scholarly journals LOCAL IDENTITY AND FEATURES OF THE ARCHITECTURE OF KYIV IN THE FIRST HALF OF THE TWENTIETH CENTURY

2021 ◽  
pp. 150-159
Author(s):  
Andrii Markovskyi
Keyword(s):  
Detailed Analysis ◽  
Cultural Context ◽  
Global Analysis ◽  
Avant Garde ◽  
Global Context ◽  
Cultural Transformations ◽  
Regional Features ◽  
Local Manifestation ◽  
Invented Traditions ◽  
Political Economic

The article presents an analysis of the compilation of local and regional features of the development of Kyiv at the beginning of the last century, which arose as a reflection on global socio-political, economic and cultural transformations. In particular, successive iterations of the main city-forming function, "invented traditions" in their local manifestation, local decorative techniques ("brick style") and terrain subordination are studied. Mentioned as domestic (J. Yu. Karakis, P. F. Alyoshin, V. G. Krychevsky, V. G. Zabolotny, D. M. Dyachenko, and others) as all- Soviet architects (J. G. Langbard, I. O. Fomin and others). The concept of invented traditions according to E. Hobsbawm is extrapolated to the field of architecture through the prism of artistic and cultural context. The localization of traditions and the corresponding separation are presented in the concept of T. Eriksen: as a means of self-identification and response to the need to create an internal coordinate system for representatives of individual groups. The article summarizes a series of author's researches devoted to a detailed analysis of each of the mentioned artistic transitions in Kyiv architecture (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism), being part of a global analysis of the genesis of city architecture in a global context. A detailed analysis of the objects identified in the article is presented in other works of the author. 

scholarly journals A Ilustração portuguesa e a Missão dos Padres Matemáticos na América * The portuguese Illustration and Mission of Mathematicians Priests in America

2014 ◽  
Vol 3 (2) ◽  
pp. 437
Author(s):  
SEZINANDO LUIZ MENEZES ◽  
GISELLE RODRIGUES ◽  
CÉLIO JUVENAL COSTA
Keyword(s):  
Eighteenth Century ◽  
Cultural Context ◽  
Human Actions ◽  
Human Thought ◽  
Cultural Transformations ◽  
Norbert Elias ◽  
French Court ◽  
And Behavior ◽  
Political Economic ◽  
The Relationship

<p><strong>Resumo:</strong> Este trabalho tem o objetivo de analisar a relação entre a Missão dos Padres Matemáticos, expedição organizada pela Coroa portuguesa na primeira metade do século XVIII para realizar estudos sobre os territórios portugueses na América, e o desenvolvimento de uma cultura ilustrada em Portugal, pois, segundo nosso entendimento, a “missão” se relaciona às transformações culturais vividas em Portugal naquele período. Nesta análise partimos do pressuposto teórico de que as ações humanas, apesar de expressarem uma individualidade, correspondem a um determinado contexto social, político, econômico e cultural. Isso significa que o pensamento e comportamento humano associam-se a uma “configuração” – conceito aplicado por Norbert Elias, na obra <em>A sociedade de corte</em> (2001), para estudar a sociedade da corte francesa entre os séculos XVII e XVIII.</p><p><strong>Palavras-chave:</strong> Ilustração – Fronteiras Americanas – Mineração – Padres Matemáticos.</p><p> </p><p><strong>Abstract:</strong> This paper is intended to analyze the relationship between the Mission of the Mathematicians Priest expedition organized by the Portuguese crown in the first half of the eighteenth century to conduct studies on the Portuguese territories in America, and the development of an illustrated culture in Portugal. According to our understanding, the "mission" is connected to cultural transformations in Portugal at that time. In this analysis we set of theory premise that human actions, although expressing individuality, correspond to a particular, political, economic and cultural context. This means that human thought and behavior associated to a "configuration" - concept applied by Norbert Elias, <em>The society in the work of cutting</em> (2001), to study the society of the French court between the seventeenth and eighteenth centuries.</p><p><strong>Keywords:</strong> Illustration – American Borders – Mining – Mathematical Priests.</p>

Contemporary Shamanisms in Norway

2018 ◽  
Author(s):  
Trude Fonneland
Keyword(s):  
Case Studies ◽  
Indigenous Peoples ◽  
Cultural Context ◽  
Ethnographic Research ◽  
Global Networks ◽  
Local Manifestation

This book examines Sámi shamanism in Norway as a uniquely distinctive local manifestation of a global new religious phenomenon. It takes the diversity and hybridity within shamanic practices seriously through case studies from a Norwegian setting and highlights the ethnic dimension of these currents, through a particular focus on Sámi versions of shamanism. The book’s thesis is that the construction of a Sámi shamanistic movement makes sense from the perspective of the broader ethno-political search for a Sámi identity, with respect to connections to indigenous peoples worldwide and trans-historically. It also makes sense in economic and marketing terms. Based on more than ten years of ethnographic research, the book paints a picture of contemporary shamanism in Norway in its cultural context, relating it both to the local mainstream cultures in which it is situated and to global networks. By this, the book provides the basis for a study revealing the development of inventiveness, nuances, and polyphony that occur when a global religion of shamanism is merged in a Norwegian setting, colored by its own political and cultural circumstances.

scholarly journals Representing the victorious past: Chinese revolutionary TV drama between propaganda and marketization

2021 ◽  
pp. 016344372110227
Author(s):  
Yingzi Wang ◽  
Thoralf Klein
Keyword(s):  
Comparative Analysis ◽  
The Other ◽  
Market Reforms ◽  
Fictional Characters ◽  
Production Environment ◽  
Cultural Transformations ◽  
The One ◽  
Political Economic ◽  
Revolutionary History ◽  
Over Time

This paper examines the changes and continuities in TV representations of Chinese Communist Party’s revolutionary history and interprets them within the broader context of China’s political, economic and cultural transformations since the 1990s. Drawing on a comparative analysis of three state-sponsored TV dramas produced between the late 1990s and mid-2010s, it traces how the state-sanctioned revolutionary narratives have changed over time in response to the Party’s propaganda imperatives on the one hand, and to the market-oriented production environment on the other. The paper argues that while recent TV productions in the new century have made increasing concessions to audience taste by adopting visually stimulating depictions and introducing fictional characters as points of identification for the audience, the revolutionary narratives were still aligned with the Party’s propaganda agenda at different times. This shows the ongoing competition between ideological and commercial interests in Chinese TV production during the era of market reforms.

Politics and the Reception of Andrew Lloyd Webber’sThe Phantom of the Opera

2014 ◽  
Vol 26 (3) ◽  
pp. 271-287
Author(s):  
Amanda Eubanks Winkler
Keyword(s):  
Cultural Context ◽  
The Political ◽  
Government Subsidy ◽  
Critical Response ◽  
Elite Culture ◽  
Art Form ◽  
The Government ◽  
Reagan Era ◽  
Political Economic ◽  
The Relationship

AbstractThis article analyses the complicated and conflicted critical response to Andrew Lloyd Webber’sThe Phantom of the Operawithin the political, economic and cultural context of the Thatcher/Reagan era. British critics writing for Conservative-leaning broadsheets and tabloids took nationalist pride in Lloyd Webber’s commercial success, while others on both sides of the Atlantic claimed thatPhantomwas tasteless and crassly commercial, a musical manifestation of a new Gilded Age. Broader issues regarding the relationship between the government and ‘elite’ culture also affected the critical response. For some,Phantomforged a path for a new kind of populist opera that could survive and thrive without government subsidy, while less sympathetic critics heardPhantom’s ‘puerile’ operatics as sophomoric jibes against an art form they esteemed.

The Cultural Context of Reception:

2012 ◽  
Vol 3 (2) ◽  
pp. 38-55
Author(s):  
Riikka Korppi-Tommola
Keyword(s):  
Cultural Context ◽  
Theoretical Framework ◽  
High Expectations ◽  
Cultural Contexts ◽  
Avant Garde ◽  
Cultural Perspectives ◽  
The Past ◽  
Dance Company ◽  
Merce Cunningham ◽  
Encounter Time

Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.

‘Loaded’: indie guitar rock, canonism, white masculinities

Popular Music ◽  
2006 ◽  
Vol 25 (1) ◽  
pp. 77-95 ◽  
Author(s):  
MATTHEW BANNISTER
Keyword(s):  
Cultural Context ◽  
Social Groups ◽  
High Culture ◽  
Avant Garde ◽  
Alternative Rock ◽  
Symbolic Identification ◽  
History Of ◽  
Important Means ◽  
White Masculinities

Indie alternative rock in the 1980s is often presented as authentically autonomous, produced in local scenes, uncaptured by ideology, free of commercial pressures, but also of high culture elitism. In claiming that the music is avant-garde, postmodern and subversive, such accounts simplify indie's historical, social and cultural context. Indie did not simply arise organically out of developing postpunk music networks, but was shaped by media, and was not just collective, but also stratified, hierarchical and traditional. Canon (articulated through practices of archivalism and connoisseurship) is a key means of stratification within indie scenes, produced by and serving particular social and cultural needs for dominant social groups (journalists, scenemakers, tastemakers, etc.). These groups and individuals were mainly masculine, and thus gender in indie scenes is an important means for deconstructing the discourse of indie independence. I suggest re-envisioning indie as a history of record collectors, emphasising the importance of rock ‘tradition’, of male rock ‘intellectuals’, second-hand record shops, and of an alternative canon as a form of pedagogy. I also consider such activities as models of rational organisation and points of symbolic identification.

scholarly journals POLITICAL CULTURE OF THE MODERN WORLD: EPOCHAL TRANSFORMATIONS

2021 ◽  
Vol 3 (50) ◽  
Author(s):  
Ihor Oleksiiovych Polishchuk ◽  
Tetiana Mykolaivna Maksimishyna
Keyword(s):  
State Power ◽  
Modern World ◽  
Science And Policy ◽  
State Institutions ◽  
Global Context ◽  
Cultural Transformations ◽  
The People ◽  
Traditional Societies ◽  
The Masses ◽  
Modern Era

The article is devoted to the topical problem of political and cultural transformations in the interaction between political power and its only source in democratic discourse, the people. This eternal problem of political science and policy is considered in chronological order in the global context and in today’s Ukraine. In traditional societies, there was a remote and alienated coexistence of state institutions and the masses. The exception was the democratic republics of ancient polises. The modern era generates a contractual theory of the origin of the state, which considers the institutions of power as the result of a social agreement between the sovereign people and the governors. In the modern era in the middle of the twentieth century, the concept of the welfare state was formed. In the postmodern era, unstable life forces citizens to behave in relation to state power, depending on the actualization of a particular guise of their own existence. Citizens are losing a clear, unambiguous idea of state power, its functions, place and role in society.

scholarly journals Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax

2018 ◽  
Author(s):  
Luka Bešlagić
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Spoken Language ◽  
Experimental Film ◽  
The Novel ◽  
Moving Image ◽  
Avant Garde ◽  
Moving Images ◽  
Narrative Cinema ◽  
Movie Script

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.228

Samuel Beckett Et La Mécanisation D'echo

2007 ◽  
Vol 17 (1) ◽  
pp. 434-447
Author(s):  
Yoshiki Tajiri
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Samuel Beckett ◽  
Avant Garde ◽  
Friedrich Kittler ◽  
The Voice

This paper wants to situate Beckett's work within the cultural context of the beginning of the twentieth century when acoustic technology was strongly linked to the art of the avant-garde. I am going to analyze the 'voice of the telephone' in and I shall accentuate the pertinence of the idea of "the discourse network of 1900" (Friedrich Kittler) regarding Beckett's work. Finally I want to show how acoustic technology appears in and in In these processes the figure of Echo has been mechanized and materialized by Beckett in our view.

Bad Mothers and Dirty Lousers: Representing Abortionists in Postindependence Ireland

2019 ◽  
Vol 54 (1) ◽  
pp. 286-305
Author(s):  
Cara Delay ◽  
Annika Liger
Keyword(s):  
Legal System ◽  
Popular Press ◽  
Criminal Courts ◽  
Cultural Transformations ◽  
National Values ◽  
The Media ◽  
Political Economic ◽  
Race And Religion

Abstract This article investigates how the criminal courts and popular press depicted abortionists across key decades of political, economic, and cultural transformations in postindependence Ireland (1922–1950). It demonstrates how and why the legal system and the media highlighted those abortion-related crimes in which bad mothers, ambitious parvenus, and ethnic “others” subverted society, religion, motherhood, and, in Ireland’s case, national values. At stake in depictions of abortionists was not only morality and criminality but also Irishness itself. Courts and newspapers presented abortion defendants as “others” in terms of gender, sexuality, class, race, and religion. Doing so branded abortionists as dangerous outsiders in, and even traitors to, a fragile Irish nation still working to define itself.

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