Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (3) ◽  
pp. 94-106
Author(s):  
Nikolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (1) ◽  
pp. 82-98
Author(s):  
Nicolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (2) ◽  
pp. 102-115
Author(s):  
Nicolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Modern Art History As a Human Science in a Situation of Cultural Turn

2019 ◽  
Vol 11 (4) ◽  
pp. 98-113
Author(s):  
Nikolay Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Problematic Situation ◽  
Linguistic Turn ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

scholarly journals THE IDENTITY AS AN ART PHENOMENON

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
A. Zinenko
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Organizational Design ◽  
Cross Cultural ◽  
Research Subject ◽  
Art Theory ◽  
Teaching Activities ◽  
Hermeneutic Phenomenological ◽  
The Past

The research subject is the study of the Phenomenon of identity and its reflection in contemporary Ukrainian art. The purpose of the work is to investigate the specifics of the Phenomenon's reflection of identity in contemporary Ukrainian art. The work methodology is based on chronological and scientific comprehensiveness, art history, historical, philosophical, and culturological approaches, ontological, axiological, hermeneutic, phenomenological, cross-cultural, and method of art analysis. The work results allow us to understand the evolution of researchers' views in various fields on the Phenomenon of identity and its application in contemporary art approaches. The results' scope is today's artistic practices, history, art theory, and art criticism, teaching activities for students and graduate students of creative specialties. Findings. The Phenomenon of identity in contemporary art means that problem of its reflection in the art exists and begins to be understandable. Some conclusions about the correctness of the direction of practices and patterns to a new search identity approach can be made considering foreign experience. Simultaneously, a society that interacts with contemporary art in the latest cultural projects and what principles of such participation should be taken into account in organizational, design, exhibition, and interpretive activities. The proof that modern contemporary art in its various manifestations is deeply rooted in the socio-cultural process, and therefore has different forms of identity, is closely connected with the past and present of Ukraine. Appeal to the past in art - preserving memory, rethinks symbols and signs, gives new life to archaic images and techniques; art is turned to the present, reflecting on reality. Presenting society's moods and problems accumulate the achievements of Ukraine as an independent country.Keywords: contemporary art, identity, Ukraine, the beginning of XXI century. 

James Jackson Jarves's Art Criticism: Aesthetic Classifications and Historiographic Consequences

2008 ◽  
Vol 42 (2) ◽  
pp. 215-235
Author(s):  
KAREN L. GEORGI
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Turning Point ◽  
American Culture ◽  
American Art ◽  
Art Theory ◽  
Fundamental Understanding ◽  
American Art History ◽  
Methodological Principles ◽  
The Aesthetic

Looking at the methodological principles and rhetorical forms that structure James Jackson Jarves's often-cited 1864 book The Art-Idea, this essay reconsiders Jarves's role in the historiography of American art. Jarves has long been associated with post-Civil War shifts toward international aesthetic trends, which eroded the native bias in favor of verisimilitude and anecdote. He is thought to mark a turning point. His texts, however, only partially corroborate the reputation. Here, firstly, I reread Jarves's art theory to suggest what were the aesthetic preferences he hoped to foster among Americans, and why. Secondly, I propose that the reputed Jarves fulfills an apparently unrecognized need in the subdiscipline of American art history – a fundamental understanding of American art as automatically, necessarily, indexical. It is primarily a manifestation of American culture, and more specifically American culture as defined by change, growth, disruption, reintegration.

scholarly journals Intensification of the relationship between the Russian Orthodox and Anglican Church in the second half of the 1890s

2020 ◽  
Vol 2 (3) ◽  
pp. 457-470
Author(s):  
Hierodeacon Yaroslav Ochkanov ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Russian Orthodox ◽  
Anglican Church ◽  
Church Unity ◽  
The 19Th Century ◽  
Theological Thought ◽  
The Relationship ◽  
Intensive Development ◽  
Significant Attention

The article analyzes the relationship between the Anglican and Russian Orthodox churches at the very end of the 19th century. The reasons why the Anglican — Orthodox dialogue received intensive development and significant theological content during this period are considered. Significant attention is paid to the mutual visits of the hierarchs of the two Churches, during which they discussed and agreed on numerous issues related to the rapprochement of the Anglican and Russian Orthodox Churches in connection with the prospect of planned interfaith unity. Emphasis is placed on the problem of recognizing the legitimacy of Anglican ordinations, which arose both due to the historical formation of Anglicanism and in connection with the peculiarities of the Anglican doctrine of the sacraments, particularly the sacrament of the priesthood. The author investigates the reasons why Russian theologians, who have carefully studied the historical, canonical and dogmatic sides of the issue, were forced at this stage to deny the Anglicans the recognition of the legality of their ordinations. In connection with this decision, the prospect of inter-church unity was postponed indefinitely so that Anglican theological thought could finally be defined in the sacramentology of the Anglican creed. At the same time, the dialogue between the two churches was not interrupted, but rather continued fruitfully in the 20th century.

scholarly journals Art History and Other Stories

2020 ◽  
Vol 18 (38) ◽  
pp. 197-217
Author(s):  
Luiza Esper Berthoud
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Modern Art ◽  
Art Appreciation ◽  
Art Making ◽  
The Relationship

Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.

scholarly journals Hermeneutics of Aristotle and Hermeneutics of Sophists in Terms of Dialogue Philosophy. Part 1

2020 ◽  
Vol 24 (3) ◽  
pp. 480-501
Author(s):  
Ilya Dvorkin
Keyword(s):  
20Th Century ◽  
Analytical Philosophy ◽  
Linguistic Turn ◽  
Modern Thought ◽  
Philosophy Of Dialogue ◽  
The Difference ◽  
New Formulation ◽  
The Relationship ◽  
Modern Analytical ◽  
Philosophical Doctrine

The article considers the logical and philosophical doctrine of sophists, which, according to some modern researchers, was more philosophical than their ancient critics recognized. A comparison of the provisions of Aristotle's hermeneutics with preserved fragments of Protagoras and Gorgias shows that the doctrine of sophists was a kind of holistic philosophy, which anticipated the philosophy of dialogue of the XX century. Despite the fact that the philosophy of Plato and Aristotle tried to overcome the relativism and anti-ontologism of the doctrine of sophists, some elements of its dialogueism were preserved in subsequent philosophy in dialectics and rhetoric. The first thing you should pay attention to is the difference between the dialogical form of the presentation of philosophy in Plato and dialogue as the fundamental basis of thinking that we find among sophists. The dialogueism preserved in the dialectic of Plato and the rhetoric of Aristotle is more a technical method of convincing the interlocutor than a hermeneutical basis, which it is in the philosophy of dialogue and in the method of Socratic discussion. The linguistic turn that occurred in the philosophy of the 20th century includes not only an increased interest in language and accuracy of expression. No less important is the new formulation of the question of the nature of the language. Is language a tool for the formulation of thought as Aristotle believed and followed by representatives of modern analytical philosophy, or does it have its own fundamental status, as representatives of the philosophy of dialogue believe? In this context, it is very important for the philosophy of dialogue to find in the thinking of the pre-Socratics those predecessors who already two and a half thousand years ago charted the paths for modern thought. The first part of the article analyzes the relationship between Aristotles hermeneutics and hermeneutics of sophists.

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

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