scholarly journals The Memory of the Avant-Garde and the New Wave in the Contemporary Serbian Novel

2020 ◽  
Vol 43 (2) ◽  
Author(s):  
Marko Avramović

This article is dealing with the topic of two past twentieth-century epochs in a few representative Serbian novels at the turn from the twentieth to the twenty-first century. These are the 1980s and the New Wave era in Yugoslavia, an epoch close to the past that can still be written about from the perspective of an immediate witness, and the avant-garde era, that is, the period between the two world wars marked in art by different movements of the historical avant-garde. The novels Milenijum u Beogradu (Millennium in Belgrade, 2000) by Vladimir Pištalo, Vrt u Veneciji (The Garden in Venice, 2002) by Mileta Prodanović, and Kiša i hartija (Rain and Paper, 2004) by Vladimir Tasić are being interpreted. In these novels, it is particularly noteworthy that the two aforementioned epochs are most commonly linked as part of the same creative and intellectual currents in the twentieth century.

Author(s):  
Cecil M. Robeck

This chapter traces Pentecostal and related congregations, churches, denominations, and organizations that stem from the beginning of the twentieth century. They identify with activities at Pentecost described in Acts 2 and in the exercise of charisms in 1 Corinthians 12–14. Each of them highlights is the significance of a personal encounter with the Holy Spirit leading to a transformed life. These often interrelated organizations and movements have brought great vitality to the Church worldwide for over one hundred years, and together, they constitute as much as 25 per cent of the world’s Christians. This form of spirituality is unique over the past 500 years, since it may be found in virtually every historic Christian family/tradition, and in most churches of the twenty-first century.


2021 ◽  
Vol 39 (1) ◽  
pp. 280-297
Author(s):  
O. N. Kuptsova ◽  
E. K. Sozina

Chekhov’s drama has retained its constant popularity throughout the twentieth century and the first two decades of the twenty-first century and has an unbroken scenic history. In modern theater it performs several functions: 1) of a literary basis for the-atrical action, carefully preserved by the director (traditionalist approach); 2) of a kind of material that can and should be adapted, modernized, adjusted to the urgent range of acute problems and to today’s scenic language (avant-garde, post-dramatic approach). One might argue that Chekhov’s drama transitions into the category of “proto-text” or “metatext”. Productions of Chekhov’s plays are often the ones that become the realm of the most radical theatrical experiments when their “familiar” “proto-text”, their basis and foundation are, so to speak, factored out from them: his drama remains in the domain of literature, of reader’s attention while the theater moves ahead – into the area of new scenic opportunities which are only tangentially


Author(s):  
Salwa Mikdadi

Contemporary Arab artists are increasingly engaging with the past to make sense of present-day issues. Mining historical regional archives for inspiration, they are placing ancient art and archaeology at the center of their research for art projects and exhibitions. This engagement continues a trend that started in the early decades of the twentieth century, when Egyptian and Iraqi artists employed archaeology in the construction of national narratives, re-appropriating ancient art from its colonial construct—its iconic images of the exotic Orient—to serve the emerging nation states. Twenty-first-century artists are now reflecting upon the discipline of Archaeology and examining the politics of excavations and the display and interpretation of historical artifacts. This chapter presents examples of diverse approaches and techniques in contemporary art that explore archaeological and museological practices in the context of current sociopolitical and economic concerns.


Author(s):  
Lutz Koepnick

Chapter 1: traces the history and theory of the long take in twentieth-century art cinema to make a case who and why twenty-first century moving image practice differs from the past and its concepts; shows how contemporary long take practice absorbs the recalibrates the dual legacies of expanded cinema and art cinema of the 1960s, and how it asks to rethink our concept of art cinema today, and why its study neither belongs to film scholars nor art critics alone today


2017 ◽  
Vol 9 (2) ◽  
pp. 113-120
Author(s):  
Vladimir Mako

This article discusses a possibility that the notion of mobile reality, as theorised by a few important philosophers at the beginning of the twentieth century, and contemporary architectural ideas, could be complementary according to dynamic characteristics of aesthetic perception and experience. This, at first glance odd statement, could be justified by the relative similarity that philosophical and architectural ideas at the beginning of the twentieth and the twenty-first century expose through fundamental characteristics of their appearance. As a matter of fact, dynamic aesthetic sensations are the essential values of avant-garde understanding of architectural and urban design, and the notion of mobile reality is one of its fundaments. These ideas could be applied on diverse design approaches and dynamic aesthetic sensations of contemporary architecture.


Author(s):  
Bruce A. Kimball

While envisioning liberal education for the twenty-first century, we must not forget that our visions are shaped and conditioned by historical context, or tradition. Indeed, the very fact that we discuss something called "liberal education" demonstrates the influence of tradition. The general precept is well known, but the nature of this particular tradition is often misconstrued, due not only to neglect but also to genuine intentions to rescue or correct the tradition. To be sure, this particular tradition is long and complex, and it is doubtful that anyone can claim to understand fully the current situation of liberal education in light of its tradition, particularly in this era of postmodern interpretivism and deconstruction. This brief essay will therefore make two, more modest claims. First, I hope to demonstrate that, contrary to the conventional perception, the tradition of liberal education is not uniform and continuous but full of variety, discontinuity, and innovation. It has been and is a conflicted tradition. Second, I wish to argue conversely that innovative proposals made for liberal education at the end of the twentieth century often belong to the tradition, although this heritage is generally not recognized by either the proponents or their opponents. These two points, I suggest, indicate the richness and complexity of the tradition and its value, as well as its influence, for those seeking to envision what the next century of liberal education may and should hold. This is not to say that the tradition is boundless, that liberal education is all things for all situations, or that it is without blemishes or addictions, even cancerous growths. But liberal education is what we have and what we are, after centuries of trying to get it right, and we can no more wipe the slate clean and start entirely afresh here than we can in any other human endeavor. We can certainly try to change and improve in the coming century, but change and improvement imply understanding of and comparison with the past.


Author(s):  
Alex J. Bellamy

Until recently, East Asia was a boiling pot of massacre and blood-letting. Yet, almost unnoticed by the wider world, it has achieved relative peace over the past three decades.1 At the height of the Cold War, East Asia accounted for around 80 percent of the world’s mass atrocities. By the second decade of the twenty-first century, it accounted for less than 5 percent....


Author(s):  
Alexander Gillespie

The cumulative environmental challenge of sustainable development in the twenty-first century is larger than anything humanity has ever had to deal with in the past. The good news is that solid progress is being reached in the understanding of issues in scientific terms and understanding what needs to be done. The bad news is twofold. First, although many of the environmental problems of earlier centuries are now being confronted, a new generation of difficulties is eclipsing what were the older difficulties. Secondly, much of the progress is being achieved by the wealthier parts of the planet, rather than the developing world. From population growth to climate change to unprecedented habitat and species loss, whether environmental sustainability can be achieved in the twenty-first century is an open question.


2020 ◽  
Vol 9 (1) ◽  
Author(s):  
Sven Kunisch ◽  
Markus Menz ◽  
David Collis

Abstract The corporate headquarters (CHQ) of the multi-business enterprise, which emerged as the dominant organizational form for the conduct of business in the twentieth century, has attracted considerable scholarly attention. As the business environment undergoes a fundamental transition in the twenty-first century, we believe that understanding the evolving role of the CHQ from an organization design perspective will offer unique insights into the nature of business activity in the future. The purpose of this article, in keeping with the theme of the Journal of Organization Design Special Collection, is thus to invigorate research into the CHQ. We begin by explicating four canonical questions related to the design of the CHQ. We then survey fundamental changes in the business environment occurring in the twenty-first century, and discuss their potential implications for CHQ design. When suitable here we also refer to the contributions published in our Special Collection. Finally, we put forward recommendations for advancements and new directions for future research to foster a deeper and broader understanding of the topic. We believe that we are on the cusp of a change in the CHQ as radical as that which saw its initial emergence in the late nineteenth/early twentieth century. Exactly what form that change will take remains for practitioners and researchers to inform.


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