scholarly journals Galician painters of the end of the 19th - the first third of the twentieth century - the creators of the latest page of Ukrainian sacred art

2015 ◽  
pp. 176-186
Author(s):  
Igor Kovalchuk
Keyword(s):  
Twentieth Century ◽  
Creative Process ◽  
Historical Period ◽  
Sacred Art ◽  
Theological Foundations

The article deals with the development of sacred art in Galicia at the turn of the 19th and 20th centuries. Masters of Ukrainian icon painting K. Ustinovich, Y. Pankevich, M. Sosenko, P. Kholodny and others. continued the creative process through which the Ukrainian icon for a long historical period of development did not lose its viable direction, did not degenerate into the picture. They have not crossed that limit, when the departure from the fundamental theological foundations of iconoclasm threatens to transform it into a painting of dry religious content.

Introduction

2020 ◽  
pp. 1-16
Author(s):  
Melissa J. Homestead
Keyword(s):  
Twentieth Century ◽  
Queer Theory ◽  
New Hampshire ◽  
Creative Process ◽  
History Of Sexuality ◽  
History Of

Using Cather and Lewis’s shared gravesite in Jaffrey, New Hampshire, as a touchstone, the introduction describes how biographers have approached the question of Willa Cather’s sexuality, how critics have applied queer theory to readings of her work, and how Lewis’s place in Cather’s life and creative process has been repeatedly ignored or misrepresented. The introduction lays out the terms on which this volume defines Lewis’s relationship with Cather and makes her visible again: it introduces Lewis’s role as Cather’s editor and suggests how models of the history of sexuality have failed to capture the persistence of the so-called Boston marriage into the twentieth century.

scholarly journals Charting relationship marketing practice: it really didn’t emerge in the 1970s

2015 ◽  
Vol 7 (4) ◽  
pp. 486-508 ◽  
Author(s):  
Mark Tadajewski
Keyword(s):  
Twentieth Century ◽  
Relationship Marketing ◽  
Design Methodology ◽  
Level Of Detail ◽  
Historical Period ◽  
Marketing Practice ◽  
Content Type ◽  
The Usa ◽  
History Of ◽  
Practical Implications

Purpose – This paper aims to provide a history of relational perspectives in marketing practice from the nineteenth through to the twentieth century. Design/methodology/approach – This paper engages in a systematic reading of published histories of retailing practice using the key attributes of transaction and relationship marketing as a conceptual framework to interrogate whether earlier practitioners were committed to either approach. Findings – This paper supplements the studies conducted in other domains that undermine the idea that relational practices were rejected in favor of transaction-type approaches during the industrialization of the USA and Canada. Practical implications – The content of this paper provides textbook authors with a means to fundamentally revise the way they discuss relationship marketing. It has a similar pedagogic utility. Originality/value – This paper studies the writings of practitioners known to be pioneers of retailing to unravel their business philosophies, comparing and contrasting these to known attributes of relationship marketing. It deals with an historical period that has not previously been studied in this level of detail by marketing historians.

Together We Move

2017 ◽  
pp. 588-606
Author(s):  
Cynthia Pratt
Keyword(s):  
Twentieth Century ◽  
Rural Communities ◽  
Creative Process ◽  
Large Scale ◽  
Critical Component ◽  
Community Dance ◽  
Early Twentieth Century ◽  
Folk Dancing ◽  
Early Influences

This chapter discusses the process of creating a large-scale dance event inspired by the early-twentieth-century movement choirs of Rudolph Laban. A brief biography of Laban outlines the early influences leading to his conviction that community dance is a critical component in creating group empathy and goodwill. These influences include his exposure, as a young man, to whirling dervishes, and his experience with folk dancing within rural communities. The development of his ideas on dance and his concept of Festwille—the urge for a group of people to participate in meaningful celebratory activity—are also examined. The article describes the evolution of the movement choir from workshops which Laban held for amateur dancersm, and the cultural circumstances in post-industrialized Germany that contributed to this evolution. Finally, the creative process in setting a Laban-inspired movement choir of approximately 500 participants is described.

MODELING OF POSSIBLE WORLDS IN SIGIZMUND KRZHIZHANOVSKY’S PROSE

2019 ◽  
pp. 186-192
Author(s):  
Oksana Korniienko
Keyword(s):  
Twentieth Century ◽  
Creative Process ◽  
Possible Worlds ◽  
Real Image ◽  
Creative Imagination ◽  
World Languages ◽  
Philosophy Of Culture ◽  
Approximate Estimation ◽  
Different Levels ◽  
Literary Phenomenon

Modern researchers consider the oeuvre of Sigizmund Dominikovich Krzhizhanovsky, the Russian-speaking writer of Polish origin, to be a “literary phenomenon” and a “literary discovery” of the twentieth century. Publications, translations into many world languages and active scholar familiarization with the writer’s heritage begins in the end of XX – at the beginning of XXI centuries. The article examines the Sigizmund Krzhizhanovsky’s prose that presents the original artistic heterogeneous universe, where a “multidimensional world” becomes the structure creating model. In the Krzhizhanovsky’s prose a word-creative experiment plays an important role in the creation of many interconnected worlds. The number of writer’s occasional forms even does not undergo an approximate estimation. The second important factor of creating a model of “multidimensional world” is defamiliarization (by Victor Shklovsky) as a phenomenological and gnoseological principle and method. The writer’s artistic consciousness is based on the phenomenon of understanding, connected with the change of vision and understanding, which pulls objects or things out of usual contexts of recognition and re-describing them as a “new discovered” phenomena. Due to this the usual appears unusual, strange. Krzhizhanovsky creates conditional, metaphysical, phantasmagorical and paradoxical worlds. In these strange worlds boundaries of Real and Irreal are blurred, the fiction itself acquires a real image, and reality emerges fantastic. The “logic” of alogism and paradoxes often functions in these worlds. In the artistic language the writer uses the strategy of “morbid” nomination that creatively enriches speech resources and refreshes the literary thesaurus. In the Krzhizhanovsky’s artistic world dominant narrative and pictorial strategies are also based on the next methods: the reviving of things, phenomena and abstract notions, thoughts and words, etc.; materialisation and narrative implementation of metaphors; the use of grotesque. An important role is played by the saturated intertextuality and game modus at different levels: from language and speech to codification of culture. In such a way the author’s model of Philosophy of creativity and philosophy of culture as an endless polyphonic polylog, continuous creative process and boundless creative imagination is realized.

scholarly journals More Frequent, Longer, and Hotter Heat Waves for Australia in the Twenty-First Century

2014 ◽  
Vol 27 (15) ◽  
pp. 5851-5871 ◽  
Author(s):  
Tim Cowan ◽  
Ariaan Purich ◽  
Sarah Perkins ◽  
Alexandre Pezza ◽  
Ghyslaine Boschat ◽  
...  
Keyword(s):  
Twentieth Century ◽  
Climate Models ◽  
Heat Waves ◽  
First Century ◽  
Maximum Temperature ◽  
Historical Period ◽  
Tropical Regions ◽  
Summer Heat ◽  
Ensemble Mean ◽  
Twenty First Century

Abstract Extremes such as summer heat waves and winter warm spells have a significant impact on the climate of Australia, with many regions experiencing an increase in the frequency and duration of these events since the mid-twentieth century. With the availability of Coupled Model Intercomparison Project phase 5 (CMIP5) climate models, projected changes in heat waves and warm spells are investigated across Australia for two future emission scenarios. For the historical period encompassing the late twentieth century (1950–2005) an ensemble mean of 15 models is able to broadly capture the observed spatial distribution in the frequency and duration of summer heat waves, despite overestimating these metrics along coastal regions. The models achieve a better comparison to observations in their simulation of the temperature anomaly of the hottest heat waves. By the end of the twenty-first century, the model ensemble mean projects the largest increase in summer heat wave frequency and duration to occur across northern tropical regions, while projecting an increase of ~3°C in the maximum temperature of the hottest southern Australian heat waves. Model consensus suggests that future winter warm spells will increase in frequency and duration at a greater rate than summer heat waves, and that the hottest events will become increasingly hotter for both seasons by century’s end. Even when referenced to a warming mean state, increases in the temperature of the hottest events are projected for southern Australia. Results also suggest that following a strong mitigation pathway in the future is more effective in reducing the frequency and duration of heat waves and warm spells in the southern regions compared to the northern tropical regions.

Indigenous Intellectuals in Contemporary Ecuador: Encounters with “Seven Erroneous Theses about Latin America”

2017 ◽  
Vol 45 (2) ◽  
pp. 190-204 ◽  
Author(s):  
Blanca Soledad Fernández
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Fiftieth Anniversary ◽  
Historical Period ◽  
Analytical Term ◽  
Historical Continuity ◽  
The Social ◽  
Indigenous Movement ◽  
America Latina ◽  
Siglo Xx

The indigenous intellectuals who were part of the foundation of the Ecuadorean indigenous movement of the 1980s contributed to the theoretical and political grounding of the concept of the plurinational state that is now recognized in the country’s new constitution. This concept constitutes a critique of the idea of nationhood that developed in Latin America throughout the twentieth century. A comparative reading of these intellectuals’ work on the occasion of the fiftieth anniversary of the publication of Rodolfo Stavenhagen’s “Seven Erroneous Theses about Latin America” reveals two themes: colonial continuity and historical continuity. Both can be seen as a “settling of scores” with colonialism understood both as a historical period and as an analytical term for understanding the social reality of Latin America. Los intelectuales indígenas que formaron parte de la fundación del movimiento indígena ecuatoriano hacia la década de 1980 contribuyeron a la fundamentación teórica y política de la noción de Estado plurinacional, hoy reconocida por la nueva constitución del Ecuador. Sus principales antecedentes se encuentran en la elaboración de una crítica a la idea de nación tributaria de la corriente de pensamiento que se forjó en Nuestramérica a lo largo del siglo XX. Una lectura comparada de las obras escritas por estos intelectuales indígenas ecuatorianos en el marco de la conmemoración de los cincuenta años de la publicación de las “Siete tesis equivocadas sobre América Latina,” de Rodolfo Stavenhagen, revela dos elementos que aparecen reiteradamente a lo largo de su producción escritural: la idea de “continuidad colonial” y la idea de “continuidad histórica.” Ambas nociones remiten a un tema específico que se relaciona con cierto “ajuste de cuentas” con el colonialismo en tanto hecho histórico y en tanto categoría para el análisis de la realidad social en América Latina.

scholarly journals Writing the Artist’s Gaze: Ethics and Ekphrasis in Early Twentieth Century Historical Fiction

2018 ◽  
Author(s):  
Mara Dougall
Keyword(s):  
Twentieth Century ◽  
Creative Process ◽  
Historical Fiction ◽  
Visual Artists ◽  
Early Twentieth Century ◽  
Pat Barker

This article examines portrayals of visual artists in novels by Pat Barker and A.S. Byatt, focusing on artists’ appeal to writers, and the associated ethical and artistic challenges. It proposes that artist characters can offer creative ways of probing not only particular periods of history, but the creative process itself.

scholarly journals Seeing things by Anna Margolin

2016 ◽  
Vol 6 (1) ◽  
pp. 261-267
Author(s):  
Aleksandra Francuz
Keyword(s):  
Twentieth Century ◽  
Creative Process ◽  
Ezra Pound ◽  
Rainer Maria Rilke ◽  
Field Of View ◽  
Anna Akhmatova

Abstract If we recall the most important words for the poetry, we should begin the story with the stones, lily, hands and blood, which, if you look at them with the philological accuracy, are interrelated: situate themselves clearly on opposite banks of the creative process. They talk about the construction of the building consisting of perceptions about their own strength and weakness, ecstasy and congealing in what for centuries the classics poets have tried to fathom: the harmony and clarity, driven by the hope that in life they should above all stick to be beauty. And in addition, they ought to go further than discipline, practice eye and expand the field of view, should not shun from the gusts of the heart, because the heart grows more powerful due to great ideas, passions. Spacious becomes the vision of writing, it is the weave of contradictions - this is how one of the most important twentieth-century poets, who wrote in Yiddish, Anna Margolin sees it. Margolin’s poetry is a clear return towards neoclassicism, building up topics, theses, allusions, ideas taken from ideologically close to her artists of great individuality, Anna Akhmatova (from whom she took her name), Osip Mandelstam, Rainer Maria Rilke, Ezra Pound.

scholarly journals Self-portrait in the painting of Irkutsk artists of the late twentieth century

2020 ◽  
pp. 320-336
Author(s):  
Алина Михайловна Свердлова-Александрова
Keyword(s):  
Twentieth Century ◽  
Creative Process ◽  
Art History ◽  
External Environment ◽  
Art Museum ◽  
Historical Events ◽  
Works Of Art ◽  
History Analysis ◽  
Late Twentieth ◽  
Late Twentieth Century

В статье рассматриваются автопортреты иркутских художников, созданные в период 1980–2000 гг. и хранящиеся в собрании Иркутского областного художественного музея имени В.П. Сукачева. Два последних десятилетия ХХ века стали временем глобальных общественных и политических перемен, последствия которых отразились на жизни граждан. Попытка сопоставления глубоко личных произведений искусства и исторических событий, происходящих параллельно их созданию, дает возможность оценить, как внешняя среда влияет на творческий процесс художника. Приведен искусствоведческий анализ автопортретов Г. Новиковой, В. Кузьмина, Н. Вершинина, Н. Башарина В. Смагина, Б. Десяткина, Л. Гимова, В. Чевелева. The article deals with self-portraits of Irkutsk artists created in the period of 1980–2000 and stored in the collection of the Irkutsk Regional Art Museum named after Vladimir Sukachev. The last two decades of the twentieth century were a time of global social and political changes, the consequences of which affected the lives of citizens. An attempt to compare deeply personal works of art and historical events that occur in parallel with their creation makes it possible to assess how the external environment affects the artist's creative process. An art history analysis of self-portraits of G. Novikovа, V. Kuzmin, N. Vershinin, N. Basharin, V. Smagin, B. Desyatkin, L. Gimov, V. Chevelev.

scholarly journals The Reflection of a Classical Playwright in the Mirror of Postmodernism

2018 ◽  
Vol 8 (1) ◽  
pp. 279-287
Author(s):  
Ramona-Petronela Iacobuţe
Keyword(s):  
Twentieth Century ◽  
Generation Y ◽  
Historical Period ◽  
Modern Music ◽  
Midsummer Night's Dream ◽  
The Public ◽  
Active Involvement ◽  
National Theatre ◽  
A Midsummer Night's Dream ◽  
The Ideal

Abstract Since the beginning of the twentieth century, the search for a form of theatre that is as close as possible to the ideal became more intense and the active involvement of the public a habit. Likewise, postmodernism has become more and more present in the theatre shows. For the new generations of spectators, postmodernism in theatre is no longer an element of novelty and not even so difficult to digest, because when you grow into a certain historical period, you easily assimilate the features reflected in all aspects of life, cultural, social or political. A special generation from which the audience for the theatre under the postmodernist empire has been selected is generation Y, the generation of those born between 1980 and 1995. For this generation, Shakespeare, for example, can also be extremely cool, not only a classic. Among the performances that claim a modern Shakespeare, helped by video projections and modern music we can focus on the shows Hamlet, directed by Ada Lupu Hausvater at the National Theatre in Timişoara, and, A Midsummer Night’s Dream, directed by Radu Afrim, and also Hamletmachine, directed by Giorgos Zamboulakis.

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