Irish Modernism

2018 ◽  
Author(s):  
Fionna Barber
Keyword(s):  
World War I ◽  
World War ◽  
The West ◽  
Political Factors ◽  
Avant Garde ◽  
Paul Gauguin ◽  
Irish Modernism ◽  
The Subject ◽  
Achill Island

Modernism in Ireland was bound up with major social and political factors during the first part of the twentieth century, especially the effects of independence and Partition in 1922 and the role of the visual within national identity. This is an important context for Irish artists’ engagement with the wider development of European modernism; Cubism and Expressionism were particularly significant and, to a lesser extent, Surrealism. In 1910 the painters Paul and Grace Henry traveled from Dublin to Achill Island on Ireland’s Western Seaboard, where they remained until the end of World War I. This move, to some degree, emulated the earlier example of European avant-garde artists—such as Paul Gauguin in abandoning Paris for initially Brittany and then Tahiti—but it was also a sign of the fascination with the West that became an important cultural focus for an independent Ireland. The rural West, Catholic and Gaelic speaking, in many ways embodied the ideologies of the new Irish Free State. In addition to being the subject of Henry’s pastel-toned landscapes it became a major focus for both realist artists such as Seán Keating and modernist painters including Jack B. Yeats and Patrick Collins.

Holst – Astrology and Modernism in ‘The Planets’

Tempo ◽  
1993 ◽  
pp. 15-24 ◽  
Author(s):  
Raymond Head
Keyword(s):  
World War I ◽  
20Th Century ◽  
Indian Philosophy ◽  
Early 20Th Century ◽  
World War ◽  
Avant Garde ◽  
British Music ◽  
The Subject ◽  
Modern Movement

The subject of modernism in early 20th-century British music is rarely examined: partly because it is often thought that British composers were not interested in the Modern Movement before World War I, and partly because in discussing Modernism (a convenient umbrella term for the whole cultural avant-garde whose components included Expressionism, Futurism, Primitivism and Surrealism) one must be prepared to engage subjects which, in this country, are normally considered Verboten. There is no doubt, for instance, that the development of the Modern Movement on the Continent was partly inspired by a widespread awareness of Theosophy, and the interest, which it encouraged, in such esoteric areas as Indian philosophy and astrology. In this article I want to look at this aspect of Modernism in relation to Gustav Hoist, and especially in The Planets (1914–16): his, and British music's, first striking testament to the Modernist outlook. The very bases of this work are Hoist's understanding of astrology, his friendships of the time, and his Theosophical upbringing.

The Road to Salvation

2021 ◽  
pp. 40-62
Author(s):  
Mikiya Koyagi
Keyword(s):  
World War I ◽  
World War ◽  
The West ◽  
Nationalist Discourse ◽  
National Space ◽  
The Road ◽  
Role Of The State ◽  
The Relationship ◽  
Different Parts

Chapter 2 discusses railway imaginations among Iranians between the 1860s and World War I. It argues that nationalist discourse came to define a trans-Iranian railway as a measure to create a Tehran-centered national space, in contradistinction with imperial railway projects that sought to incorporate different parts of Iran into imperial spaces. This chapter also illustrates that it was Iranian encounters with railway technology in neighboring countries that shaped ideas about the role of the state, the relationship between railways and preexisting modes of transport, the purpose of building a railway, and other contentious issues. The first two chapters together highlight the importance of adopting a spatial framework that goes beyond Iran and the West.

Quiet Rebellion: Emmy Hennings and the Politics of Subversion

2008 ◽  
Vol 4 ◽  
Author(s):  
Charles Terry Marcrum II
Keyword(s):  
World War I ◽  
World War ◽  
Avant Garde ◽  
The Social ◽  
Fertile Ground ◽  
The Subject ◽  
To Come ◽  
The Many

Amidst the clamor and upheaval of World War I, Zurich proved to be fertile ground for a blossoming literary and artistic movement dedicated to the eradication of the social, political, and creative norms which allowed the war to come about, through a campaign of abstraction and reduction into Nichtigkeit (Nothingness). This was Dada. The means by which this campaign was made operational were varied, as were the many artists and writers who placed themselves on the front lines. One such artist, Emmy Hennings, has, in recent years, become the subject of increased examination and debate, due to her problematic and twice-marginalized position as both a woman and a liberated avant-garde within a still-repressive Wilhelmine society. Under intense scrutiny is the question of whether Hennings served as a leader of the Zurich Dada movement, or as a passive follower, operating under her husband’s able direction; whether she used the Dada movement as a platform on which to voice her contrary opinions or simply as an outlet for politically and socially indifferent self-expression, as some modern scholars contend.

Art historical time in the works of Ivan Сankar

2019 ◽  
pp. 383-399
Author(s):  
Tatyana Chepelevskaya
Keyword(s):  
World War I ◽  
Literary Texts ◽  
Historical Time ◽  
World War ◽  
Historical Processes ◽  
The World ◽  
Historical Episode ◽  
The Subject ◽  
Folk Poetry

In the article on the example of the work of the biggest Slovenian writer Ivan Cankar (1876-1918) the subject of art historical time is studied. It raises the question of the place and role of historical time in the literary texts whose authors use it to organize plot, characters and art space. I. Cankar, as a rule, does not give expanded descriptions of one or another significant event. The historic time is presented in his works in the form of digressions, in the memories of the characters. Sometimes it refers to very recent history, presciently anticipating the importance of a phenomenon for the destinies of individuals and of entire peoples. Such events form thematic nodes, motifs, storylines of his works. Three themes dominate in the prose of I. Cankar: the peasant uprising, the World War I, and the theme of exile. Many times would he address the plots and topics of folk poetry. However his view on it and on the important for the Slovene culture folklore and mythical characters sometimes differs a lot from the views of many of his contemporaries. This was specifically reflected in his work on the drama on peasant uprisings. He dedicates special attention to those periods of the national history that underwent sacralization in the folk consciousness (“The Golden Age”). His favorite creative method is the staging of a historical episode through folklore and folk mythology, among other, to its characters. For some historical processes (the exile) he introduces the topic of the rupture of a man from their homeland.

scholarly journals The East and the West in the polemical context of the Serbian music between the two World Wars

Muzikologija ◽  
2005 ◽  
pp. 119-129 ◽  
Author(s):  
Katarina Tomasevic
Keyword(s):  
World War I ◽  
Development Strategy ◽  
Doctoral Dissertation ◽  
World War ◽  
The West ◽  
Avant Garde ◽  
The World ◽  
Academy Of Sciences ◽  
East West ◽  
Serbian Academy

This article represents a fragment of the author's doctoral dissertation Serbian Music at the Crossroads of the East and the West? On the Dialogue between the Traditional and the Modern in Serbian Music between the Two World Wars (the review of the thesis see on www.newsound.org.yu, issue No 24). The thesis (mentor: prof. Dr Mirjana Veselinovic-Hofman) was defended at the Faculty of Music, Belgrade, on January 2004. A revised text of the dissertation is forthcoming, in an edition of the Institute of Musicology of the Serbian Academy of Sciences and Arts. The article describes the creative orientation of composers Miloje Milojevic, Petar Konjovic and Josip Slavenski as the key figures of the epoch, indicates their choices of an Eastern or Western orientation, and explains the antagonism between the poetics of the "Europeans" and the representatives of avant-garde trends. The topicality of the East-West dichotomy in the critical consciousness of the protagonist of this period is marked as one of the main and the most important dilemma of the polemical context of the Serbian art after the World War I. Conducted from standpoints "Pro et Contra Europe", East-West discussion was also the part of the debate of Serbian national art's development strategy in the new, modern epoch of its history.

Enemies within, Enemies without: the Ideology of a Conservative West-Russianist Newspaper During World War I (1914–1915)

2020 ◽  
Vol 9 (1) ◽  
pp. 74-103
Author(s):  
Aliaksandr Bystryk
Keyword(s):  
World War I ◽  
Nation Building ◽  
Russian Empire ◽  
Russian Society ◽  
World War ◽  
The West ◽  
The North ◽  
National Solidarity ◽  
North Western

Abstract This paper deals with the topic of conservative West-Russianist ideology and propaganda during World War I. The author analyzes the most prominent newspaper of the movement at the time – Severo-Zapadnaia Zhizn (The North-Western Life). The discourse of the newspaper is analyzed from the perspective of Belarusian nation-building, as well as from the perspective of Russian nationalism in the borderlands. The author explores the ways in which the creators of the periodical tried to use the rise of the Russian patriotic feelings to their advantage. Appealing to the heightened sense of national solidarity which took over parts of Russian society, the periodical tried to attack, delegitimize and discredit its ideological and political opponents. Besides the obvious external enemy – Germans, Severo-Zapadnaia Zhizn condemned socialists, pacifists, Jews, borderland Poles, Belarusian and Ukrainian national activists, Russian progressives and others, accusing them of disloyalty, lack of patriotism and sometimes even treason. Using nationalist loyalist rhetoric, the West-Russianist newspaper urged the imperial government to act more decisively in its campaign to end ‘alien domination’ in Russian Empire, and specifically to create conditions for domination of ‘native Russian element’ – meaning Belarusian peasantry, in the Belarusian provinces of the empire.

„Zurück zu Schleiermacher! und von Schleiermacher aus vorwärts!“

2012 ◽  
Vol 19 (2) ◽  
Author(s):  
Brent A. R. Hege
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
The State ◽  
World War ◽  
Psychological Method ◽  
Dialectical Theology ◽  
Complex Picture ◽  
History Of ◽  
The Subject ◽  
Definition Of

AbstractAs dialectical theology rose to prominence in the years following World War I, the new theologians sought to distance themselves from liberalism in a number of ways, an important one being a rejection of Schleiermacher’s methods and conclusions. In reading the history of Weimar-era theology as it has been written in the twentieth century one would be forgiven for assuming that Schleiermacher found no defenders during this time, as liberal theology quietly faded into the twilight. However, a closer examination of this period reveals a different story. The last generation of liberal theologians consistently appealed to Schleiermacher for support and inspiration, perhaps none more so than Georg Wobbermin, whom B. A. Gerrish has called a “captain of the liberal rearguard.” Wobbermin sought to construct a religio-psychological method on the basis of Schleiermacher’s definition of religion and on his “Copernican turn” toward the subject and resolutely defended such a method against the new dialectical theology long after liberal theology’s supposed demise. A consideration of Wobbermin’s appeals to Schleiermacher in his defense of the liberal program reveals a more complex picture of the state of theology in the Weimar period and of Schleiermacher’s legacy in German Protestant thought.

scholarly journals Preface: The Historical Geography of the Hungarian Nation

1996 ◽  
Vol 24 (3) ◽  
pp. 371-376
Author(s):  
Andrew Ludanyi
Keyword(s):  
World War Ii ◽  
World War I ◽  
Status Quo ◽  
World War ◽  
East Central Europe ◽  
East Central ◽  
East European ◽  
The Past ◽  
French And English ◽  
The Subject

The fate of Hungarian minorities in East Central Europe has been one of the most neglected subjects in the Western scholarly world. For the past fifty years the subject—at least prior to the late 1980s—was taboo in the successor states (except Yugoslavia), while in Hungary itself relatively few scholars dared to publish anything about this issue till the early 1980s. In the West, it was just not faddish, since most East European and Russian Area studies centers at American, French and English universities tended to think of the territorial status quo as “politically correct.” The Hungarian minorities, on the other hand, were a frustrating reminder that indeed the Entente after World War I, and the Allies after World War II, made major mistakes and significantly contributed to the pain and anguish of the peoples living in this region of the “shatter zone.”

The Great War of the Postcards

2021 ◽  
Vol 88 (3) ◽  
pp. 525-568
Author(s):  
Johann Strauss
Keyword(s):  
Middle East ◽  
World War I ◽  
Great War ◽  
World War ◽  
The Balkans ◽  
Book Illustrations ◽  
Characteristic Features ◽  
The Impact ◽  
The Great War

This article examines the functions and the significance of picture postcards during World War I, with particular reference to the war in the Ottoman Lands and the Balkans, or involving the Turkish Army in Galicia. After the principal types of Kriegspostkarten – sentimental, humorous, propaganda, and artistic postcards (Künstlerpostkarten) – have been presented, the different theatres of war (Balkans, Galicia, Middle East) and their characteristic features as they are reflected on postcards are dealt with. The piece also includes aspects such as the influence of Orientalism, the problem of fake views, and the significance and the impact of photographic postcards, portraits, and photo cards. The role of postcards in book illustrations is demonstrated using a typical example (F. C. Endres, Die Türkei (1916)). The specific features of a collection of postcards left by a German soldier who served in Turkey, Syria, and Iraq during World War I will be presented at the end of this article.

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