Kharkiv Scenography School of O. Khvostenko-Khvostov: The Experience of Professionalization

2021 ◽  
Vol 2021 (02) ◽  
pp. 85-95
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Material Culture ◽  
Teaching Practice ◽  
Early Years ◽  
Music And Literature ◽  
Avant Garde ◽  
Theatrical Design ◽  
Outstanding Teachers ◽  
History Of ◽  
Compulsory Subject ◽  
The City

The article is devoted to the early years of formation of Kharkiv scenography school and to the creative and pedagogical activities of Olexander Khvostenko-Khvostov (1895–1967). It was reported that the bold experiments of this artist, in the field of theatrical design of 1918–1922, made him one of the central figures of Kharkiv avant-garde scene (“Mystery Buff”; “The Army in the City”; “Lilyuli”, etc), strengthening the reputation of an innovator and causing the beginning of pedagogical activity at the Kharkiv Art College in 1921. The theatrical and decorative workshop was opened at the faculty of painting at the Kharkiv Art College in 1922, it was headed by A. Khvostenko-Khvostov. Among the first graduates were such bright alumni as A. Volnenko, P. Suponin, V. Ryftin, A. Bosulaev, B. Chernyshov, and others. Fundamental provisions of the educational program, which A. Khvostenko borrowed from the teaching practice of A. Exter (Kyiv Studio, 1918–1920), reflected the formation idea of future theater artist’s synthetic thinking. It is known that the education program of the Theater and Scenery Workshop of KAC, equally with the Studio of A. Exter, in addition to the subjects common to all students of painting and drawing faculty as special subjects (theatrical scenery, technique and technology of the stage, etc.) included also the history of theater (I. Turkeltaub), material culture, costume, music and literature (A. Beletsky). O. Khvostenko paid special attention to theoretical and practical issues of composition. He introduced the course of fundamentals of directing (V. Vasilko) as a compulsory subject. Much of what the students mastered at the Workshop was tested on the professional stages of Kharkiv theaters. Associated with the Kharkiv Art School for a quarter of a century (1921–1946), O. Khvostenko-Khvostov has not still been included in the pantheon of its outstanding teachers.

scholarly journals Mapping a Nation: Daniel Carter Beard’s Time as a Surveyor for the Sanborn Map Company

2019 ◽  
Vol 1 ◽  
pp. 1-1
Author(s):  
John J. Swab
Keyword(s):  
United States ◽  
Lived Experience ◽  
The United States ◽  
Early Years ◽  
Urban America ◽  
Fire Insurance ◽  
History Of ◽  
The 19Th Century ◽  
The City ◽  
Eastern Half

<p><strong>Abstract.</strong> Fire insurance maps produced by the American firm the Sanborn Map Company have long served as cartographic guides to understanding the history of urban America. Primarily used by cultural and historical geographers, historians, historic preservationists, and environmental consultants; historians of cartography have little explored the history of this company. While this scholarship has addressed various facets of Sanborn’s history (Ristow, 1968), no scholarly piece has explored the lived experience of being a Sanborn surveyor. This lack of scholarship comes not from any significant oversight but rather from the fact that the contributions of most Sanborn surveyors were anonymous and little recorded on the maps themselves. Moreover, the company itself has done little to save its own history, thus little is known of their individual stories and experiences. The exception to this is perhaps the most famous Sanborn surveyor of all: Daniel Carter Beard.</p><p>Over the course of his nine-decade life, Daniel Carter Beard held several prominent positions including the co-founder of the Boy Scouts of America and the lead illustrator for many of Mark Twain’s novels. However, he got his start as a surveyor for the Sanborn Map Company in the 1870s, just a few years after its founding. His papers, housed at the Manuscript Division of the Library of Congress, includes a variety of ephemera from his time with the Sanborn Map Company.</p><p>Trained in civil engineering, Beard got his start as a surveyor for the Cincinnati (Ohio) Office of Platting Commission, creating the first official plat map for the city. He was hired by Sanborn in 1874 and served as a surveyor until 1878, traveling extensively over the eastern half of the United States, parlaying his skills into creating fire insurance maps for Sanborn. Thus, this paper speaks to two main themes. The first theme traces the route of Beard during his early years with the company across the eastern half of the United States, documenting both the places he visited and the challenges he faced as a Sanborn surveyor. The second theme, interwoven through the paper, is an analysis of the innerworkings of Sanborn’s administrative structure and its relationship with the larger fire insurance market during the 1870s. Altogether, these documents present unique insight into the organization of the Sanborn Map Company and how it produced its maps during the second-half of the 19th century.</p>

The new Basrah Museum: dedicated to the archaeological and historical inheritance of Basrah and Iraq

Antiquity ◽  
2019 ◽  
Vol 93 (369) ◽  
pp. 811-813
Author(s):  
Adil Hashim Ali
Keyword(s):  
Material Culture ◽  
Middle Ages ◽  
Gulf Coast ◽  
Arabian Gulf ◽  
Fertile Crescent ◽  
History Of ◽  
The Rich ◽  
A Site ◽  
Different Cultures ◽  
The City

Located in the Fertile Crescent and at the head of the Persian/Arabian Gulf, the city of Basra is steeped in history. Close to the heart of ancient Mesopotamia, the territory of modern Iraq was occupied variously by Achaemenids and Seleucids, Parthians, Romans and Sassanids, before the arrival of Islam in the early middle ages. In more recent history, the city's strategic position near the Gulf coast has made Basra a site of contestation and conflict. This exposure to so many different cultures and civilisations has contributed to the rich identity of Basra, a wealth of history that demands a cultural museum able to present all of the historical periods together in one place. The original Basra Museum was looted and destroyed in 1991, during the first Gulf War. The destruction and loss of so much of Iraq's history and material culture prompted official collaboration to build a new museum that would represent the city of Basrah and showcase its significance in the history of Iraq. The culmination of an eight-year collaborative project between the Iraq Ministry of Culture, the State Board of Antiquities and the Friends of Basrah Museum, the new museum was opened initially in September 2016. Already established as a cultural landmark in the city, with up to 200 visitors a day and rising, the museum was officially opened on 20 March 2019. The author was fortunate to be present for this event and able to explore the new galleries (Figure 1).

Francis Vernon, the Early Royal Society and the First English Encounter with Ancient Greek Architecture

2013 ◽  
Vol 56 ◽  
pp. 29-61 ◽  
Author(s):  
Matthew Walker
Keyword(s):  
Royal Society ◽  
English Language ◽  
Early Years ◽  
Ancient Greek ◽  
Initial Exposure ◽  
History Of ◽  
British Architecture ◽  
European Publication ◽  
The City ◽  
The Temple

Francis Vernon (c. 1637-77) is not a particularly well-known figure in the history of British architecture, but perhaps he should be. In 1675 he became one of the first English people to have set foot in Athens and, the following year, published what was undisputedly the first account in the English language of the city and its architecture. Vernon was a member of the recently founded Royal Society and one of a group of English and French travellers who journeyed through central Greece and Turkey in the 1670s. He was murdered in Isfahan in early 1677. Vernon's account of the time he spent in Athens was published in the Society's journal, thePhilosophical Transactions, in 1676, and it included brief but illuminating descriptions of the Erechtheion, the Temple of Hephaestus and the Parthenon, the latter written over ten years before the bombing of the temple by a Venetian army in 1687. TheTransactionsoften contained both travel writing and antiquarian material and, in this respect, Vernon's account was typical of the journal's somewhat eclectic content in its early years. Significantly, Vernon's publication predated more famous accounts of Greece from the period, such as those written by his travelling companions Jacob Spon (who released hisVoyage d'ltalie, de Dalamatie, de Grèce et du Levantin France in 1678) and George Wheler, whoseA journey into Greecewas published in 1682. Unlike Vernon, both Spon and Wheler survived their journeys. The only European publication on Athens that preceded Vernon's was a French text of 1675 that would prove to be a fabrication. As this article will demonstrate, Vernon's initial exposure of this fabrication was one of the reasons why his account of the city became so important in English intellectual culture at the time.

Street “Luxuries”

2020 ◽  
pp. 413-433
Author(s):  
Melissa Calaresu
Keyword(s):  
Sixteenth Century ◽  
Material Culture ◽  
Early Modern ◽  
Fast Food ◽  
Food Choices ◽  
Social Distinction ◽  
History Of ◽  
Nutritional Needs ◽  
Early Modern Rome ◽  
The City

The history of eating on the street presents particular challenges as the extant material culture is especially limited. This chapter reveals the variety of food sold on the streets of early modern Rome through the study of a series of images of street sellers printed in the late sixteenth century in response to the growing ethnographic interest of travelers to the city. This chapter turns on its head what was considered a luxury in the early modern economy as these images suggest the range of foodstuffs which cannot be simply understood as daily necessities to meet the basic nutritional needs of the city’s inhabitants such as raw cooking materials or hot fast food. Instead, these images suggest that labor-saving products such as hulled rice or even products such as sweetmeats, which were normally associated with the work of the steward of an aristocratic house and the elite “dressing” of the table, were being sold on the streets. Therefore, despite the inherent ephemerality of the act of selling and eating food and the lack of surviving material culture, these images reveal the complexity of determining social distinction through food choices in early modern Rome.

City Space, Technology, Popular Culture: The Modernism of Paul Strand and Charles Sheeler's Manhatta

2002 ◽  
Vol 36 (1) ◽  
pp. 85-106 ◽  
Author(s):  
JUAN A. SUÁREZ
Keyword(s):  
New York ◽  
Urban Landscape ◽  
Suspension Bridges ◽  
Space Technology ◽  
Avant Garde ◽  
High Rise ◽  
City Space ◽  
Charles Sheeler ◽  
History Of ◽  
The City

Reputedly, painter Charles Sheeler and photographer Paul Strand's Manhatta is the first significant title in the history of American avant-garde cinema. It is a seven-minute portrait of New York City and focuses on those features which make the city a modern megalopolis – the traffic, the crowds, the high-rise buildings, the engineering wonders, and the speed and dynamism of street life. The film strives to capture rhythmic and graphic patterns in the movements and shapes of cranes, trains, automobiles, boats, steam shovels, suspension bridges, and skyscrapers. Due to the dominance of technology, the entire urban landscape appears in the film as a machine-like aggregate of static and moving parts independent from human intention.

scholarly journals On the crossroad of avant-garde: Ernst Ludwig Kirchner and his painting  “Potsdamer Platz”

2020 ◽  
Author(s):  
Анастасия Юрьевна Королева
Keyword(s):  
Avant Garde ◽  
Cultural Aspects ◽  
The Social ◽  
The First World War ◽  
German Art ◽  
The Face ◽  
History Of ◽  
Potsdamer Platz ◽  
The City ◽  
First World

Статья посвящена изучению картины Эрнста Людвига Кирхнера Потсдамская площадь . Автор ставит своей задачей исследование историко-культурного контекста произведения, занимающего столь важное положение в истории немецкого искусства. Это полотно, написанное в год начала Первой мировой войны, обобщает впечатления недавно приехавшего в Берлин художника от сверхинтенсивной жизни германской столицы последних предвоенных лет. В статье подробно рассматривается история возникновения и роль площади в культурном и мифологическом ландшафте города, анализируется социальный статус героев картины, отмечаются автобиографические коннотации и характерные для нее формально-стилевые приемы. В результате автор приходит к выводу об особом значении образа города в лице Потсдамской площади как символа эпохи. In researching of painting of Ernst Ludwig Kirchner Potsdamer Platz the author sets a task to find out all of historical and cultural aspects of this so important picture in German art. It was painted in the year of the beginning of the First World War, after a few year of the artists arriving in Berlin and become the kind of generalization of Kirchners impressions of the extremely intense life of German capital in the latest prewar years. The article gives the attention to the history of the square and its role in the cultural and mythological landscape of the city. Also it analyzes the social status of the main personas, notes the autobiographical aspects and specific formal and stylistic receptions. The results shows, that the image of town in the face of Potsdamer Platz becomes a symbol of the epoch.

scholarly journals THE FIRST OPERA OF THE TURKISH WORLD "LEYLI AND MAJNUN’’

2021 ◽  
Vol 13 (2) ◽  
pp. 305-320
Author(s):  
Ömer TÜRKMENOĞLU ◽  
Zümra AZİZOĞLU
Keyword(s):  
Folk Music ◽  
Western Music ◽  
Tonal Structure ◽  
Music And Literature ◽  
The Public ◽  
History Of ◽  
The Subject ◽  
Many Sources ◽  
First Time ◽  
The City

The Turkish world's opera history gave its first example in 1908 with the opera "Leyli and Majnun" by Azerbaijani composer Üzeyir Hacıbeyli. According to many sources, "Leyli and Majnun" is described as the first opera of the Turkish world and the Islamic world, and the east. The most important feature of this opera is the masterful synthesis of classical western music and folk music. The opera, which was composed for the first time in this way, influenced the east with its staging and ensured that the art of opera was adopted by the public. The great composer Uzeyir Hajibeyli was born in the city of Shusha in Azerbaijan, which was developed in the field of literature and music and called the "natural conservatory." He developed his existing talent here and built it on solid foundations. He was interested in music and literature, wrote many books, articles, and was a writer for newspapers. The subject of the opera Leyli and Majnun is taken from Fuzuli's "Leyli and Majnun" poetry of the same name. At the age of 13, the composer decided to write this opera, influenced by the theater show "At the tomb of Majnun Leyli'' which he watched in Shusha, his home city. He started working on opera in 1907 when he was only 22 years old. By bringing a different perspective to opera, he used the tonal structure of western music with 'mugham,' also known as Azerbaijani folk music. This type of opera is also called "Mugam Opera.'' The opera, which was composed and performed despite the conditions of the period, preserved its originality by combining two cultures and was performed many times in other countries. Operas from the Turkish world are rarely staged in our country, and there is a need for such an article because the opera "Leyli and Majnun" has not been staged much in Turkey and there are very few theses, articles, and books about it. In this study; Different titles have been created such as the history of Azerbaijan opera, the life of Uzeyir Hajibeyli, the composer's process of creating the opera, and the content of the opera Leyli and Majnun. Keywords: Leyli and Majnun, Uzeyir Hajibeyli, Turkish World, Opera

Benedict XIV’s donation of Amazonian objects to the Istituto delle Scienze of Bologna (1751) Origins and history

2020 ◽  
Author(s):  
Samuele Tacconi
Keyword(s):  
Material Culture ◽  
Early Modern ◽  
Amazon Basin ◽  
New World ◽  
Documentary Evidence ◽  
Jesuit Missions ◽  
History Of ◽  
Jesuit Missionary ◽  
The City

Abstract In 1751 Pope Benedict XIV made a donation of Amazonian objects to the Istituto delle Scienze in Bologna, a scientific academy located in the city of his birth. This article reconstructs the history of this group of objects back to its origins in the Jesuit missions of the upper Amazon basin, by presenting and examining new documentary evidence. The encounter between a Jesuit missionary and Pope Benedict XIV is analysed in the context of the early modern reception of the New World and its peoples in Catholic Europe. Finally, an overview is presented of the items in this collection, which represent some of the scarcest and oldest known examples of native material culture from the region.

THE ‘GLOUCESTER BENEFACTORS’ AFTER FOUR CENTURIES

2015 ◽  
Vol 95 ◽  
pp. 305-324 ◽  
Author(s):  
Robert Tittler
Keyword(s):  
Seventeenth Century ◽  
Sense Of Community ◽  
Early Years ◽  
Community Identity ◽  
Precise Information ◽  
Hundredth Anniversary ◽  
History Of ◽  
The City

Some time in the early years of the seventeenth century, the city fathers of Gloucester evidently commissioned twelve paintings of past benefactors to that city. The paintings survive in the Gloucester Folk Museum and were exhibited in the spring of 2014 to mark the approximate date of their four-hundredth anniversary. Given the absence of critically important sources that would have given precise information on their commissioning, their origin and history have remained somewhat obscure. This paper nevertheless strives to understand why, and by whom, they may have been painted, and why they remain significant today, both to the City of Gloucester and to the history of English portraiture. It argues that they were commissioned to bolster a sense of community identity and to encourage further benefaction at a time of local hardship and stress. It comments on them as examples of the regional English vernacular style in portraiture of the day, reflects on their current condition and very tentatively suggests who might have painted them.

THE EARLY HISTORY OF THE CELLO IN NAPLES: GIOVANNI BONONCINI, ROCCO GRECO AND GAETANO FRANCONE IN A FORGOTTEN MANUSCRIPT COLLECTION

2021 ◽  
Vol 18 (1) ◽  
pp. 65-97
Author(s):  
GUIDO OLIVIERI
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Early History ◽  
Early Years ◽  
Critical Importance ◽  
History Of ◽  
New Evidence ◽  
The City

ABSTRACTThe analysis of a forgotten source sheds light on the early history of the cello in seventeenth-century Naples. The manuscript MS 2-D-13, held in the library of the Montecassino Abbey, dates from around 1699 and contains two unknown cello sonatas by Giovanni Bononcini, together with passacaglias, sonatas for two ‘violas’ and elaborations over antiphons by Gaetano Francone and Rocco Greco, two prominent string performers and teachers in Naples. A study of this remarkable source helps to clarify the nomenclature of the bass violins in use in the city and offers new evidence on the practice of continuo realization at the cello, as well as on the connections with partimento practice. This collection is thus of critical importance for a discussion of the technical achievements and developments of the cello repertory in Naples before the emergence of the celebrated generation of Neapolitan cello virtuosi in the early years of the eighteenth century.

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