scholarly journals A. N. BENOIS ON ART IN THE GERMAN COLLECTION OF THE EARLY 20TH CENTURY “RUSSIANS ABOUT RUSSIA”

2020 ◽  
Vol 58 ◽  
pp. 268-277
Author(s):  
Tatiana A. Parkhomenko ◽  
Keyword(s):  
Cultural Heritage ◽  
20Th Century ◽  
Contemporary Art ◽  
Cultural Context ◽  
Cultural Practice ◽  
Early 20Th Century ◽  
High Demand ◽  
Frankfurt Am Main ◽  
Silver Age ◽  
Russian Art

The paper explores the work of A. N. Benois “Contemporary Art”, which was published in 1906 in German in Frankfurt-am-Main in the collection of articles “Russians about Russia”. It focused on the analysis of artistic situation in Russia at the beginning of the 20th century, consideration of the work of Russian masters of the older, middle and new generations, and assessment of their contribution to the culture and cultural heritage of the country. Acting as a historian of art, critic and artist, Benois provided foreign readers with a rich tapestry of Russian art life with all its participants and auxiliary commentaries according to his vision of their talent, originality and value. In his lifetime his judgments about art were often subjected to accusations in bias and subjectivity, however over the course of a century they acquired exceptional significance for understanding complex historical and cultural context of the era, called the Silver Age of Russian culture. Currently the works of Alexandre Benois are included in the golden fund of the national cultural heritage, highly valued and studied all over the world. Their unique, extremely wide and diverse creative content has retained its relevance and continues to be in high demand in modern art, educational and socio-cultural practice.

scholarly journals IDEAS ABOUT NATIONAL IDENTITY IN RUSSIAN LITERARY REVIEW, HISTORICAL AND LITERARY DISCOURSES OF THE 19TH – EARLY 20TH CENTURY

2017 ◽  
Vol 5 ◽  
pp. 680-685
Author(s):  
Viacheslav Krylov
Keyword(s):  
National Identity ◽  
20Th Century ◽  
Turn Of The Century ◽  
National Literature ◽  
Early 20Th Century ◽  
Self Awareness ◽  
Silver Age ◽  
Individual Variations ◽  
Russian Literary ◽  
Further Development

This article analyses the evolution of literary reflections among the representatives of the 19th-early 20th-century trends and schools where ideas on national literature distinctness were formed. The study specifies both an invariant of the notions of national literature identity and individual variations that did not find further development in literary self-awareness. The essays of the 1870-80s suggest that there was formed an image of the original literature opposed to European literature. A new impetus to the problem of national identity in literature was attached to the era of the Silver Age; however, the analysis of the literary review, historical and literary discourses of the turn of the century leads to the conclusion that it was in this era that the ideology of literary centrism was further strengthened, and the exclusive status of Russian literature in culture received detailed reflection.

Cultural Dasymetric Population Mapping with Historical GIS

2012 ◽  
pp. 38-56
Author(s):  
George Towers
Keyword(s):  
Lived Experience ◽  
20Th Century ◽  
Cultural Context ◽  
Mapping Population ◽  
Early 20Th Century ◽  
Social Spaces ◽  
Historical Gis ◽  
Southern Appalachia ◽  
Population Mapping

There has been a recent flurry of interest in dasymetric population mapping. However, the ancillary coverages that underlie current dasymetric methods are unconnected to cultural context. The resulting regions may indicate density patterns, but not necessarily the boundaries known to inhabitants. Dasymetric population mapping is capable of capturing the cultural commonality and community interaction that define social spaces. Dasymetric mapping may be improved with methodologies that reflect the ways in which social spaces are established. This research applies a historical GIS methodology for identifying early 20th Century agricultural neighborhoods in southern Appalachia. The case study is intended to encourage discovery of additional methods for mapping population on the scale of lived experience.

scholarly journals Cults, Crosses, and Crescents: Religion and Healing from Colonial Violence in Tanzania

Religions ◽  
2019 ◽  
Vol 10 (9) ◽  
pp. 519
Author(s):  
Nancy Rushohora ◽  
Valence Silayo
Keyword(s):  
Social Justice ◽  
Cultural Heritage ◽  
20Th Century ◽  
Social Role ◽  
Early 20Th Century ◽  
Post Colonial ◽  
Local Religion ◽  
Colonial Violence ◽  
Colonial Government

More often than not, Africans employed local religion and the seemingly antagonistic faith of Christianity and Islam, to respond to colonial exploitation, cruelty, and violence. Southern Tanzanians’ reaction during the Majimaji resistance presents a case in point where the application of local religion, Christianity, and Islam for both individual and community spiritual solace were vivid. Kinjekitile Ngwale—the prominent war ritualist—prophesied that a concoction (Maji) would turn the German’s bullets to water, which in turn would be the defeat of the colonial government. Equally, Christian and Islamic doctrines were used to motivate the resistance. How religion is used in the post-colonial context as a cure for maladies of early 20th-century colonialism and how local religion can inspire political change is the focus of this paper. The paper suggests that religion, as propagated by the Majimaji people for the restoration of social justice to the descendant’s communities, is a form of cultural heritage playing a social role of remedying colonial violence.

scholarly journals Postmodern Tendencies in the Russian Poetry of the “Silver Age”

2021 ◽  
Vol 12 (4) ◽  
pp. 124-140
Author(s):  
Ihor Chornyi ◽  
Viktoriia Pertseva ◽  
Viktoriia Chorna ◽  
Olena Horlova ◽  
Oleksandra Shtepenko ◽  
...  
Keyword(s):  
20Th Century ◽  
Creative Thinking ◽  
Early 20Th Century ◽  
Eastern European ◽  
Silver Age ◽  
Evolutionary Features ◽  
Russian Poetry ◽  
And Performance ◽  
First Time

For the first time, the article analyses certain aspects of Russian poetry of the “Silver Age” in order to identify the rudiments or features which are characteristic of the postmodern creative paradigm. It is noted that a number of poets almost do not have any postmodernist tendencies. Despite the fact it is proved that postmodernism denies the personality-centric and aesthetically oriented concept of modernism, it nevertheless arose on the basis of modernism and has sharpened evolutionary features formulated in the first half of the 20th century. The article aims to prove a hypothesis that arises in the authors during a preliminary perceptual reading of the poets` works of the “Silver Age”: in the early 20th century. Sporadically and consistently in individual authors can be observed irony, play, reconstruction and performance as precursor of postmodernist creative thinking. Specialties of the Russian poetry of the “Silver Age”, which directly correlate with postmodernist tendencies of the second half of the 20th century is not a description itself, but the realization of reality, ambivalence, as well as following the linguistic and figurative, conceptual, motive levels of gradual transitions between the paradigms of “symbolism – modernism” and “modernism – postmodernism”. The international significance of the article is that the material of one of the Eastern European literatures has proved the existence of postmodern (quasi-postmodern) features in the first half of the 20th century for the first time, which can serve as a deeper research in the field of literary typology, continuity; culturology and anthropology.

scholarly journals The Metamorphoses of Impressionism at the Turn of the Centuries

ICONI ◽  
2019 ◽  
pp. 85-96
Author(s):  
Alexander I. Demchenko ◽  
Keyword(s):  
20Th Century ◽  
Late Stage ◽  
Early 20Th Century ◽  
Silver Age ◽  
Artistic Creativity

The concept of the “Silver Age” is usually correlated with certain phenomena of the Russian artistic culture of the turn of the 19th and 20th centuries. However, it is absolutely clear that this was not a purely national phenomenon and it is appropriate to spread its “geography” onto analogous artefacts of the entire European space of that time. Upon close examination it turns out that many aesthetic components of the late 19th and early 20th century developed under the auspices of the “Silver Age”: late Romanticism, Symbolism, the so-called Decadence, the Moderne Style, etc., — everything which were characterized with brightly expressed personalized accents, individual-subjective predilections and various degrees of aesthetization of artistic creativity. The author of the article considers that similar assertions are also applicable in regard to many sides of Impressionism — one of the most infl uential artistic directions of these years, especially in its late stage. But fi rst of all the article specifi es certain questions of evolution of this direction and its substance, since we must frequently confront with an excessively expansive understanding of this conception.

scholarly journals Mythological Birds in the Culture of the Silver Age: Revival of the Archaic

2014 ◽  
pp. 128-135
Author(s):  
Elena V. Shakhmatova
Keyword(s):  
20Th Century ◽  
Visual Artists ◽  
Silver Age ◽  
Russian Culture ◽  
Russian Art

Deals with some trends in Russian art at the beginning of the 20th century. The author argues that the Archaic revival of the Silver Age reflected the active denial of contemporaneity by the artistic elite. The national folklore and mythology representing the Indo­European roots of Russian culture became popular among the visual artists while the mythological birds Humayun, Sirin, Alkonost, the Swan Princess and the Firebird were pictured by Viktor Vasnetsov, Mikhail Vrubel, and Ivan Bilibin; their images were created in the verses by Alexander Blok, in Igor Stravinsky’s music, and in choreographic masterpieces by Mikhail Fokine and Anna Pavlova.

Dance in Sculpture of the Early 20th Century

2019 ◽  
Vol 68 (4) ◽  
pp. 22-34
Author(s):  
Tatiana Portnova
Keyword(s):  
20Th Century ◽  
Comprehensive Approach ◽  
Early 20Th Century ◽  
Ancient Greek ◽  
Russian Art ◽  
Plastic Arts ◽  
The Subject ◽  
Multi Level ◽  
Artistic Interest

This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.

The Russian Silver Age: Dionysianism Versus Principium Individuationis

2020 ◽  
pp. 21-28
Author(s):  
Oleg A. Matveychev
Keyword(s):  
20Th Century ◽  
Modern World ◽  
Early 20Th Century ◽  
Silver Age ◽  
Russian Culture ◽  
Important Idea ◽  
Russian Intelligentsia ◽  
Almost All ◽  
Cultural Reality ◽  
Original Concept

The article examines the existence, development and historical fate of the famous Nietzschean antithesis “Apollonian and Dionysian” in Russian culture of the late 19th - early 20th century. The author considers reasons for the true triumph of Nietzsche in Russia during the Silver Age and the peculiarities of the reception of his ideas by the Russian intelligentsia. The emphasis in the work is on the ideas of V. Ivanov - the main guide, herald and living embodiment of the idea of Dionysianism in Russia (the works of almost all other authors who addressed this topic were written under his influence). The main stages of the formation of his original concept of the cult of Dionysus, perceived by Ivanov as a primarily a religious phenomenon, are analyzed (the thinker refuses to use the concepts “Apollonian” and “Dionysian” as metaphors to describe a particular cultural reality). Ivanov's most important idea was the presentation of the cult of Dionysus and the “religion of the suffering god” as a “preparation” for Christianity. In the "restoration" of the Dionysian cult, Ivanov sees the way to overcome the crisis of the modern world, based on the principium individuationis.

scholarly journals Kerajinan Batik dan Pewarnaan Alami

2018 ◽  
Vol 1 (2) ◽  
pp. 136 ◽  
Author(s):  
Alamsyah Alamsyah
Keyword(s):  
Cultural Heritage ◽  
20Th Century ◽  
Environmentally Friendly ◽  
Early 20Th Century ◽  
Synthetic Materials ◽  
The Times ◽  
The One

BATIK -- craft is a cultural heritage of Indonesia which existence keep growing each day. It is characterized by the existence of batik craft in various regions with their own characteristics. As a cultural heritage, batik craft had been around since the time of the kingdom era in our nation. Before the discovery of synthetic materials technology, batik coloration has always been using natural colors that are available in Indonesia. Natural coloration can be taken from tinggi wood, tegeran plant, teak leaf, indigo plant, secang, mahogany, and other plants. As the times progressed, natural coloring began to be replaced and abandoned by the craftsmen. Crafters use synthetic coloring starting in the early 20th century. Currently there is an awareness to return to the natural coloring because it is considered to be more environmentally friendly and cheaper. The use of natural coloring also pushes batik selling value higher when compared to the one using synthetic color

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