scholarly journals Sacred foundations of A. Scriabin's fret system in relation to O. Messian's modality

2021 ◽  
pp. 210-214
Author(s):  
Tetiana Motorna
Keyword(s):  
Twentieth Century ◽  
Art World ◽  
Musical Expression ◽  
Philosophical Orientation ◽  
Early Twentieth Century ◽  
French Tradition ◽  
Cultural Genesis ◽  
Second Wave ◽  
Harmonic System

The purpose of the article is to understand the archetypal root of the whole-tone constructions of Fret structures of A. Scriabin and A. Messian in reflecting the detachment from the harmonic system that is relevant for the twentieth century in favor of a linear-melodic approach, determined by the archaic structures of the Indo-Iranian melodic basis. The methodology of the research is a cultural and historical concept in the traditions of A. Losev, in which certain means of expressing art are tested by the cultural genesis and cultural ideas of the time. We use analytical, comparative-historical, and genre-nominative musicological approaches based on aesthetic, cultural, and philosophical positions. The hermeneutical lines of the intonation approach in musicology in the traditions of B. Asafyev and B. Yavorsky in Ukraine, which are in contact with the verbal-centrist approach to music in the French tradition and are clearly expressed by J.-J. Rousseau and his followers of the level of Y. Kristeva, are also important for the work. The scientific novelty is determined by the primacy of the author of the study in the statement of the origins of the sacred determination of Fret thinking and O. Scriabin, and O. Messian in the cultural incentives of Indo-Iranian archaism. This stimulated "scythism" in the Slavic art world of the early twentieth century and Celtic-eastern references to the developments of C. Debussy, determining the Indo-philosophical orientation of Fr. Messian's franciscanism. Conclusions. Cultural and social sources of interval-fret constructions by A. Scriabin and A. Messian point in both cases to the Iranian-Indian basis of European archaism, which in the French composer finds a frank bias towards Hindu-philosophical and rhythmic borrowing. IN O. Scriabin paradoxically closes the search for Scythian-Iranian roots of archaic semantic positions, multi-vector discussed in the circles of Russian Futurists (led by N. Kulbin) and Polish Symbolists. The semitone-whole-tone melodic basis, which encourages support for the quart in A. Scriabin and K. Debussy, fueled the discovery of a new modality of A. Messian, which established in the vanguard of the second wave Scriabin's "nerve" as a mysterious and liturgical interpretation of the musical expression in "Light" by K. Stockhausen, the memorial symbolism of L. Nono and absurdist abstractionism of the works of P. Boulez, others.

"The Fellows from the Fogg": Modernism, Homosexuality, and Art-World Authority

2011 ◽  
Vol 84 (3) ◽  
pp. 473-495
Author(s):  
Peter Stoneley
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Art World ◽  
Early Twentieth Century

The spread of modernist painting in the early-twentieth-century United States was met with cries of "degeneracy" and "homosexual conspiracy." This essay explores the claims and counter-claims. Above all, Stoneley argues that the battles reflected larger shifts in art-world authority, with the museums and the "museum professional" emerging as controlling forces.

Conclusion

Kathy Acker ◽  
2016 ◽  
Author(s):  
Georgina Colby
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Distinctive Feature ◽  
Art World ◽  
Experimental Practice ◽  
Creative Practice ◽  
Early Twentieth Century ◽  
Surface Content ◽  
Making Art

Reflecting in 1990 on her early adult years immersed in the New York art world, Acker remembered ‘being taught that it’s not an art work’s content, surface content, that matters, but the process of making art. That only process matters.’1 Attention to the manuscript practice and compositional processes of Acker’s works, alongside the question of experimental practice and meaning, brings to light the new forms of creative practice that Acker’s works embody. This book opened with Acker’s declaration ‘FORM HAS MEANING’ and the importance of the imbrication of form with content to modernist and late modernist experimental writers. Acker’s experimental practices – exercises in writing asystematically, collage, topological intertextuality, montage, ekphrasis, and literary calisthenics – reveal a body of compositional strategies that continue to uphold this distinctive feature of early twentieth-century experiment and preserve the radical force of her writings....

Edna St. Vincent Millay and Anne Sexton: The Disruption of Domestic Bliss

2004 ◽  
Vol 38 (1) ◽  
pp. 67-88 ◽  
Author(s):  
ARTEMIS MICHAILIDOU
Keyword(s):  
Twentieth Century ◽  
Gender Stereotypes ◽  
New Woman ◽  
American Poetry ◽  
Anne Sexton ◽  
Early Twentieth Century ◽  
The New Woman ◽  
The Subject ◽  
And Gender ◽  
Second Wave

Popular perceptions of Edna St. Vincent Millay do not generally see her as a poet interested in so-called “domestic poetry.” On the contrary, Millay is most commonly described as the female embodiment of the rebellious spirit that marked the 1920s, the “New Woman” of early twentieth-century feminism. Until the late 1970s, the subject of domesticity seemed incompatible with the celebrated images of Millay's “progressiveness,” “rebelliousness,” or “originality.” But then again, by the 1970s Millay was no longer seen as particularly rebellious or original, and the fact that she had also contributed to the tradition of domestic poetry was not to her advantage. Domesticity may have been an important issue for second-wave feminists, but it was discussed rather selectively and, outside feminist circles, Millay was hardly ever mentioned by literary critics. The taint of “traditionalism” did not help Millay's cause, and the poet's lifelong exploration of sexuality, femininity and gender stereotypes was somehow not enough to generate sophisticated critical analyses. Since Millay seemed to be a largely traditional poet and a “politically incorrect” feminist model, second-wave feminists preferred to focus on other figures, classified as more modern and more overtly subversive. Scholarly recognition of Millay's significance within the canon of modern American poetry did not really begin until the 1990s.

Pragmatism and Prophecy: H. G. Wells and the Metaphysics of Socialism

2017 ◽  
Vol 112 (2) ◽  
pp. 409-422 ◽  
Author(s):  
DUNCAN BELL
Keyword(s):  
Twentieth Century ◽  
Evolutionary Theory ◽  
Political Thought ◽  
Philosophical Orientation ◽  
High Profile ◽  
Early Twentieth Century ◽  
The World ◽  
History Of ◽  
Main Components ◽  
Political Thinker

Read throughout the world, H. G. Wells was one of the most famous political thinkers of the early twentieth century. During the first half of the 1900s, he elaborated a bold and idiosyncratic cosmopolitan socialist vision. In this article, I offer a new reading of Wells's political thought. I argue that he developed a distinctivepragmatistphilosophical orientation, which he synthesized with his commitments to Darwinian evolutionary theory. His pragmatism had four main components: a nominalist metaphysics; a verificationist theory of truth; a Jamesian “will to believe”; and a conception of philosophy as an intellectual exercise dedicated to improving practice. His political thought was shaped by this philosophical orientation. Wells, I contend, was the most high-profile pragmatist political thinker of the opening decades of the twentieth century. Acknowledging this necessitates a re-evaluation of both Wells and the history of pragmatism.

Gender and Theatrical Realism: The Problem of Clyde Fitch

2008 ◽  
Vol 7 (3) ◽  
pp. 325-352
Author(s):  
David Sehat
Keyword(s):  
Twentieth Century ◽  
Real World ◽  
Close Connection ◽  
Literary Value ◽  
The Real ◽  
Early Twentieth Century ◽  
Scholarly Attention

Clyde Fitch was the most famous playwright of the early twentieth century, but today no one studies him. The disconnect between his fame in his lifetime and his obscurity after death points to a major historiographical problem, a problem that began in Fitch's own day. Fitch's numerous contemporary critics, many of whom were early proponents of theatrical realism, criticized his plays as effeminate, bound by the narrow conventions of the legitimate theater that relied on women as its predominant patrons. By contrast, realism, as the critics under-stood it, was masculine, bringing the gritty reality of what contemporary commentators regarded as the real world to the stage. Criticizing Fitch's feminine dramatic sensibilities became a way of prodding him toward a strained realism in his own plays. Fitch's story illustrates the close connection of realism to the gendered hierarchy that became an unconscious element in the determination of literary value. In dismissing Fitch as worthy of scholarly attention, current theatrical historians have followed Fitch's contemporary critics. Even as they have eviscerated the gendered standards of the early twentieth century, present-day scholars have retained the critical judgments and the generic categories that the gendered standards produced.

scholarly journals Literary Modernism, Anti-Semitism Jewishness and the Anxiety of Assimilation in Interwar Hungary

2017 ◽  
Vol 10 ◽  
pp. 145-157
Author(s):  
Dávid Szolláth
Keyword(s):  
Twentieth Century ◽  
Literary Modernism ◽  
Literary Style ◽  
Hungarian Literature ◽  
Anti Semitism ◽  
Foreign Culture ◽  
Early Twentieth Century ◽  
Western European ◽  
Second Wave ◽  
European Modernism

In this paper I will provide a brief overview of early twentieth-century, Hungarian history in order to examine how anti-Semitism and anti-modernism influenced modernism’s reception in fin- de- siècle Hungary. In 1908 the most significant Hungarian literary review of the twentieth century was founded by Hugo Ignotus, Miksa Fenyő and Ernő Osvát, all of whom were assimilated Jews. The journal’s title, Nyugat, [‘West’] unambiguously marked the editors’ orientation and program of accelerating cultural modernization by reviewing and translating Western European works. For conservatives this aim of transferring aestheticism, late Symbolism and decadence was regarded as an attack against the nation’s patriotic traditions. Anxiety surrounding the Jewry’s purported “failed assimilation” was compounded by the fear that a foreign culture would have an undue impact on Hungarian literature. It is my aim to analyze both the first and second wave of modernism in Hungary so as to reveal the analogous relationship between the argument that Western European modernism is alien to the Hungarian literary style and language and the anti-Semitic argument stating that assimilation of the Jews is superficial.

scholarly journals Parents, Spouses, Children: The Use of Language in the Noble Families of Lithuanian Intellectuals (the Late Nineteenth-Early Twentieth Century)

Lituanistica ◽  
2018 ◽  
Vol 64 (2) ◽  
Author(s):  
Olga Mastianica-Stankevič
Keyword(s):  
Twentieth Century ◽  
Research Problem ◽  
The Other ◽  
Self Determination ◽  
National Movement ◽  
Early Twentieth Century ◽  
Late Nineteenth ◽  
New Research ◽  
At Home

In Lithuanian historiography, the metaphor of ‘the split-off branch’ is often used when speaking of the fate of the nobility that did not take an active part in the process of the re-establishment of the modern Lithuanian nation and its state. The majority of the nobility identified themselves with the modern Polish nation, and only individual families of the nobles such as the Biržiška brothers, the Lazdynų Pelėda sisters, Gabrielė Petkevičaitė-Bitė, Šatrijos Ragana (Marija Pečkauskaitė), Sofija Kymantaitė-Čiurlionienė, and some others became involved in the Lithuanian national movement. For many of them, ‘becoming a Lithuanian again’ was a rather complex psychological process when often one not only had to oppose the environment of their parents and extended families, but also to learn the Lithuanian language. The aim of this article is to find out how noble Lithuanian intelligentsia families made the move from using Polish to speaking Lithuanian at home. As an additional theme, the article addresses the question as to which language was used for communication in the families of those who had made up their minds to identify themselves with the modern Lithuanian nation, in other words, which language was used in the families of parents, spouses, and offspring. The article reflects not completed research but only its beginning. Very likely, it pinpoints a new research problem and points to possible ways of approaching it. The first part of the article addresses the question whether there existed an unequivocal requirement in the Lithuanian national discourse of the late nineteenth-early twentieth century for the nobility involved in the Lithuanian national movement to use the Lithuanian language at home as well. The second part of the article dwells on several questions. First of all, an attempt is made to find out which language was used for communication between parents and their children determined to join the Lithuanian national movement. On the other hand, the article also discusses how the Lithuanian language used to be learnt, how Lithuanian functioned among the parents, spouses, and the offspring of noble intelligentsia families. So far, these questions have not been addressed in Lithuanian historiography. Late in the nineteenth-early in the twentieth century, noble Lithuanian intelligentsia families in many instances preserved the Polish language in their written communication, although quite a number of the parents of such families knew and could speak Lithuanian, and there were many who supported the national self-determination of their offspring. It should be pointed out that at that time a growing number of noble intelligentsia families were aspiring at starting nationally-engaged families, in which both the spouses and the children had to learn Lithuanian. The instances when one of the spouses did not support the national self-determination of the other and tried to obstruct the formation of Lithuanian national identity in later generations were gradually becoming rarer.

scholarly journals Reception of Stevan Stojanovic Mokranjac’s composing creativity in the musical life of Bosnia and Herzegovina: Austro-Hungarian period

Muzikologija ◽  
2014 ◽  
pp. 227-242
Author(s):  
Lana Pacuka
Keyword(s):  
Twentieth Century ◽  
Bosnia And Herzegovina ◽  
Musical Expression ◽  
Musical Life ◽  
Special Position ◽  
Social Trends ◽  
Early Twentieth Century ◽  
Late Nineteenth ◽  
Western European

With the arrival of the Austro-Hungarian Monarchy, Bosnia and Herzegovina encountered Western European social trends, which affected the shaping of musical life physiognomy in the late nineteenth and early twentieth century. In this extremely intricate relationship between national and pro-European-oriented cultural trends, Serbian composer Stevan Stojanovic Mokranjac had a special position as a unique musical phenomenon, since he was a composer whose musical talent imposed itself as an authority in strengthening the national musical expression and serving as a guideline for numerous BH artists.

Some Polish Composers of To-Day

Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik
Keyword(s):  
Twentieth Century ◽  
Fertile Soil ◽  
Early Twentieth Century ◽  
Progressive Group ◽  
Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

V1214: Edward Loughborough Keyes: An Early Twentieth Century Leader In Urology

2004 ◽  
Vol 171 (4S) ◽  
pp. 320-320
Author(s):  
Peter J. Stahl ◽  
E. Darracott Vaughan ◽  
Edward S. Belt ◽  
David A. Bloom ◽  
Ann Arbor
Keyword(s):  
Twentieth Century ◽  
Early Twentieth Century
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