that dominated the period. In the two works of which one is a novel and the other is a film, we choose them as a  thematic aspect, cover the period between 1900 and 1914. In other words, in the first quarter of the 20th century, the criticism of education in Germany and all over Europe is criticized. In this study, we will compare the two German works with each other on the basis of this ‘common subject’. We will limit the comparative analysis of the education problem in selected works to the first quarter of the 20th century based on the time periods described in the works. Within the scope of our study, we will present a critique of the ideological education concept that dominated this period Germany and at the same time laid the foundations of World War I.In the analysis of these two works, which we compare in the common theme axis, we will use the comparative literature method. In the study, we will use an eclectic method in which we will harmonize the methods of text analysis (werkimmanent) and non-text extern (werk extern) in a balanced way.Extended English summary is in the end of Full Text PDF (TURKISH) file. ÖzetAlman edebiyatının Nobel ödüllü ve dünya çapında tanınmış çok yönlü yazarlarından biri olan Hermann Hesse’nin Çarklar Arasında (Unterm Rad, 1906) adlı romanında anlatılan zaman dilimi 20. yüzyılın ilk yıllarıdır. Çağdaş Alman sinemasının ödüllü ve dünya çapından ün salmış senarist ve yönetmenlerinden biri olan Michael Haneke’nin Beyaz Bant. Bir Alman Çocuk Öyküsü. (Das Weisse Band.  Eine deutsche Kindergeschichte, 2009) adlı sinema filmi ise I. Dünya Savaşı’nın patlak verdiği yılları 1913-1914 kapsar.Her iki eserde de temel eleştiri noktası, döneme egemen olan eğitim anlayışı ve ideolojik eğitim politikalarına yöneliktir. Çalışma konusu olarak seçtiğimiz biri roman, diğeri film türünde olan iki eser de tematik açıdan, 1900 ila 1914 yılları arasındaki dönemi kapsar. Yani eserlerde 20. yüzyılın ilk çeyreğinde Almanya’da ve tüm Avrupa genelinde egemen olan eğitim anlayışının eleştirisi yapılır. Biz de bu çalışmada, her iki Almanca eseri, saptadığımız bu ‘ortak konu’ ekseninde birbiriyle karşılaştıracağız. Seçtiğimiz eserlerdeki eğitim sorunsalının karşılaştırmalı analizini, eserlerde anlatılan zaman dilimlerini temel alarak yalnızca 20. yüzyılın ilk çeyreğine sınırlandıracağız. Çalışmamız kapsamında, bu dönem Almanya’sına egemen olan ve aynı zamanda I. Dünya Savaşı’nın temellerini atan ideolojik eğitim anlayışının eleştirisini sunacağız.Ortak tema ekseninde karşılaştıracağımız bu iki eserin analizinde temel olarak karşılaştırmalı edebiyat bilimi yöntemini kullanacağız. Çalışmada, ayrıca metiniçi (werkimmanent) ve metindışı (werkextern) metin inceleme yöntemlerini dengeli biçimde harmanlayacağımız eklektik bir yöntemden yararlanılacaktır.

scholarly journals Иван Грозев. „Новата културна раса“ в естетикорелигиозния проект на българския модернизъм

2020 ◽  
Vol 20 ◽  
Author(s):  
Цветана [Tzvetana] Георгиева [Georgieva]
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Rudolf Steiner ◽  
New Type ◽  
The Aesthetic ◽  
Hellenistic Philosophy

Ivan Grozev and the “New Cultural Race” in the Aesthetic Religious Project of Bulgarian ModernismThe aesthetic-religious views of Ivan Grozev, a Bulgarian writer, poet and spiritual awakener, combine various aspects whose unifying center is the mystical ability of man to reach God: the Christian idea of man’s aspiration for God; theosophical and Masonic conceptions; and elements of Hellenistic philosophy and mystery. In his articles and studies that he published in the journal Hyperion, Ivan Grozev promoted ideas about the poet as “a priest and a prophet”, his “worldly sacrifice”, and “the steps towards godly knowledge” (scientist, genius, mystic). As a true Theosophist, he contrasts his utilitarian times with the spiritual from past eras (reason vs. mysticism), affirming the idea of a “New Heaven” and a “New Cultural Race” for the devoted ones. The Bulgarian modern consciousness from the late 19th and early 20th century perceived such ideas as a new type of religion of the aesthetic, and at the same time as a new ethic of the creator (prophet, Übermensch in the sense of Nietzsche or Rudolf Steiner) as a necessity of spiritual creation of a new cultural race that abandons mercantilism for the sake of ideal values. Iwan Grozew i „nowa rasa kulturowa” w religijno-estetycznym projekcie bułgarskiego modernizmuPoglądy estetyczno-religijne Iwana Grozewa, bułgarskiego pisarza, poety, działacza na rzecz duchowego przebudzenia społeczeństwa, łączą aspekty chrześcijańskiej idei dążenia człowieka do Boga, koncepcje teozoficzne i masońskie, elementy hellenistycznej filozofii i misteriów, a ich wspólnym jądrem jest mistyczna zdolność człowieka, aby dotrzeć do Boga. W artykułach i studiach publikowanych na łamach czasopisma „Хиперион” Iwan Grozew propaguje idee dotyczące poety „kapłana i proroka” i jego „ziemskiej ofiary”, „kroków w kierunku boskiej wiedzy” (naukowiec, geniusz, mistyk); jako wyznawca teozofii, utylitarne czasy, w jakich żyje, przeciwstawia epokom duchowym z przeszłości (rozum przeciwko mistycyzmowi), potwierdzając ideę „nowego nieba” i „nowej rasy kulturowej” dla osób poświęconych. W bułgarskiej świadomości modernistycznej przełomu XIX i XX wieku takie idee postrzegane były jako nowy rodzaj religii estetycznej, a jednocześnie jako nowa etyka twórcy (proroka, nadczłowieka w rozumieniu Friedricha Nietzschego lub Rudolfa Steinera), pojęta jako konieczność duchowego stworzenia nowej rasy kulturowej, która odrzuca postawę merkantylną w imię wartości idealnych.

scholarly journals CHARACTER EDUCATION AS THE PRIMARY PURPOSE OF SCHOOLING FOR THE FUTURE

2016 ◽  
Vol 4 (2) ◽  
pp. 137 ◽  
Author(s):  
McRobert Lewis ◽  
Veronica Ponzio
Keyword(s):  
Character Education ◽  
20Th Century ◽  
Moral Character ◽  
Careful Consideration ◽  
Common Denominator ◽  
Educational Context ◽  
The Future ◽  
History Of ◽  
Generous Support ◽  
The Common

This analysis seeks to examine the history and development of moral/character education in America during the 20th century providing structure for the character education movement in today’s educational context. The common denominator and key to character education for the future is community. The concept of community connects the three aforementioned themes and provides a roadmap for better implementation of character education. Careful consideration is given to the interaction and contributions of the school and society in terms of promoting and developing character education. Though there is generous support from politicians, educators, and parents, character education is still somewhat mired by its lack of scope. This examination proposes that current character education proponents can find new frameworks for implementation by observing the history of character education.

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