scholarly journals The landmark nature of visual art in of Weimar Germany and the principle of visual narrative

2021 ◽  
pp. 69-78
Author(s):  
Alexandra Alexandrovna Tanyushina
Keyword(s):  
Social Life ◽  
Modern Art ◽  
Historical Period ◽  
Semiotic Analysis ◽  
New Realism ◽  
New Objectivity ◽  
Weimar Germany ◽  
Art Practices ◽  
German Art

The subject of this research is the art practices of Weimar Germany, first and foremost displayed in photomontage works of the Dadaist artists, as well as paintings and photographic compositions of the representatives of “New Objectivity” since the early 1920s until coming to power of the Nazi in 1933. The relevance of this topic is substantiated by the heightened interest of modern researchers in the cultural processes of the early XX century, which had a significant impact upon the establishment of modern visual imagery system. Within the framework of study, the author also touched upon the problem of assimilation of modern art practices associated to the integration of art into all spheres of social life. The interpretation of this trend is one of the most relevant vectors of modern art history. The novelty of this work lies in the use of complex methodology that implies the unity of socio-analytical and philosophical-anthropological approaches, as well as the method of structural-semiotic analysis that leans on both classical theories and works of the contemporary art historians and culturologists of post-structuralism (P. McBride, R. Krauss, B. Buchloh, P. Stettler, and others.). The result of the conducted research lies in determination of interinfluence of photomontage practices of the Dadaists and the art of “New Objectivity”, which clearly demonstrate the “landmark” nature of the works created during the indicated historical period. The acquired conclusions may be valuable for further research of the German art of “New Realism”, reflected in the works of the artists of “New Objectivity” and “Magic Realism”, and as well as the upcoming trends in art of the XX century.

scholarly journals German Dada photomontage as art of the “real”: on the path towards “new realism”

2020 ◽  
pp. 47-59
Author(s):  
Alexandra Alexandrovna Tanyushina
Keyword(s):  
Primary Sources ◽  
Literary Texts ◽  
Future Research ◽  
Complex Nature ◽  
New Realism ◽  
Weimar Germany ◽  
Semantic Component ◽  
German Art

The subject of this research is such artistic practiced of German Dadaism as photography and photomontage. Relevance of this topic is associated not just with the growing interest of art historians, cultural critics and writers to the culture of Weimar Germany, but also active study by modern scholars of the peculiarities of functioning of the various visual practices, which emergence is substantiated by constant shift and mutual integration of different artistic mediums, among which special place belongs to photography and related photo techniques. Research methodology is of complex nature and suggests the uniformity of cultural-analytical, philosophical-anthropological and historiographical methods through studying primary sources, which include literary texts, essays and manifests of the key representative of German Dadaism. The author concludes on substantial role of the category of “real” in ideological-semantic component of the movement in question, appeal to which justified usage of photomontage technique by the Dadaists. The result of this research lies in determination of the fundamental philosophical-methodological and ideological-semantic aspect of photomontage practices of German Dadaists. The article briefly indicates the vectors of further development of Dada photomontage in Weimar Germany. The acquired results may serve as a pivotal point for future research in the area of Dada art, German art of “new realism” presented in the works of artists of the “new corporeity” and “magic realism”, as well as subsequent art movements of the XX century, characterized by the use of photographic and photomontage techniques.

POPULAR CULTURE AS A SOURCE OF IDEAS IN THE URBAN SPACES OF WESTERN UKRAINE DURING THE PANDEMIC

2021 ◽  
pp. 129-144
Author(s):  
Nadiia Babii
Keyword(s):  
Popular Culture ◽  
Urban Spaces ◽  
Space And Place ◽  
Semiotic Analysis ◽  
Cultural Image ◽  
Art Practices ◽  
Western Ukraine ◽  
Sociocultural Characteristics ◽  
New Space

The purpose of the article is to investigate the current issue of changes in activities in the urban spaces of Western Ukraine during lockdown (March–June 2020) and adaptive quarantine (2020–2021) and show the importance of popular culture as a constant that reflects the collective notion of space, updates the imaginary topography, affects the performatisation of the cities and formats of artistic practices. Research methodology. R. Barthes’ methods of semiotic analysis are used, combining structuralism with semiotics, according to which urban spaces are considered as a discourse. The method of site research was applied, which allowed collecting relevant texts concentrated in the spaces of cities where a specific cultural image of the coronavirus time has been recorded. The scientific novelty consists in the determination of the role of popular culture as a vital factor of new sociocultural contents in a crunch period. Conclusions. The article emphasises that the rationalism of anthropological space has been transformed fundamentally during the pandemic and changed the vector of interdependence between the subject, space and place, where the “I” is localised in a new space with the content of the last place, having suffered the destruction of connections due to the absence of “presence”. It is proved that the lack of direct communication with the audience contributed to the spread and use of synthetic art practices that combine postmodern practices with global digitalisation, but this does not mean their novelty. Based on the analysed practices, it is proved that the differences lie in sociocultural characteristics, and popular culture was the first to make alternative adjustments to the changing spaces. Art circles and official bodies oriented on the mass audience have used popular symbols of quarantine realities. Therefore, popular culture in the crunch becomes a source of ideas in the promotion of sociocultural meanings.

scholarly journals PERUBAHAN SOSIAL DAN PEMBARUAN HUKUM ISLAM PERSPEKTIF SADD AL-DZARI’AH

2015 ◽  
Vol 15 (2) ◽  
pp. 101
Author(s):  
Gibtiah Gibtiah ◽  
Yusida Fitriati
Keyword(s):  
Social Change ◽  
Human Nature ◽  
Social Life ◽  
Islamic Law ◽  
Method Of Determination ◽  
Constant Change ◽  
The Law

<p>Abstract: Social life is one of human nature that has innate.<br />One characteristic of social life is the constant change in the<br />community. There is no society ever stop at a certain point of all<br />time, but constantly changing and moving forward. Changes<br />that occur sooner or later be able to change the joints staple of<br />people's lives. This paper explores social change and renewal of<br />Islamic law by using the method of determination of the law<br />“sadd al dzari’ah”.</p><p><br />ملخص: الحیاة الاجتماعیة ھي واحدة من طبیعة الإنسان الذي لدیھ الفطریة . واحدة<br />من سمات الحیاة الاجتماعیة ھي التغییر المستمر في المجتمع. لا یوجد أي مجتمع<br />تتوقف أبدا عند نقطة معینة في كل العصور، ولكن تتغیر باستمرار، و تتحرك إلى الأمام<br />. التغیرات التي تحدث عاجلا أو آجلا تكون قادرة على تغییر الأساسیة مفاصل حیاة<br />الناس. وتبحث ھذه الورقة التغییر الاجتماعي والتجدید في الشریعة الإسلامیة باستخدام<br />طریقة تحدید القانون.</p><p>Kata kunci : metode penggalian hukum, sadd al-dzari’ah</p>

scholarly journals Philosophical problems of the process of urbanization of society

KANT ◽  
2020 ◽  
Vol 37 (4) ◽  
pp. 311-317
Author(s):  
Evgeny Tufanov ◽  
Inna Kravchenko ◽  
Sergey Yanush
Keyword(s):  
Social Life ◽  
Family Relations ◽  
Historical Period ◽  
Age Group ◽  
Creative Activity ◽  
Highly Qualified ◽  
Marriage And Family ◽  
Traditional System ◽  
Process Of Urbanization ◽  
Ethnic Associations

Philosophical problems of social life and activity, relationships in ethnic groups and associations that have historically lived in certain territories, are one of the most topical and superficially studied problems in the circles of scientists and practitioners of the Humanities. The traditional system of generally accepted principles and values of diverse ethnic associations has a tendency to transform against the background of the development of the historical period of time. Among individuals of diverse nationalities, the vision of the essential conditions for creative activity is an explicable characteristic of groups that are distinguished by the prevalence of the younger generation, peoples who are more literate, highly qualified and civilized. In the older generation of the Mature age group, orientations predominate in favor of the value of marriage and family relations.

An Orientalist “Journey” to Istanbul From the Super Bowl Final

2021 ◽  
pp. 706-716
Author(s):  
Feridun Nizam
Keyword(s):  
Point Of View ◽  
American Football ◽  
Semiotic Analysis ◽  
Super Bowl ◽  
Cultural Elements ◽  
Historical Structures ◽  
Turkish Culture ◽  
Architectural Structures

This study is firstly built on the determination of the orientalist elements in Turkish Airlines' commercial film Journey, which was broadcast in the Super Bowl final of the 2019 American Football League, and how Turkish culture is represented in Istanbul with these orientalist elements. In the context of the sample handled in the study, Turkish architectural structures, Turkish historical structures, Turkish Islamic cultural elements, and Turkish traditions are included, and the presentation of Istanbul from the eyes of a “foreigner” with an orientalist point of view has been handled with the method of semiotic analysis. The main problem of the study is on the different presentation of the East and Istanbul, despite the usual orientalist perspective in media contents and especially in advertising. In this sense, it focuses not on anti-orientalism, but on the conclusion that orientalism is presented with the change of classical narratives.

scholarly journals Social Unrest and Spiritual Agitation in Present-Day Japan

1922 ◽  
Vol 15 (4) ◽  
pp. 305-322
Author(s):  
Masaharu Anesaki
Keyword(s):  
Social Life ◽  
International Justice ◽  
The Self ◽  
Self Determination ◽  
Social Reconstruction ◽  
World War ◽  
Social Unrest ◽  
The People ◽  
The World

In many aspects of social life Japan shares with the whole world the consequences of the World War, particularly in the intricate connections between social unrest and spiritual agitation. Japan had passed through two wars in recent times; they aroused the nation to national self-consciousness, but they brought also many new problems. Yet those wars were fought far from Japan itself, and did not bring home the disasters and miseries of war. In the World War Japan took a part, but it remained for the people a matter of distant lands. Thus they were comparatively indifferent to the various issues raised by the war, such as the combat between militarism and democracy, the questions of international justice and the self-determination of nations, the problems of peace and social reconstruction. Moreover, their indignation against the aggressive Occident led the people to discredit the pleas of the allies against Germany, and often to incline to sympathize with the German claim of “a place in the sun.” These circumstances tended to keep the Japanese comparatively untouched by the problems created by the war. But the collapse of the great empires and the final outcome of the war could not fail to produce a profound impression among the Japanese. Although the people at large did not realize the whole situation, yet the gravity of the changes and problems was more or less fully grasped, and serious thought was stirred on social and religious questions.

Opium in Java: A Sinister Friend

1985 ◽  
Vol 44 (3) ◽  
pp. 549-560 ◽  
Author(s):  
James R. Rush
Keyword(s):  
Social Life ◽  
Historical Period ◽  
Social Phenomenon ◽  
Colonial State ◽  
The Subject ◽  
Late Nineteenth ◽  
Dutch Colonial

Opium smoking has long since disappeared as a social phenomenon in Java. But in the last century, and during the early decades of this one, smoking opium was a widespread custom in much of the island—the daily habit of hundreds of thousands, a routine part of social life among men in many regions, and a source of considerable profit to the Dutch colonial state. This article addresses the subject of opium in Java; it concentrates on the late-nineteenth and early-twentieth centuries, the historical period during which opium smoking was most widespread in Java and for which the most abundant documentary resources exist.

scholarly journals Crimean Tatar Ornament in Modern Art and Design

2021 ◽  
Vol 4 (1) ◽  
pp. 93-103
Author(s):  
Liliana Vezhbovska
Keyword(s):  
Visual System ◽  
Modern Art ◽  
Semiotic Analysis ◽  
National Cultures ◽  
Modern Culture ◽  
Art And Design ◽  
Modern Times ◽  
Communicative Ability ◽  
Cultural Dialogue ◽  
Crimean Tatar

The purpose of the research is to identify the functioning features of Ornek, a traditional Crimean Tatar ornament in modern culture, art and design. The research methodology is based on the application of art history, comparative and semiotic analysis. The novelty of the research is to identify the functioning of the Crimean Tatar ornament in modern times, to determine special symbolic and graphic structures in the visual system Ornek, which allow not only to develop in modern Crimean culture but also show the high communicative ability to establish a cross-cultural dialogue. Conclusions. The study of Crimean Tatar ornament in modern art and design testifies to its high ability to adapt to new conditions, which allows us to talk about the flexibility of its visual system. In modern art and design projects, it appears as a phenomenon that can abstract from archaic forms and organically combine not only with the latest materials and techniques but also to create unity with the phenomena of other national cultures.

scholarly journals The image of Berlin in the works of “New objectivity” artists of the 1920-s

2020 ◽  
Author(s):  
Мария Андреевна Беликова
Keyword(s):  
Everyday Life ◽  
Urban Life ◽  
Left Wing ◽  
Subjective Experiences ◽  
Class Inequality ◽  
New Objectivity ◽  
Weimar Germany ◽  
Critical Orientation ◽  
Social Insecurity

В статье рассматриваются произведения немецких художников представителей направления новая вещественность , в которых отражена берлинская жизнь 1920-х годов. Автор анализирует работы, посвященные городской тематике, созданные Г. Гроссом, Р. Шлихтером, К. Хуббухом, О. Диксом, Г. Вундервальдом в период их проживания в столице Веймарской Германии. Будучи в идейной оппозиции с экспрессионизмом как стилем и мировоззрением, вышеупомянутые авторы создали в своих произведениях иной образ Берлина, наполненный не субъективными переживаниями и впечатлениями, а сконструированный из объективных характеристик столичной жизни. В стремлении запротоколировать окружающую действительность художники критически подходили к выбору сюжетов городской жизни, предпочитая преимущественно темы социально-критической направленности. В этой связи на фоне увлечения левыми идеями художников интересовали проблемы классового неравенства, социальной незащищенности, бедности, проституции, которые ярко проявились в берлинской жизни 1920-х годов. Таким образом, художники превратились в своеобразных бытописателей жизни мегаполиса, которым уже стал Берлин в исследуемый период, и запечатлевали в своих работах не только жизнь и виды центральных, наиболее известных и привлекательных районов Берлина, но и его наиболее неприглядные промышленные окраины, в которых жило малоимущее население. The article deals with the works of new objectivity artists, which reflect Berlin urban life of the 1920s. The author analyses the works by G. Grosz, R. Schlichter, K. Hubbuch, O. Dix, G. Wunderwald devoted to urban themes within the period of their residence in the capital of Weimar Germany. Being in ideological opposition to expressionism both as a style and worldview, the above-mentioned authors created in their works a different image of Berlin, filled not with subjective experiences and impressions, but rather constructed from the objective features of the metropolitan life. In their effort to record the surrounding reality, the artists critically approached the choice of urban lifes subjects, preferring mainly themes of social and critical orientation. In this regard, against the backdrop of left-wing ideas, artists were tend to depict the problems of class inequality, social insecurity, poverty, prostitution, which clearly manifested themselves in Berlin life of the 1920s. Thus, artists turned into a kind of painters of everyday life scenes of the metropolis and captured in their works not only the life and views of the central, most famous and attractive Berlin areas, but also its most unsightly industrial suburbs, where the underclass lived. In the course of the analysis, the author reveals the aesthetics intrinsic to the most of the works under consideration the so-called aesthetics of the ugliness.

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