scholarly journals Artist of «troubled silence.» Mykola Bezdilny

2021 ◽  
pp. 133-138
Author(s):  
Mykhailo Kuziv ◽  
Iryna Tiutiunnyk
Keyword(s):  
Twentieth Century ◽  
Fine Arts ◽  
Socialist Realism ◽  
Comparative Methods ◽  
The Self ◽  
Clear Tendency ◽  
Constant Change ◽  
Socialist Realist ◽  
Art Analysis ◽  
High Level

The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was chosen for the analysis as a bright representative of the amateur Ternopil region, who showed the ability to admire not only different genres and types of fine arts but also constantly analyze other interpretations of the painting, "try", "move" in technical and philosophical and aesthetic terms. The obtained results are important for further research of the problems of amateur and amateur fine arts in Ukraine. Conclusions. It is determined that M. Bezdilny, as a bright representative of socialist-realist amateur art, reached a high level of painting due to systematic work and interaction with professional painting. It focused on the true essence of the work, its depth, the transfer of harmony of nature, rather than the external beauty of the picture. Against the background of features that are characteristic of the work of many amateur artists and amateurs revealed a clear tendency of M. Bezdilny to his favorite plot, composition, constant change of sound of paint, attempts at impressionistic dynamic brushstroke, and complex color.

The Stalin Prize and the Soviet Artist: Status Symbol or Stigma?

Slavic Review ◽  
2011 ◽  
Vol 70 (4) ◽  
pp. 819-843 ◽  
Author(s):  
Oliver Johnson
Keyword(s):  
Fine Arts ◽  
Socialist Realism ◽  
Symbolic Capital ◽  
Fine Art ◽  
The Self ◽  
Art World ◽  
The Public ◽  
Soviet Art

How did the Stalin Prize function in the Soviet fine art establishment of the 1940s and 1950s and how were the awards interpreted by members of the artistic community and the public? This examination of the discussions of the Stalin Prize Committee and unrehearsed responses to the awards reveals an institution that operated at the intersection of political and expert-artistic standards within which the parameters of postwar socialist realism were negotiated and to some extent defined. The Stalin Prize for the Fine Arts played an important part in the development of the leader cult and contributed to the self-aggrandizement of an elite minority. The symbolic capital of the Stalin Prize was compromised by its role, perceived or actual, in the consolidation of a generational and ideological hegemony within the Soviet art world and the establishment of an aesthetic blueprint for socialist realism.

‘Out Past / Self-Dramatization’: Maurice Scully's Several Dances

2016 ◽  
Vol 46 (1) ◽  
pp. 105-118
Author(s):  
Romana Huk
Keyword(s):  
Twentieth Century ◽  
William Carlos Williams ◽  
The Self ◽  
Avant Garde ◽  
George Oppen ◽  
American Poets

What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.

Why Phenomenology?

2018 ◽  
Author(s):  
George Pattison
Keyword(s):  
Twentieth Century ◽  
Subject Matter ◽  
Alternative Model ◽  
Phenomenological Approach ◽  
Human Existence ◽  
Present Approach ◽  
The Self ◽  
Existence Of God ◽  
Pure Intuition ◽  
The Way

This chapter sets out the rationale for adopting a phenomenological approach to the devout life literature. Distinguishing the present approach from versions of the phenomenology of religion dominant in mid-twentieth-century approaches to religion, an alternative model is found in Heidegger’s early lectures on Paul. These illustrate that alongside its striving to achieve a maximally pure intuition of its subject matter, phenomenology will also be necessarily interpretative and existential. Although phenomenology is limited to what shows itself and therefore cannot pass judgement on the existence of God, it can deal with God insofar as God appears within the activity and passivity of human existence. From Hegel onward, it has also shown itself open to seeing the self as twofold and thus more than a simple subjective agent, opening the way to an understanding of the self as essentially spiritual.

“Socialist Realist” Critiques of Neoliberal “Shock Therapy”

2019 ◽  
pp. 431-451
Author(s):  
April A. Eisman
Keyword(s):  
Visual Culture ◽  
East Germany ◽  
Shock Therapy ◽  
Socialist Realism ◽  
Neoliberal Capitalism ◽  
Works Of Art ◽  
German Art ◽  
Socialist Realist ◽  
East German ◽  
Insight Into

This article focuses on the East German artistic response to the 1973 putsch in Chile, an event now recognized as foundational in the development of neoliberalism. Outraged and saddened, artists in East Germany responded to the putsch with thousands of works of art. These works disrupt Western expectations for East German art, which was far more modern and complex than the term “socialist realism” might suggest. They also offer insight into the horrors of the putsch and remind us that there have been—and can once again be—alternatives to neoliberal capitalism. In addition to creating prints, paintings, and sculptures, East German artists organized solidarity events to raise money for Chile and spearheaded a book project with artists from sixteen communist and capitalist countries to document the event and losses suffered. This article ultimately shows that communist visual culture can serve as a model for art as an activist practice.

Mock Mockers: Cynicism, Suffering, Irish Modernism

2021 ◽  
Vol 8 (2) ◽  
pp. 177-194
Author(s):  
Ronan McDonald
Keyword(s):  
Twentieth Century ◽  
The Self ◽  
Philosophical Tradition ◽  
Literary Works ◽  
Early Twentieth Century ◽  
Peter Sloterdijk ◽  
Irish Modernism

Cynicism styles itself as the answer to the mental suffering produced by disillusionment, disappointment, and despair. It seeks to avoid them by exposing to ridicule naive idealism or treacherous hope. Modern cynics avoid the vulnerability produced by high ideals, just as their ancient counterparts eschewed dependence on all but the most essential of material needs. The philosophical tradition of the Cynics begins with the Ancients, including Diogenes and Lucian, but has found contemporary valence in the work of cultural theorists such as Peter Sloterdijk. This article uses theories of cynicism to analyze postcolonial disappointment in Irish modernism. It argues that in the “ambi-colonial” conditions of early-twentieth-century Ireland, the metropolitan surety of and suaveness of a cynical attitude is available but precarious. We therefore find a recursive cynicism that often turns upon itself, finding the self-distancing and critical sure-footedness of modern, urbane cynicism a stance that itself should be treated with cynical scepticism. The essay detects this recursive cynicism in a number of literary works of post-independence Ireland, concluding with an extended consideration of W. B. Yeats’s great poem of civilizational precarity, “Nineteen Hundred and Nineteen.”

Socialist Realism and Socialist Realist Romanticism

2016 ◽  
Vol 8 (2) ◽  
pp. 259-277
Author(s):  
Irina Zavedeeva ◽  
Albina Ozieva ◽  
Jeremy Howard
Keyword(s):  
Socialist Realism ◽  
Socialist Realist

Langdell Laughs

1999 ◽  
Vol 17 (1) ◽  
pp. 141-144
Author(s):  
William P. LaPiana
Keyword(s):  
Twentieth Century ◽  
Critical Role ◽  
Teaching Profession ◽  
The Self ◽  
Primary Sources ◽  
Christopher Columbus ◽  
Self Image ◽  
American Law

The amount of ink spilled in consideration of the life, thought, accomplishments, and legacy of Christopher Columbus Langdell is eloquent testimony to the critical role he plays in the self-image of the American law teaching profession. It is both wonderful and astounding, therefore, to find that critical primary sources remained unread and unused at the very end of the twentieth century. Now that Bruce Kimball has brought them to light, we have a more complete view of the man and his thought, one that, not surprisingly, reveals to us someone quite different from the cruelly and crudely caricatured inventor of those twin devices for stifling young minds, the case and Socratic methods.

Investigation about self-esteem levels of athletes who have been educated in different sports branches according to some variables: A study on physically handicapped individuals

2021 ◽  
Vol 9 (1) ◽  
pp. 134-140
Author(s):  
Taner Bozkuş ◽  
Keyword(s):  
High School ◽  
Personal Information ◽  
Self Esteem ◽  
The Self ◽  
Study Group ◽  
Physically Disabled ◽  
Purposeful Sampling ◽  
Secondary School Graduate ◽  
High Level ◽  
Physically Handicapped

This study aimed to examine the self-esteem of those who did sports in physically disabled individuals by some variables. Based on this aim, the study was designed quantitatively. In this descriptive research, the general survey model that is coherent with the main purpose was used. The study group of the research consisted of 140 individuals aged 18 and over who had physical disabilities and actively engage in sports. Purposeful sampling approaches and easily accessible sampling methods were used in the selection of the study group. The scale form was used to collect research data. The scale form consisted of two parts. In the first part of this form, there was a personal information form containing information about the participants and in the second part, there was the "Rosenberg Self-Esteem Scale" developed by Rosenberg (1965) and adapted into Turkish by Çuhadaroğlu (1986). This form was applied to the participants on a voluntary basis, on the internet between 13.05.2020 and 03.06.2020. Necessary explanations were made to the participants while filling the form and they were provided to answer correctly. In this study, the self-esteem of physically disabled athletes was examined according to some variables. The research group consisted of 140 participants; 42 (30.0%) of them were female and 98 (70.0%) of them were male and the number of male participants was approximate twice the number of female participants. It was found that 18 (12.9%) participants were graduated from elementary and secondary schools, 59 (42.1%) from high school, and 63 (45%) from college, and the number of the participants belonging to the group consisted of graduates from high school and college were approximately four times more than the participants from the elementary and secondary school graduate group. It was determined that 9 (13.6%) of the participants had low, 105 (75%) had medium and 16 (11.4%) had a high level of income. It was observed that 83 (59.3%) of the participants were congenitally disabled and 57 (40.7%) of the participants disabled after birth and the number of congenitally disabled participants approximately 1.5 times more than the number of participants with disabilities after birth. It was determined that the number of participants who were national athletes was approximately 2.5 times those who were not. Among the variables examined, it was seen that there was only a statistically positive and low-level significant relationship between the sports age variable and the self-esteem mean score of the participants (r = .147; p < 0.05). In this context, as the age of the participants increased, the self-esteem of the participants also increased. As a result, it was determined that there was a positive correlation between the age of starting sports and self-esteem in physically disabled individuals, and individuals who started sports at an early age had a higher rate than other individuals.

Evolutionary Algorithms In Architecture

2011 ◽  
Vol 36 (1) ◽  
pp. 16-24
Author(s):  
Peter Schwehr
Keyword(s):  
Evolutionary Algorithms ◽  
Evolutionary Algorithm ◽  
Everyday Life ◽  
Working Model ◽  
Constant Change ◽  
Buckminster Fuller ◽  
High Level

Change is a reliable constant. Constant change calls for strategies in managing everyday life and a high level of flexibility. Architecture must also rise to this challenge. The architect Richard Buckminster Fuller claimed that “A room should not be fixed, should not create a static mood, but should lend itself to change so that its occupants may play upon it as they would upon a piano (Krausse 2001).” This liberal interpretation in architecture defines the ability of a building to react to (ever-) changing requirements. The aim of the project is to investigate the flexibility of buildings using evolutionary algorithms characterized by Darwin. As a working model for development, the evolutionary algorithm consists of variation, selection and reproduction (VSR algorithm). The result of a VSR algorithm is adaptability (Buskes 2008). If this working model is applied to architecture, it is possible to examine as to what extent the adaptability of buildings – as an expression of a cultural achievement – is subject to evolutionary principles, and in which area the model seems unsuitable for the 'open buildings' criteria. (N. John Habraken). It illustrates the significance of variation, selection and replication in architecture and how evolutionary principles can be transferred to the issues of flexible buildings. What are the consequences for the building if it were to be designed and built with the help of evolutionary principles? How can we react to the growing demand for flexibilization of buildings by using evolutionary principles?

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