Natalia Sergeevna Goncharova (1881–1962)

2018 ◽  
Author(s):  
Anthony Parton
Keyword(s):  
World War I ◽  
20Th Century ◽  
World War ◽  
Avant Garde ◽  
Ballets Russes

One of the most talented and prolific of 20th-century Russian artists, Natalia Goncharova was not only a leading member of the Russian avant-garde in the years before World War I but also achieved widespread recognition afterwards for her work as a stage designer for Diaghilev’s Ballets Russes. As a painter she was a leading exponent of neo-primitivism but subsequently engaged in abstraction and Rayonism, becoming one of the first non-objective artists in Russia.

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 Ballets Russes and the Parisian Avant-Garde

Experiment ◽  
2011 ◽  
Vol 17 (1) ◽  
pp. 214-230
Author(s):  
Linda Nochlin
Keyword(s):  
World War I ◽  
Complex Relationship ◽  
World War ◽  
Classical Dance ◽  
Avant Garde ◽  
Leading Role ◽  
Ballets Russes

Abstract “The Ballets Russes and the Parisian Avant-Garde” deals with the complex relationship between Diaghalev and the members of the Parisian avant-garde he commissioned to design sets and costumes for his productions after World War I. Despite their previous aesthetic radicalism, such artists as Gris and Derain were obliged to rein in their vanguard originality and produce work of surprising conservatism, at the urging of the impresario. Matisse attempted greater originality, but in an unsuccessful ballet. The only really avant-garde production sponsored by Diaghalev after the war was Parade, in which such luminaries as Picasso, Satie and Cocteau played a leading role. Yet ultimately, it was not Diaghalev but Rolf de Mare’s Ballet Suedois that created the most experimental productions involving dance: Relache and Entr’acte. Yet, in experimenting with new forms, de Mare, in effect, abandoned ballet for different forms of expression relying on cinematic techniques rather than classical dance.

Angelos Katakouzenos (1902–1982): A Lifework of Neurology and Art

2018 ◽  
Vol 80 (3-4) ◽  
pp. 217-222
Author(s):  
Maria-Ioanna Stefanou ◽  
Sophia Peloponnissiou-Vassilacos
Keyword(s):  
World War I ◽  
20Th Century ◽  
Scientific Work ◽  
Human Soul ◽  
World War ◽  
Avant Garde ◽  
Marc Chagall ◽  
Marie Bonaparte ◽  
The University ◽  
Cultural Movement

Angelos Katakouzenos, a Greek neurologist and prolific medical writer at the beginning of the 20th century, belonged to a group of artists and scholars that formed the “generation of the 30s,” a cultural movement that emerged after World War I and introduced modernism in Greek art and literature. Born in 1902, Katakouzenos studied medicine in France at the Universities of Montpellier and Paris, where he trained in neurology and ­psychiatry under Georges Guillain, Henri Claude, Jean-Athanase Sicard, Pierre Marie, Clovis Vincent and Théophile ­Alajouanine. In Paris, he attended to Freud’s patients, collaborating with the psychoanalyst Marie Bonaparte, while he was introduced to the contemporary avant-garde movements of this time, developing long-lasting friendships with artists and intellectuals, including Marc Chagall and Tériade. Although Professor of Neurology and Psychiatry at the University of ­Paris, Commandeur of the Légion d’honneur and founder of the first neuropsychiatric clinics in Greece, Katakouzenos lived far from the limelight. Despite his numerous publications, his scientific work remained largely unacknowledged. Yet, as a ­psychoanalyst he gained international fame and treated patients including William Faulkner who later would write, “To the wise scientist, the in-depth judge of the human soul, my friend Dr. Katakouzenos, who has helped me like no one else to redeem myself from the tortuous questions that troubled me for years – from the depths of my heart, many, very many thanks”. In this paper, the rediscovery of Katakouzenos’s remarkable work in the field of neuroscience aims to tell the story of a great physician whose lifework in bridging art and science may, in retrospect, reinstate him as one of the most captivating neurologists of the 20th century.

Making History to/as the Main Pillar of Identity: The Assyrian Paradigm

Belleten ◽  
2012 ◽  
Vol 76 (276) ◽  
pp. 631-646
Author(s):  
Bülent Özdemi̇r
Keyword(s):  
Middle East ◽  
World War I ◽  
Collective Memory ◽  
20Th Century ◽  
Primary Sources ◽  
National Consciousness ◽  
World War ◽  
Large Segment ◽  
The Social ◽  
Political Conditions

In the 20th century Assyrians living in Diaspora have increased their search of identity because of the social and political conditions of their present countries. In doing so, they utilize the history by picking up certain events which are still kept fresh in the collective memory of the Assyrian society. World War I, which caused a large segment of the Assyrians to emigrate from the Middle East, has been considered as the milestone event of their history. They preferred to use and evaluate the circumstances during WW I in terms of a genocidal attack of the Ottomans against their nation. This political definition dwarfs the promises which were not kept given by their Western allies during the war for an independent Assyrian state. The aspects of Assyrian civilization existed thousands of years ago as one of the real pillars of their identity suffer from the artificially developed political unification around the aspects of their doom in WWI presented as a genocidal case. Additionally, this plays an efficient role in removal of existing religious and sectarian differences for centuries among Assyrians. This paper aims at showing in the framework of primary sources how Assyrian genocidal claims are being used pragmatically in the formation of national consciousness in a very effective way. Not the Assyrian civilization but their constructed history in WWI is used for the formation of their nation definition.

scholarly journals Thematic comparasion Hermann Hesse’s novel names Beneath The Wheel (Unterm Rad) and Michael Haneke’s film names The White Ribbon (Das Weiße Band) Hermann Hesse’nin Çarklar Arasında (Unterm Rad) adlı romanı ile Michael Haneke’nin Beyaz Bant (Das Weiße Band) adlı filminin tematik açıdan karşılaştırılması

2019 ◽  
Vol 16 (2) ◽  
pp. 543-560
Author(s):  
Funda Kızıler Emer ◽  
Esma Şen
Keyword(s):  
World War I ◽  
20Th Century ◽  
German Literature ◽  
English Summary ◽  
World War ◽  
Education Policies ◽  
Hermann Hesse ◽  
The Common ◽  
Ideological Education ◽  
Education Concept

Hermann Hesse, one of the most renowned and well-known Nobel laureates in German literature, is the first years of the 20th century, described in his novel, Beneath The Wheel (Unterm Rad, 1906). The film The White Ribbon. A German Children's Story. (Das Weiße Band. Eine deutsche Kindergeschichte, 2009) of Michael Haneke, one of the world-renowned screenwriters and directors of contemporary German cinema, covers the years of World War I 1913-1914.The main point of criticism in both works is the criticism of education and ideological education policies that dominated the period. In the two works of which one is a novel and the other is a film, we choose them as a  thematic aspect, cover the period between 1900 and 1914. In other words, in the first quarter of the 20th century, the criticism of education in Germany and all over Europe is criticized. In this study, we will compare the two German works with each other on the basis of this ‘common subject’. We will limit the comparative analysis of the education problem in selected works to the first quarter of the 20th century based on the time periods described in the works. Within the scope of our study, we will present a critique of the ideological education concept that dominated this period Germany and at the same time laid the foundations of World War I.In the analysis of these two works, which we compare in the common theme axis, we will use the comparative literature method. In the study, we will use an eclectic method in which we will harmonize the methods of text analysis (werkimmanent) and non-text extern (werk extern) in a balanced way.Extended English summary is in the end of Full Text PDF (TURKISH) file. ÖzetAlman edebiyatının Nobel ödüllü ve dünya çapında tanınmış çok yönlü yazarlarından biri olan Hermann Hesse’nin Çarklar Arasında (Unterm Rad, 1906) adlı romanında anlatılan zaman dilimi 20. yüzyılın ilk yıllarıdır. Çağdaş Alman sinemasının ödüllü ve dünya çapından ün salmış senarist ve yönetmenlerinden biri olan Michael Haneke’nin Beyaz Bant. Bir Alman Çocuk Öyküsü. (Das Weisse Band.  Eine deutsche Kindergeschichte, 2009) adlı sinema filmi ise I. Dünya Savaşı’nın patlak verdiği yılları 1913-1914 kapsar.Her iki eserde de temel eleştiri noktası, döneme egemen olan eğitim anlayışı ve ideolojik eğitim politikalarına yöneliktir. Çalışma konusu olarak seçtiğimiz biri roman, diğeri film türünde olan iki eser de tematik açıdan, 1900 ila 1914 yılları arasındaki dönemi kapsar. Yani eserlerde 20. yüzyılın ilk çeyreğinde Almanya’da ve tüm Avrupa genelinde egemen olan eğitim anlayışının eleştirisi yapılır. Biz de bu çalışmada, her iki Almanca eseri, saptadığımız bu ‘ortak konu’ ekseninde birbiriyle karşılaştıracağız. Seçtiğimiz eserlerdeki eğitim sorunsalının karşılaştırmalı analizini, eserlerde anlatılan zaman dilimlerini temel alarak yalnızca 20. yüzyılın ilk çeyreğine sınırlandıracağız. Çalışmamız kapsamında, bu dönem Almanya’sına egemen olan ve aynı zamanda I. Dünya Savaşı’nın temellerini atan ideolojik eğitim anlayışının eleştirisini sunacağız.Ortak tema ekseninde karşılaştıracağımız bu iki eserin analizinde temel olarak karşılaştırmalı edebiyat bilimi yöntemini kullanacağız. Çalışmada, ayrıca metiniçi (werkimmanent) ve metindışı (werkextern) metin inceleme yöntemlerini dengeli biçimde harmanlayacağımız eklektik bir yöntemden yararlanılacaktır.

scholarly journals Symbolism at war: Charles Ricketts and the politics of the stage

2021 ◽  
Vol 51 (3-4) ◽  
pp. 318-336
Author(s):  
Ana Parejo Vadillo
Keyword(s):  
World War I ◽  
World War ◽  
Avant Garde ◽  
Political Landscape

This article considers the effect of World War I on Charles Ricketts’ work for the stage as an avant-garde set and costume designer. It looks at his cosmopolitan designs in the context of European symbolism. The first part of the essay focuses on Ricketts’ symbolist manifesto ‘The art of stage decoration’ (1913). The essay then examines his designs for three Shakespeare plays that toured Le Havre in 1918 to entertain the troops. I argue that, in the aftermath of the war, Rickett’s symbolism became the lens through which he assessed the complex political landscape of the 1920s, and suggest that his stance against realism politicized his practice and explains his interest in Mussolini’s fascism.

scholarly journals ’Det er easy at tale engelsk også’. Amerikadansk i 1960’erne og 1970’erne

2015 ◽  
Vol 47 (47) ◽  
pp. 39 ◽  
Author(s):  
Karoline Kühl
Keyword(s):  
United States ◽  
World War I ◽  
20Th Century ◽  
The United States ◽  
Rapid Decline ◽  
Language Loss ◽  
World War ◽  
Melting Pot ◽  
Post War ◽  
American Society

The conditions for the Danish language among Danish emigrants and their descendants in the United States in the first half of the 20th century were tough: The group of Danish speakers was relatively small, the Danes did not settle together as other immigrant groups did, and demographic circumstances led many young, unmarried Danish men to marry non-Danish speaking partners. These were all factors that prevented the formation of tight-knit Danish-speaking communities. Furthermore, US nationalistic propaganda in the wake of World War I and the melting-pot effect of post-war American society in the 1950s contributed to a rapid decline in the use of Danish among the emigrants. Analyses of recordings of 58 Danish-American speakers from the 1970s show, however, that the language did not decline in an unsystematic process of language loss, only to be replaced quickly and effectively by English. On the contrary, the recordings show contactinduced linguistic innovations in the Danish of the interviewees, which involve the creation of specific lexical and syntactical American Danish features that systematically differ from Continental Danish. The article describes and discusses these features, and gives a thorough account of the socioeconomic and linguistic conditions for this speaker group.

scholarly journals International Recognition and the International Law Status of Poland in the 20th Century

2020 ◽  
Vol 9 (1) ◽  
pp. 21-48
Author(s):  
Elżbieta Dynia
Keyword(s):  
World War Ii ◽  
World War I ◽  
International Law ◽  
20Th Century ◽  
World War ◽  
The Third ◽  
International Recognition ◽  
The Status

The article concerns international recognition of the Polish state established after World War I in the year 1918, the Polish state and the status of Poland in terms of international law during World War II and after its conclusion until the birth of the Third Polish Republic in the year 1989. A study of related issues confirmed the thesis of the identity and continuity of the Polish state by international law since the year 1918, as solidified in Polish international law teachings, and showed that the Third Polish Republic is, under international law, not a new state, but a continuation of both the Second Polish Republic as well as the People’s Republic of Poland.

O potrzebie badań lokalnych pogranicza na przykładzie Babimojszczyzny w XX wieku

2021 ◽  
Vol 20 (3) ◽  
pp. 21-40
Author(s):  
Katarzyna Zielińska ◽  
Keyword(s):  
World War I ◽  
20Th Century ◽  
Time Perspective ◽  
Social Memory ◽  
Historical Narratives ◽  
World War ◽  
New Approach ◽  
Real Effects ◽  
New Approaches ◽  
The Subject

The aim of the study is an attempt to refer to the historiography of a small microregion at the border of today's provinces: Lubuskie and Wielkopolskie, called "Babimojszczyzna". The time perspective relating to the events of World War I, Polish-German disputes, as well as the transformations in Poland and Germany after 1989 requires a new approach to historical narratives. The thesis of the article is the assumption that the hitherto historiography of this complex microregion in Polish-German relations in the first half of the 20th century did not develop new approaches. Another problem is the lack of real effects under the research models on the Polish and German narratives of the last thirty years. Their lack is particularly noticed in the context of the condition of social memory in the vicinity of Babimost, where only the tradition of the Polish Uprising 1918-1919 and the struggle for Polishness is cultivated, without a broader context. The discussed region can also be an interesting example for other similar historical areas, which, like all borderlands, were the subject of natural osmosis rather than their contact.

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