scholarly journals Weimar Art: Between Tradition and Avant-Garde

2020 ◽  
Author(s):  
Maria Belikova
Keyword(s):  
Interwar Period ◽  
The Other ◽  
Distinctive Features ◽  
New Objectivity ◽  
Avant Garde ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

This study aims to analyse two art movements in Germany: Dada and New Objectivity, identifying their distinctive features in the context of the anti-modernist mood in the interwar period. A ‘call to order’, or return to tradition and classics, can even be found in some texts of the Berlin Dadaists. The aesthetic positions of New Objectivity representatives were also ambiguous. On the one hand, they shattered avant-garde foundations through an appeal to the national pictorial tradition. On the other hand, modernist means of expression can be traced in their works.

scholarly journals The Ethical Anxiety of Remediation and Speculative Aesthetics in Landscape Film

2020 ◽  
Vol 18 (1) ◽  
pp. 73-87
Author(s):  
Zoltán Szabó
Keyword(s):  
Object Oriented ◽  
Theoretical Framework ◽  
The Other ◽  
Pictorial Representation ◽  
Avant Garde ◽  
Other Hand ◽  
Object Oriented Approach ◽  
The Aesthetic ◽  
The One ◽  
Oriented Approach

AbstractThe link between avant-garde cinema and painting has always been a conspicuous one but perhaps never as much as in the case of landscape films. However, not only repurposing or evoking specific paintings but constructing entire films with the intention of producing cinematic analogies to certain traditions of landscape painting presents a number of issues, especially when the films in question are inspired by the sensibilities of 19th-century Romanticism and explore similar topics, such as the works of Peter Hutton. The problem is essentially twofold: on the one hand, how to break away from the painterly roots and make an exclusively cinematic pictorial representation of landscape and, on the other hand, how to account for the complicit position of the filmmaker with regard to the nature–technology opposition they address. Within the theoretical framework of the recent speculative turn in philosophy and the implications of this with regard to aesthetics, I argue that an object-oriented approach to landscape filmmaking – as seen in the works of Chris Welsby –, by establishing pre-compositional rules within which landscape itself can intervene in the filmmaking process, provides a solution to both the aesthetic and the ethical anxiety that haunt landscape filmmakers.

Vegan attendance: reading Gibbons’s animals

2020 ◽  
Vol 29 (3) ◽  
pp. 379-394
Author(s):  
Emelia Quinn
Keyword(s):  
The Other ◽  
Other Hand ◽  
Aesthetic Pleasure ◽  
Simone Weil ◽  
The Aesthetic ◽  
The One ◽  
Embodied Presence

When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

scholarly journals Concertante techniques in Trois images by Ivo Petrić

2001 ◽  
Vol 37 (1) ◽  
pp. 103-112
Author(s):  
Niall O'Loughlin
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
The Other ◽  
Violin Concerto ◽  
Avant Garde ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
Frank Martin ◽  
Movement Structure

The large-scale romantic concerto has been reevaluated by many composers of the 20th century. These have included Stravinsky, Honegger and Frank Martin, who have all tended to compose on a much smaller scale. One such work is Ivo Petrić's Trois images, a violin concerto dating from 1972-73. It displays an ambiguous approach to form, the relationships between the soloist and orchestra, the use of musical motives and the idea of the concerto. On the one hand, it has links with tradition in that it uses the title and three-movement structure of the concerto, the traditional relationships of dialogue, solo and accompaniment, development of motives and virtuoso techniques. On the other hand, it breaks with tradition by disguising the contrasts and separation of the individual movements, and transforming traditional concerto techniques for use in the freely coordinated idiom that the composer was using at the time. It proves to be an excellent example of how concerto techniques can be combined with the techniques of the avant-garde.

scholarly journals Stanislav Krakov: Phenomenology of the inner consciousness of combat

2014 ◽  
Vol 25 (3) ◽  
pp. 323-342
Author(s):  
Caslav Koprivica
Keyword(s):  
The Other ◽  
Philosophical Tradition ◽  
Philosophical Significance ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

In this text, the work of Serbian writer Stanislav Krakov, between the two world wars, the famous, and later, due to ideological divisions, repressed and forgotten figure, is ovserverd through the lens of philosophy of existence and phenomenology. The ?philosophical? significance of Krakov?s autobiographical war prose, which in the aesthetic, especially formal-innovative aspect, represented the pinnacle of the genre of that time Serbian literature, is that it can be viewed as a first-class document of phenomenological introspection of a man in situation of mortal combat; and the ragne his prose of his prose is, in some respects, without exaggeration, comparable to war prose of Ernst J?nger. But besides his authentic documentality, Krakov?s writing is characterized by brilliant insights. So, on the one hand, Krakov can be viewed as a thinker of war and corporeality avant lettre, and, on the other hand, the interpretative contextualization of his prose within the aforementioned philosophical tradition helps us to better understand his literature.

scholarly journals The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

2021 ◽  
Vol 11 (1) ◽  
pp. 21-38
Author(s):  
Aleksandr S. Ryzhinskii ◽  
Keyword(s):  
20Th Century ◽  
The Other ◽  
Important Place ◽  
Choral Works ◽  
Avant Garde ◽  
Work In Progress ◽  
Pierre Boulez ◽  
Other Hand ◽  
Choral Composition ◽  
The One

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

Part III Where to Arbitrate? Distinctive Features of Maritime Arbitral Seats, 9 Maritime Arbitration in London: Publication of Awards, Appeals, and the Development of English Commercial Law

2016 ◽  
Author(s):  
Gaunt Ian
Keyword(s):  
Professional Knowledge ◽  
The Other ◽  
Commercial Law ◽  
Men And Women ◽  
Distinctive Features ◽  
Commercial Practice ◽  
Other Hand ◽  
English Law ◽  
The Law ◽  
The One

This chapter examines what makes London so popular as a maritime arbitration centre. Chief among the reasons is the availability of a pool of arbitrators with a breadth of professional knowledge and experience, including not just lawyers but commercial men and women. It also discusses the perceived effect of the use of arbitration on the development of English law. On the one hand, the number of appeals going to the courts is such as to ensure that new precedents are produced in order to lend vibrancy to the law. On the other hand, some first instance decisions have shown a tendency on the part of judges to decide cases without sufficient sensitivity to commercial practice, leading to precedents that are hard for arbitrators to apply. The chapter also considers the major challenges faced by the London Maritime Arbitrators Association in maintaining London as the foremost centre for the resolution of shipping disputes.

scholarly journals Schiller after Kant: The “Unexpected Science” of theBriefe über die ästhetische Erziehung des Menschen

Kant-Studien ◽  
2020 ◽  
Vol 111 (2) ◽  
pp. 285-302
Author(s):  
Tim Mehigan
Keyword(s):  
The Other ◽  
Aesthetic Theory ◽  
Human Being ◽  
Future State ◽  
Alternative Path ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

AbstractIn the Briefe über die Ästhetische Erziehung des Menschen, the focus of this article, Schiller’s ostensible aim – to complete Kant’s aesthetic theory – is progressively abandoned. The article examines the reasons for this abandonment. On the one hand, Schiller’s original purpose was overtaken by events in France. Schiller found that he could no longer sustain confidence in reason’s capacity to build a durable political republic. On the other hand, the alternative path he favours involves him in the expounding of an anthropology he did not set out to undertake. The Ästhetische Briefe, for this reason, finds itself adumbrating an “unexpected science” with little remaining reference to Kant – an account of the human being whose desirable future state, that of morality, can only be made secure by passage through the aesthetic state. A by-product of this argument, and perhaps its chief consequence, is that it finally settles the quarrel of the ancients and the moderns (in favour of the moderns).

scholarly journals Quand la chair de l’interprète européenne hante la chaire des hérauts européanistes…

2011 ◽  
Vol 1 (3) ◽  
pp. 71
Author(s):  
Chris Reyns-Chikuma
Keyword(s):  
Real Life ◽  
The Other ◽  
Minor Role ◽  
European Policy ◽  
The Real ◽  
Avant Garde ◽  
Other Hand ◽  
National Boundaries ◽  
The One ◽  
A Minor

On the one hand, there is a great number of « national » fictions. To various degrees (patriotic, nationalistic) and consciously or not, these fictions participate in the construction of a nation. On the other hand, there are also a lot of fictions that we can characterize as cosmopolitan or postnational and which are situated outside any clear national boundaries. On the contrary, one can count very few fictions on the construction of a European supranationality. To my knowledge, Constellation by Alain Lacroix (2008) is the only one in French and that is the one I am going to write about in this essay. My goal here is threefold. It is first to show that although the interpreter seems to play a minor role (according to the number of pages) and although she is apparently considered an insignificant quantity by both male protagonists, as her regular and obsessive return in the text proves it she is actually important since she haunts the characters sexually and ideologically. I will also show that this haunting spreads through the whole novel through the issue of the interpretation of signs. The second goal is to show that the interpreter, who is explicitly presented as an impersonation of Europe, actually incarnates the ambivalence of any « europeanist » project. She is indeed a bridge not only between two languages & cultures but also between both faces of any European policy. The first one, concrete, tries to incorporate the real life of the Europeans, their daily concerns which themselves are often inscribed within their « national habitus», and the other one to exceed it within a transnational project which is often perceived as too abstract. Finally, I will conclude showing how Constellation “foreignizes” (Venuti, 2008, 6) its translation of the European realities, not by its choices but by the choice of avant-garde esthetic techniques.

scholarly journals Genre and Stylistic Features of the Modern Audiobook

2021 ◽  
pp. 156-170
Author(s):  
Vera Yu. Bal ◽  
◽  
Elizaveta E. Gutkevich ◽  
Keyword(s):  
Cultural Practices ◽  
Literary Work ◽  
Literary Text ◽  
The Other ◽  
Reading Practice ◽  
Aesthetic Value ◽  
Other Hand ◽  
Audio Books ◽  
The Aesthetic ◽  
The One

Modern technological conditions make it possible to create, quickly replicate and use audio books conveniently. Audio books are one of the fastest growing segments of the global publishing market. Informative issues of creating audio books, not technological ones, are in the research focus of the article. The content of an audiobook is a voiced text that refers to the “auditory literature”. Assessments of the quality of the auditory literature are polar. On the one hand, it is considered secondary to the original literary text; on the other hand, it is a self-contained artistic phenomenon with its own aesthetic nature. In this article, an audiobook is considered precisely in the aspect of its artistic value, which is highlighted when speaking about the genre nature of the voiced text. The genre features of the voiced text in this study are identified taking into account the communicative features of its formal-stylistic features. The communicative nature of the audiobook genre is associated with two types of reading, which reflect the opposite positions of the two participants in communication. On the one hand, this is an expres-sive reading aloud, which can also be defined as staged reading. Genetically, this type of reading is associated with public performances of artists and initially assumed live reading. Further, this type of reading is transformed into the genre of radio plays, called “theater at the microphone”. In modern communicative practices of creating and repli-cating audio content, including one related to the actor’s readings of works of art, there is no binding to time and place. On the other hand, this is auditory reading, a modifica-tion of which is audio reading in modern technological conditions. If auditory reading is the first reading practice of a child mastering books from the voice of a parent, then audio reading is the choice of an adult who can read. The acoustic representation of a literary work is associated not only with the performance of elementary technical characteristics of sound, but also with the introduction of a certain aesthetic value into it. The creative translation of a literary text from verbal to acoustic should preserve its value in the aesthetic plane, without reducing it to a purely pragmatic one. Actualization of the aesthetic value of an audiobook outside of its paper format is associated with the principles of its directing and editorial preparation – the principles associated with the implementation of the stylistic characteristics of the genre form of an audiobook. Translation of a verbal literary text into an audio one is carried out as a result of comparing reading a book to dramatic action. In this case, the forming element of the genre becomes the sounding text itself. In the case of audio books, the reader’s voice as a performer’s instru-ment and the musical noise accompaniment of the text read is a style-forming genre element. The article traces the publishing strategies for the embodiment of the formal-stylistic features of the audiobook genre in the context of modern audio cultural practices.

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