Framing art history in the liberal arts: the academy and museum in interdisciplinary dialogue

The article raises the problem of the metadisciplinary interpretation of the term “genre”, which can be equally well defined as a nomadic concept or as an artistic universal. The author focuses on the question of the configuration of features defining the concept of genre in philology, art history, and musicology. Taking as a basis the general aesthetic principles of genre specification – functional, thematic, and structural – the author analyzes their genre-forming potential in various artistic forms and comes to the conclusion that understanding genre as a communicative and formally meaningful category provides an interdisciplinary dialogue, but at the same time, genre dominants can be different. For speech genres, such a dominant is a communicative goal, for painting genres – a subject content. The semantic parameter of the genre is interpreted in a similar way in literary criticism and musicology. The division into primary and secondary genres is a common feature for both philology and musicology. The structural parameter includes compositional features and elements of genre style, and the specific weight of this parameter is especially high in canonical (protoliterary and literary) and primary musical genres. The meaning of the structural features of the genre is inversely proportional to the visualization of an artistic form. This parameter is least significant for the genre identification of a painting.

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Decolonize this art history: Imagining a decolonial art history programme at Kalamazoo College

London Review of Education ◽

10.14324/lre.19.1.22 ◽

2021 ◽

Vol 19 (1) ◽

Author(s):

Anne Marie Butler ◽

Christine Hahn

Keyword(s):

Curriculum Development ◽

Art History ◽

Liberal Arts ◽

Knowledge Systems ◽

Learning Assessment ◽

Ongoing Process ◽

History Curriculum ◽

Liberal Arts Institution ◽

Potential Applications

This article presents a case study of a decolonized curriculum development in the Art History programme at the small liberal arts institution Kalamazoo College (Michigan, USA). It discusses the curriculum plan, methods for learning, assessment and potential applications for this approach beyond the case study. Paying attention to questions about the origins of art history, and its long-established methods and canon within the Western academy, this article proposes that any approach to decolonizing an art history curriculum must take into account the frameworks and methods of the knowledge systems it employs, must continually assess, reflect and hold accountable those who participate in its implementation and maintenance, and, importantly, must recognize that decolonization work is a necessarily messy and ongoing process.

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Confederate Monuments, Public Memory, and Public History: Sarah Beetham, Assistant Professor of Art History, Department of Liberal Arts, Pennsylvania Academy of the Fine Arts

Panorama ◽

10.24926/24716839.1636 ◽

2018 ◽

Keyword(s):

Art History ◽

Liberal Arts ◽

Public History ◽

Public Memory ◽

Fine Arts ◽

Assistant Professor ◽

History Department ◽

Pennsylvania Academy

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Literary and Aesthetic Continuum as an Object of Categorization and its Representation in Language and Text

Vestnik NSU Series Linguistics and Intercultural Communication ◽

10.25205/1818-7935-2020-18-4-133-145 ◽

2020 ◽

Vol 18 (4) ◽

pp. 133-145

Author(s):

Tatiana E. Litvinenko

Keyword(s):

Cognitive Science ◽

Literary History ◽

Art History ◽

Liberal Arts ◽

Structural Organization ◽

World View ◽

Cognitive Analysis ◽

Verbal Representation ◽

Specific Category

The article deals with the problem of structural organization of liberal arts fragments in the diachronic world view. It considers the application of a prototypical approach to the knowledge categorization about the types and directions of culture and to the differentiation of the tools of their verbal representation in the metalanguage. The classification of the concepts “Renaissance” and “Baroque” under the criteria of modern linguo-cognitive science is proposed. The article provides definitions of prototypical and peripheral units of the categories analyzed and substantiates the differences in their significates. Special attention is paid to non-central category members, as well as to parameters that confirm their categorical status and place them in the general subsystems’ hierarchy. The study substantiates the polysemy of the terms “Renaissance” and “Baroque”, which is caused by the heterogeneity of the classes they represent. Based on the material of specific category units, it demonstrates the possibility of changing their positions as class members and analyzes the causes and consequences of their re-categorization. The article considers the problem of variability and openness of the range of the categories under study, as well as the criteria of their autonomy and integrity. It is shown that the category stability depends on the prototype identification degree and its differences from the central units in other classes. The main conclusions were obtained by analyzing the meanings of the investigated terms and identifying patterns of their attribution to the texts of the corresponding cultural stages. The study novelty lies in the application of cognitive analysis methods to the concepts and term units of the Humanities metalanguage. The research relevance is accounted for by the need to further study the semantics and functioning of interdisciplinary special units in poetics, literary history, art history, cultural studies, and aesthetics. It helps to distinguish the meanings and contexts of using names that are synonymous and antonymous.

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