scholarly journals Depiction of the Enemy in Croatia During World War I

Eikon / Imago ◽  
2020 ◽  
Vol 9 ◽  
pp. 341-361
Author(s):  
Marko Vukičević
Keyword(s):  
World War I ◽  
Visual Arts ◽  
General Public ◽  
Visual Representation ◽  
Popular Press ◽  
World War ◽  
Works Of Art

The aim of this paper is to analyse and compare the visual representation and iconography in works depicting the enemy in Croatian visual arts during World War I. The article encompasses research on unpublished archival sources and contemporaneaous press. The works of renowned Croatian artists, who were enlisted or volunteered for frontline duty are analysed, as are the works of art presented to the Croatian general public through graphics, cartoons and caricatures in the then popular press. Comparison of war-themed images shows differences in the visualisation of the enemy. The generally accepted belief that the enemy was visually satanised and ridiculed actually only applies to caricatures and cartoons.

scholarly journals ANALISIS FORMALISTIK DALAM MEMAKNAI SIMBOL BUDAYA MELAYU ABSTRAK

2015 ◽  
Vol 3 (2) ◽  
pp. 49-72
Author(s):  
LIZA MARZIANA MOHAMMAD NOH ◽  
HAMDZUN HARON ◽  
JASNI DOLAH
Keyword(s):  
Visual Arts ◽  
General Public ◽  
Modern Art ◽  
Fundamental Question ◽  
Work Of Art ◽  
Physical Data ◽  
Works Of Art ◽  
National Heritage ◽  
Analyze Data

Untuk menghayati sesebuah karya seni pokok persoalan yang hendak dikaji bukanlah keindahan sematamata tetapi unsur yang menyebabkan sesuatu simbol itu terjelma. Subjek, bentuk dan makna adalahtiga aspek dalam simbol yang menjadi asas kepada penghayatan sesebuah seni. Ketiga-tiganya salingberhubungan dan tidak boleh di pisahkan kerana daripadanya kesatuan karya terbentuk seterusnyamenjelaskan gagasan seniman. Demikian dalam memaknai karya, unsur seni adalah penting untuk dikajisebagai data fizikal yang bertindak dalam menghubungkan konteks sesuatu karya itu. Kertas kerja inimenerangkan penggunaan unsur-unsur formalistik untuk menganalisa data bagi memaknai simbol budayaMelayu dalam karya seni catan moden Malaysia. Dengan menjadikan Balai Seni Visual Negara sebagailokasi kajian, kertas kerja ini merujuk buku himpunan warisan tampak negara 1958-2003 terbitan BalaiSeni Visual Negara. Sebanyak empat karya di tahun 1970an sehingga 2000 dipilih bagi menyiasat bentukdan maknanya. Sebagai kesimpulan, kertas kerja ini diharapkan dapat mendedahkan kepada masyarakatumum dan peminat seni khususnya mengenai analisis formalistik sebagai satu cara menganalisa karyaseni. In appreciate of a work of art the fundamental question to be examined is not the sheer beauty but anelement that causes a transformed symbol. Subject, form and meaning in symbols are three aspects thatare fundamental to the appreciation of art. All three are interconnected and cannot be separated to formthe whole aert work and subsequently to define the notion of artistism. Thus in defining an art work, artis an important element to be studied as the physical data in relating the context of the piece of artwork.This paper describes the use of formalistic elements to analyze data to interpret the symbol of Malayculture in Malaysian modern art paintings. By making the National Visual Arts Gallery as the locationfor research, this paper refers to the compilation books of national heritage published in 1958-2003 byNational Visual Arts Gallery. A total of four works from 1970s up to 2000 are selected to investigatethe forms and meanings. In conclusion, this paper is expected to disclose to the general public and artenthusiasts in particular on formalistic analysis as a means of analyzing works of art.

scholarly journals A Song with “Dash” and “Pep”: A HISTORY OF THE “MARINES’ HYMN” TO 1919

2021 ◽  
Vol 6 (2) ◽  
pp. 5-22
Author(s):  
Lauren Bowers
Keyword(s):  
Nineteenth Century ◽  
World War I ◽  
General Public ◽  
Marine Corps ◽  
Early History ◽  
World War ◽  
History Of

From its unknown nineteenth-century origins, the “Marines’ Hymn” has grown from a collection of unregulated verses into a dignified anthem reflecting the proud history of the Corps. Focusing on the song’s early history until the end of World War I, this article tells the story of that evolution. During this period, the hymn played an increasingly important role in official recruiting and publicity efforts, resulting in a growing popularity among the general public, disagreements about the need to standardize the lyrics, and the introduction of new formats and technologies to allow for wider accessibility. Together, these trends culminated in the authorization and copyright of an official version of the song in the summer of 1919. The “Marines’ Hymn” is known worldwide as a reflection of Marine Corps experiences and values, and this article aims to bring some of its forgotten history and the contributions of its strongest advocates to the attention of a modern audience.

scholarly journals REVIEW: Opening shot over the parapet

2014 ◽  
Vol 20 (1) ◽  
pp. 239
Author(s):  
Peter Hoar
Keyword(s):  
New Zealand ◽  
World War I ◽  
General Public ◽  
Graphic Novels ◽  
World War ◽  
Early Publication ◽  
Western Front ◽  
Big Push ◽  
The Great War

Book review of: The great adventure ends: New Zealand and France on the Western Front, edited by Nathalie Phillippe, Chris Puglsey, John Crawford & Matthias Strohn, Christchurch: John Douglas Publishing, 2013. 424 pp. ISBN 9780987666581This volume is another shot in the bombardment of books about the Great War that marks the 2014 centenary of the start of the ‘war to end all wars’. This literary big push includes novels, graphic novels, histories, biographies, memoirs and diaries written for specialists and the general public. An early publication to pop over the parapet, this collection offers a diverse set of articles that highlight some not so well-known aspects of New Zealand’s involvement on the Western Front during the 1914-18 war. The varied articles in The Great Adventure Ends reflect both the book’s origins in a conference and the variety of ways in which World War I is written about.

scholarly journals Come deve essere una sala di esposizione?

2018 ◽  
Author(s):  
Giorgina Bertolino
Keyword(s):  
World War I ◽  
Essential Role ◽  
Social Space ◽  
World War ◽  
Works Of Art ◽  
Two Cities

After World War I, from 1918 to 1920, Felice Casorati actively partecipated to Ca’ Pesaro exhibitions and we can therefore identify his new pictorial production in the frame of relationships between Venetian and Turinese environment. Ca’ Pesaro plays an essential role in this phase of his career, offering themes and models that can be traced back to the strategies that inspire his cultural action upon his arrival in Turin. Starting from a premise on his paintings and exhibitions of 1914-16, this contribution compares two cities, their structures and institutions; we can also better understand which works of art he assigns to different shows both in Turin and in Venice: at Ca’ Pesaro, at the Geri Boralevi Gallery, at the Circolo degli Artisti and at the Promotrice delle Belle Arti. The focus is on the exhibition intended as a social space and a milieu where artistic researches are made and discussed, on how Casorati setted up paintings in the rooms and in which sequence, on those different occasions.

Japan's Democratization: Miyatake Gaikotsu on Prewar Plans and Postwar Programmes

2010 ◽  
Vol 45 (4) ◽  
pp. 931-971 ◽  
Author(s):  
MICHAEL LEWIS
Keyword(s):  
Nineteenth Century ◽  
World War I ◽  
Political Parties ◽  
General Public ◽  
Late Nineteenth Century ◽  
World War ◽  
Japanese People ◽  
Large Audience ◽  
Late Nineteenth

AbstractJapan's early postwar leadership and American occupiers alike asserted that democratization was a new lesson that the Japanese public would have to learn. In fact, the ideas of democratic reformers had been broadcast to a large audience as feasible programmes decades before 1945. Miyatake Gaikotsu, the editor of Democracy in 1919, outlined the benefits that democratic reforms might provide in a post-World War I world. Decades later, Japanese people faced a new postwar struggle, not as victors but as the vanquished. Gaikotsu, writing in 1945, reflected on democracy in these new circumstances in his study, Amerika-sama. Although the situation was vastly different, victory and defeat in world wars had opened paths to new possibilities. This paper examines Gaikotsu's prewar writings as prescient prescriptions that he revisits in his essay Amerika-sama, or ‘Honourable America,’ at the point they begin to be played out, in some instances only partially and at times for ill as well as good, in occupied Japan. These reflections strikingly demonstrate the continuity of ideas during the prewar past and postwar present. Amerika-sama is a representative expression of many programmes Gaikotsu and likeminded humanistic activists attempted to put into practice from the late nineteenth century until they were suppressed during the wartime years. Mainstream political parties, prewar and postwar, often found it difficult to embrace Gaikotsu's ideas and political programmes. Nevertheless, the general public embraced them and they now find legal support in the Constitution of Japan.

scholarly journals Lenin’s Images in Visual Satire and the Collapse of Anti-Bolshevik Propaganda

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Vladislav Aksenov
Keyword(s):  
World War I ◽  
General Public ◽  
Morphological Structure ◽  
The Other ◽  
Political Satire ◽  
World War ◽  
Previous Period ◽  
Visual Propaganda

This article analyses anti-Leninist visual propaganda and examines the reasons for its low effectiveness. The author studies the morphological structure of Lenin’s images as an internal and external enemy, “the other”: a German spy, Judas, Hun, anarchist, or a member of the Black Hundreds. It is demonstrated that the sources of anti-Leninist images were visual political satire of the previous period and mass rumours. In some cases, anti-Leninist images were provoked by the radical statements and actions of Ulyanov himself. Anti-Leniniana was even beneficial to Bolsheviks: Lenin, previously unknown to the general public, became one of the most prominent political antagonists. Widespread public fears and premonitions were reflected in the images, which makes visual satire a mirror of the era. The low effectiveness of anti-Leninist propaganda can be explained by various factors, i. e. the use of propaganda stamps which most people had already gotten tired of during World War I; the inversion of images in the perceptions of different social strata; excessive stigmatisation of the Bolsheviks, who, as they approached October, began to be perceived as victims of the tired regime of A. F. Kerensky; and the counter-propaganda of the Bolsheviks themselves.

"My Personal Ruin Passes Unnoticed": Russell, Harvard, and the 1940 William James Lectureship

2016 ◽  
Vol 36 (1) ◽  
Author(s):  
Michael D. Stevenson
Keyword(s):  
New York ◽  
World War I ◽  
General Public ◽  
William James ◽  
Harvard University ◽  
Dartmouth College ◽  
World War ◽  
Senior Administrators ◽  
City College ◽  
The City

This article analyzes the contentious debate among senior administrators of Harvard University regarding the choice of Russell as the 1940 William James Lecturer. In the aftermath of the City College of New York controversy, influential Harvard bureaucrats, alumni, and members of the general public pressured Harvard President James B. Conant to res­cind Russell’s appointment. Utilizing the Russell Archives, Conant’s private papers and Corporation records held at the Harvard Archives, and Grenville Clark’s papers at Dartmouth College, the nature of the complex deliberations surrounding Russell’s appointment and his status as a controversial public figure can be ascertained. Ultimately, Harvard stood by Russell, who delivered the James Lectures in the autumn 1940 term without incident, an engagement that ended Russell’s formal involvement with Harvard extending back to the pre-World War I period.

scholarly journals Serbian perception of Hungarian cultural achievements between two World Wars

2014 ◽  
pp. 875-900 ◽  
Author(s):  
Gojko Malovic
Keyword(s):  
World War I ◽  
Visual Arts ◽  
Direct Contact ◽  
Ministry Of Education ◽  
Visual Artists ◽  
World War ◽  
Close Attention ◽  
State Institutions ◽  
Theater Music ◽  
The World

Because of the conflict between the Hungarians and the Serbs in the World War I, several years after its end Serbian public did not put much effort into perceiving and forming impressions of Hungarian cultural achievements. Nonetheless, Yugoslav state institutions, primarily the Ministry of Education (also in charge of cultural affairs), paid close attention to developments in the domain of Hungarian cultural achievements. Serbian public gradually became more interested in Hungarian cultural achievements and contents. It was informed about Hungarian cultural achievements largely through articles in Hungarian newspapers and magazines, above all those specialized in cultural and artistic contents in Hungary, particularly in Budapest, covering the events in the following fields: literature, theater, music and singing, visual arts, film, and radio shows. The Yugoslav (Serbian) press also published articles on Hungarian cultural contents. Many recorded notes, findings, impressions and opinions-predominantly positive ones - of leading Serbian intellectuals, primarily writers, were preserved, which may be viewed as paradigmatic Serbian interpretations of many segments of Hungarian cultural and artistic events between the two world wars. There were many initiatives by Hungarian cultural figures, as well as by leading Serbian intellectuals, for a closer and more direct contact with Hungarian cultural achievements through visits and presentations of cultural contents by prominent Hungarian writers, actors and theater troupes, singers and choirs, visual artists and other Hungarian cultural and artistic groups in Serbian towns, foremost in Vojvodina, a significant number of which were carried out. Many Serbs became directly acquainted with Hungarian cultural contents and accomplishments between the two world wars by visiting numerous cultural events in Hungary, primarily in Budapest.

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