scholarly journals In Anticipation of Disaster: The Beginnings of Croatian Modernism and the End of the Empire

2021 ◽  
Vol 46 (2) ◽  
pp. 10-25
Author(s):  
Nataliya Zlydneva ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Cultural Development ◽  
Avant Garde ◽  
History Of ◽  
Balkan Region ◽  
Theoretical Issues

The essay deals with the history of the first steps of modernism in Croatian visual arts in the 1910s – beginnings of the 1920s, which took the form of expressionism. In the aspect of early expressionism, the work of the most significant Croatian painters and graphic artists (L. Babić, M. Trepse and others), as well as sculptors (I. Meštrović), considered in the context of the art of the Balkan region (Serbian and Slovenian artists) as a whole, is observed. A number of theoretical issues are touched upon – the typology of symbolism and impressionism, closely related to Croatian expressionism, as well as the problem of isomorphism of expressionism poetics as an integral part of the avant-garde to the phenomenon of explosion in culture. The research shows that the beginnings of the Croatian modernism, which coincided with the end of the empire, reflect the specifics of the Balkan model of cultural development in the 20th century, based on the convergence of extremes.

Könyvismertetések

2007 ◽  
Vol 62 (3) ◽  
pp. 407-420
Author(s):  
Magda Ritoókné Ádám ◽  
Olivér Nagybányai Nagy ◽  
Csaba Pléh ◽  
Attila Keresztes
Keyword(s):  
Social Psychology ◽  
20Th Century ◽  
History Of Psychology ◽  
Modern Psychology ◽  
The Social ◽  
History Of ◽  
Theoretical Issues

VárinéSzilágyiIbolya: Építészprofilok, akik a 70-es, 80-as években indultak(Ritoókné Ádám Magda)      407RacsmányMihály(szerk.): Afejlődés zavarai és vizsgálómódszerei(Nagybányai Nagy Olivér)     409Új irányzatok és a bejárt út a pszichológiatörténet-írásban (Mandler, G.: Interesting times. An encounter with the 20th century; Hergenhahn, B. N.: An introduction to the history of psychology; Schultz, D. P.,Schultz, S. E.: A history of modern psychology; Greenwood, J. D.: The disappearance of the social in American social psychology;Bem, S.,LoorendeJong, H.: Theoretical issues in psychology. An introduction; Sternberg, R. J. (ed.)Unity in psychology: Possibility or pipedream?;Dalton, D. C.,Evans, R. B. (eds): __

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

scholarly journals The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico

2012 ◽  
Author(s):  
Fernando N. Winfield
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Visual Arts ◽  
Architectural Design ◽  
Political Context ◽  
Modern Architecture ◽  
The Political ◽  
Avant Garde ◽  
Mexican Architecture ◽  
Direct Reflection

Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque’. Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function”. Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the 20th Century, modern architecture was perhaps above all else, a tool for propaganda. In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque”. In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico . In direct counterpoint to Zevi, we will suggest that it was far from grotesque, but rather was one of the most committed political statements made by the Modern Movement throughout the Twentieth Century. It was propaganda, it was political. It was utopian.

scholarly journals Avantgarde Suomessa

2021 ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Women Artists ◽  
Early 20Th Century ◽  
Avant Garde ◽  
The Social ◽  
Role Of Women ◽  
First Time

Avant-garde in Finland is the first book to provide an overarching introduction to avant-garde art by Finnish artists. The articles in the book discuss the application and development of the cultural ideas of the avant-garde in Finnish art from the early 20th century till the present day. The book focusses on the social, political, and artistic characteristics of avant-garde art and their manifestation in Finnish avant-garde literature, visual arts, architecture, fashion, and music. The book shows the remarkable role of women artists in the development of the Finnish avant-garde. Many artists and groups are presented in the book for the first time. At the same time, the articles highlight connections between well-known Finnish artists and international avant-garde movements that have not been recognized in earlier research. A key theme of the book is the tension between the internationality of avant-garde and the nationalist elements of Finnish culture. The book is peer-reviewed, and its authors are eminent senior scholars and younger researchers.

scholarly journals A plan to present the Greeks abroad through the Project method

2015 ◽  
Vol 2 ◽  
Author(s):  
Calliope Tsantali ◽  
Symeon Nikolidakis
Keyword(s):  
National Identity ◽  
Economic Crisis ◽  
Cultural Development ◽  
Native Students ◽  
Population Mobility ◽  
Crisis Period ◽  
Project Method ◽  
History Of ◽  
Economic Choices ◽  
Theoretical Issues

<p class="NoSpacing">The present paper is concerned with students’ sensitization about the Greeks abroad who are introduced through the Project method to reinforce national awareness, especially during an economic crisis period when the economic choices followed by Greece are disapproved. The dynamics of the Greek communities abroad towards the economic and cultural development of the countries of reception and the concurrent enhancement of their bonds with Greece are pinpointed. The contact between the Greek native students and the offspring of the Greeks abroad is pursued towards an exchange of viewpoints, considerations and information about issues of politics, economy and culture. As a result, they all have a sense of solidarity in an expanded Greece encompassing the Greeks’ communities abroad. History and the History of Civilization are utilized to present this topic through the Project method. This way, emphasis is placed on migration, national identity, solidarity and the dynamics developed by the population mobility in the globalized societies. The Project method forms the suitable ground to cultivate and develop such objectives. Thus, students will formulate perceptions and examine the specific issues from a different perspective. A combination of theoretical issues of nationalism with a post-modern narration about nationalism in the globalized societies is conducted, where the national identity is reinforced and the citizens’ role in the globalized societies is not overlooked.  </p>

Aisthēsis

2017 ◽  
Author(s):  
David Vichnar ◽  
Louis Armand
Keyword(s):  
20Th Century ◽  
Technological Condition ◽  
Marshall Mcluhan ◽  
Avant Garde ◽  
Artistic Activity ◽  
The Arts ◽  
History Of ◽  
Formed Part ◽  
Political Imaginary ◽  
And Function

Etymologically and conceptually linked with sense perception (as opposed to, in the Platonic tradition, noēsis or intellection) in ancient, medieval, and early-modern thought, aisthēsis formed part of theorizing not only questions surrounding beauty and art, but also perception, epistemology, and even ontology (in, for instance, the work of Plato, Aristotle, and Thomas Aquinas). During the Enlightenment and its project of subdivision and categorization of the “humanities,” aisthēsis became subsumed, in the work of Alexander Baumgarten, by “aesthetics,” the study of beauty in the narrower sense. However, by the beginning of the 20th century and the Marxist/Freudian/Saussurean revolution in humanist inquiry and the “avant-garde” revolution in the arts, aisthēsis resumed its place and function as a central node in a vast network of concerns: for the Marxists, the history of aisthēsis follows the pattern of social development of progressive mastery over nature by humankind, described as a process of rationalization (the Frankfurt School of Critical Theory); in psychoanalysis and phenomenology, artistic activity is regarded as the “sublimated” expression of socially objectionable energies, taking place in a world conceived of as indefinite and open multiplicity (John Dewey, Maurice Merleau-Ponty, et al.); in poststructuralist theory, the image not simply “acquires” a politico-aesthetic function by way of an act of judgement, but rather accedes in its very technological condition to a political imaginary, to an aesthetics as such (Roland Barthes, Jacques Derrida, et al.). In the second half of the 20th century, with the progressive technologization of society, aisthēsis formed the backbone of media studies, which examines how technological innovation overthrows a settled political and aesthetic order, with special attention paid to the effects of electronic media and the hypertext: non-linearity, repetitiveness, discontinuity, intuition (e.g., Marshall McLuhan and Jay David Bolter). At the dawn of the 21st century, in the aesthetico-mimetic doubling of the mediasphere, from teletext and satellite TV to the World Wide Web and GPS, a critical, ecological mode of thinking aisthēsis assumes the ideal function of an “avant-gardism” in affecting the structure of how things come to mean, how meaning is virtualized, and how the virtual is lived.

Cubo-Futurism

2018 ◽  
Author(s):  
Anthony Parton
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Italian Futurism ◽  
Avant Garde ◽  
Art And Literature ◽  
History Of ◽  
Artistic Works ◽  
Transitional Phase ◽  
Innovative Approaches

Cubo-Futurism (Kubo-Futurizm) was a term used by the early 20th-century Russian avant-garde to describe literary and artistic works that represented a fusion of Cubist and Futurist styles and principles. The term surfaced in 1912, at a point when the Russian avant-garde were exposed simultaneously to Analytical Cubism and Italian Futurism. At this stage in their development, young Russian poets and painters were beginning to move away from forms of Expressionism and to explore more innovative approaches. Cubism and Futurism offered the ideological and practical means to engage with abstraction and, ultimately, non-objectivity, in a serious and distinctive manner. By 1915, however, Cubism and Futurism had exhausted their usefulness for these poets and painters, who had now passed into completely new territory in the form of Velimir Khlebnikov’s and Aleksei Krucheynykh’s zaum (transrational) poetry, Kazimir Malevich’s Suprematism and, subsequently, Vladimir Tatlin’s and Aleksandr Rodchenko’s Constructivism. A distinctive movement of the pre-war period, Cubo-Futurism possessed an episodic character and manifested as a transitional phase in the history of Russian avant-garde art and literature in the early 20th century. It was a bridge by which the Russians approached their radical non-objective conclusions of the 1920s.

scholarly journals Transmedial Prometheus: from the Greek Myth to Contemporary Interpretations

2017 ◽  
Vol 15 (1) ◽  
pp. 88-107
Author(s):  
Nicoleta Popa Blanariu
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
18Th Century ◽  
Ridley Scott ◽  
Greek Myth ◽  
Ernst Bloch ◽  
History Of ◽  
The Relationship

The myth of Prometheus is well known for its rich polymorphism, celebrating the Titan’s contest with the Olympian gods and its demythisation in the contemporary era. To Ernst Bloch “Faust and Prometheus are the major figures of the Renaissance”, while Gilbert Durand describes the relationship between myth and history as a backwards “evhemerism” which enables a messianic reading of the Promethean symbol, especially at the end of the 18th century and beginning of the following. From the Renaissance to the 20th century, the Promethean symbol slides transmedially from the verbalized narrative towards visual arts. With the exhaustion of the Promethean momentum, for Durand as well as Maffesoli, the 20th century assumes the decadent myths of Dionysus and, eventually, a vast Hermetic mythology. This paper highlights several moments and works which marked the dynamic history of the mythical hero, as revealed to us by Aeschylus, Shelley, Goethe, Gide, Ridley Scott etc.

scholarly journals The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”

ICONI ◽  
2019 ◽  
pp. 159-171
Author(s):  
Anton А. Rovner ◽  
Keyword(s):  
20Th Century ◽  
Arnold Schoenberg ◽  
Early 20Th Century ◽  
Music Festival ◽  
Early 21St Century ◽  
Avant Garde ◽  
The World ◽  
History Of ◽  
Italian Music ◽  
The 19Th Century

The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.

scholarly journals QUI… DADA C’EST MOI. Historia de un huevo, por MISE en PLIS. Libro/objeto en memoria a Emilio Sdun. / QUI… DADA C’EST MOI. History of an egg, by MISE in PLIS. Book / Object in memory to Emilio Sdun.

2017 ◽  
Author(s):  
Lourdes Santamaria Blasco ◽  
Amparo Alepuz Rostoll ◽  
Rocio Villalonga Campos
Keyword(s):  
Computer Graphics ◽  
Digital Media ◽  
Open Field ◽  
Visual Arts ◽  
Found Objects ◽  
Avant Garde ◽  
Mise En Scene ◽  
Technical Reproducibility ◽  
History Of ◽  
Research And Design

Tres artistas agrupadas bajo el nombre de MISE en PLIS, ponen en escena (mise en scene) una investigación y diseño sobre la producción, reproductibilidad, difusión y comercialización de obra artística, con una perspectiva interdisciplinar y trabajando en la edición del libro/objeto de artista, tanto como soporte de obras gráficas (ilustraciones, fotografías, collages) como contenedor de objetos siguiendo la tradición Dadaísta y Surrealista respecto a los objets trouvés y los ready mades. Las obras resultantes de esta investigación rinden homenaje a las estrategias creativas de estos movimientos de vanguardia, desde el concepto de lo fragmentado y el de la multiplicidad al de la reproductibilidad técnica; desde las técnicas, medios y procesos empleados (collage, fotomontaje, tipografías, etc.) a la revisión de las artistas menos conocidas del Dadá y del Surrealismo. Estas estrategias son la evidencia de esa complejidad que alcanza a las artes plásticas, constituyendo los precedentes de la creación contemporánea, con unos recursos más virtuales y aplicados a los medios infográficos y digitales actuales. Gracias a esto, lo que aquí presentamos, nos ha permitido poner énfasis en la vigencia de las vanguardias como fuente inagotable de recursos gráficos y conceptuales, y nos señala el campo abierto en los márgenes difusos que existen entre unas manifestaciones artísticas y otras.QUI… DADA C’EST MOI. History of an egg, by MISE in PLIS. Book / Object in memory to Emilio Sdun.Three artists grouped under the name of MISE in PLIS, staged (mise en scene) research and design on production, reproducibility, diffusion and commercialization of artistic work with an interdisciplinary perspective and working on the edition of the book / object artist, both as a support of graphic works (illustrations, photographs, co-llages) as container objects following the Dadaist and Surrealist tradition regarding the found objects and readymades. The works resulting from this research pay tribute to the creative strategies of these avant-garde movements, from the concept of the fragmented and the multiplicity of technical reproducibility; from the techniques and proce-sses used media (collage, photomontage, fonts, etc.) to the revision of the lesser-known artists of Dada and Surrealism. These strategies are evidence of that complexity reaches the visual arts, constituting the precedents of contemporary creation, with more virtual and applied to current computer graphics and digital media resources. Thanks to this, what is here has allowed us to emphasize the effect of the vanguards as an inexhaustible source of graphics and conceptual resources, and points the open field in the diffuse margins between some artistic and other events.

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