Carmelo Bene e la decostruzione delle arti del secondo Novecento

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Cosetta Saba
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Interdisciplinary Practice ◽  
The Arts ◽  
The Sixties ◽  
First Results ◽  
Extended Field ◽  
The Subject

This essay collects the first results of a reflection launched in the context of the Conference "The Arts of the 1900s and Carmelo Bene" curated by Edoardo Fadini and based in Turin, at the Gallery of Modern Art, between 24 and 26 October 2002. The intent is to focus on how in the first phase of the interdisciplinary practice of Carmelo Bene, between the Sixties and the Seventies, an aesthetic reflection and a deconstructive attitude emerge that involve questions (such as the subject, subjectivity and singular / plural dimension of art) that were being defined in the philosophical field and in the extended field of art during the second half of the twentieth century.

“A Page from the History of Marxism”: Gefter’s Edevours to Read Marx Anew

2021 ◽  
Vol 13 (3-1) ◽  
pp. 11-34
Author(s):  
Svetlana Neretina ◽  
Keyword(s):  
Twentieth Century ◽  
Ussr Academy ◽  
Strategy Development ◽  
Early 20Th Century ◽  
Historical Science ◽  
Historical Process ◽  
The Sixties ◽  
History Of ◽  
The Subject ◽  
Academy Of Sciences

The purpose of this paper is to show how the thought and speech of people holding and defending directly opposite positions affect the change in the thought and speech of people of their own and subsequent generations, with different life orientations, and to find ways of this influence. The author describes the situation that arose at the end of the sixties of the twentieth century, known as the ideological dispersal of philosophical, historical and sociological trends that ran counter to the policy of the CPSU, which became especially fierce in the fight against opponents after the USSR’s invasion of Czechoslovakia in August, 1968. One of the results of such an ideological battle was the defeat of the sector of the methodology of history of the Institute of General History of the USSR Academy of Sciences, headed by M. Ya. Gefter, who published a series of books in which the so-called laws of historical development (formational approach) were questioned and the fundamental provisions of the classics of Marxism-Leninism were criticized. The subject of analysis is Gefter’s article “A Page from the History of Marxism in the Early 20th Century”, published in the book “Historical Science and Some Problems of the Modernity”, dedicated to the analysis of Lenin’s tactics and strategy development which changed the views of many, especially young, historians on the historical process, and most importantly - on the methods of seeking and expressing the truth. The differences were expressed primarily in the fact that the proponents and defenders of the Soviet regime, which was based on their own established norms of Marxism-Leninism, fearlessly used all means of pressure on unwanted opponents. Professionals, however, who tried to understand the true sense of the historical process, the sense of judgments about it, especially the sense of the revolutionary struggle against the autocracy, unfolding at the beginning of the twentieth century, were forced to use the Aesopian language, which also provoked a distortion of this sense in many ways: due to the nebulous and veiled expressions, which give the impression of theoretical blackmail, causing such consequences as speech irresponsibility.

Primitivism

2018 ◽  
Author(s):  
Priyanka Basu
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Small Scale ◽  
The Arts ◽  
Artistic Styles ◽  
Modes Of Thought ◽  
Cultural Features ◽  
Hybrid Forms

Primitivism in modern art designates a range of practices and accompanying modes of thought that span the period from the mid-nineteenth to the mid-twentieth century and cut across manifold artistic styles and groups. This entry presents instances of Primitivism from this period that are representative of its features. Modern artistic Primitivism refers, above all, to the ways in which Western artists valorized and drew upon aspects of so-called ‘primitive’ art and cultures in their works, ideas and lifestyles. They employed selective formal and thematic elements that they believed were characteristic of the arts and cultures of not only small-scale, native, non-Western peoples, but also of larger-scale, more highly organized non-Western societies, Western pre-Renaissance and non-classical styles and European vernacular means of expression. Even more frequently, these artists freely intermixed such elements and invented others that suited their conceptions of the ‘primitive’, generating hybrid forms and cultural features.

scholarly journals “Intermedialism” as a category of literary studies and mediology

2019 ◽  
Keyword(s):  
Twentieth Century ◽  
Cognitive Function ◽  
Rapid Development ◽  
Literary Analysis ◽  
Street Art ◽  
The Sixties ◽  
The Subject ◽  
Net Art ◽  
Definition Of ◽  
Modern Era

The article is devoted to theoretical problems of the interaction of arts and the term "intermedialism", which has certain amorphous features. The causes of attention to intermedial aspects of culture in the last decade are explained. In particular, it is a question of weakening of the cognitive function of literature and, accordingly, enhancing its aesthetic component and the development of hybrid genres. The study of intermedial aspects actualizes the study of literature in general. In the literary dictionary the term "intermedialism" was first introduced by Oge A. Hansen-Leo in 1983. The structure of this concept, the word-building aspect are analyzed. In modern mediology the phenomenon of art is considered at the level of other semiotic entities, so the work of art is a media, mediator, ingot of information and a quiz. The positions of M. Maklyueen and L. Elström are given. The terms "interaction of arts", "synthesis of arts", "interpenetration of arts" have exhausted their lexical potential, faced with the specifics of new types of creativity (for example, net art, street art), although they are still actively used in art studies studios. The correlation between the concepts of "intermedialism" and "intertextuality" is outlined. The definitions of "intermedialism", interpretation of the interaction of art by Y. Lotman, Y. Kristeva, A. Hansen-Löve, N. Tishunina, V. Prozalova and other researchers are given. The definition of V. Prozalova is considered to be the most adequate (intermedialism – “is a way of correlating artistic phenomena, the presence in artistic works of elements transposed from other forms of art"). Attention to the fact that "intermedialism" is also a methodology of literary analysis is drawn. The example of the new Ukrainian literature shows the extremes of the index of intermedialism: the works of T. Shevchenko, the end of the XIX – early of the XX century, 20-30 years of the twentieth century, the epoch of the sixties, the era of postmodernism. The reasons for the writers’ appeal to other types of art are explained: the universalism of the artistic thinking of T. Shevchenko, the image of the Subject in modernism, the rapid development of arts in Ukraine after the revolution of 1917 and others. It is concluded that in the modern era the term "intermedialism" is relevant because the person of the XXI century is influenced by many media, is intermedial in the broadest sense of the word.

The Immortality of the Soul

1969 ◽  
Vol 5 (2) ◽  
pp. 207-222 ◽  
Author(s):  
J. A. Harvie
Keyword(s):  
Twentieth Century ◽  
Public Opinion ◽  
London Borough ◽  
Life After Death ◽  
The Bible ◽  
The Sixties ◽  
The Subject ◽  
Immortality Of The Soul ◽  
The Church ◽  
Meaningful Sense

In 1944–45 a survey was carried out on the topic of religion in a London borough, and in 1960 the survey was repeated in the same borough. In both 1945 and 1960 over forty per cent of those attending Anglican services said that they did not believe in a life after death. When due allowance has been made for the relative unreliability of public opinion sampling, it is nevertheless obvious that incredulity on this issue is widespread and probably increasing, even within the Church. There are at least two main reasons for this—that personal immortality is commonly held to be incompatible with the scientific view of man, and the apparent irrelevance of the belief for life in the here and now. The question in people's minds today is no longer what the Bible says about immortality, nor what the churches teach on the subject [if indeed they teach anything at all]. These questions can be answered by reading the Bible and by consulting manuals of doctrine. The problem is this: How is it possible in any meaningful sense to believe in a life after death in the 'sixties of the twentieth century?

scholarly journals TRANSFORMATION OF TRADITIONAL CRAFT INTO MODERN ARTISTIC BLACKSMITHING

2021 ◽  
Vol 2 (46) ◽  
Author(s):  
S. Rohotchenko
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Fine Arts ◽  
The State ◽  
Creative Activity ◽  
Stages Of Development ◽  
Audio Recording ◽  
The Past ◽  
The Subject ◽  
Art Critics

The subject of the study is the author's special culturological approach to the development of modern domestic artistic blacksmithing, that is based on specific examples of the use of traditions and the involvement of innovative components in the development of blacksmithing. The article highlights the historical stages of development of blacksmithing as a craft of the past and its transformation into modern art. The purpose of the study is to try to determine the factors that directly influenced the overall formation of the state of modern Ukrainian blacksmithing.The methodology of the study is based on the principles of creative activity of blacksmiths, the study of scientific works of modern blacksmith theorists, art critics, culturologists and is aimed at comprehensive awareness of the specialized link of fine arts - artistic blacksmithing of Ukraine in the last third of the twentieth century to the present day and the factors that influenced the process of destruction and revival of ancient craft. Methods that were applied in the course of the study are comparative-historical, typological, systemic, analytical, source-critical. The author also used an interviewing method involving audio recording to create a database.Key words: Artistic blacksmithing, blacksmith, art, traditions, innovations.

Roger Fry, Chinese Art and The Burlington Magazine

2015 ◽  
Author(s):  
Ralph Parfect
Keyword(s):  
Twentieth Century ◽  
Chinese Art ◽  
The Past ◽  
Language Discourse ◽  
Early Twentieth Century ◽  
The Arts ◽  
The Subject ◽  
Late Nineteenth ◽  
Textual Strategies ◽  
Western Historiography

The Burlington Magazine for Connoisseurs was founded in 1903 by a group of art theorists, scholars and historians that included Roger Fry, later a co-editor of the magazine for almost ten years (1909-1919). On Fry’s death in 1934, the magazine itself described him as ‘the man who in the past did most to establish it and mould its character’. Part of this character was a consistent attention to Chinese art that he shared with fellow Bloomsbury writers, artists and intellectuals. This chapter illuminates Fry’s practice as a theorist and an editor interested in the arts of China by examining how these were represented and discussed in the Burlington Magazine under his auspices. It focuses especially on the kinds of language, discourse and textual strategies of sinophile contributors such as Arthur Waley, Lawrence Binyon, Perceval Yetts and R.L. Hobson. The chapter locates their approaches to Chinese art within a longer-term Western historiography of China and its culture(s), as well as within late-nineteenth and early-twentieth century discourses such as aestheticism, scientism and orientalism. It thus attempts to unpack the ideological implications of the ‘connoisseurship’ professed by the magazine’s title as applied to the subject of Chinese art.

Moving Modernism

2020 ◽  
Author(s):  
Nell Andrew
Keyword(s):  
Twentieth Century ◽  
Interwar Period ◽  
Significant Role ◽  
Modern Art ◽  
Modern Dance ◽  
Turn Of The Century ◽  
Avant Garde ◽  
The Arts ◽  
Lumiere Brothers ◽  
Twentieth Century Europe

This book reenacts the simultaneous eruption of three spectacular revolutions—the development of pictorial abstraction, the first modern dance, and the birth of cinema—which together changed the artistic landscape of early twentieth-century Europe and the future of modern art. Rather than seeking dancing pictures or pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering the performances, methods, and circles of aesthetic influence of avant-garde dance pioneers and experimental filmmakers from the turn of the century to the interwar period, this book challenges modernism’s medium-specific frameworks by demonstrating the significant role played by the arts of motion in the historical avant-garde’s development of abstraction: from the turn-of-the-century dancer Loïe Fuller, who awakened in symbolist artists the possibility of prolonged vision; to cubo-futurist and neosymbolist artists who reached pure abstraction in tandem with the radical dance theory of Valentine de Saint-Point; to Sophie Taeuber’s hybrid Dadaism between art and dance; to Akarova, a prolific choreographer whose dancing Belgian constructivist pioneers called “music architecture”; and finally to the dancing images of early cinematic abstraction from the Lumière brothers to Germaine Dulac. Each chapter reveals the emergence of abstractionas an apparatus of creation, perception, and reception deployed across artistic media toward shared modernist goals. The author argues that abstraction can be worked like a muscle, a medium through which habits of reception and perception are broken and art’s viewers are engaged by the kinesthetic sensation to move and be moved.

scholarly journals The Future of Winckelmann’s Classical Form

2021 ◽  
Author(s):  
Elizabeth Prettejohn
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Modern Art ◽  
Walter Pater ◽  
Artistic Practice ◽  
Classical Form ◽  
Profound Influence ◽  
The Arts ◽  
Historical Importance

Winckelmann’s thought and writing are routinely acknowledged to have had a profound influence on the artistic practices of the half-century after his death, known under the label ‘Neoclassicism’. Standard accounts of modernism in the arts, however, assume that this influence came to an abrupt end around 1815. According to such accounts, the anti-classical reaction that followed the Battle of Waterloo and the demise of Neoclassicism was itself a motive force in the generation of modern art and modernism. This paper argues, on the contrary, that Winckelmann’s ideas not only remained relevant, but gained in power through the generations after the fall of Napoleon. Mediated by critics and artists among whom Walter Pater and Frederic Leighton serve as the principal examples, Winckelmann’s thought made a decisive contribution to twentieth-century modernism. In particular, the articulation in both criticism and artistic practice of ideas about classical form, indebted to Winckelmann, had a subtler and more complex impact on the modernist doctrine of ‘formalism’ than literary or art historians have acknowledged. A renewed attention to classical form will help future scholars to write a more nuanced account of modernism in the visual arts. More importantly, it will call attention to artistic projects that have been excluded from histories of modern art due to reductive assumptions that classicism and modernism are inherently contradictory. The paper concentrates on Frederic Leighton as a case study of an artist whose historical importance and aesthetic merit have been occluded by reductive thinking of this kind.

Painting

2017 ◽  
Author(s):  
George Pattison
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Middle Ages ◽  
Modern Art ◽  
Early Twentieth Century ◽  
The Arts ◽  
Christian Culture ◽  
Romantic Movement ◽  
The Middle Ages

In the wake of the Romantic movement, Christian theologians gave renewed attention to the arts, including painting, which entered one of its most turbulent phases in the nineteenth century. The chapter examines the revalorization of the Middle Ages as the epitome of a Christian culture; symbolism, especially as represented in the English painter G. F. Watts; and the emergence of French modernism as a secularizing tendency. Constructively, the chapter demonstrates that the nineteenth century can still provide a significant resource for reflection on theology and painting. Critically, it finds nineteenth-century theology was unprepared for the dramatic convulsions of the early twentieth century that would transform the landscape of modern art.

scholarly journals ¿Súplica inaudible? Poesía y violencia en poetas colombianas

2021 ◽  
Vol 8 (15) ◽  
pp. 148-175
Author(s):  
Luz Mary Giraldo
Keyword(s):  
Twentieth Century ◽  
Armed Conflict ◽  
Literary Representations ◽  
Displaced Persons ◽  
The Sixties ◽  
The Face ◽  
The Subject ◽  
Creative Role ◽  
The Impact

The impact of violence in Colombia, experienced throughout the twentieth century, and exalted in the intensity of the armed conflict imposed on society and privacy since the sixties and mid-second decades of the twenty-first, have been expressed in different ways by some Colombian creators. This document seeks to draw attention to some literary representations of the subject and the poetic effects offered by its authors, by expressing awareness of the pain that the war has caused. Aware of the devastating repercussions of the homicides, kidnappings and displaced persons that the violence has generated, the authors assume their creative role pointing out the horror and, in the case of the authors, the emphasis on some of a belligerent attitude, deep desolation and skepticism. The styles are varied and particular, as some reflect the trembling caused by anguish and restlessness, others express anguish with a furious or fearful tone, and others a hopeless feeling in the face of a shattered universe. They are generally voices that express individual and collective pain.

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