scholarly journals Entre texte et image : réflexions sur la traduction des titres de tableaux de Paul Gauguin

2021 ◽  
Vol 48 (4) ◽  
pp. 91-106
Author(s):  
Barbara Walkiewicz
Keyword(s):  
20Th Century ◽  
Translation Strategies ◽  
Paul Gauguin ◽  
The 1960S

The aim of this article is to analyse the translation strategies used to translate Paul Gauguin’s painting titles from Tahitian and French to Polish. We will analyse the titles that the artist painted directly on the canvases by making them invariant just like the image itself. The translations analysed come from works on Gauguin’s art and Impressionism, published in Polish since the 1960s of the 20th century.

Form and History in Modern Arabic Poetics

2021 ◽  
Author(s):  
Huda Fakhreddine
Keyword(s):  
20Th Century ◽  
Arab World ◽  
Prose Poem ◽  
Poetic Tradition ◽  
Literary Traditions ◽  
History Of ◽  
The Rich ◽  
The 1960S ◽  
Fundamental Forces ◽  
Modern Arabic

Modern Arabic poetic forms developed in conversation with the rich Arabic poetic tradition, on one hand, and the Western literary traditions, primarily English and French, on the other. In light of the drastic social and political changes that swept the Arab world in the first half of the 20th century, Western influences often appear in the scholarship on the period to be more prevalent and operative in the rise of the modernist movement. Nevertheless, one of the fundamental forces that drove the movement from its early phases is its urgent preoccupation with the Arabic poetic heritage and its investment in forging a new relationship with the literary past. The history of poetic forms in the first half of the 20th century reveals much about the dynamics between margin and center, old and new, commitment and escapism, autochthonous and outside imperatives. Arabic poetry in the 20th century reflects the political and social upheavals in Arab life. The poetic forms which emerged between the late 1940s and early 1960s presented themselves as aesthetically and ideologically revolutionary. The modernist poets were committed to a project of change in the poem and beyond. Developments from the qas̩īdah of the late 19th century to the prose poem of the 1960s and the notion of writing (kitābah) after that suggest an increased loosening or abandoning of formal restrictions. However, the contending poetic proposals, from the most formal to the most experimental, all continue to coexist in the Arabic poetic landscape in the 21st century. The tensions and negotiations between them are what often lead to the most creative poetic breakthroughs.

scholarly journals Russian Landscape Linocut, 1910-1970

2020 ◽  
Vol 16 (4) ◽  
pp. 101-112
Author(s):  
Taras Bocharov ◽  
Petr Kozorezenko
Keyword(s):  
20Th Century ◽  
Urban Landscape ◽  
Rural Landscape ◽  
Soviet Period ◽  
Graphic Art ◽  
Important Place ◽  
Landscape Art ◽  
The 1960S ◽  
The Moment ◽  
Almost All

The article examines the origin and development of Russian graphic landscape art, performed in the technique of engraving on linoleum. It covers the period from the early 20th century, the moment the first masters of this direction of graphic art appeared in Russia, until the late 1960s when linocut, the landscape, in particular, reached its prime and acquired its completely individual, unlike any other graphic technique, characteristic. The authors analyze the linocut landscapes of notable artists of the period described starting with the founder, N.Sheverdyaev, and the leading propagandist of linocut in Russia, I.Pavlov. The article describes the distinctive features of engraving and making prints by famous artists of the 20th century, graphic artists, and not only. This is M.Dobuzhinsky, B.Kustodiev, V.Falileev, K.Kostenko, N.Piskarev, later I.Sokolov, P.Staronosov, and many other not so famous artists. The Soviet period is represented by A.Kravchenko, M.Matorin, I.Sokolov, S.Yudovin, and, of course, A.Zyryanov, one of the well-known printers of the 1960s. The linocut technique is well established in almost all types of landscape. These were industrial, agitational works, glorifying the work of Soviet people, colorful sheets, and lyrical, delicate, and poetic works. The architectural and rural landscape occupied an important place in the work of the letterpress masters: in the urban landscape, of course, the images of the two capitals prevailed, which is not surprising since most of the artists studied and worked in Moscow and Leningrad. The authors of the article drew attention to the creative work of N.Lapshin, F.Smirnov, N.Novoselskaya, A.Smirnov, and others. In the article, the authors try to show how versatile and complex the linocut technique, especially colored, is. The authors want to show that the art of engraving on linoleum helped to view the landscape genre in graphics differently and, possibly, influenced the development of the landscape in other types of prints and painting. The authors are trying to prove that linoleum engraving rightfully takes an equal position with woodcut and etching. The works of masters working in this technique are exhibited in all museums in the country.

scholarly journals Current Opera Production in the Repertoire of the Slovak National Theatre in 1960s

2018 ◽  
Vol 66 (1) ◽  
pp. 5-22
Author(s):  
Michaela Mojžišová
Keyword(s):  
20Th Century ◽  
Social Motivation ◽  
National Theatre ◽  
The Social ◽  
The 1960S ◽  
Opera Production ◽  
Opera Productions

Abstract The study deals with the increase in the introduction of modern opera production at the Slovak National Theatre in the 1960s. The author interprets it not only as an attempt of dramaturgy to enliven the traditional repertoire, but in particular as an ambition to apply more modern theatrical poetics in the production opera practice. Since there was no practice of updating classic opera production in Slovakia in the sense of “Regietheater” at that time, this production of the 20th century was considered to be the most realistic way of reviving opera. At the same time, the study highlights the social motivation of this intention: an effort to address a new, progressively oriented audience that would create appeal for a conventionally oriented audience that primarily focuses on the musical-vocal component of opera productions.

scholarly journals Increasing cloud cover in the 20th century: review and new findings in Spain

2012 ◽  
Vol 8 (2) ◽  
pp. 1133-1167 ◽  
Author(s):  
A. Sanchez-Lorenzo ◽  
J. Calbó ◽  
M. Wild
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Cloud Cover ◽  
Linear Trend ◽  
General Tendency ◽  
Digital Format ◽  
New Findings ◽  
The Mean ◽  
Instrumental Period ◽  
The 1960S

Abstract. Visual observations of clouds have been performed since the establishment of meteorological observatories during the early instrumental period, and have become more systematic and reliable after the mid-19th century due to the establishment of the first national weather services. During the last decades a large number of studies have documented the trends of the total cloud cover (TCC) and cloudy types; most of these studies are focused on the trends since the second half of the 20th century. Due to the lower reliability of former observations, and the fact that most of this data is not accessible in digital format, there is a lack of studies focusing on the trends of cloudiness since the mid-19th century. In the first part, this work attempts to review the previous studies analyzing TCC changes with information covering at least the first half of the 20th century. Then, the study analyses a database of cloudiness observations in Southern Europe (Spain) since the second third of the 19th century. Specifically, monthly TCC series were reconstructed since 1866 by means of a so-called parameter of cloudiness, calculated from the number of cloudless and overcast days. This estimated TCC series show a high interannual and decadal correlation with the observed TCC series originally measured in oktas. After assessing the temporal homogeneity of the estimated TCC series, the mean annual and seasonal series for the whole of Spain and several subregions were calculated. The mean annual TCC shows a general tendency to increase from the beginning of the series until the 1960s; at this point, the trend becomes negative. The linear trend for the annual mean series, estimated over the 1866–2010 period, is a highly remarkable (and statistically significant) increase of +0.44% per decade, which implies an overall increase of more than +6% during the analyzed period. These results are in line with the major part of the previous trends observed at many areas of the World, especially for the records before the 1950s, when a widespread increase of TCC can been considered as a common feature.

scholarly journals Regime transitions of Australian climate and climate extremes

2021 ◽  
Author(s):  
Jorgen Segerlund Frederiksen ◽  
Stacey Lee Osbrough
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Climate Extremes ◽  
Early 21St Century ◽  
Australian Climate ◽  
Average Maximum ◽  
Eastern Australia ◽  
Maximum Temperatures ◽  
The 1960S ◽  
Regime Transitions

Abstract. Systematic changes, since the beginning of the 20th century, in average and extreme Australian rainfall and temperatures indicate that Southern Australian climate has undergone regime transitions into a drier and warmer state. South-west Western Australia (SWWA) experienced the most dramatic drying trend with average streamflow into Perth dams, in the last decade, just 20 % of that before the 1960s and extreme, decile 10, rainfall reduced to near zero. In south-eastern Australia (SEA) systematic decreases in average and extreme cool season rainfall became evident in the late 1990s with a halving of the area experiencing average decile 10 rainfall in the early 21st century compared with that for the 20th century. The shift in annual surface temperatures over SWWA and SEA, and indeed for Australia as a whole, has occurred primarily over the last 20 years with the percentage area experiencing extreme maximum temperatures in decile 10 increasing to an average of more than 45 % since the start of the 21st century compared with less than 3 % for the 20th century mean. Average maximum temperatures have also increased by circa 1 °C for SWWA and SEA over the last 20 years. The climate changes are associated with atmospheric circulation shifts and are indicative of second order regime transitions, apart from extreme temperatures for which the dramatic increases are suggestive of first order transitions.

scholarly journals The Two-Part Gender Revolution, Women’s Second Shift and Changing Cohort Fertility

2018 ◽  
Vol 43 ◽  
Author(s):  
Tomas Frejka ◽  
Frances Goldscheider ◽  
Trude Lappegård
Keyword(s):  
20Th Century ◽  
Private Sphere ◽  
Male And Female ◽  
The Public ◽  
Employed Mothers ◽  
Cohort Fertility ◽  
Second Shift ◽  
The Public Sphere ◽  
The 1960S ◽  
Gender Revolution

The two parts of the gender revolution have been evolving side by side at least since the 1960s. The first part, women’s entry into the public sphere, proceeded faster than the second part, men’s entry into the private sphere. Consequently, many employed mothers have carried a greater burden of paid and unpaid family support than fathers throughout the second half of the 20th century. This constituted women’s “second shift,” depressing fertility. A central focus of this paper is to establish second shift trends during the second half of the 20th century and their effects on fertility. Our analyses are based on data on cohort fertility, male and female labor force participation, and male and female domestic hours worked from 11 countries in Northern Europe, Western/central Europe, Southern Europe, and North America between 1960/70 and 2000/2014. We find that the gender revolution had not generated a turnaround, i.e. an increase in cohort fertility, by the end of the 20th century. Nevertheless, wherever the gender revolution has made progress in reducing women’s second shift, cohort fertility declined the least; where the second shift is large and/or has not been reduced, cohort fertility has declined the most.

Modernistskiy ekfrasis v esse Mariny Tsvetayevoy „Natal'ya Goncharova. Zhizn' i tvorchestvo”

2021 ◽  
pp. 196-223
Author(s):  
Alexander Medvedev
Keyword(s):  
Martin Heidegger ◽  
20Th Century ◽  
Rainer Maria Rilke ◽  
Russian Philosophy ◽  
Avant Garde ◽  
European Context ◽  
Paul Gauguin ◽  
Ontological Turn ◽  
Friedrich Hölderlin ◽  
Stylistic Diversity

This article examines Marina Tsvetaeva’s modernist perception of the personality and paintings of the greatest representative of the Russian avant-garde of the 20th century in the essay “Natalia Goncharova. Life and Work” (“Наталья Гончарова. Жизнь и творчество”, 1929). Goncharova’s paintings that Tsvetaeva describes in her essay are indicated. The principles of modernist poetics and ekphrasis are revealed (lyrical subjectivism, ontology, consonance, anagrammatic disclosure of the inner form of a word, mythologization, reader co-creation, dialogism). The similarity between Tsvetaeva’s understanding of painting and poetry is compared to the ontological understanding of art by Martin Heidegger. This can be explained by the tradition of ontological poetry (Friedrich Hölderlin and Rainer Maria Rilke), which is important for both. The ontology of Goncharova’s painting is also considered in the context of the ontology of animals in Russian philosophy at the beginning of the 20th century (Vasily Rozanov) and in the Tahitian Painting of Paul Gauguin. Special attention is paid to ekphrastic poetics (style, tropes, consonance), with the help of which Tsvetaeva authentically transfers the ontologism of Goncharov’s painting in its stylistic diversity (cubism, neo-primitivism, rayonism) to the verbal level. Tsvetaeva and Goncharova in the respective Russian and European context (Gauguin, Rozanov, Heidegger, Rilke) appear as exponents of the ontological turn in the culture of the first half of the 20th century.

Stan Brakhage and Ethnographic Praxis

Anthropology ◽  
2021 ◽  
Author(s):  
Roxanne Varzi ◽  
Andrew McGrath
Keyword(s):  
20Th Century ◽  
Cultural Anthropology ◽  
Phenomenological Approach ◽  
Human Vision ◽  
Avant Garde ◽  
16Mm Film ◽  
Visual Artist ◽  
American Romanticism ◽  
Stan Brakhage ◽  
The 1960S

Stan Brakhage (b. 1933–d. 2003) was a visual artist and filmmaker who embodied many of the theoretical tensions and pragmatic themes in cultural anthropology in the 20th century, despite not being an anthropologist and working almost totally through experiments in 16mm film. In traversing, and being claimed by, both modernist and postmodernist thinkers and artists alike, he was a creator as much influenced by the poetry of American Romanticism as he was the harbinger of a millennial deconstruction. He is generally considered, along with the filmmaker Maya Deren, the quintessential savant of American avant-garde cinema. His phenomenological approach to filmmaking and his attention to poesis in visuality, combined with his persistent dispensation with narrative and plot, drew to light still pressing existential questions about the space between structure and individualism, the unconscious mind, myth, and intersubjective experiences in the shared quotidian of everyday being. While his early works of the mid-1950s showed solidarity with the surrealist and Freudian-inspired themes of compatriots like Maya Deren, in the 1960s Brakhage quickly engaged with what he viewed as the untapped potential of cinematic celluloid as a malleable medium with which to both capture and express the immediacy of sensual experience. At the core of his creative impulse was an exploration of visual perception unfiltered by symbolic textuality. To that end, his 16mm films were mostly soundless, color-saturated, nonlinear impressions of the most consequential of life’s relational phenomena; birth, sex, human development, death, and familial intimacies untethered from linguistic discourses, character drama, and traditional act-based storytelling structures. Brakhage’s process of etching and painting directly onto the emulsified film strips he used for shooting enabled his impressionistic questioning of the boundaries of representation in moving images. Brakhage asserted that, much as with human vision, such manipulations punched holes in the epistemic orthodoxy of experiential narrative and instead stressed the messy and affective ways that our sensory organs force us to negotiate our immanent worlds. His early artistic tenure found him characteristically prolific in modernist aesthetics as he explored concepts ranging from the psychoanalysis of dreaming and the Freudian death-drive in Reflections on Black (1955) to the metaphysical man-myth opus Dog Star Man (1961–1964). Such themes paralleled similar theoretical concerns emergent in anthropology in the mid-20th century as evident in both the structuralism of Levi-Strauss and the persistence of the Freudian unconscious as an explanatory hermeneutic. Today, Stan Brakhage’s influence in anthropology is evident in ethnographic filmmaking that challenges the documentary impulse, ambiguates hegemonic truth claims, and explores the modalities of sensorial representation related to human experience through iterative experimentation.

scholarly journals Increasing cloud cover in the 20th century: review and new findings in Spain

2012 ◽  
Vol 8 (4) ◽  
pp. 1199-1212 ◽  
Author(s):  
A. Sanchez-Lorenzo ◽  
J. Calbó ◽  
M. Wild
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Cloud Cover ◽  
Linear Trend ◽  
General Tendency ◽  
Digital Format ◽  
New Findings ◽  
The Mean ◽  
Instrumental Period ◽  
The 1960S

Abstract. Visual observations of clouds have been performed since the establishment of meteorological observatories during the early instrumental period, and have become more systematic and reliable after the mid-19th century due to the establishment of the first national weather services. During the last decades a large number of studies have documented the trends of the total cloud cover (TCC) and cloudy types; most of these studies focus on the trends since the second half of the 20th century. Due to the lower reliability of former observations, and the fact that most of this data is not accessible in digital format, there is a lack of studies focusing on the trends of cloudiness since the mid-19th century. In the first part, this work attempts to review previous studies analyzing TCC changes with information covering at least the first half of the 20th century. Then, the study analyses a database of cloudiness observations in Southern Europe (Spain) since the second half of the 19th century. Specifically, monthly TCC series were reconstructed since 1866 by means of a so-called parameter of cloudiness, calculated from the number of cloudless and overcast days. These estimated TCC series show a high interannual and decadal correlation with the observed TCC series originally measured in oktas. After assessing the temporal homogeneity of the estimated TCC series, the mean annual and seasonal series for the whole of Spain and several subregions were calculated. The mean annual TCC shows a general tendency to increase from the beginning of the series until the 1960s; at this point, the trend becomes negative. The linear trend for the annual mean series, estimated over the 1866–2010 period, is a highly remarkable (and statistically significant) increase of +0.44% per decade, which implies an overall increase of more than +6% during the analyzed period. These results are in line with the majority of the trends observed in many areas of the world in previous studies, especially for the records before the 1950s when a widespread increase of TCC can been considered as a common feature.

Georg von Békésy and Bruce Mer: Early Pioneers of Endoscopic Ear Surgery

2020 ◽  
pp. 019459982095730
Author(s):  
Nicholas Koen ◽  
Aaron Remenschneider ◽  
Daniel J. Lee ◽  
Elliott D. Kozin
Keyword(s):  
Soft Tissue ◽  
20Th Century ◽  
Line Of Sight ◽  
Endoscopic Ear Surgery ◽  
Ear Surgery ◽  
Otologic Surgery ◽  
The 1960S ◽  
Technical Capacity ◽  
Operative Microscope ◽  
Historical Article

The binocular operative microscope has been the workhorse of otologic and neurotologic surgeons since the 1950s. Since its advent, however, surgeons recognized that the operative microscope could not “look around corners” and its line-of-sight technology required soft tissue and bony dissection to enable light to reach the surgical plane. Endoscopic technology has evolved to address many of the limitations of operative microscopy. While the endoscope is often viewed as a recent development in otologic surgery, in the following historical article, we highlight the contributions of two mid–20th century pioneers of endoscopic ear surgery: Georg von Békésy and Bruce Mer. In the 1940s, Dr von Békésy envisioned an endoscope for determining stapes mobility. Dr Mer, with a team of engineers, created an otoendoscope to perform some of the first endoscopic ear procedures in the 1960s. Lessons gleaned from von Békésy and Mer’s research include the need for counterculture thinking and the challenges of pioneering ideas beyond technical capacity.

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