Secessionist Movement

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Fine Art ◽  
Art Nouveau ◽  
Avant Garde ◽  
The Status ◽  
The Aesthetic ◽  
Secessionist Movement ◽  
Applied Arts ◽  
Modern Movement

The Secessionist Movement is the name applied to a range of artistic splinter groups that began to emerge in the 1890s. Objecting to what they saw as the inherent conservatism of established academies, these groups ‘seceded’ or broke away from their parent institutions and launched their own, avant-garde approach. The first secessionist group appeared in Munich in 1892 under the leadership of Franz von Stuck and Wilhelm Trübner. Among the most influential secessionist groups was that founded in Vienna by a coalition of artists, architects and designers who resigned from the Association of Austrian Artists in 1897. United by the urge to elevate the applied arts to the status of fine art, members of the Vienna Secession produced exquisite work across a spectrum of creative disciplines. The aesthetic initially resembled the curvilinear Art Nouveau style, but it increasingly moved towards abstraction and geometric simplicity. The founding of the Vienna Secession thus marked the beginning of a new artistic era in Austria and heralded the birth of the Modern Movement.

scholarly journals Art nouveau period: borders and concepts

2021 ◽  
Vol 1 (1) ◽  
pp. 33-41
Author(s):  
Alexander V. Belobratov
Keyword(s):  
18Th Century ◽  
The Self ◽  
Art Nouveau ◽  
Avant Garde ◽  
Political Interaction ◽  
The Future ◽  
Utilitarian Approach ◽  
The Aesthetic ◽  
Definition Of ◽  
Extended Interpretation

The article offers an extensive overview of modern approaches to definition of art nouveau as a literary era and to establishing its chronological boundaries. There have been analyzed main variations of the self-definition of the era as well as researchers attempts to find an appropriate definition to this complex aesthetic phenomenon. The extended interpretation of art nouveau as a macroepoch is examined, the period dating back to the end of the 18th century and connected primarily with the artistic system of Romanticism. Based on the aesthetic manifestos of German Naturalism, the meaning of the literary situation in 1880th Germany is examined, where the widespread proclamations of the aesthetic revolution and modern attitudes coexisted with the adherence to the deterministic aesthetics of the previous decades. The leading trends in the culture of the fin de sicle are connected with the onset of the first stage of art nouveau in the art and literature of 1890-1900, soon to be replaced by avant-garde art at the turn of the second decade of the new century. Avant-garde, which associated itself with modernity, was mainly destroying already established art forms. This article suggests that the literary avant-garde as a project of the future manifests a utilitarian approach to the attitudes of the art nouveau on the brink of the new century, making art nouveau accessible for the audience and bringing the artist into the space of political interaction with the society.

Art, Craft, and Theology in Fourth-Century Christian Authors

2020 ◽  
Author(s):  
Morwenna Ludlow
Keyword(s):  
Fourth Century ◽  
Detailed Examination ◽  
Fine Art ◽  
Active Response ◽  
Gregory Of Nyssa ◽  
Starting Point ◽  
Shared Practice ◽  
John Chrysostom ◽  
Literary Techniques ◽  
Applied Arts

Ancient authors commonly compared writing with painting. The sculpting of the soul was a common philosophical theme. This book takes its starting-point from such figures to recover a sense of ancient authorship as craft. The ancient concept of craft (ars, technē) spans ‘high’ or ‘fine’ art and practical or applied arts. It unites the beautiful and the useful. It includes both skills or practices (like medicine and music) and productive arts like painting, sculpting, and the composition of texts. By using craft as a guiding concept for understanding fourth-century Christian authorship, this book recovers a sense of them engaged in a shared practice which is both beautiful and theologically useful, which shapes souls but which is also engaged in the production of texts. It focuses on Greek writers, especially the Cappadocians (Basil of Caesarea, Gregory of Nazianzus, and Gregory of Nyssa) and John Chrysostom, all of whom were trained in rhetoric. Through a detailed examination of their use of two particular literary techniques—ekphrasis and prosōpopoeia—it shows how they adapt and experiment with them, in order to make theological arguments and in order to evoke an active response from their readership.

THE AESTHETIC SIGNIFICANCE OF DRAWINGS ON LOCATION AND WATERCOLORS BASED ON THE MATERIALS OF DAGESTAN GRAPHICS OF THE 1960s

2021 ◽  
pp. 71-76
Author(s):  
Timur Saidovich Gamidov
Keyword(s):  
Fine Art ◽  
The 1960S ◽  
The Aesthetic ◽  
Pencil Drawing

The article analyses works on location in the heritage of Dagestan masters of fine art. The article reveals the ideological, substantive and aesthetic significance of pencil drawing on location and other types of graphics. Examples of works by famous artists of the 1960s, which differ in brightness and novelty of execution, are giv-en.

Traditions and Transformations

2021 ◽  
pp. 43-59
Author(s):  
Regina Marler
Keyword(s):  
Virginia Woolf ◽  
Role Models ◽  
Power Relations ◽  
Status Quo ◽  
Female Role ◽  
Avant Garde ◽  
Florence Nightingale ◽  
The Status ◽  
Childhood Home ◽  
Octavia Hill

Modernist, feminist, experimental: the terms we now most associate with Virginia Woolf all presuppose a break with conventions and a rejection of the status quo in art and power relations. Yet all her life, Virginia Woolf kept returning in memory to her childhood home, to the crowded Victorian family in which she was raised, where boys went to the best schools that Sir Leslie Stephen could afford, and girls, however clever or gifted, were shaped for charitable work, for motherhood, for marriage to prominent men. This obsessive turning back is a kind of pained nostalgia: a lament, a grievance, a comfort—and the engine of even her most avant-garde work. This chapter explores the traditions and assumptions of that potent childhood world, in part through the prism of three conservative female role models her mother, Julia Stephen, chose for her daughters: Mrs. Humphry Ward, Octavia Hill, and Florence Nightingale.

The Labour of Laziness in Twentieth-Century American Literature

2019 ◽  
Author(s):  
Zuzanna Ladyga
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Ernest Hemingway ◽  
Gertrude Stein ◽  
Value System ◽  
John Barth ◽  
The Status ◽  
Twentieth Century American Literature ◽  
The Aesthetic ◽  
Historical Moment

The Labour of Laziness in Twentieth-Century American Literature focuses on the issue of productivity, using the figure of laziness to negotiate the relation between the ethical and the aesthetic. This book argues that major twentieth-century American writers such as Gertrude Stein, Ernest Hemingway, John Barth, Donald Barthelme and David Foster Wallace provocatively challenge the ethos of productivity by filtering their ethical interventions through culturally stigmatised imagery of laziness. Ladyga argues that when the motif of laziness appears, it invariably reveals the underpinnings of an emerging value system at a given historical moment, while at the same time offering a glimpse into the strategies of rebelling against the status quo

scholarly journals OBSERVAÇÕES CRÍTICAS SOBRE UMA RESENHA DE GUIDO IMAGUIRE DA OBRA: ESTRUTURA E SER. UM QUADRO REFERENCIAL TEÓRICO PARA UMA FILOSOFIA SISTEMÁTICA

2012 ◽  
Vol 40 (126) ◽  
pp. 43
Author(s):  
Lorenz B. Puntel
Keyword(s):  
Mathematical Structures ◽  
Justified Belief ◽  
Philosophical Language ◽  
Systematic Philosophy ◽  
The Status ◽  
Important Argument ◽  
The Aesthetic ◽  
Definition Of ◽  
The Relationship ◽  
Ontological Theory

Este artigo responde pormenorizadamente às críticas feitas por G. Imaguire em sua resenha do livro indicado no título (= ES). Trata-se principalmente de nove temas respectivamente teses de caráter central para a concepção exposta no livro. O presente artigo analisa cada um destes temas, em parte corrigindo erros de apresentação e de interpretação e em todos os casos respondendo às objeções de Imaguire. Trata-se dos seguintes temas/teses: (1) Para esclarecer o estatuto das sentenças filosóficas, ES propõe uma teoria dos três operadores que explicitam o caráter de sentenças: são estes o operador teórico, o operador prático e o operador estético. O artigo esclarece o sentido exato desta teoria. (2) ES apresenta uma nova definição de saber/conhecimento em oposição direta à já famosa definição “knowledge is true justified belief” articulada por E. Gettier. (3) ES defende uma concepção de orientação ontológica das estruturas formais fundamentais (lógicas e matemáticas); estas são esclarecidas. (4) Em ES é exposta e defendida uma nova concepção de ontologia em perfeita conformidade com a semântica de uma linguagem filosófica transparente; esta ontologia exclui o conceito de “substância” e critica o uso do conceito de “objeto”. (5) ES expõe uma nova teoria semântico-ontológica da verdade que tem como consequência um relativismo moderado da verdade. (6) ES formula um argumento muito especial contra o fisicalismo; o artigo explica pormenorizadamente este argumento. (7) A concepção exposta em ES afirma que o cristianismo, em virtude do caráter racional e teórico da teologia que o explicita, constitui, em oposição a outras religiões, uma temática com prioridade de importância e atenção para o filósofo sistemático. Neste artigo esta tese é explicada e defendida contra interpretações erradas. (8) O oitavo tema é a grande questão posta pelo conceito de mundo no contexto das relações entre teorias filosóficas e teorias científicas. O artigo esclarece uma série de mal-entendidos a respeito deste grande tema. (9) Finalmente, com relação a um argumento-chave que ES apresenta para fundamentar a tese que, por razões sistemáticas, se deve admitir uma dimensão absolutamente necessária do Ser, o artigo demonstra que a resenha comete um muito grave erro de interpretação, baseando neste erro uma crítica infundada ao argumento. O artigo esclarece extensamente o argumento, suas pressuposições e suas consequências.Abstract: This article is a detailed answer to G. Imaguire’s criticisms of the book Structure and Being: A Theoretical Framework for a Systematic Philosophy (hence referred as ES). Imaguire focuses on nine topics that are central to the book. The present article analyses each one of these theses, sometimes correcting errors made and misrepresentations introduced by Imaguire, and in all cases, responding to Imaguire’s objections. The theses are the following: (1) In order to clarify the status of theoretical sentences occurring in philosophical works, ES presents a theory about the three operators that make explicit the statuses of three mutually irreducible kinds of sentence: the theoretical operator, the practical operator, and the aesthetic operator. (2) ES offers a new definition of knowledge in significant opposition to the now-famous definition formulated by E. Gettier, “knowledge is true justified belief.” (3) ES defends an ontologically oriented conception of the fundamental formal (logical and mathematical) structures. (4) In ES, a new ontology is propounded in strong conformity with the semantics of a transparent philosophical language. This ontology rejects the category of substance and criticizes the widely used concept of object. (5) ES presents a completely new semantico-ontological theory of truth. One of its consequences is a moderate relativism with respect to truth. (6) ES presents a unique argument against physicalism; this article elaborates on it. (7) ES considers the phenomenon of religion and states that, due to its rational and theoretical theology, Christian religion, in opposition to other religions, provides a uniquely promising resource for philosophical considerations. (8) ES extensively thematizes the concept of world in connection with the problem of the relationship between philosophy and science. (9) Finally, ES develops the main features of a theory of Being as such and as a whole. ES offers especially an important argument on behalf of the thesis that the universal dimension of Being must be conceived of as two-dimensional: as the dimension of absolutely necessary Being and the dimension of contingent beings. This article reconstructs the exact meaning of the argument and explains its presuppositions and consequences.

scholarly journals SEMANTICS OF POEM IN «DIV TICS OF POEM IN «DIVANI LUGATI-T-TURK»

2021 ◽  
pp. 36-45
Author(s):  
Qosimjon SODIQOV ◽  
Govhar RAHMATOVA
Keyword(s):  
World Literature ◽  
Fine Art ◽  
Oral Poetry ◽  
Verbal Art ◽  
Specific Expression ◽  
Artistic Value ◽  
Aesthetic Taste ◽  
History Of ◽  
Extensive Information ◽  
The Aesthetic

Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.

scholarly journals Notes on the nature of avant-garde and constructivism

2020 ◽  
pp. 106-119
Author(s):  
Vadim Markovich Rozin
Keyword(s):  
Comparative Analysis ◽  
Avant Garde ◽  
Analysis Methods ◽  
Figurative Art ◽  
The Family ◽  
Methods Of Reconstruction ◽  
Applied Arts

Based on the materials of the family of architects Zimonenko-Feierstein, this article examines the peculiarities of avant-garde and constructivism. Roman Feierstein and Lyubov Zimonenko graduated the Moscow University of Arctitecture and were taught by pedagogues – the representative of avant-garde and constructivism. To understand the nature of avant-garde and constructivism, the author characterizes the goals and tasks solved by these trends and concepts, as well as analyzes the works of Roman Feierstein and Lyubov Zimonenko. It is demonstrated that constructivists create artistic reality, juxtaposing and simultaneously combining various processes and contents, sending over consciousness of a spectator to a particular reality. This pattern is inherent not only to figurative art, but also literature. The article employs situational and comparative analysis, methods of reconstruction of the works of applied arts and generalization. As a result, the author was able to reveal certain peculiarities of avant-garde and constructivism as an approach and activity, as well as underline that avant-garde and constructivism as approaches also suggest conceptualism. The role of conceptualism consists in outlining and explaining of reality, created by an artist for their audience.

scholarly journals Satirikon Theater and the Modern Status of Acting: Problem Definition

2019 ◽  
pp. 92-102
Author(s):  
Дмитрий Трубочкин ◽  
Dmitriy Trubochkin
Keyword(s):  
Problem Definition ◽  
Avant Garde ◽  
The Status ◽  
Modern Status

The paper defines the problem and outlines approaches to the study of the status of acting in the system of modern theater. Actors have occupied an indisputable preeminent position in the theater since the antiquity until the turn of the 19th–20th centuries, when director’s theater emerged in the avant-garde tradition and there was confrontation between the old and new artistic systems (“actor’s” and “director’s” theater), which today shapes the dynamics of the theatrical process. The experience of the Satirikon Theater and its director K. Raikin, which eagerly apply the actor’s transformation in their performances, is considered essential for determining the essence of contemporary understanding of acting. This experience is summarized in several theses, confirmed by examples from the performances of Satirikon of the 2000s.

Sign in / Sign up

Export Citation Format

Share Document