Modernistskiy ekfrasis v esse Mariny Tsvetayevoy „Natal'ya Goncharova. Zhizn' i tvorchestvo”

2021 ◽  
pp. 196-223
Author(s):  
Alexander Medvedev
Keyword(s):  
Martin Heidegger ◽  
20Th Century ◽  
Rainer Maria Rilke ◽  
Russian Philosophy ◽  
Avant Garde ◽  
European Context ◽  
Paul Gauguin ◽  
Ontological Turn ◽  
Friedrich Hölderlin ◽  
Stylistic Diversity

This article examines Marina Tsvetaeva’s modernist perception of the personality and paintings of the greatest representative of the Russian avant-garde of the 20th century in the essay “Natalia Goncharova. Life and Work” (“Наталья Гончарова. Жизнь и творчество”, 1929). Goncharova’s paintings that Tsvetaeva describes in her essay are indicated. The principles of modernist poetics and ekphrasis are revealed (lyrical subjectivism, ontology, consonance, anagrammatic disclosure of the inner form of a word, mythologization, reader co-creation, dialogism). The similarity between Tsvetaeva’s understanding of painting and poetry is compared to the ontological understanding of art by Martin Heidegger. This can be explained by the tradition of ontological poetry (Friedrich Hölderlin and Rainer Maria Rilke), which is important for both. The ontology of Goncharova’s painting is also considered in the context of the ontology of animals in Russian philosophy at the beginning of the 20th century (Vasily Rozanov) and in the Tahitian Painting of Paul Gauguin. Special attention is paid to ekphrastic poetics (style, tropes, consonance), with the help of which Tsvetaeva authentically transfers the ontologism of Goncharov’s painting in its stylistic diversity (cubism, neo-primitivism, rayonism) to the verbal level. Tsvetaeva and Goncharova in the respective Russian and European context (Gauguin, Rozanov, Heidegger, Rilke) appear as exponents of the ontological turn in the culture of the first half of the 20th century.

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.

Der Begriff ‚Anlage‘ als Bestimmung des Seins bei Martin Heidegger

2010 ◽  
Vol 2010 (1) ◽  
pp. 101-116
Author(s):  
Ales Novak
Keyword(s):  
Martin Heidegger ◽  
20Th Century ◽  
Being And Time ◽  
Temporal Features ◽  
Heaven And Earth

During the philosophical pathway of Martin Heidegger the 30s of the 20th century are a crucial period in respect of his effort to point out the temporal meaning of the notion of being. After the failure of his project of Being and Time he turned his attention towards pondering upon the (Hi)Story of being (Seinsgeschichte or Geschichte des Seins), leading him to the thought of the oblivion of being as well as of the forsakenness by the being. Within the eschatological perspectives after the end of metaphysics Heidegger arrives at the notion of Anlage, in which he means to articulate the temporal features of being corresponding to the mentioned epochal situation. The notion Anlage sums up the temporal features of setting, perpetuity, and presence, which according to Heidegger are notoriously associated with the notion of being within the metaphysics. Nonetheless, even this conceptual effort acts as a taking- off towards a far more radical phenomenology of world conceived as the fourfold of heaven and earth, the divine and the mortals.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

Jelena Osnobkina (1959–2010)

2021 ◽  
Vol 69 (2) ◽  
pp. 295-302
Author(s):  
Nelly Motroschilowa
Keyword(s):  
Political Philosophy ◽  
Martin Heidegger ◽  
Edmund Husserl ◽  
Political Engagement ◽  
Russian Philosophy ◽  
Philosophical Theory ◽  
Philosophical Work ◽  
Soviet Russia

Abstract This archival feature serves to present the personality and philosophy of Elena Oznobkina (1959–2010), a key figure of late-Soviet and, later, Russian philosophy. Oznobkina pioneered the present-day reception of Martin Heidegger and Edmund Husserl in Russia, but also made substantial contributions to Nietzsche studies and political philosophy, which are detailed in Nelly Motrozhilova’s introduction. Her philosophical work was inseparable from her personal political engagement, to which the featured archival text (“Prison or Gulag?”, 2000) testifies. It gives a poignant and concise characterisation of the prison as an object of philosophical theory, while asking the question of where Soviet prison camps and the prisons of post-Soviet Russia are to be located within this field of thought.

Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe

2021 ◽  
Vol 66 (1) ◽  
pp. 329-343
Author(s):  
Liudmyla Shapovalova ◽  
Іryna Romaniuk ◽  
Marianna Chernyavska ◽  
Svitlana Shchelkanova
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Accurate Identification ◽  
Philosophy Of Music ◽  
Philosophical Concept ◽  
Avant Garde ◽  
The Third ◽  
Ninth Symphony ◽  
Human Ontology ◽  
First Time

"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "

scholarly journals Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern

2007 ◽  
Vol 43 (2) ◽  
pp. 287-303
Author(s):  
Susanne Kogler
Keyword(s):  
20Th Century ◽  
Conceptual Knowledge ◽  
Aesthetic Experience ◽  
New Music ◽  
Avant Garde ◽  
Starting Point ◽  
Traditional Language ◽  
Art Philosophy ◽  
Language Of Music ◽  
The One

That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand”. The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard’s and Adorno’s positions, the article shows that one should acknowledge a constancy of the topos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno’s music philosophy, through Lyotard’s focus on John Cage, up to the avant-garde of New Music in the era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge of silence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on the musical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions.

scholarly journals Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past

2019 ◽  
Vol 66 (1 SELECTED PAPERS IN ENGLISH) ◽  
pp. 19-31
Author(s):  
Barbara Niebelska-Rajca
Keyword(s):  
20Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Avant Garde ◽  
The Past ◽  
Polish Version ◽  
Dominant Tendency ◽  
Late Renaissance ◽  
Theoretical Reflection ◽  
Present Text

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1. Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.

scholarly journals Avant-Garde Children’s Magazines and Newspapers of the 1920s – 1930s in Siberia

2019 ◽  
Vol 14 (2) ◽  
pp. 84-105
Author(s):  
Ksenia V. Abramova
Keyword(s):  
20Th Century ◽  
Children And Youth ◽  
Children's Books ◽  
Self Presentation ◽  
Avant Garde ◽  
Black And White ◽  
Children's Magazines ◽  
New Type ◽  
The Times ◽  
Design Techniques

The purpose of this article is to analyze the magazines and newspapers for children and youth issued on the territory of Siberia in 1920s – 1930s. A great many children’s books were issued that years, moreover, the approach to design of that books and to the contents of writings for children changed significantly: the topics had to be actual, associated with the construction of the new society. At the same time, exactly in children’s press in 1920s, the new principles of book graphics were formed. There are a large number of magazines and newspapers aimed at youth audiences were published in Siberia in the 1920s and 1930s, but they did not have a long history. Some of them appeared only once or twice, after that they closed. But all the more interesting is the study of these rare publications as experiments that influenced how the Soviet children’s and youth magazine was formed. Viewing magazines and newspapers allows you to observe how the rubrication and the genre system of Soviet publications for children evolved, as well as identify trends that have become a definite “sign of the times”. The article explores archive materials and examines the contents of printed issues, peculiarities of the approaches to the inner composition of the material and design techniques, discovers the features of the “Soviet avant-garde” development in children’s and youth periodicals. It indicates that the majority of the Siberian Children’s and youth magazines issued within that period has demonstrated a strongly demonstrated ideological overtone, claiming its purpose raising the new type of human and orientation on the “iterature of fact”. The article covers the peculiarities of the illustration techniques in Siberian post-revolutionary magazines. The article marks that up to the mid – late 1920s, the children’s and youth periodicals design became composed of such elements as insets, plane drawings based on a contrast combination of black and white, photography and photographic compilation. Furthermore, it describes a number of self-presentation techniques, developed exactly by the avant-garde art. As can be seen from the above, it can be stated that Siberian children’s and youth journalism acquired the avant-garde trends of the first third of the 20th century, however, they haven’t been gradually and fully realized.

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