scholarly journals Canadian Architecture and Nationalism: From Vernacular to Deco

2010 ◽  
Vol 11 (1) ◽  
pp. 28-42
Author(s):  
Alla Myzelev
Keyword(s):  
Residential Buildings ◽  
European History ◽  
John Ruskin ◽  
British Isles ◽  
Art Deco ◽  
Gothic Revival ◽  
Avant Garde ◽  
Artistic Production ◽  
The Core ◽  
Architectural Tradition

The debates about national and local architecture in Canada go as far as the construction of the first permanent structures. The young country had to invent its native architectural tradition and at the same time to mitigate European influences. Introducing the notion of longing – or nostalgia – into the debate on Canadian design and architecture this study argues that European grandeur, innovations as well as financial and cultural magnitude often played an important role in the desire to create artistic projects including public and residential buildings. The interest in the Gothic revival and the forging of the Neo-Gothic style can be tied to a nostalgic feeling for the British Isles (their land of origin) and also for the utopian notions of unalienated artistic production during the Romanesque and Gothic periods championed by British philosophers Augustus Welby Pugin (1812-1852) and John Ruskin (1919-1900). The cultural horizons of those who participated in the forging of the national style included both the notion of modernity and its opposite (the anti-modern), the dream of the new but also the dream of the old. The article argues that such a complex inspiration is at the core of any modernist production, for it brings together and blurs the modern and anti-modern, the old and the new, and by doing so, it generates constant innovation. At the core of forging the nationalist style, there is also a desire to incorporate European history and heritage, not to negate or reject it. Finally, it argues that Art Deco became the vehicle that helped to popularize the ideas of modernity propagated by avant-garde artists and architects.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

scholarly journals Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu

2020 ◽  
Author(s):  
Susanne Klengel
Keyword(s):  
Blind Spot ◽  
First World War ◽  
World War ◽  
Avant Garde ◽  
Artistic Production ◽  
The First World War ◽  
The World ◽  
Famous Book ◽  
Spanish Flu ◽  
First World

The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.

Mounting the (Century Guild) Hobby Horse

2018 ◽  
pp. 36-63
Author(s):  
Koenraad Claes
Keyword(s):  
Print Culture ◽  
Fine Art ◽  
Matthew Arnold ◽  
John Ruskin ◽  
Avant Garde ◽  
Applied Art ◽  
Fine Printing ◽  
Victorian Print Culture

This chapter is entirely dedicated to a pioneering little magazine that elaborated on the example of The Germ and the Oxford and Cambridge Magazine (see Chapter 1), the Century Guild Hobby Horse (1884/86–92), which started as the periodical organ of the early Arts & Crafts organisation the Century Guild. To this magazine, the production and design of the material text was as much an opportunity for experiments as its actual contents, a notable aesthetic innovation that was motivated by a notion of artistic artisanship, and that made it a milestone in Victorian print culture. Each issue of the magazine—in which Victorian sages such as Matthew Arnold and John Ruskin made guest appearances— commands for the applied art workers producing it the respect usually reserved for authors and artists working within the category of ‘Fine Art’. So doing, the magazine helped to create a wider appreciation for Fine Printing. After the discontinuation of the Century Guild in 1893, this periodical was temporarily revived by the enterprising publishers at the Bodley Head to boost that firm’s Print-Revivalist credentials. The Hobby Horse is thereby also an early example of how supposedly avant-garde principles are sometimes difficult to distinguish from commercial strategies.

Faktura

2018 ◽  
Author(s):  
Isabel Wünsche
Keyword(s):  
Dimensional Space ◽  
Three Dimensional ◽  
Work Of Art ◽  
Pictorial Space ◽  
Avant Garde ◽  
Artistic Production ◽  
Important Quality ◽  
Visual Demonstration ◽  
Viktor Shklovsky

Faktura, literally "texture," is related to the Russian avant-garde’s preoccupation with the fundamental principles of the creative process. The term, applied to a work of art, addresses the way in which materials are used, the processes, the surrounding environment, and the artistic devices; it characterizes the textural structure of a work of art and the manner by which it was constructed. As a creative principle, it rejects a pictorial space based on perspective and the illusion of three-dimensional space projected onto a flat canvas. The Russian formalist critic Viktor Shklovsky considered faktura to be the single most important quality of an object of art as a constructed object: it was the evidence of its having been made. He applied the term to poetic writing as well as the visual arts; in both cases faktura offered a visual demonstration of the properties inherent in a material or construction: "The whole effort of a poet and a painter is aimed first and foremost at creating a continuous and thoroughly palpable object, an object with a faktura." The term faktura remained a fluid concept during the 1910s, its essential qualities being further defined and developed by members of the avant-garde from 1913 well into the mid-1920s. While faktura, as initially used by members of the early Russian avant-garde, was characterized by the use of natural materials and a holistic–metaphysical approach to art, it was later adapted by the Constructivists to conform to a strictly materialist ideology and utilitarian orientation in artistic production.

From the Archetypical Archive to Cultures of Documentation

2019 ◽  
Vol 62 (5-6) ◽  
pp. 773-798
Author(s):  
James Pickett ◽  
Paolo Sartori
Keyword(s):  
European History ◽  
Islamic World ◽  
Record Keeping ◽  
The Core ◽  
Theoretical Literature ◽  
Historical Literature ◽  
Textual Practices

AbstractThis essay argues that recent theoretical literature on the archive contains critical insights for studies of Islamic documents, while also pushing to move beyond some of the core assumptions of that same literature. There is no question that the fundamental concerns of an “archival turn” are every bit as relevant to studies of Islamic societies, past and present, as they are to European-dominated ones. Yet investigating Islamic “archives” presents the challenge of coming to terms with a concept—the archive—and an attending set of assumptions and theoretical baggage derived almost exclusively from European history. To address this challenge, we propose that employing the term “cultures of documentation” offers a way of having one’s cake and eating it too. In deploying this expression, we signal that there existed multitudes of textual practices and record-keeping activities in the pre-industrial Islamic world, and that it is possible to move away from “archive” as a term without abandoning the core insights and questions of the historical literature built around it.

Victorian Medievalism and Secular Design

2020 ◽  
pp. 446-462
Author(s):  
Jim Cheshire
Keyword(s):  
Consumer Culture ◽  
John Ruskin ◽  
Gothic Revival

This chapter traces how the arguments used to promote ecclesiastical Gothic became diffused in the context of a wider discourse about taste. Pugin’s arguments for Gothic had been designed to persuade a narrow group of ecclesiastical patrons but this approach became problematic when addressing Victorian consumer culture. Attempts to influence the judgement of the consumer run through the work of other apologists for medievalism such as John Ruskin, G. G. Scott, and Charles Eastlake. Owen Jones appropriated the discourse of medievalism and some of its principles but applied them to a much wider historiography of architecture and ornament, thus dissolving the more partisan hermeneutics promoted by the medievalists. The principles underlying the Gothic Revival were perpetuated through movements such as Aestheticism but these principles no longer pointed to the superiority of the Gothic style.

scholarly journals Art deco and avant-garde: the nature of interaction

2020 ◽  
pp. 24-31
Author(s):  
Anastasiia Dobrydneva
Keyword(s):  
Technological Progress ◽  
International Exhibition ◽  
Art Deco ◽  
Avant Garde ◽  
Mass Society ◽  
History Of ◽  
The Subject ◽  
History Of Culture ◽  
Cultural Dialogue

The subject of this research is the distinctions between two fundamental trends in art of the XX century – art deco and avant-garde, as well as determination of the nature of their interaction. The object of this research is the original texts of artisans and art monuments belonging to both fields. Special attention is given to characteristics of the specific features of art deco and avant-garde, identification of similarities and differences of the two simultaneously developing stylistic concepts. The author examines the key event for the history of interaction of these two trends, namely the International Exhibition of Modern Decorative and Industrial Arts held in Paris in 1925, and criticism that formed views on art of the era of modernism. The scientific novelty consists in examination of the two paramount trends for grasping history of culture of the XX century in the context of their interaction. Since 1966, art deco was not recognized as an in dependent style, but rather closely connected with modernism and patterned on avant-garde. The main conclusion of the conducted research consists in revelation of adaptive cultural mechanism that allowed art deco to overcome a number of problems, among which in underlines the relation to technological progress and mass society. The author highlights that both trends should be viewed in the context of cultural dialogue. First and foremost, they were united by orientation towards modernity and development of innovative language of art.

scholarly journals Tradition and Innovation in the Work of Bashkir Artist Talgat Masalimov

ICONI ◽  
2019 ◽  
pp. 147-156
Author(s):  
Elsa E. Purik ◽  
◽  
Akhmadullin Mars L. ◽  
Shakirova Marina G. ◽  
◽  
...  
Keyword(s):  
Visual Arts ◽  
Avant Garde ◽  
The Core ◽  
The Past ◽  
Plastic Arts ◽  
Graphic Artist ◽  
Republic Of Bashkortostan ◽  
Applied Art ◽  
The Creation ◽  
The Republic

The article is devoted to the artistic legacy of Merited Artist of the Republic of Bashkortostan Talgat Masalimov — painter, graphic artist and master of decorative applied art. his work is examined in the article in the context of the processes taking place in the contemporary visual arts, marked with an exploration of new plastic means. The authors regard the legacy of Masalimov as a vivid example of the simultaneous infl uence of folk art, its symbolism and graphic structure, Eastern (Turkic) traditions and those of the Russian avant-garde with its aspiration towards primitive, laconic, conditional forms. The article cites examples among works of the artist created in the technique of graphics, pastel and artistic felt. At the core of the creation of these works lies the knowledge of principles of construction of the composition and depictive techniques characteristic for the Russian avant-garde and Early Russian icon-painting and Iranian miniatures, with an absence of direct associations with any concrete epoch or artistic direction. The authors see in the work of the artist a vivid example of the preservation and expansion of the heritage of the past, its development and enrichment by means of contemporary plastic arts.

scholarly journals Stylistic Interpretation of English Football Vocabulary Items and Set Expressions in Publicistic Discourse

2020 ◽  
pp. 61-69
Author(s):  
Alena Štulajterová ◽  
Ivan Laluška
Keyword(s):  
Point Of View ◽  
Stylistic Analysis ◽  
British Isles ◽  
Sports Journalism ◽  
The Core ◽  
The Past ◽  
Research Material ◽  
S Model ◽  
The Guardian ◽  
Contextual Meaning

The paper dwells upon the study of English football vocabulary items and set expressions from the stylistic point of view. We applied Galperin´s model of stylistic analysis in our research,therefore football expressions and phrases are evaluated in terms of their stylistic significance at the phonetic-phonological, lexical and syntactical levels. The linguistic corpus of research material of 670 excerpts comes from printed and online British media, namely the Guardian and its websites. In initial chapters, the paper outlines the past and present of football on the British Isles. As football vocabulary items and set expressions are used by sports journalists and reporters too, we present a concise diachronic and synchronic view of the British sports journalism as the sub-style of publicistic style. The core of the paper is focused on quantitative and qualitative stylistic analysis of the corpus. Furthermore,the corpus of the language material has been analysed according to the football activities related to the most popular sport worldwide. Our research revealed that the scope of the most frequent stylistic devices included in the English football vocabulary has been mainly focused on the lexical level (namely metonymy, metaphor, hyperbole and periphrasis). The results provide some interesting insights into the two-fold application of meaning (primary and transferred/contextual meaning) in the analysed expressions.

scholarly journals Popau, Pop, or an “American Way of Living”? An Introduction to Aracy Amaral's “From the Stamps to the Bubble”

ARTMargins ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 105-119
Author(s):  
Sofia Gotti
Keyword(s):  
Economic Development ◽  
Pop Art ◽  
Military Dictatorship ◽  
Avant Garde ◽  
Artistic Production ◽  
Cultural Milieu ◽  
Brazilian Art ◽  
Cultural Exchanges ◽  
The 1960S ◽  
The Military

The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.

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