scholarly journals Military Costume in Ukrainian Theaters Performances of the First Half of the XX Century

2021 ◽  
Author(s):  
Iryna Nesen
Keyword(s):  
Twentieth Century ◽  
The Arts ◽  
Mise En Scene ◽  
Theatrical Performances ◽  
Dramatic Text ◽  
And Performance ◽  
Historical Comparative ◽  
Xix Century ◽  
The Military ◽  
First Time

The purpose of the article is focused on the analysis of the distribution of military costumes in Ukrainian theatrical performances of the first half of the twentieth century. We consider the role and significance of military costumes as an important component of the construction of the mise-en-scène of the play and the means of creating its texture to be especially important here. Methodology. The methods used to achieve this goal are used in the sequence and interaction of the practice group and the theoretical group. First, based on a combination of cultural-historical and historical-comparative methods, it is important to trace the first examples of the appearance of characters in military costumes in the plot of the play and establish their meanings. Thus, historicism allows us to establish the main trends and traditions that emerged in the chronotypes of various performances. Given the need to superimpose images from the dramatic text on the images of characters and the composition of mise-en-scène, it is also necessary to use the hermeneutic method. The scientific novelty is due to the lack of academic works and publications on this topic, and therefore the article for the first time raises the question of the development of the typology of theatrical costume during the first half of the twentieth century. The conclusions obtained by the author during the analysis of the collected materials are based on the three most important points. Military costume in Ukrainian drama and performance was used in the XIX century as a marker of individual characters who particularly influenced the decision of the culminating events of the plot and were the bearers of special skills and abilities. The appearance of plots related to revolutionary events in the play makes the military costume on the stage popular. In the synthesis of the arts involved in the play, the military costume became the leading texture that formed the latest mythologies of characters and meanings in theatrical art. Key words: military costume, the mythology of a military character, soldier-magician, someone else's costume.

scholarly journals Ternopil branch of the Musical Institute named after Mykola Lysenko as a cultural and educational center of Ternopil (1st half of XX century)

2021 ◽  
Author(s):  
Olena Spolska
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Decisive Role ◽  
Piano Performance ◽  
Initial Stage ◽  
Western Ukraine ◽  
Late Nineteenth ◽  
And Performance ◽  
Historical Comparative

The purpose of the article is to analyze the historical and cultural background and the main aspects of the formation of professional piano performance in Ternopil in the late nineteenth - first half of the twentieth century on the example of VMIL branch activity. Methodology. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (according to V. Cherkasov). The formation of professional piano performance is considered in terms of musicological and stylistic approaches in broader cultural, educational, and musical-pedagogical contexts. The problem of studying the regionalism of music and performance centers and schools as a dynamic historical and cultural phenomenon is actualized. A thorough study of the history of regional piano educational centers and performing schools has been the subject of a number of musicological studies. In particular, the works of N. Kashkadamova, T. Starukh, L. Mazepa, and others are dedicated to the piano art of Lviv, its artistic education, and cultural institutions. Scientific Novelty. Based on the study of scientific and archival sources, we can see that the educational and pedagogical traditions of the Higher Music Institute named after M. Lysenko as the first Ukrainian professional center and its branches in Eastern Galicia have continued in the activities of pianists, teachers, and performers in Ukraine and abroad, mainly Western Of Ukraine. Attention is focused on the opening and initial stage of the branch of the Lysenko Higher Music Institute (VMIL) in Ternopil, in particular, on the activities of piano teachers. Based on historical, comparative, and individual approaches, the role of individual performers, composers, and teachers as the founders of piano performance in the region is highlighted. Thus, the novelty of the article is to trace the initial stage of the formation of piano performance in Ternopil in the late nineteenth - first third of the twentieth century. as a process of transition from the amateur period to academic performance and professional music education. Conclusions are made about the decisive role of the branch of the Higher Music Institute named after M. Lysenko (VMIL) in Ternopil and its founders, in particular, Iryna Krykh (Lyubchakova) and Yuri Krykh, in the development of music education and performance in the region. Keywords: musical culture of Western Ukraine, end of XIX – first half of XX century, piano performance, Higher Music Institute M. Lysenko (VMIL), pianists, performers and lecturers of Ternopil.

scholarly journals Moving is in Every Direction

2021 ◽  
pp. 165-176
Author(s):  
Sabine Flach
Keyword(s):  
Twentieth Century ◽  
Theoretical Approach ◽  
Art History ◽  
Gotthold Ephraim Lessing ◽  
Cross Border ◽  
The Arts ◽  
And Performance ◽  
Participatory Arts ◽  
Time Movement ◽  
Poetry And Music

Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.

scholarly journals Social and pedagogical orientation of the military-political work of military academies in the 20–30s of the twentieth century

2020 ◽  
pp. 89-95
Author(s):  
Alla V. Safonova ◽  
Natalia Yu. Eletskikh
Keyword(s):  
Twentieth Century ◽  
Vocational Education ◽  
Current Trend ◽  
Armed Forces ◽  
Educational Institutions ◽  
Scientific Publications ◽  
Political Work ◽  
Military Academies ◽  
The Military ◽  
First Time

The article considers the domestic historical and pedagogical experience of military-political work in higher military-vocational education in the 20-30s. of the XX century: content, forms, methods, means; the historical and pedagogical significance and relevance of ideas for the current stage of the development of military-political work in the Armed Forces of Russia and the reform of higher military education are determined. An analysis of relevant scientific publications and archival sources presented for the first time suggests that the current trend in the development of military-vocational education is correlated with domestic historical and pedagogical experience of the early twentieth century, in the socio-pedagogical interaction of higher military educational institutions with state structures, public organizations for the implementation of military-political work in one of the directions of the state policy of the Soviet state “Cultural links of the city with the village” in the interests of socializing students and strengthening the country’s defense.

An Obscure Performance in Life and Education

2019 ◽  
Vol 44 (3) ◽  
pp. 305-307
Author(s):  
ZEYNEP GÜNSÜR YÜCEIL
Keyword(s):  
Performing Arts ◽  
Economic Policies ◽  
Social Democrats ◽  
Coup D'etat ◽  
Dance Company ◽  
Theatre Company ◽  
And Performance ◽  
New Generation ◽  
The Military ◽  
First Time

After the military intervention of 1980, Turkey's intellectual and social democrats were devastated – imprisoned, escaped to exile, silenced, killed – in the hands of the coup d’état and all the prohibitions that came with it until the first half of the 1980s. Then the famous Turgut Özal government with its unprecedented liberal economic policies came into the picture. Towards the end of the 1980s, a new generation of theatre and performance artists started to stage their response to all this madness and became visible to older generations who had long lost hope and vitality in terms of artistic and humanitarian production. I had the chance to get involved in this artistic endeavour through some of the emerging initiatives, such as Green Grapes Dance Company, Bilsak Theatre Company, Şahika Tekand, Kumpanya, Dance Factory, DAGS (Interdisciplinary Young Artists Association), Hüseyin Katırcıoğlu and Assos Theatre Festival. The works were relentless and new. Bodies were in need of fresh air, and artistic expression in performance did not follow the traditional routes or accepted notions while fully embracing the possibility of not being seen. Actually, the emerging artists did not give a damn. Interestingly – or obviously – enough, most of them were outcasts coming from other fields such as sociology, literature, engineering, law and so on. In relation to this, the artistic and performative visions they put forward were truly interdisciplinary. The contemporary visual art scene and performing arts were in an honest conversation perhaps for the first time in Turkish art history.

The Futurist Banquet: Nouvelle Cuisine or Performance Art?

2001 ◽  
Vol 17 (1) ◽  
pp. 3-17 ◽  
Author(s):  
Günter Berghaus
Keyword(s):  
Human Life ◽  
Theatre History ◽  
Avant Garde ◽  
The Arts ◽  
The First World War ◽  
Mise En Scene ◽  
Permanent Revolution ◽  
And Performance ◽  
University Of Bristol ◽  
First World

The Futurist movement was not only an artistic but also a social and political force for innovation, conceived as a total and permanent revolution encompassing all aspects of human life. One such aspect was food. Banquets had been a highly developed performative art in the Italian Renaissance and were again placed in a theatrical framework by the Futurists after the First World War. They founded three night clubs, where food and drinks were served in Futurist fashion, and opened several restaurants dedicated to a renewal of Italian culinary habits. In the 1930s, the Futurists focused on the creation of a new lifestyle called aerovita, which included cooking and dining as paratheatrical arts. Many of the recipes (or rather scenarios) in the Futurist cookbook La cucina futurista of 1932 derived from banquets that Marinetti, the driving force of Futurism, had organized as a kind of savoury-olfactory-tactile theatre accompanied by music and poetry recitations. The highly imaginative table scenery and food sculptures were complemented by inventive lighting effects and an amazing mise en scéne of interior decor, furniture, and waiters' garb. This essay describes and analyzes some of the Futurist experiments with culinary theatre, the manifestos dedicated to Futurist cuisine, and some of the Futurist concepts of dining as a performative art. Günter Berghaus is Reader in Theatre History and Performance Studies at the Drama Department, University of Bristol, and has published a dozen books and a large number of articles on theatre anthropology, Renaissance and Baroque theatre, dance history, and avant-garde performance. Directing a number of Futurist shows led to the publication of The Genesis of Futurism (1995), Futurism and Politics (1996), Italian Futurist Theatre (1998), and International Futurism in the Arts and Literature (2000).

scholarly journals EXECUTION OF PEASANT REBELS AND RURAL HOSTAGES IN TAMBOV PROVINCE 1918-1921

2021 ◽  
pp. 113-124
Author(s):  
S. A. Parakhin ◽  
V. B. Bezgin
Keyword(s):  
Death Penalty ◽  
Soviet Government ◽  
Civilian Population ◽  
Local Residents ◽  
Historical Comparative ◽  
Public Executions ◽  
The Military ◽  
Extrajudicial Killings ◽  
First Time

The article examines the practice of using the supreme punishment - execution, used by the repressive bodies of the Soviet government in the fight against peasant protests in the Tambov province during the civil war. The research was carried out on the basis of archival sources introduced into scientific circulation for the first time. The work uses historical-comparative and systemic methods. An analysis of the facts of the execution of peasants carried out by punitive agencies during the suppression of rural "riots" of 1918-1919 and the period of the struggle against the uprising of 1920-1921 in the Tambov province is given. The facts of extrajudicial killings in the form of public executions of peasant rebels and hostages from among the civilian population, which were resorted to by the military-party administration in the occupied regions, were established. The role of the institution of hostages as a repressive measure in the actions of government troops to suppress the peasant uprising has been clarified. It is concluded that if during the period of rural "riots" in 1918-1919 execution was applied only to their organizers, then during the peasant uprising of 1920-1921 this form of the death penalty for "active" insurgents was given a systemic character, and the shooting of hostages from among local residents became widespread.

The origins of developing private civil cartography in Russia

2019 ◽  
Vol 948 (6) ◽  
pp. 54-64
Author(s):  
M.Yu. Orlov
Keyword(s):  
Economic Structure ◽  
Russian Empire ◽  
The Political ◽  
The Russian Empire ◽  
Xix Century ◽  
The 19Th Century ◽  
The Military ◽  
First Time ◽  
Privately Owned ◽  
Technical Revolution

In the middle of the XIX century in Russia there wasa boom of commercial or civil cartography. The author describes the reasons as well as the background for such a strong growth. The influence of the general political and economic situation in the Russian Empire on the appearance of the first privately-owned publishers of maps was considered in detail. The Depot of maps established in 1797 by Paul I, later (1812) rearranged into the Military Topographical Depot, monopolized all cartographic activities in Russia. The require for cartographic products among the civilian population, as well as the scarcity of funding from the treasury of issuing maps, forced the Military Topographical Depot to sell part of its products and prepare not only topographic maps, but also training maps and atlases for release. The author considers the publication of an open catalog of maps and atlases by the military department in 1858, which had a strong influence on the development of the cartographic market in details. For the first time, the expenditures and revenues from the publication of maps and atlases were shown; the dynamics of increasing sales and their dependence on changes in the political and economic structure of Russia are studied. The technical revolution in printing at the beginning of the 19th century, the emergence of lithography and new printing machines made it possible to increase the circulation of maps and reduced their cost. The inability of the military to meet the demand for maps and atlases was used by the first entrepreneurs who were the founders of civilian cartography. The causes of appearing private cartographic institutions are discussed.

scholarly journals Excremental Art: Small Wonder in a World Full of Shit

2017 ◽  
Vol 1 (1) ◽  
pp. 19-46
Author(s):  
Jojada Verrips
Keyword(s):  
Twentieth Century ◽  
Remarkable Difference ◽  
The West ◽  
Bodily Fluids ◽  
Performance Artists ◽  
The Arts ◽  
Peter Sloterdijk ◽  
German Philosopher ◽  
Consumption Goods ◽  
And Performance

The representation of urinating and defecating people by artists is a rather old phenomenon, for they pop up in the work of, for instance, Rembrandt. For the twentieth century the same can be observed, however with this remarkable difference with past ages, that the number of artists (playwrights, painters and performance artists to mention only a few) working with shit (as well as with bodily fluids and matter) enormously increased. Especially in the second half of this century it became very popular to use shit in plays, paintings and performances. This paper deals with the question, whether the artworks of so-called shit artists working in the West generally speaking are just a kind of wild manifestations of decadence and the abject, as so many people claim, or that they are meant to bring across a particular message with regard to the society and culture  in which they are produced. On the basis of the work of the German philosopher Peter Sloterdijk and others the hypothesis will be launched that one cannot understand this remarkable blossoming of shit in the arts without taking into consideration the fact that we are living in an era of neo-capitalism, which implies a horrific transformation of consumption goods bought with the help of money (this eternal companion of shit) into all kinds of waste and ordure.

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.

BRIDGE BUILDING AS A PROBLEM OF URBAN INFRASTRUCTURE DEVELOPMENT IN THE EUROPEAN NORTH OF RUSSIA IN THE EARLY XX CENTURY

2019 ◽  
Vol 15 (2) ◽  
pp. 125-135
Author(s):  
Tatiana S. Minaeva ◽  
Sergey S. Gulyaev
Keyword(s):  
Urban Infrastructure ◽  
Local Administration ◽  
Infrastructure Development ◽  
European North ◽  
Long Time ◽  
History Of ◽  
Floating Bridge ◽  
Historical Comparative ◽  
Bridge Building ◽  
Xix Century

Introduction. The organization of transport links and the bridge building in cities located on the banks of wide rivers has always been one of the most important tasks of the local administration. The study of the history of bridge building allows not only to trace the process of modernization of different regions of the country, but also to help in solving similar problems of our time. Nevertheless, the history of Russian bridge building is poorly studied. The purpose of the article is to determine the characteristics and features of the organization of bridge building in big cities of the European North of Russia as a way to solve one of the problems of urban infrastructure in the early XX century. Materials and Methods. The sources for this study are the documents of the State archive of the Arkhangelsk region, published documents on the history of Vologda, articles in the local periodicals of the early XX century. The analysis of the studied problem used a systematic approach, the method of economic analysis, historical and historical-comparative methods. Results and Discussion. The building of permanent bridges was a need for the development of Arkhangelsk and Vologda. In Vologda the two wooden bridges were built in the middle of XIX century on city funds and in the future these bridges were repaired or rebuilt. The Arkhangelsk city authorities did not hurry to solve a problem of city infrastructure by own efforts and a long time they used the floating bridge. The lack of experience in the building of large bridges and the desire to save money led to the rapid destruction of the first permanent bridge in Arkhangelsk. Conclusion. The Development of trade and industry in cities of the European North of Russia, such as Arkhangelsk and Vologda, led to the expansion of their territory and the emergence over time, the so-called third parts of the cities. Despite the comparable size of the population of the districts located across the river, the process of connecting them with bridges to the rest of the city went at different rates, which depended on the attitude of the local administration to the problem of urban infrastructure.

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