scholarly journals Rozkosze czeskiej awangardy. O fuzjach literatury, sztuki i filozofii na przykładach z twórczości Jindřicha Štyrskiego, Toyen, Vítězslava Nezvalai Františka Drtikola

2017 ◽  
Vol 164 ◽  
pp. 33-41
Author(s):  
Kamila Woźniak
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Femme Fatale ◽  
Avant Garde ◽  
Other Hand ◽  
Close Relationship ◽  
Artistic Works

The joys of the Czech avant-garde.On the amalgamation of literature, art and philosophy based on the examples from the works of Jindřich Štyrský, Toyen,Vítězslav Nezval and František DrtikolThe article points out some recurrent themes in the literary and artistic works by the repre- sentatives of the Czech avant-garde of the first half of the twentieth century. It is primarily about the motives of sleep, life, death and eroticism recognized most often in iconoclastic conventions, often on the borders of pornographic description and violating the taboo of eroticism, pleasures    of the flesh and religion. In the case of Štyrský, among other topics, the theory of artificialism for- mulated by him and Toyen is discussed. The theory had a close relationship with the poetry, prose and art by this author. On the other hand, based on the example of Nezval, an image of literary pleasures is presented, associated with the often actuated by the author issues of first love and erot- ic sensations. In the end, the figure of František Drtikol is outlined — the creator of photographs, which often depict threads of femme fatale and scandalous nude crucified women.Rozkoše české avantgardy. O fúzi literatury, umění a filozofie na příkladu tvorby Jindřicha Štyrského, Toyen, Vítězslava Nezvala a Františka DrtikolaČlánek poukazuje na stálé motivy v literární a umělecké tvorbě představitelů české avant- gardy první poloviny 20. století. Jde především o motivy snu, života, smrti a erotiky, chápané nejčastěji jako obrazoborecké a nacházející se často na hranici tělesné rozkoše, náboženství a por-nografického obrazu, jenž prolamuje erotická tabu. V případě Štyrského půjde mj. o teorii artifi- cialismu, kterou zformuloval spolu s Toyen. Na příkladu Nezvala bude nastíněn literární obraz rozkoše související s problematikou prvních milostných a erotických zkušeností, které se autor často dotýkal. Závěr příspěvku přiblíží osobu Františka Drtikola — tvůrce fotografií, na kterých jsou často vyobrazena témata osudových žen a skandalizujících aktů ukřižovaných žen.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

State of Fashion: Searching for the New Luxury

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen
Keyword(s):  
Twentieth Century ◽  
Daily Life ◽  
Life Cycles ◽  
The Other ◽  
Century Model ◽  
Cocktail Party ◽  
The Public ◽  
Other Hand ◽  
The One

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

Albrecht Durer and the 16TH Century Melancholy

2020 ◽  
Vol 2 ◽  
pp. 37-49
Author(s):  
Marcel Henrique Rodrigues
Keyword(s):  
Religious Culture ◽  
The Other ◽  
16Th Century ◽  
Other Hand ◽  
Close Relationship ◽  
The One ◽  
Deep Sense

Little has been discussed in academia about the close relationship between the Renaissance of the 16th century and melancholy humor, and esoteric elements arising mainly from Florentine Neoplatonism. The link between melancholy and esotericism becomes very clear when we analyze the gravure “Melencolia I” by Albrecht Dürer (1471-1528), composed of a significant number of symbols that refer to an esoteric religious culture that then emerged. Renaissance melancholy gained several nuances. On the one hand, it was considered a sin, a despicable mood characteristic of witches; on the other hand, a deep sense of inspiration typical of men of “genius”. This ambivalence also occurred in the firmament, as the melancholic people were guided by the dark planet Saturn, according to astrological belief. We also have the cultural scenario of the 16th century, especially in Dürer's Germany, which contributed to strengthening the melancholy issues.

Gender and Social Exclusion in European Migration Crisis

2018 ◽  
pp. 658-676
Author(s):  
Marlou Schrover
Keyword(s):  
Twentieth Century ◽  
Social Exclusion ◽  
Historical Perspective ◽  
The Other ◽  
Men And Women ◽  
Refugee Women ◽  
Other Hand ◽  
Migration Crisis ◽  
The One ◽  
European Migration

This chapter discusses social exclusion in European migration from a gendered and historical perspective. It discusses how from this perspective the idea of a crisis in migration was repeatedly constructed. Gender is used in this chapter in a dual way: attention is paid to differences between men and women in (refugee) migration, and to differences between men and women as advocates and claim makers for migrant rights. There is a dilemma—recognized mostly for recent decades—that on the one hand refugee women can be used to generate empathy, and thus support. On the other hand, emphasis on women as victims forces them into a victimhood role and leaves them without agency. This dilemma played itself out throughout the twentieth century. It led to saving the victims, but not to solving the problem. It fortified rather than weakened the idea of a crisis.

Epodes

1972 ◽  
Vol 6 ◽  
pp. 6-14
Keyword(s):  
Social Status ◽  
Lyric Poetry ◽  
The Other ◽  
Similar Attitude ◽  
Other Hand ◽  
Close Relationship

Horace was writing hisEpodes1at the same time as he was writingSatires. The nameEpodesis derived from the metrical term ό ἐπῳδός (і.е. στίχος) which signifies the second and shorter line of a couplet, but Horace himself referred to them asiambi(soEpod. 14. 7,Epist. i. 19. 23). The collection is titledLiber Epodonin the MSS. and the title was used by grammarians of the fourth and fifth centuries. Butiambigives a better idea of their basic inspiration. Horace says of them(Epist. i. 19. 21-5):So he claims(a)originality,(b)Archilochus as a model,(c)that he was the first Roman to use Archilochus as a model, and(d)that he discarded the vicious personal invective of Archilochus. The judgement disregards Catullus, who had writteniambibefore Horace, but whose similarity to Archilochus did not extend far beyond metre and invective. There is a consistency in Horace’s poetic career: he began by recreating the poetry of Archilochus in hisEpodes, and his later—and greatest— work was the recreation in hisOdesof the lyric poetry of poets like Sappho, Alcaeus, and Pindar. There is a similarly close relationship between theSatiresand theEpistles;and, furthermore, all of his writing uses an autobiographical technique. There is another sort of consistency too, for basicallyEpodesandSatiresexpress a similar attitude of mind: anger, contempt, and amusement are the fundamental emotions (though he often transcends these emotions in both works), and a plausible case can be made out for regarding this as a sign of a young man of low social status, unsure of himself and his talent, and already finding ways of expressing a personality that were not too self-revealing. TheOdesandEpistles, on the other hand, express a more meditative, more philosophical, more humane attitude, yet ultimately no more self-revealing.

Resolving the Lourinia armata (Claus, 1866) complex with remarks on the monophyletic status of Louriniidae, Monard 1927 (Copepoda: Harpacticoida)

Zootaxa ◽  
2021 ◽  
Vol 5051 (1) ◽  
pp. 346-386
Author(s):  
SÜPHAN KARAYTUĞ ◽  
SERDAR SAK ◽  
ALP ALPER ◽  
SERDAR SÖNMEZ
Keyword(s):  
Comparative Evaluation ◽  
Species Complex ◽  
Detailed Examination ◽  
The Other ◽  
Phylogenetic Position ◽  
Nicobar Island ◽  
Other Hand ◽  
The Family ◽  
Close Relationship ◽  
Almost All

An attempt was made to test if Lourinia armata (Claus, 1866)—as it is currently diagnosed—represents a species complex. Detailed examination and comparisons of several specimens collected from different localities suggest that L. armata indeed represents a complex of four closely related morphospecies that can be differentiated from one another by only detailed observations. One of the four species is identified as Lourinia aff. armata and the other three species are described as new to science and named as Lourinia wellsi sp. nov., L. gocmeni sp. nov., and L. aldabraensis sp. nov. Detailed review of previous species records indicates that the genus Lourinia Wilson, 1924 is distributed worldwide. Ceyloniella nicobarica Sewell, 1940, originally described from Nicobar Island and previously considered a junior subjective synonym of L. armata is reinstated as Lourinia nicobarica (Sewell, 1940) comb. nov. on the basis of the unique paddle-shaped caudal ramus seta V. It is postulated that almost all of these records are unreliable in terms of representing true Lourinia aff. armata described herein. On the other hand, the comparative evaluation of the illustrations and descriptions in the published literature indicates the presence of several new species waiting to be discovered in the genus Lourinia.                 It has been determined that, according to updated modern keys, the recent inclusion of the monotypic genus Archeolourinia Corgosinho & Schizas, 2013 in the Louriniidae is not justified since Archeolourinia shermani Corgosinho & Schizas, 2013 does not belong to this family but should be assigned to the Canthocamptidae. On the other hand, it has been argued that the exact phylogenetic position of the Louriniidae still remains problematic since none of the diagnostic characters supports the monophyly of the family within the Oligoarthra. It has also been argued that the close relationship between Louriniidae and Canthocamptidae is supported since both families share the homologous sexual dimorphism (apophysis) on P3 endopod. The most important characteristic that can possibly be used to define Louriniidae is the reduction of maxilliped.  

A Medieval Open Work

POETICA ◽  
2021 ◽  
Vol 52 (3-4) ◽  
pp. 228-265
Author(s):  
Rafael Simian
Keyword(s):  
The Other ◽  
Specific Function ◽  
Umberto Eco ◽  
New Approach ◽  
Avant Garde ◽  
Other Hand ◽  
Open Work ◽  
New Perspective ◽  
A Minor

Abstract Guigo II is commonly known and praised among specialists of Western mysticism for his Scala claustralium, a work that presents a spiritual program for cloistered monks. His Meditations, on the other hand, have usually been relegated to the margin of attention. The First Meditation, in particular, is generally regarded as a minor piece. The paper argues, however, that a new approach can make better sense of the First Meditation, while also enabling us to recognize its specific function and value. Seen from this new perspective, Guigo’s purpose with the text is to train and exercise his readers’ minds according to the spiritual program laid out in the Scala. The paper shows that the First Meditation realizes that goal, surprisingly, by having the same essential features that Umberto Eco found in the ‘open works’ of the Western avant-garde.

Ugliness and Beauty: the Politics of Landscape in Walter Greenwood's Love on the Dole

2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
The Other ◽  
Surrounding Area ◽  
North West ◽  
Avant Garde ◽  
The North ◽  
The One ◽  
The University ◽  
Open Fields

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.

scholarly journals Genre, Computation, and the Varieties of Twentieth-Century U.S. Fiction

2018 ◽  
Author(s):  
Matthew Wilkens
Keyword(s):  
United States ◽  
Twentieth Century ◽  
World War Ii ◽  
The Other ◽  
Literary Fiction ◽  
Contemporary Fiction ◽  
World War ◽  
Detective Story ◽  
Other Hand ◽  
Textual Content

Is "literary fiction" a useful genre label in the post-World War II United States? In some sense, the answer is obviously yes; there are sections marked "literary fiction" on Amazon, in bookstores, and on Goodreads, all of which contain many postwar and contemporary titles. Much of what is taught in contemporary fiction classes also falls under the heading of literary fiction, even if that label isn't always used explicitly. On the other hand, literary fiction, if it hangs together at all, may be defined as much by its (or its consumers') resistance to genre as by its positive textual content. That is, where conventional genres like the detective story or the erotic romance are recognizable by the presence of certain character types, plot events, and narrative styles, it is difficult to find any broadly agreeable set of such features by which literary fiction might be consistently identified.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

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