Sacharov, Alexander (1886–1963) and Von Derp, Clotilde (born von der Planitz) (1892–1974)

Author(s):  
Patrizia Veroli

Alexander Sacharov and Clotilde von Derp formed one of the most celebrated dancing couples of the early 20th century. Born into different cultural contexts and trained in different techniques, they managed to join their individual talents into a performance style that was widely admired by their contemporaries. Sacharov was the first male modern dancer in Europe, while von Derp was among the early female modern dancers in the wake of Isadora Duncan’s 1904 path-breaking recital in Berlin. Their career spanned from 1910 until the 1950s, and reached its apex in the late 1910s and 1920s. Both believed in a dance subjected to the imperatives of music, and their dances made references to ancient Greece, to commedia dell’arte, and to the Renaissance, Baroque, and Rococo eras. Indebted to symbolist aesthetics, their signature works eschewed showy mannerisms in favour of subtle and fluid expression, vibrant musicality, and vivid theatricality. (Alexander, a painter as well as dancer and choreographer, designed their costumes.) Touring across Europe, the Americas, and East Asia, Sacharov and von Derp participated in the global circulation of dance modernism.

Author(s):  
Nguyen Thi Thúy Vy

The late nineteenth and early twentieth century was a period that Western culture had a strong influence on East Asia countries. The need for finding new markets and expanding colonies of Western countries made most countries of East Asia were at risk of becoming Western colonies. This historical situation forced East Asia countries - whether they like it or not - to "Europeanize" and to absorb Western civilization achievements to survive. However, whether the impacts of Europeanization on values of culture were positive or negative, the Europeanization was strongly depended on the cultural characteristics and processes in each country. In the early twentieth century, under the impact of the process of Europeanization, large cities in Vietnam - especially Hanoi - greatly transformed the appearance and functions from medieval to early modern cities. Through research on the changing social position of Hanoi women in the process of Europeanization in the early 20th century on four dimensions: Time, space, human, and methods, the paper indicated the reasons, characteristics, rules, trends of the fluctuation of cultural values ​​in Hanoi in the early 20th century under the impact of the Europeanization process.


1987 ◽  
Vol 6 (3) ◽  
pp. 167-177 ◽  
Author(s):  
Hooshang Amirahmadi ◽  
Ali Kiafar

Tehran, the capital and largest city of Iran, has witnessed two parallel trends: a rapid and multi-faceted socio-spatial growth, and increasing separation among social classes. The former is manifested by population increase, physical expansion, concentration of institutions, and administrative centralization. The latter is indicated by rapid accumulation of wealth and capital by a tiny layer, poverty of most of the population, and spatial segregation of social classes. These phenomena reflect the transformation from a pre-capitalist city in the 18th through the early 20th century to a transitional capitalist city in the 1920–1950 period, and to a dependent capitalist city after the 1950s.


Author(s):  
Okju Son

Shinmuyong means literally "New Dance" in Korean, but today it is categorized as creative Korean dance. In the early 20th century, Ausdruckstanz (Expressionist Dance) from Germany had a decisive influence on Japanese modern dancers. This kind of dance was introduced to Korea in 1926 when Japanese dance innovator Ishii Baku (1886–1962) presented his work for the first time in Korea under the title of Shinmuyong, which was a translation of the German phrase Neuer Tanz. However, the meaning of the Shinmuyong changed radically in the 1930s and 1940s. After Ishii’s performance in Korea, several young Korean intellectuals decided to learn Western modern dance from Ishii in Japan. Although they learned modern dance especially based on German Ausdruckstanz, they choreographed their own dances with elements of traditional Korean dance in the 1930s. Furthermore, after a world tour in the late 1930s, the Shinmuyong dancers actively turned to creating a hybrid Asian dance form in the 1940s, so that Shinmuyong became a composite form. Choi Seung-hee (1911–1969) and Cho Taek-won (1907–1976), amongst others, are considered important representatives of Shinmuyong.


Author(s):  
Дмитрий Сергеевич Бирюков

Настоящая статья развивает предшествующие исследования автора, посвящённые путям рецепции паламизма в русской мысли начала - первой половины XX в. Здесь реконструируется исторический и интеллектуальный контекст рецепции паламизма у С. Н. Булгакова и Г. В. Флоровского, и показывается, как формировалось понимание паламизма Флоровским в контексте его полемического отталкивания от софиологии Булгакова. Выделяется два этапа в обращении Г. В. Флоровским к паламитскому богословию: в 1920-х и в 1950-х гг. В данной статье рассматривается первый из этих этапов, связанный с общением Г. В. Флоровского с С. Н. Булгаковым в 1920-х гг. В этой связи рассматривается софиологическая проблематика у С. Н. Булгакова и выделяется допаламитский (1910-е) и паламитский (1920-е) этапы в софиологии последнего. В своём фундаментальном труде «Свет Невечерний» (1917) Булгаков упоминает о Софии как о «четверной ипостаси» в Боге. Желая смягчить это учение, в статье «Ипостась и ипостасность» (1924) Булгаков вводит понятие «ипостасности», как относящееся к Софии, и привлекает паламитское различение сущности и энергий, соотнося Софию с божественной энергией, наделяя таким образом энергию «ипостасностью». Этот ход содержит пантеистические тенденции. Также, Булгаков предлагает «формулы паламизма», предполагающие, что божественность энергий Божества иная, чем сущности. Автор реконструирует интеллектуальный контекст этих формул и показывает их зависимость от трактовки паламизма П. А. Флоренским и С. В. Троицким (при том, что они были по разные стороны баррикад в имяславских спорах). Далее автор обращается к переписке Г. В. Флоровского с С. Н. Булгаковым 1926 г. и анализирует отражённую в ней полемику Флоровского с булгаковским софиологическим паламизмом. Автор показывает, что в ходе этой полемики Флоровский, желая элиминировать тенденцию Булгакова к гипостазированию энергии, говорит об энергии как об акциденции. Затем автор обращается к программному сочинению Флоровского «Тварь и тварность» (1928) и показывает, что в нем предлагается новое прочтение паламизма по сравнению с трактовкой паламизма у Булгакова (и Флоренского). В отличие от других исследователей, автор находит в этом сочинении прямую полемику с «Ипостасью и ипостасностью» Булгакова, касающуюся темы ипостасности энергии. Кроме того, Флоровский здесь пересматривает представление об энергии как акциденции и настаивает, что энергии - это тот же Бог, что и божественная сущность. Автор видит в этом новое для своего времени прочтение паламизма и первый шаг неопаламитского движения XX в. This article develops previous studies of the author on the ways of reception of Palamism in the Russian thought of the early 20th century. Here he reconstructs the historical and intellectual context of reception of Palamism in Sergius Bulgakov and Georges Florovsky, and shows how Florovsky’s understanding of Palamism was formed in the context of his polemical repulsion from Bulgakov’s Sophiology. The author distinguishes two stages in Florovsky’s appeal to Palamite theology: in the 1920s and the 1950s. In this article, the first of them is considered. This stage was due to the fact of the communication between Florovsky and Bulgakov in the 1920s. In this regard, the author considers Bulgakov’s Sophiology, and highlights Pre-Palamite (1910s) and Palamite (1920s) stages in it. In his fundamental work “The Unfading Light” (1917), Bulgakov mentions Sophia as the “fourth hypostasis” in the Godhead. In order to soften this teaching, in his article “Hypostasis and Hypostaticity” (1924) Bulgakov introduces the concept of “hypostaticity” as referring to Sofia, and introduces the Palamite distinction between essence and energies, taking Sofia as a divine energeia, thus endowing an energeia with “hypostaticity”. This step contains pantheistic tendencies. Also, Bulgakov offers the “formulas of Palamism”, suggesting that the divinity of the energies is different from one of the essence. The author reconstructs the intellectual context of these formulas and shows their dependence on the interpretation of Palamism by Pavel Florensky and Sergius Troitsky (despite the fact that they were opponents in the Name-Glorifying dispute). Next, he turns to the correspondence of Georgy Florovsky with Sergei Bulgakov in 1926, and analyzes Florovsky’s polemics with Bulgakov’s sophiological Palamism reflected in it. It is shown that in the course of this polemic, Florovsky, wishing to eliminate Bulgakov’s tendency to the hypostatizing of energeia, speaks of energeia as an accident. Then the author turns to Florovsky’s essay “Creation and Createdness” (1928) and shows that it offers a new reading of Palamism in comparison with Bulgakov’s (and Florensky’s) interpretation of it. Unlike previous researchers, the author sees in this work a direct polemic with Bulgakov’s “Hypostasis and Hypostaticity” concerning the theme of hypostaticity of energeia. In addition, Florovsky here revises and rejects the idea of energeia as an accident and insists that energeia is the same divine as the substance of the Godhead. The author conceives this as a new reading of Palamism for that time and the first step of the Neo-Palamite movement in the 20th century.


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