Epilogue

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Sound Recording ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Changing Role

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

The Changing Role of the International Court

1985 ◽  
Vol 20 (2-3) ◽  
pp. 182-205 ◽  
Author(s):  
Shabtai Rosenne
Keyword(s):  
Western Europe ◽  
League Of Nations ◽  
International Justice ◽  
Russian Revolution ◽  
International Court Of Justice ◽  
Court Of Justice ◽  
International Court ◽  
History Of ◽  
Changing Role

En s'efforçant, au lendemain de la guerre [1914 – 1918], de poser les bases d'une société de peuples régie par le droit, les fondateurs de cette communauté internationale nouvelle se rendaient pleinement compte qu'il ne saurait y avoir une société organisée sans un pouvoir judiciaire chargé de veiller, en dehors de toute préoccupation de politique et de force, à la stricte observation du droit. C'est dans cette conviction qu'ils ont prévu, dès l'origine, la création de la Cour permanente de Justice internationale.Feinberg in 1931Reviewing the history of the Permanent Court of International Justice and of the International Court of Justice from 1922—the World Court, a convenient but possibly misleading expression which embraces both the Permanent Court from 1922 to 1945 and the present International Court of Justice established as an integral part of the United Nations since—four clearly separated periods can be discerned. They run from 1922 to 1931, 1932 to 1940, 1946 to 1966, and from 1967 onwards.The establishment of the League of Nations and the Permanent Court after a cataclysmic war in Europe and the awe-inspiring Russian Revolution released a wave of euphoria upon the exhausted and war-weary peoples of what is now known as Western Europe, and they placed great hopes in the new League and Court.

scholarly journals Department of history and theory of art of the Lviv national Academy of arts: the role of academician of the Yakym Zapasko in the creation of the Department of history of art and the dissertation Council, history, achievements, perspectives

2019 ◽  
pp. 4-18
Author(s):  
Halyna Stelmashchuk
Keyword(s):  
Graduate School ◽  
School Graduate ◽  
Graduate Department ◽  
History Of Art ◽  
History Of ◽  
The Creation ◽  
Dissertation Committee ◽  
History And Theory

The article is devoted to the history, achievements and prospects of the Department of history and theory of arts of Lviv National Academy of Arts. Emphasis is placed on the role of the doctor of arts, Professor, academician of Yakуm Zapasko in the creation of the graduate school, graduate Department of Historу and Theory of Art and the dissertation Committee LNAM. The publication has an informative value.

Marxism and Historiography: Perspectives on Roman History

2007 ◽  
Author(s):  
Andrea Giardina
Keyword(s):  
Social History ◽  
Marxist Theory ◽  
History Writing ◽  
Italian History ◽  
Interdisciplinary Approaches ◽  
History Of ◽  
The 1960S ◽  
Analytical Tools ◽  
Changing Role

Marxism has slowly declined in recent literature on the economic and social history of the ancient world. If one happens to run into the name of Marx or the term Marxism, it is generally within the context of polemical remark. In spite of recurrent attempts to resuscitate it as an ideal foil for anti-Communist polemic, Marxism made its final exit from the field of ancient historical studies in the 1960s, when new Marxist and Marxist-inspired historiography came to the fore. This chapter discusses the changing role of Marxism in Italian history-writing. It focuses on the historians who claim themselves as Marxists, and those who employ Marxist categories and draw on Marxist theory yet refuse to be defined as Marxists. The chapter examines the debates of the different groups on the historiographic phase marked by the circulation of Marxist concepts, analytical tools, and models outside the strictly Marxist milieu. One of the most striking aspects of this phase is the existence of a trend for the formation of research groups that shared not only an affinity or ideological adherence to Marxism, but also an interest in historical theory and a similar orientation in cultural politics. These interdisciplinary approaches stimulated the confluence of individual competences in group projects aimed at singling out new topics and developing investigational strategies. This historiographic phase also reflected a sense of community, a refusal of traditional academic hierarchies, a wish to keep individualism in check, and the rejection of erudite isolation. In Italy, these forms of association served as a means for ethical and political self-representation of cultural hegemony.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

Giuseppe Mazzini and the Globalization of Democratic Nationalism, 1830-1920

2008 ◽  
Keyword(s):  
International Relations ◽  
Political Thought ◽  
Literature And Religion ◽  
The Arts ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Religion Of Humanity ◽  
The 19Th Century

Giuseppe Mazzini – Italian patriot, humanist, and republican – was one of the most celebrated and revered political activists and thinkers of the 19th century. This volume compares and contrasts the perception of his thought and the transformation of his image across the world. Mazzini's contribution to the Italian Risorgimento was unparalleled; he stood for a ‘religion of humanity’; he argued against tyranny, and for universal education, a democratic franchise, and the liberation of women. The chapters in this book reflect the range of Mazzini's political thought, discussing his vision of international relations, his concept of the nation, and the role of the arts in politics. They detail how his writings and reputation influenced nations and leaders across Europe, the Americas, and India. The book links the study of political history to the history of art, literature and religion, modern nationalism, and the history of democracy.

Collingwood’s Opposition to Biography

2012 ◽  
Vol 6 (1) ◽  
pp. 44-59 ◽  
Author(s):  
Vasso Kindi
Keyword(s):  
Subject Matter ◽  
Main Concern ◽  
Work Of Art ◽  
Artistic Creation ◽  
Positive View ◽  
History Of Art ◽  
History Of ◽  
The Subject ◽  
Portrait Painting ◽  
Entertainment Value

Abstract Biography is usually distinguished from history and, in comparison, looked down upon. R. G. Collingwood’s view of biography seems to fit this statement considering that he says it has only gossip-value and that “history it can never be”. His main concern is that biography exploits and arouses emotions which he excludes from the domain of history. In the paper I will try to show that one can salvage a more positive view of biography from within Collingwood’s work and claim that his explicit attacks against biography target specifically the sensationalist kind. First, I will show that Collingwood, in his later writings, allowed that, not only thought, but also relevant emotions can be the subject matter of history, which means that even if one takes biography to deal with emotions, it can still qualify as history. Second, I will argue, based mainly on Collingwood’s Principles of Art, that biography can be compared to portrait painting, in which case, it can be redeemed as a work of art and not just craft and, thus, have more than entertainment value. It can also be part of history, and more specifically part of the history of art which Collingwood endorses, if one takes the life of an individual, recounted by a biographer, to be an artistic creation, as Collingwood seems to suggest.

scholarly journals Vladimir Soloviev on the Mission of Art: The Modern Aspects

2020 ◽  
Author(s):  
Kseniia Leonidovna Erofeeva
Keyword(s):  
Mass Culture ◽  
Real Life ◽  
Ecological Ethics ◽  
General Sense ◽  
The Real ◽  
History Of Art ◽  
History Of ◽  
Modern Era ◽  
Opposing Tendency

The article analyses the final lines of V. Soloviev’s work “The General Sense of Art,” correlating them with the art tendencies of the modern civilization. The author addresses Soloviev’s idea about the transforming role of art in relation to the reality, the real life. It is stated that, in the modern era, within the commercial mass culture domination, the entertaining function of art comes to the forefront. At the same time, an opposing tendency can be observed: a movement towards the all-encompassing unity, understanding of the universal, the priority of common values (the ideas of ecological ethics, common religion, non-violence). The author indicates that the dialectic negation of the negation law is manifested in the history of art, in the realization of its varied functions.

scholarly journals HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER.

2017 ◽  
Author(s):  
José Antonio Aristizábal
Keyword(s):  
20Th Century ◽  
Work Of Art ◽  
Photographic Image ◽  
History Of Art ◽  
Initial Hypothesis ◽  
History Of ◽  
Inner World ◽  
The Mind ◽  
Siglo Xx ◽  
Eugenio Trias

Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han  dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values ​​that have served to interpret painting or sculpture in the history of art.

scholarly journals Megjegyzések az Ara Pacis Tellus-Panelje Központi Alakjának Azonosításához

2020 ◽  
Vol 64 (2) ◽  
pp. 149-167
Author(s):  
Magdus Tamás
Keyword(s):  
Recent Literature ◽  
Political History ◽  
Roman History ◽  
Work Of Art ◽  
History Of Religion ◽  
History Of Art ◽  
History Of ◽  
Ara Pacis ◽  
Excellent Source ◽  
Main Figure

Az ókori római művészettörténet egyik leggyakrabban vizsgált műalkotása az Ara Pacis Augustae. Az avatatlan szem egy kiválóan formált, részletes, domborművek sokaságát felvonultató, páratlan műalkotást lát, azonban a történettudomány és a különböző társtudományok ezen apró részletekből az Augustus-kor kiváló lenyomatát tudják nyújtani. Az Ara Pacis reliefj einek részletgazdagsága miatt mind a római politikatörténet, mind a vallás- és eszmetörténet kutatásának kiváló forrása. Jelen tanulmány elsődleges célja állást foglalni az ikonográfiai sajátosságok és a szakirodalom segítségével abban a kérdésben, hogy ki a panel főalakja.Ara Pacis Augustae is the most frequently studied work of art in the ancient Roman history of art. The uninitiated eye sees an exquisitely crafted, detailed, multitude of reliefs, a unique work of art, but history and different collaborative sciences can render an excellent imprint of Augustus era from these tiny details. Owing to the Ara Pacis’ chiselled reliefs, it is an excellent source for political history, history of religion, and ideology. The aim of this study is to take sides in the question of who is the main figure of the panel by dint of the iconographic features and recent literature.

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