Widersprüchliche Optionen: Stationen der Künste 1913

2013 ◽  
Vol 38 (1) ◽  
Author(s):  
Christoph Asendorf
Keyword(s):  
Avant Garde ◽  
The Rich ◽  
The Aesthetic

AbstractApart from their rather coincidental origin year, 1913, there is no apparent connection between a monument like the “Völkerschlachtdenkmal” in Leipzig (“Monument to the Battle of the Nations”) and the aesthetic manifestations of the avant-garde. These artistic expressions oscillate between opposite poles: weakness and desire for stability, refinement and primitivism, immanence and transcendence. It might be assumed that precisely these contradictory impulses lie at the heart of the rich and widely influential artistic outcome of this pre-war year.

Modernism and Non-Translation

2019 ◽  
Keyword(s):  
Case Studies ◽  
James Joyce ◽  
Ezra Pound ◽  
Modernist Literature ◽  
Cultural Implications ◽  
The Rich ◽  
The Aesthetic ◽  
Reading Key ◽  
Modernist Fiction ◽  
Selection Of

Modernism and Non-Translation proposes a new way of reading key modernist texts, including the work of canonical figures such as T. S. Eliot, James Joyce, and Ezra Pound. The topic of this book is the incorporation of untranslated fragments from various languages within modernist writing. It explores non-translation in modernist fiction, poetry, and other forms, with a principally European focus. The intention is to begin to answer a question that demands collective expertise: what are the aesthetic and cultural implications of non-translation for modernist literature? How did non-translation shape the poetics, and cultural politics, of some of the most important writers of this period? Twelve essays by leading scholars of modernism explore American, British, and Irish texts, alongside major French and German writers, and the wider modernist recovery of Classical languages. They explore non-translation from the dual perspectives of both ‘insider’ and ‘outsider’, unsettling that false opposition, and articulating in the process their individuality of expression and experience. The range explored indicates something of the reach and vitality of the matter of translation—and specifically non-translation—across a selection of poetry, fiction, and non-fictional prose, while focusing on mainly canonical voices. Offering a series of case studies, the volume aims to encourage further exploration of connections across languages and among writers. Together, the collection seeks to provoke and extend debate on the aesthetic, cultural, political, and conceptual dimensions of non-translation as an important yet hitherto neglected facet of modernism, helping to redefine our understanding of that movement. It demonstrates the rich possibilities of reading modernism through instances of non-translation.

"Us" vs. "Them". Communist Dialectical Images from Interwar Europe and Soviet Russia

2021 ◽  
Author(s):  
Adri Kácsor
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Visual Culture ◽  
Upper Class ◽  
Avant Garde ◽  
Political Propaganda ◽  
Political Transformations ◽  
The Rich ◽  
Soviet Russia ◽  
Interwar Europe

Brawny male workers vs. bulging bourgeois men. Working-class mothers burdened by the hardship of poverty and childcare vs. elegant upper-class women enjoying a lifestyle of privilege. Such juxtaposed images of workers and the rich were prevalent in the visual culture of communism throughout the twentieth century, appearing on posters, illustrations, and other genres of political propaganda across countries and continents. Although these didactic propaganda images have rarely been considered in histories of modernism and the avant-garde, this article argues that they were among the key visual inventions of twentieth-century communist visual culture given their highly innovative aesthetics and juxtaposed structure that provided them a potential to become dialectical. Drawing on examples from interwar Europe and Soviet Russia, this article examines how didactic juxtapositions could become dialectical images, triggering political transformations while also making revolutionary class consciousness visible for the viewer.

A comparative Study of Chinese Traditional Folk Paper-cut Art Desigh and Modern Graphic Design Based on Visual Communication

2021 ◽  
Vol 7 (5) ◽  
pp. 1028-1035
Author(s):  
Jiaxia Cheng
Keyword(s):  
Graphic Design ◽  
Visual Communication ◽  
Folk Art ◽  
Visual Communication Design ◽  
Design Concepts ◽  
Chinese Nation ◽  
The Rich ◽  
The Times ◽  
The Aesthetic ◽  
National Style

Paper-cut, as a traditional folk art, has become a treasure of Chinese folk art in its long history of development. Paper-cut gives people artistic enjoyment visually with its unique creative techniques, full composition and vivid and interesting patterns. Methods: Traditional folk paper-cut art records the folk customs of the Chinese nation and embodies the temperament and national style of the Chinese nation. Its unique way of thinking and expression provide unique creative ideas and rich visual art resources for modern graphic design. Chinese folk paper-cut is an organic combination of decoration and practicality. Results: It can not only show the rich and colorful folk life, but also meet the aesthetic needs of a variety of situations. How to combine rich traditional culture and art with graphic design concepts and the spirit of the times to design works with national style, so as to better integrate folk paper-cut art with graphic design, is the pursuit of graphic designers. Conclusion: Based on visual communication design, this paper discusses the comparison and integration between traditional Chinese folk paper-cut art design and modern graphic design.

Evaluation of the aesthetic qualities and adaptability of introduced ornamental apple trees from the genetic collection of the Orenburg Branch of the Federal Horticultural Research Center for Breeding, Agrotechnology and Nursery

2021 ◽  
Vol 67 ◽  
pp. 78-88
Author(s):  
E. M. Feschenko
Keyword(s):  
Abiotic Factors ◽  
Average Diameter ◽  
Research Center ◽  
Apple Trees ◽  
Vegetative Organs ◽  
Royal Horticultural Society ◽  
Red Color ◽  
Ornamental Crops ◽  
The Rich ◽  
The Aesthetic

The study of ornamental and adaptive qualities of Malus Mill. from the genetic collection of ornamental crops of the Orenburg branch of the Research Center of Horticulture was carried out to assess the gene pool of introduced wild apple tree species and forms and identify suitable for the urban landscaping and the breeding process. Such characteristics as habitus, abundance of flowering, color and number of flowers in the inflorescence, color of vegetative organs, flowers and fruits during the season were taken into account; resistance to major diseases and adverse abiotic factors was evaluated. Additionally, the color of buds and flowers was characterized on the basis of the RHS (Royal Horticultural Society Color Chart). As a result of a preliminary survey on the complex of ornamental qualities and the level of adaptability, 5 most promising species were identified, which received the best ratings on the ornamental scale. Malus sikkimensis (Wenz.) Koehne ex C. K. Schneid. (31 points) was characterized by an attractive habit, the presence of flowers with a diameter of up to 40 mm and subsequently fruits that acquire a yellow-red color. Malus sargentii Rehder (29 points) was notable for its compact rounded crown, a large number of flowers with a diameter of 30 mm, followed by the formation of fruits with a dark red color. Malus floribunda Siebold ex Van Houtte (28 points) was distinguished by a large number of fragrant flowers in an umbrella-shaped inflorescence (5 — 7 pcs) with an average diameter of 30 mm, as well as attractive red-yellow fruits. Malus sieboldii (Regel) Rehder, M. toringo Siebold (28 points) was interesting primarily by the presence of 5 -7 flowers of 20 — 30 mm in the inflorescence and decorative fruits, the color of which varies from yellow to red. Malus niedzwetzkyana Dieck (28 points) attracted attention to the rich purple color of all organs due to the presence of a large number of anthocyanins, it was also worth noting the presence of a pleasant aroma during flowering and large flowers with an average diameter of 40 mm. The selected ornamental types of apple trees are favorable for use in landscaping of various scales, they are recommended for breeding work as initial parent forms.

Theoretical Problems of Soviet Underground Culture

2021 ◽  
Author(s):  
Mark Lipovetsky ◽  
Tomáš Glanc ◽  
Maria Engström ◽  
Ilja Kukuj ◽  
Klavdia Smola
Keyword(s):  
Communicative Practices ◽  
Avant Garde ◽  
Central Focus ◽  
Cultural Phenomenon ◽  
Relational Art ◽  
Theoretical Hypothesis ◽  
Historical Specificity ◽  
The Aesthetic

This article presents a spectrum of theoretical problems associated with the Soviet artistic underground as a historical and cultural phenomenon. The central focus is on constellating issues of terminology and definition around the borders of underground culture in the USSR, within scholarship about it. As a theoretical hypothesis of the handbook, the chapter introduces the concept of the lifeworld, which the volume editors and contributors interpret as a synthetic multimedia nexus of a given nonconformist circle’s activities, both artistic and cultural. The underground lifeworld manifests the aesthetic discourse idiosyncratic for each artistic circle and serves as the source of semi-spontaneous “relational art” that absorbs and generates artworks, along with performative and communicative practices. Through the concept of the aestheticized lifeworld, the authors of this article define the historical specificity of the Soviet artistic underground in relation to the Russian historical avant-garde and Western neo-avant-garde.

Conclusion

2020 ◽  
pp. 522-538
Author(s):  
Jonathan Walley
Keyword(s):  
Avant Garde ◽  
Medium Specificity ◽  
Expanded Cinema ◽  
The Aesthetic ◽  
Experimental Films

The conclusion argues that while expanded cinema might seem radically opposed to conventional, popular, and mainstream cinema, it nonetheless attempts to articulate and specify the aesthetic qualities that define all cinema. This parallels a trait of conventionally made avant-garde/experimental films; the assertion of cinema’s nature and essences, which constitute all forms of cinema regardless of how different one kind of film appears from another. The conclusion also draws upon the notions of the “essentially cinematic” explored across the book to counter theoretical arguments against such specificity positions (e.g. medium specificity) that have been advanced by critics and scholars in the worlds of cinema and art. The conclusion argues that these anti-specificity positions are overly simplistic, and that expanded cinema represents a more nuanced and sophisticated notion of what a medium specific theory—or work of cinema—can be.

Introduction

2019 ◽  
pp. 1-22
Author(s):  
Jennifer H. Oliver
Keyword(s):  
Sixteenth Century ◽  
Critical Study ◽  
Political Symbolism ◽  
French Culture ◽  
Potential Failure ◽  
The Rich ◽  
The Aesthetic ◽  
Previous Scholarship ◽  
Literary Reception

In the early 1520s, a ship of remarkable proportion was built in Le Havre, commissioned by François I in response, in part, to the size, success, and renown of Henry VIII’s Mary Rose. The story of the Grande Françoise, reported locally as the largest vessel ever witnessed, demonstrates the rich cultural and political symbolism (intentional or otherwise) of the ship in the sixteenth century, and the significance of its potential failure, destruction, and recuperation. This Introduction moves from the example of the Grande Françoise, including its swiftly traceable literary reception, to survey the classical, biblical, and medieval traditions that inform the writing of shipwreck in the sixteenth century, before turning to previous critical study of shipwreck, with particular focus on Hans Blumenberg’s essay Shipwreck with Spectator. The Direful Spectacle is in some senses a response to Blumenberg, offering a ‘close-up’ on French culture of the sixteenth century, and a challenge to his separation of the aesthetic from the moral or ethical in shipwreck texts. Situating this new study in relation to previous scholarship, the Introduction then proceeds to set out its distinctive themes and arguments, before concluding with an outline of the structure and summaries of the contents and argument of each chapter.

Secessionist Movement

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Fine Art ◽  
Art Nouveau ◽  
Avant Garde ◽  
The Status ◽  
The Aesthetic ◽  
Secessionist Movement ◽  
Applied Arts ◽  
Modern Movement

The Secessionist Movement is the name applied to a range of artistic splinter groups that began to emerge in the 1890s. Objecting to what they saw as the inherent conservatism of established academies, these groups ‘seceded’ or broke away from their parent institutions and launched their own, avant-garde approach. The first secessionist group appeared in Munich in 1892 under the leadership of Franz von Stuck and Wilhelm Trübner. Among the most influential secessionist groups was that founded in Vienna by a coalition of artists, architects and designers who resigned from the Association of Austrian Artists in 1897. United by the urge to elevate the applied arts to the status of fine art, members of the Vienna Secession produced exquisite work across a spectrum of creative disciplines. The aesthetic initially resembled the curvilinear Art Nouveau style, but it increasingly moved towards abstraction and geometric simplicity. The founding of the Vienna Secession thus marked the beginning of a new artistic era in Austria and heralded the birth of the Modern Movement.

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