scholarly journals A LÍNGUA DAS ONÇAS E DAS LONTRAS / The language of jaguars and otters

2020 ◽  
Vol 26 (40) ◽  
pp. 361-373
Author(s):  
Renata Marquez
Keyword(s):  
Political Philosophy ◽  
Turning Point ◽  
Aesthetics And Politics ◽  
Art And Politics ◽  
History Of Art ◽  
History Of ◽  
Isabelle Stengers ◽  
The Relationship

O artigo reflete sobre a relação entre estética e política tendo como ponto de inflexão a proposição cosmopolítica apresentada por Isabelle Stengers em 1997. A partir do diálogo com obras de Denilson Baniwa e de Isael Maxakali, este ensaio discute o encontro de conceitos da filosofia política com conceitos antropológicos, no intuito de vislumbrar outra história da arte, em presença da epistemologia estética indígenas.Palavras-chave: Arte e política; Cosmopolítica; Isael Maxakali; Denilson Baniwa.AbstractThe article reflects on the relationship between aesthetics and politics with the cosmopolitical proposition presented by Isabelle Stengers in 1997 as a turning point. Based on the dialogue with works by Denilson Baniwa and Isael Maxakali, this essay discusses the meeting of concepts of political philosophy with anthropological concepts, in order to glimpse another history of art, in the presence of indigenous aesthetic epistemology.Keywords: Art and politics; Cosmopolitics; Isael Maxakali; Denilson Baniwa.

scholarly journals Przełomy, kryzysy, ewolucje

2019 ◽  
pp. 323-337
Author(s):  
Wojciech Bałus
Keyword(s):  
Art History ◽  
Turning Point ◽  
Turning Points ◽  
En Bloc ◽  
Artistic Creation ◽  
History Of Art ◽  
History Of ◽  
State Of Affairs

When Aristotle asked at what particular moment we can say that an army is fleeing, which is certainly not when individual soldiers start leaving the battlefield, he formulated a problem that is important also for today’s art history: are there any moments in the history of art that can be called turning points? In individual artistic careers, such points are related to crises, allowing the artist to overcome an impasse and find a way toward reaching a goal. Quite often, such a turn occurs suddenly, at some particular moment which ancient Greeks called the kairos. The changes in art approached en bloc also happen thanks to the background of values and some goal of artistic creation. A turning point may imply overcoming a crisis or a period of decline and decadence – always a state of affairs defined in negative terms. A separate case is definitely a political decree that triggers off a change, which implies violence committed on culture. Finally, in academic art history a turning point may be related not only with a crisis, but also with evolution. It’s perception is relative, but because of that the history of art can be rewritten. 

From the Archaeology of Childhood to Modern Children Visiting Archaeological Museums

2018 ◽  
Author(s):  
Claudia Lambrugo
Keyword(s):  
Case Studies ◽  
General Public ◽  
Ancient History ◽  
Interesting Point ◽  
The Past ◽  
History Of Art ◽  
Long Time ◽  
History Of ◽  
Children And Childhood ◽  
The Relationship

This chapter addresses three interconnected topics, beginning with a short overview of the archaeology of children and childhood in Italy, explaining how and why the Italian contribution to the topic has been very recent. The chapter then moves on to explore the relationship between modern children, Italian scholars of ancient history of art and archaeology, and museums; it notes that for a very long time Italian universities and museums have not been interested in developing didactic archaeology at all, especially when the spectators were children, whether of pre-school or older age. Finally, returning to children in the past, two noteworthy case studies of the presentation of ancient children at exhibitions are illustrated as an interesting point of convergence between current archaeological studies in Italy on childhood in the ancient world, and the newly generated need to communicate to the general public the result of research works.

Religious Themes in Contemporary Art

2016 ◽  
pp. 188-218
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

龔自珍戒詩歷程考論

2021 ◽  
Vol 26 (26) ◽  
pp. 053-068
Author(s):  
張日郡 張日郡
Keyword(s):  
Qing Dynasty ◽  
Turning Point ◽  
Chinese Poetry ◽  
Late Qing Dynasty ◽  
Late Qing ◽  
The Qing Dynasty ◽  
History Of ◽  
The Relationship

<p>龔自珍為清代著名的詩人及思想家，而這樣一位「但開風氣不為師」的詩人，一生有過幾次自覺戒詩的經驗，而「戒詩」的現象在中國詩歌史上相當特殊的，詩人為何要戒詩，而又破戒？龔自珍內心「寫作的焦慮」之根源是什麼？本文試圖從兩個方面切入，其一、爬梳相關文獻，先行探求龔自珍的詩學觀，唯有如此，我們才能從中得知為何是戒「詩」。其二、切入相關詩歌文本，觀看龔自珍自己如何看待自己的「戒詩」與「破戒」的說法。最後，分析兩者之間的關係，以及變化。期能為龔自珍之相關研究做出一點貢獻。</p> <p>&nbsp;</p><p>Gong Zizhen was a famous poet and thinker in the Qing dynasty. The era he lived was a turning point from flourish to the decadence, from tradition to modern. This phenomenon can be read in the works from Gong Zizhen and it’s also the key point for emancipation of the ideas in late Qing dynasty. Gong Zizhen who leaded the fashion but not stood under the spotlight, he had many experiences of quitting writing poetry. Quitting writing poetry is a special phenomenon in the history of the Chinese poetry, why did poet want to quit? The thesis studied these from two aspects. The first is to explore the poetry concept of Gong Zizhen through article review so that it may be understood why he choose to quit writing poetry? Second, it could be discovered how did Gong Zizhen treat his explain about quitting writing poetry and breaking it repeatedly by reviewing related poetries. Last, analyzing the relationship and transformation between the two. Expecting to offer some contributions for the study of Gong Zizhen.</p> <p>&nbsp;</p>

Camera as Object and Process

2019 ◽  
pp. 257-272
Author(s):  
Ryan Bishop ◽  
Victor Burgin ◽  
Sean Cubitt
Keyword(s):  
Aesthetics And Politics ◽  
Site Specific ◽  
Moving Image ◽  
The Status ◽  
History Of ◽  
Relationship Of ◽  
The Relationship

The chapter provides a conversation between the three authors in which a number of Burgin's site-specific installations frame a consideration of the status and future of the camera from photography to moving image to computer-generated virtual works. In the process Burgin modifies Bazin's question 'What is cinema?' to ask 'What is a camera?'. The CGI projection works extend and develop Burgin's long-standing interest in the relationship of aesthetics and politics as rendered through visualisation technologies, especially as it pertains to space. Burgin's account constructs a genealogy of seeing, visualising and image-making as technologically determined and crafted. In brief, he explains that 'the history of the camera is inseparable from the history of perspective'.

Postscript

2018 ◽  
Author(s):  
Gerard Carruthers
Keyword(s):  
Eighteenth Century ◽  
Interwar Period ◽  
Turning Point ◽  
Scottish Literature ◽  
Imperial Expansion ◽  
Major Turning Point ◽  
History Of ◽  
British State ◽  
Relationship Of ◽  
The Relationship

The interwar period marked a major turning point in the history of Scottish literature. The story of Scots before MacDiarmid’s recasting of it as synthetic Lallans was happily enmeshed in the experience of Britishness and of Britain’s imperial expansion overseas. As far back as the eighteenth century, Scots and English were viewed by Scots philologists as Saxon–British cognates. The emergence of an antithetical relationship of Scots and English was largely a twentieth-century phenomenon. Indeed, MacDiarmid entirely reconceptualized the relationship of Scottish literature to the post-1707 British state. A partner nation of enthusiastic imperialists was reimagined as an oppressed colony. Scottish literature, both its practitioners and its critics, embarked on a process of forgetting Scotland’s complicity in Britishness and Empire.

Formalism and Phenomenology in Vasily Sesemann’s Aesthetics

2021 ◽  
pp. 45-62
Author(s):  
Dalius Jonkus
Keyword(s):  
Structural Analysis ◽  
Phenomenological Analysis ◽  
Aesthetic Value ◽  
Poetic Image ◽  
History Of Art ◽  
The World ◽  
Art And Culture ◽  
History Of ◽  
Aesthetic Structure ◽  
The Relationship

The purpose of this article is to analyze the connection between formalism and phenomenology in Vasily Sesemann’s aesthetics. In the articles “Aesthetic valuation in the history of art” (1922), “The nature of poetic image” (1925), “Art and culture” (1927), Seseman discusses the formalist concept of art. However, the most complete critique of the formalist idea of art is revealed in his Aesthetics (1970). In this book, he presented the most comprehensive conception of aesthetic structure. In this paper, I set out first to analyze the most important features of the formalist history of art, and then to explore how Sesemann transforms the concept of artistic form into a conception of aesthetic structure. I argue that formalistic analysis of art transforms the concept of artistic form into a style. This style is nothing less than the experience of being in the world. Sesemann abandons the dualistic separation of sensory material and intelligible form, and instead offers the concept of aesthetic structure. He reveals the relationship between the sensory structure of an aesthetic object and the perceiving subject. Aesthetic value can be revealed as meaningful only with the participation of a subject and with the necessary contemplative attitude. Analysis of art must cover not only individual structures of the object, but also a phenomenological analysis of perception. The combination of formalism and phenomenology is a peculiar characteristic of Sesemann’s aesthetics. The structural analysis reveals a systematic coherence among the artistic creator, work of art, and its perceiver.

VII. Ightham Mote: Politics and Architecture in Early Tudor England

Archaeologia ◽  
1982 ◽  
Vol 107 ◽  
pp. 153-163 ◽  
Author(s):  
David Starkey
Keyword(s):  
Sixteenth Century ◽  
Late Medieval ◽  
Tudor England ◽  
Art And Politics ◽  
Country Houses ◽  
History Of ◽  
Four Square ◽  
A Minor ◽  
The Relationship ◽  
Steep Hill

Ightham Mote in Kent is one of the most beautiful of English country houses; it is also one of the most important. It stands at the foot of a steep hill, four-square and surrounded by the moat that gives it its name. Directly from the water rises the picturesquely irregular exterior. Most of the lower courses and the whole west or gatehouse front are of Kentish ragstone; much of the upper storey, however, is half-timbered. This mixture reveals the chief fact in the history of the house. It is a late medieval building, extensively remodelled in the early sixteenth century (pl. LII).The works were carried out by Sir Richard Clement, a minor Tudor courtier (pl. LIII a), and they embody his political and social ambitions with remarkable faithfulness. At the same time, the clarity of Clement's statement reflects back on his own society and raises important questions about the nature of both early Tudor art and politics and the relationship between them. I begin by tracing Clement's career to the time of his purchase of Ightham Mote; then the rebuilding of the house is described and its decorations placed within the context of the early Tudor court style; finally, the possible political significance of the style is explored, partly in terms of its origins and partly through an account of Clement's later career as a Kentish gentleman.

Reply to my critics

2021 ◽  
pp. 147488512110020
Author(s):  
Ryan Patrick Hanley
Keyword(s):  
Political Philosophy ◽  
Political Thought ◽  
History Of Political Thought ◽  
Religion And Theology ◽  
History Of ◽  
Key Issues ◽  
Relationship Of ◽  
The Relationship

This reply to my five generous and insightful critics – Gianna Englert, David Williams, Alexandra Oprea, Geneviève Rousslière, and Brandon Turner – focuses on three key issues they raise: the relationship of past ideas to present politics, the utility of ideological labels in the history of political thought, and the relationship of political philosophy to religion and theology.

The Grass is Greener: Władysław Hasior in an Ecocritical Perspective

2021 ◽  
pp. 155-171
Author(s):  
Karolina Kolenda
Keyword(s):  
Environmental History ◽  
Art History ◽  
Land Art ◽  
Ecological Art ◽  
Research Perspectives ◽  
History Of Art ◽  
Local Tradition ◽  
History Of ◽  
Preliminary Study ◽  
The Relationship

The text offers an analysis of selected works by Władysław Hasior from an ecocritical perspective. The focus is placed on Hasior’s best-known work, The Organ, as well as on several parts of his Photo Notebook. The analysis seeks to demonstrate that an application of an ecocritical perspective to the reading of Hasior’s work may help fill in the blanks in the environmental history of art in Poland. Several recent publications and exhibitions that concern the relationship between art and nature focus on uncovering the “prehistory” of ecological art in Poland or the local tradition of Land Art. The text is meant as a preliminary study of possible research perspectives that the proposed reading may open up, as well as a consideration of whether ecocriticism could serve as an opportunity to bring the tenets of horizontal art history into the practice of rereading the work of Polish artists and their relationship with the landscape.

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