scholarly journals Kilka uwag o związku książki artystycznej i literatury pięknej

2017 ◽  
Vol 56 ◽  
pp. 149-161
Author(s):  
Paweł Bernacki
Keyword(s):  
20Th Century ◽  
Literary Texts ◽  
Book Art ◽  
Works Of Art ◽  
Art And Literature ◽  
Belles Lettres ◽  
Written Word ◽  
The 1960S ◽  
State Of Affairs

Some remarks on the link between artists’ books and belles-lettres The book art and literature seem to be closely linked. Almost from the very beginning of its existence the former was used to store, disseminate and highlight the values of the latter. This state of affairs began to change at the turn of the 20th century, when the great avant-gardes were increas­ingly emphasising the visual aspects of the written word and, consequently, of books. People were increasingly convinced about the autonomy and independence of books. This led to the emergence in the 1960s of amovement known as artists’ books, which considered books to be works of art in themselves, and consequently, to be more loosely connected with literature. This broad and not yet fully defined phenomenon encompasses awhole range of projects interpreting literary texts or inspired by them. By analysing works of artists like Renata Pacyna-Kruszyńska, Małgorzata Haras, Janusz and Jadwiga Tryzna Itry to demonstrate how authors of artists’ books interpret the writers’ works, using them as abasis for completely new, original and autonomous projects, and to show which direction contemporary book art may follow over the next few years.

scholarly journals The slow death of a dogma? The prohibition of legislative history in the 20th century

2020 ◽  
pp. 147377952096795
Author(s):  
John J Magyar
Keyword(s):  
United Kingdom ◽  
20Th Century ◽  
Common Law ◽  
The United States ◽  
Statutory Interpretation ◽  
Legislative History ◽  
The United Kingdom ◽  
English Speaking ◽  
The 1960S ◽  
State Of Affairs

It is commonly believed that the rule prohibiting reliance on legislative history as an aid to statutory interpretation was firmly in place in the United Kingdom, and indeed throughout the English-speaking common law jurisdictions of the world, long before the turn of the 20th century; and that the rule was set aside in the case of Pepper v Hart in 1992. However, an examination of the relevant cases and the canonical textbooks by Maxwell and Craies reveal that the rule was subject to a significant amount of disagreement at the turn of the 20th century, particularly with respect to the admissibility of commissioners’ reports to uncover the mischief of a statutory provision. This disagreement would not be completely resolved until the 1960s. With respect to other types of legislative history, there were prominent exceptional cases over the course of the 20th century; and there was a gradual acceptance of more types of legislative history as aids to statutory interpretation during the decades leading up to Pepper v Hart. Thus, the simple narrative description that the rule was firmly in place until it was set aside in 1992 must give way to a more complex narrative of disagreement and gradual decline. Meanwhile, as the rule lost traction in the United Kingdom over the course of the 20th century, a growing accumulation of justifications for the rule has been assembled, and an ongoing debate has been taking place about the efficacy of reliance on legislative history. Based upon the different trajectories followed in other English-speaking common law jurisdictions, and particularly the United States, the decline of the rule was not inevitable. It follows that the current state of affairs is likely to change over time.

scholarly journals From the End of Man to the Art of Life: Rereading Foucault’s Changing Aesthetics

2018 ◽  
pp. 125-150
Author(s):  
Kenneth Berger
Keyword(s):  
Drop Out ◽  
Critical Function ◽  
Avant Garde ◽  
Works Of Art ◽  
Art And Literature ◽  
Art Of Life ◽  
The 1960S ◽  
The Individual ◽  
New Framework

In Foucault’s writing throughout the 1960s, in which he foregrounds the critical function of language and signification, works of art and literature – and works of avant-garde art and literature in particular – appear prominently and are the objects of sustained theoretical investment. In the 1970s, however, as Foucault moves away from his earlier concern with language’s capacity to dissolve “man” and begins to concentrate instead on the ways in which man is governed, works of art and literature no longer possess the same political promise for him and drop out almost completely from his writing. Yet the question of aesthetics does not disappear for him entirely, and, in his final years, he returns to it, though with his analysis now directed at what he calls an “art” or “aesthetics of life.” In this paper, I examine these developments with the aim of drawing out the connections between Foucault’s changing view of aesthetics and the larger transformations that take shape within his overall project. Against this background, I argue that Foucault’s call for an art of life, in which the individual develops techniques for continually reinventing his or her existence, does not necessitate abandoning the avant-garde aesthetic practices that he had previously advocated. Rather, I assert, his conception of an art of life – when read in conjunction with his theorization of critique as a “permanent” questioning of the limits imposed on us – offers a new framework for reimagining both the function of those practices and their legacies in culture today.

scholarly journals Danish Sixties Avant-Garde and American Minimal Art

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 169
Author(s):  
Max Ipsen
Keyword(s):  
American Art ◽  
International Perspective ◽  
Avant Garde ◽  
Works Of Art ◽  
Art And Literature ◽  
The Arts ◽  
Minimal Art ◽  
Art Historians ◽  
History Of ◽  
The 1960S

Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early.Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 1960s, and I will examine whether one can claim that Danish artists were influenced by American minimal art.

Writing and Ritual in Deuteronomy 28

2017 ◽  
Author(s):  
Laura Quick
Keyword(s):  
Ad Hoc ◽  
Comparative Method ◽  
Literary Texts ◽  
History Of ◽  
Important Means ◽  
Written Word ◽  
Ritual Process ◽  
Different Cultures ◽  
Ritual Context

This chapter argue that ritual behaviours might be just as good a source as literary texts for the diffusion of traditional cursing and treaty material across different cultures in the ancient Near East. In particular, the role of ad hoc oral Targum in the ritual process could have been an important means by which traditions were shared between different language communities. Recognition of the ritual context of this material also provides insights for the comparative method, the dating and authorship of Deuteronomy 28, and the subversive impetus thought to have stood behind its composition. Ultimately, the function of the written word in a largely oral world is shown to be fundamental to understanding the composition, function and the early history of the curses in the book of Deuteronomy.

The Battle of the Brands

2018 ◽  
Vol 3 (1) ◽  
pp. 41-49
Author(s):  
Călin-Andrei Mihăilescu
Keyword(s):  
Literary Texts ◽  
Future Action ◽  
Current State ◽  
International Recognition ◽  
Award Winning ◽  
Romanian Literature ◽  
State Of Affairs ◽  
Romanian Cinema ◽  
International Success ◽  
Literary Agents

Abstract The international recognition of Romanian literature faces a double challenge: first, the limited circulation of the Romanian language; second, the small number of translations and the non-systematic branding that this literature has enjoyed so far. This article discusses (1) the meanings of “branding”; (2) the ways in which the nationalist imp keeps hindering the branding of Romanian literature abroad, and highlights the historical and contemporary shortcomings of the branding of Romanian literary texts and authors; and (3) the current state-of-affairs, followed by a scenario for future action. The last section suggests ways of improving this branding by piggybacking on the international success of Romanian cinema and on a few award-winning Romanian writers, but especially by attempting to help create a class of professional middle-persons (cultural managers, literary agents and advertising professionals) who would systematically promote Romanian literature.

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 Functions of valency operators in Kamas

2016 ◽  
Vol 58 (2) ◽  
pp. 189-206
Author(s):  
Gerson Klumpp
Keyword(s):  
20Th Century ◽  
Close Contact ◽  
Early 20Th Century ◽  
Transitive Verbs ◽  
Intransitive Verbs ◽  
State Of Affairs ◽  
The One ◽  
Order Increase

AbstractThis article provides an account of the functional range of Kamas valency operators. Kamas is an extinct South Siberian language of the Samoyed branch of Uralic, which was in close contact with Turkic for many centuries. In the early 20th century, Kamas had two valency operators: (i) -Tə derived transitive from intransitive verbs as well as causative from transitive verbs; and (ii) -Ō derived intransitive from transitive verbs; in addition the intransitivizer, probably departing from pairs like edə- ‘hang up (tr.)’ > ed-ȫ- ‘hang (itr.)’, had acquired the function of specifying imperfective state-of-affairs, e.g. iʔbə- ‘lie down, lie’ > iʔb-ȫ- ‘lie’. The two markers may occur in combination in the order “increase-decrease” (-T-Ō), but not vice versa. While on the one hand the valency operators may be understood as verb derivation morphemes proper, i.e. verbs derived with the suffixes -Tə- and -Ō- are considered new lexical entries, their functional range also covers combinations with participles otherwise unspecified for voice. The valency decreaser -Ō occurs with participles of transitive verbs in order to specify P-orientation. The valency increaser -Tə has a variety of causative readings, among them causative-reflexive, causative-permissive, and causative-instrumental, and it also qualifies as a marker of control and/or characterizing activity. The discussion in this article is focused mainly on classificational issues.

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.

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