scholarly journals Art nouveau period: borders and concepts

2021 ◽  
Vol 1 (1) ◽  
pp. 33-41
Author(s):  
Alexander V. Belobratov
Keyword(s):  
18Th Century ◽  
The Self ◽  
Art Nouveau ◽  
Avant Garde ◽  
Political Interaction ◽  
The Future ◽  
Utilitarian Approach ◽  
The Aesthetic ◽  
Definition Of ◽  
Extended Interpretation

The article offers an extensive overview of modern approaches to definition of art nouveau as a literary era and to establishing its chronological boundaries. There have been analyzed main variations of the self-definition of the era as well as researchers attempts to find an appropriate definition to this complex aesthetic phenomenon. The extended interpretation of art nouveau as a macroepoch is examined, the period dating back to the end of the 18th century and connected primarily with the artistic system of Romanticism. Based on the aesthetic manifestos of German Naturalism, the meaning of the literary situation in 1880th Germany is examined, where the widespread proclamations of the aesthetic revolution and modern attitudes coexisted with the adherence to the deterministic aesthetics of the previous decades. The leading trends in the culture of the fin de sicle are connected with the onset of the first stage of art nouveau in the art and literature of 1890-1900, soon to be replaced by avant-garde art at the turn of the second decade of the new century. Avant-garde, which associated itself with modernity, was mainly destroying already established art forms. This article suggests that the literary avant-garde as a project of the future manifests a utilitarian approach to the attitudes of the art nouveau on the brink of the new century, making art nouveau accessible for the audience and bringing the artist into the space of political interaction with the society.

scholarly journals Mykola Bidenko’s poetry: typology and idiography

2021 ◽  
Vol 27 (1) ◽  
pp. 1-6
Author(s):  
Roman Tkachenko
Keyword(s):  
Contemporary Art ◽  
Future Research ◽  
Problem Statement ◽  
Avant Garde ◽  
First Approximation ◽  
The Future ◽  
The Subject ◽  
The Aesthetic ◽  
Definition Of ◽  
Artistic Heritage

The relevance of the selected inquiry is in the need for urgent understanding of the ways of Ukrainian literature development, in particular, of poetry development, at the turn of the 20–21th centuries. It is no secret that art recreates the spiritual atmosphere of the time, but even more valuable is its ability to respond to subtle changes in the mood of contemporaries and form a spiritual picture of the future. In this sense, the study of contemporary art will be useful not only to literary critics. The subject of research is the typological and idiographic parameters of M. Bidenko’s poetry, its immediate artistic context, unique features of poetics, education and ideological and thematic direction. We understand the problem statement as an attempt to outline the first approximation of the role and place of M. Bidenko’s creative heritage in the context of Ukrainian literature of the late 20 — early 21th centuries. The study used mainly typological method, as well as principles of hermeneutics in the interpretation of key images. The purpose of this article is to outline the aesthetic and typological parameters of the artistic heritage of M. Bidenko, its unique features and features, consistent with the artistic context, based on the analysis of formal means and conceptual principles. As the result of the study Bidenko’s poetry is outlined mainly in the aesthetic coordinates of avant-garde and belongs to the environment of the Kyiv school of poets (verlibre, autotheliality of the word, avoidance of rhetoric, etc.), but in worldview he is more radical, skeptical and paradoxical than “kyivans.” In our view, Bidenko's dominant reception is a paradox. Pain as one of the key images of Bidenko's poetry, is metaphysical. Against such pain, the poet invented a “cure of death.” We see the novelty of this exploration in the definition of the dominant technique and our own interpretation of key images in Bidenko’s poems. Promising for future research are the nature of Bidenko’s verlibrium, features of the author's syntax or the nature of visual flavor.

Towards a Historical Definition of the Haskalah

2001 ◽  
pp. 184-220
Author(s):  
Shmuel Feiner
Keyword(s):  
The Self ◽  
Revolutionary Movement ◽  
Avant Garde ◽  
Jewish Society ◽  
Alive Today ◽  
History Of ◽  
Definition Of

This chapter studies the long historiographic tradition in search of a definition of the Haskalah. It suggests reducing the historical parameters of the Jewish Enlightenment so that it can be recognized as a trend in which modernizing intellectuals aspired to transform Jewish society. Despite the obvious diversity and dispersion of the Haskalah, and the difficulty in defining it precisely, the chapter enumerates a number of essential criteria, elaborating on the self-consciousness of the maskilim and paying special attention to their militant rhetoric and awareness of belonging to an avant-garde, redemptive, and revolutionary movement. It also sketches a portrait of the typical maskil, surveys the history of the movement and its various centres, and elucidates the dualistic nature of its ideology, explaining its links to the processes of Jewish modernization and secularization. Ultimately, the Haskalah was the intellectual option for modernization that triggered the Jewish Kulturkampf which, still alive today — especially in Israel — separates modernists and anti-modernists, Orthodox and secular Jews.

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.

Ich-Dissoziation – Apokalypse – Ästhetik des Hässlichen. Einfluss des deutschen literarischen Expressionismus’ auf die frühe Lyrik von Robert Reiter

2021 ◽  
Vol 66 (3) ◽  
pp. 49-60
Author(s):  
Réka Jakabházi ◽  
Keyword(s):  
Formal Language ◽  
Early Period ◽  
Ideal Type ◽  
The Self ◽  
German Expressionism ◽  
Avant Garde ◽  
New Man ◽  
The Aesthetic ◽  
The Ideal

"Dissociation of the Self – Apocalypse – the Aesthetic of Ugliness. The Influence of German Literary Expressionism on the Early Lyrical Work of Robert Reiter. The present paper focuses on the influence of German literary Expressionism on the early lyrical work of Robert Reiter. In his early period, Robert Reiter took inspiration from the formal language of German Expressionism, as well as from the notion of subjective expression or the dissociation of the self associated with it. He used the apocalypse-motif and the ideal type known as the “New Man,” and practised an “aesthetics of the ugly”, which played a central role in Expressionist literature. To support this thesis, this article analyses the early work of the poet in light of contemporary avant-garde tendencies, with a focus on the poem Terhes hajnalban [In Pregnant Dawn]. Keywords: Expressionism, Robert Reiter, dissociation of the self, apocalypse, aesthetic of ugliness "

scholarly journals The Culture of the XVIIIth Century and the Return to the Human Being

2018 ◽  
Vol 10 (4) ◽  
pp. 90-102
Author(s):  
Gleb K Pondopulo
Keyword(s):  
Immanuel Kant ◽  
18Th Century ◽  
The Self ◽  
Creative Work ◽  
Human Being ◽  
Johann Gottfried Herder ◽  
Giambattista Vico ◽  
Cultural Process ◽  
The Subject ◽  
Definition Of

Analyzing the works of Giambattista Vico, Jean-Jacques Rousseau, Johann Gottfried Herder and Immanuel Kant, the article searches into the typological peculiarities of the 18th century culture, shows a fundamental refocusing of the whole cultural process from the cosmological idea to the anthropological one, gives the humanist reasons of culture and the definition of its personalized form, reveals the self-identification of a human being not as the object but the subject of learning and creative work.

scholarly journals Confessione e biografia: per un avvenire fondato nella storia. Note a partire da Jacques Derrida e Jean-Luc Marion

2017 ◽  
Vol 8 (1) ◽  
pp. 61-74
Author(s):  
Francesca Peruzzotti
Keyword(s):  
Jacques Derrida ◽  
Crucial Role ◽  
The Self ◽  
The Other ◽  
Negative Theology ◽  
The Future ◽  
Definition Of ◽  
The Relationship

This paper aims to draw a connection between Jacques Derrida and Jean-Luc Marion in regard to the role of negative theology. This scrutiny shows meaningful contributions of the Authors to a new definition of subjectivity in a post-metaphysical age, and their consideration about which possibilities are still open for a non-predetermined history given outside of the presence domain. The future is neither a totalisation of history by its end, nor a simple continuation of the present. It is an eschatological event, where the relationship with the other plays a crucial role for the self-constitution. Such an interlacement is generated by the confession, where the link between past and future is not causally determined, but instead it is self-witness, as in Augustine’s masterpiece, essential reference for both the Authors

Wagnérisme and the Aesthetic of Sentiment

2019 ◽  
pp. 23-74
Author(s):  
Alexandra Kieffer
Keyword(s):  
The Self ◽  
Major Contributor ◽  
Psychological Realism ◽  
Human Psychology ◽  
Avant Garde ◽  
Music Aesthetics ◽  
The Aesthetic ◽  
Academic Tradition

In the late 1880s, Édouard Dujardin’s Revue wagnérienne was a major contributor to early Symbolist discourse, reinterpreting Wagnerian aesthetics and Schopenhauerian metaphysics to support the innovations of forward-thinking French poets. Advancing this new Symbolist poetics, Dujardin, along with his friend and prolific contributor to the Revue wagnérienne Téodor de Wyzewa, proposed that music is an art of psychological “realism”—a claim that rested on a conception of human psychology drawn largely from British associationism and propounded in France (against the conservative academic tradition defined by Victor Cousin’s eclectic spiritualism) by Théodule Ribot. Consequently, the Revue wagnérienne became a point of contact between avant-garde music aesthetics and modern psychological notions of the self that were then gaining wide currency in France.

scholarly journals Defining Art and its Future

2017 ◽  
Vol 6 (6) ◽  
pp. 84
Author(s):  
Zachary Isrow
Keyword(s):  
Everyday Life ◽  
Artistic Expression ◽  
Easy Task ◽  
The Future ◽  
Art Forms ◽  
Suitable Definition ◽  
The Subject ◽  
The Aesthetic ◽  
Definition Of

<p class="FirstParaofSectionTextStyle" align="left"><span class="DroppedCaseChar"><span>Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art such as painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life.</span></span></p>

scholarly journals Music education in Ukraine: meetings in history

2017 ◽  
pp. 73-77
Author(s):  
L. Y. Protsiv
Keyword(s):  
Music Education ◽  
18Th Century ◽  
Music Pedagogy ◽  
Music Culture ◽  
Short Period ◽  
The Future ◽  
Musical Thinking ◽  
The Status ◽  
History Of ◽  
The Aesthetic

The article describes main features of human civilization as metahistory, substantiates a view on the history of music pedagogy in Ukraine as metahistory, the contents of which is constant values, spiritual constants of the humanity, and also synchronous section of history, including such things as coincidence, similarity of certain “spiritual epochs”, meetings in history. An example of such “synchronous” dramaturgy in the history of the Ukrainian music education is seen in M. Dyletskyi’s creative activity and pedagogical legacy. In musical thinking this personality was ahead of representatives of Western European polyphonic school, and came very close to the theory of temperatio, so well presented in Bach’s art. Supporting Kyiv concept of education at Slavonic, Latin and Greek schools, which involved a combination of eastern and western elements of education, national and European cultural and educational traditions, M. Dyletskyi formulated the aesthetic principles of choral art, revealed progressive pedagogical ideas. Age of Baroque and Enlightenment was the epoch of Great Travelers and symbolic meetings. In search of truth and artistic ideal philosophers, artists, musicians traveled in Europe. Various meetings took place — real and unreal, sometimes at an interval of a century, but they determined “symbolic insight into the future”. An important meeting took place at the end of the 18th century in Vienna. The Ukrainians met a famous countryman, composer D. Bortnyanskyi. Since then, composer’s music became a model of his proficiency, the embodiment of the Ukrainians’ spiritual outlook. He was called “the Ukrainian Mozart”, “Our Palestrina”, and he became a kind of a “bridge” between the European polyphonists and “classicists”, and also composers–romanticists, who also were influenced by his works. Age of Baroque and classicism, “Golden Age” in the Ukrainian music culture has acquired the status of “epic time” aimed at eternity, when a relatively short period of time defined the future way for historical development. The presence of such parallels and “meetings in history”, actualizing the past at the request of the future, defines metahistorical nature of history of music education in Ukraine.

Theological Interpretation of Scripture and Its Future

2017 ◽  
Vol 99 (4) ◽  
pp. 671-690
Author(s):  
Stephen Fowl
Keyword(s):  
The Self ◽  
Theological Interpretation ◽  
Historical Criticism ◽  
The Future ◽  
Definition Of ◽  
The Relationship

This essay will quickly review some of the recent movements and concerns that led to the reemergence of theological interpretation of scripture. In this light, the essay will present and examine three issues facing theological interpretation as it moves forward into the future. The first issue concerns debates around the self-definition of theological interpretation. The less said here the better. The second concerns the relationship between theological interpretation and the practices of historical criticism. After a great deal of hostility and mutual recrimination, the time is now right to reflect on this relationship in less fevered tones. Finally, theological interpreters of scripture should focus some attention on the formation of future theological interpreters.

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