Exercitatio Austriaca

2021 ◽  
Author(s):  
Julia Timm
Keyword(s):  
Literary Representations ◽  
Abstract Concept ◽  
Post War ◽  
The Aesthetic

Thomas Bernhard’s protagonists are practicing all the time. The rigorous practice procedures, however, have no goal other than perfection. The study approaches the described diagnosis with a two-part approach, which brings together results from the subjectivity debate of the 20th and 21st centuries with the aesthetic consequences resulting from the historical situation in Austria after 1945. This leads to the description of an abstract concept of practice which is used to analyze Bernhard’s novels and plays. Based on this, the questions – how the constitution of literary subjectivity in Austrian post-war society is undermined in Bernhard’s literary representations and how this manifests on the surfaces of the texts – are examined.

scholarly journals El árbol de Adán, de Gerardo Guinea Diez. Narrativa y memoria del genocidio guatemalteco (El árbol de Adán, by Gerardo Guinea Diez. Narrative and Remembrance of the Genocide in Guatemala)

LETRAS ◽  
2017 ◽  
Vol 1 (59) ◽  
pp. 29
Author(s):  
María Del Pilar López Martínez
Keyword(s):  
American Literature ◽  
Central American ◽  
Central American Literature ◽  
Post War ◽  
The Aesthetic ◽  
Poetic Style

El estudio analiza la propuesta estética de una de las novelas menos estudiadas sobre el genocidio guatemalteco: El árbol de Adán. Se efectúa un recorrido sobre la obra de ficción del escritor Gerardo Guinea Diez, e incursiona en algunos elementos de su poética para señalar las diferencias con la llamada «literatura de posguerra centroamericana», así como con el modelo predominante que entre los historiadores literarios se tiene. Muestra esos otros imaginarios que desde el interior de los países centroamericanos se construyen, muchas veces a contrapelo de lo que se conoce desde fuera de las fronteras del Istmo.This study analyzes the aesthetic proposal of one of the least known novels about the Guatemalan genocide: El Árbol de Adán (Adam’s Tree). It explores the fictional works of Gerardo Guinea Diez, and addresses the author’s poetic style, to emphasize the discrepancies between his work and that of the so-called “post-war school of Central American literature” and the predominant model supported by historians. The article reveals these other imaginary worlds created from within the Central American countries, but which often contrast with widespread perceptions of those who are outside the region. 

scholarly journals War novel: the history of development and typology of the genre

2020 ◽  
Vol 12 (1) ◽  
pp. 61-72
Author(s):  
Taras Hrosevych
Keyword(s):  
Armed Conflicts ◽  
The Novel ◽  
The Balkans ◽  
War Novels ◽  
History Of Development ◽  
History Of ◽  
Main Plot ◽  
Post War ◽  
The Aesthetic ◽  
Resistance Movement

The general regularities and main tendencies of the development of a war novel have been researched in the article, an attempt of its typology and periodization is realized, the most common genre models is identified. The novel about the Second World War as a leading epic genre, which develops the theme of war in literature, creatively synthesized all the experience gained by the writers and front-line soldiers, became a noticeable artistic phenomenon and widespread genre formation in Western European, American and Slavic writing. It is concluded that the aesthetic and ideological-thematic level of artistic modeling of war reality is localized in different national literatures unevenly and stipulated first of all for the historical and geopolitical scope of the involvement of warring countries in hostilities. For example, in German military romance, is the so-called "Remarkable" novel, as well as a novel with a marked anti-militaristic nature. The main plot of the French war novel is the resistance movement, while the Italian one is fascist domination and occupation actions in the Balkans. Instead, in Britain, which has escaped occupation, military creativity takes a rather modest place. American writing focuses on war as a social phenomenon, armed conflicts in Vietnam. The polivector artistic search, the richness of types and varieties of war novel (panoramic novel, lyric war novel, anti-fascist novel, soldier novel, war novel-education, war novel with documentary basis, etc.) demonstrates military novel prose of Eastern Slavs. In particular, in the development of the Ukrainian war novel, literary critics distinguish such branches as the war novel, the post-war novel of the first decade, the war novel prose of the "second wave" (etc. pol. 50's - 60's), war novel 70’s-80’s, as well as modern war novels.

Material and History in the Aesthetics of ‘Serielle Musik’

2009 ◽  
Vol 134 (2) ◽  
pp. 271-317 ◽  
Author(s):  
Marcus Zagorski
Keyword(s):  
Compositional Techniques ◽  
Recent Past ◽  
New Techniques ◽  
Physical Evidence ◽  
Historical Progress ◽  
Serial Music ◽  
New Material ◽  
Rational Organization ◽  
Post War ◽  
The Aesthetic

Attempts to promote the aesthetic prestige of serial and post-serial music were grounded in theories of material and philosophies of history. As composers explored new aspects of sound and subjected these to rational organization, they saw themselves pushing history forward, with new musical materials providing physical evidence for each new stage of progress. The continual search for new material fashioned a thread that bound together vastly different personalities, and similar ideas about material and history linked a diversity of approaches to, and reactions against, serialism. Believing themselves to be renouncing a subjectivity made untrustworthy by the recent past, many post-war composers turned to something larger to guide their compositional decisions: to the objective dictate of historical progress. Such deference to a fictitious construction of history veiled subjective aesthetic preferences and provided a way to legitimate new techniques with the authority of ‘higher laws’. This article reconsiders post-war serialism in central Europe from the perspective of theories of material and examines how these theories coupled aesthetic and social concerns with philosophy of history to justify compositional techniques.

scholarly journals Ιταλικός κινηματογραφικός νεορεαλισμός και ελληνική μεταπολεμική πεζογραφία: Νεορεαλιστική γραφή στο Άνθρωποι και σπίτια του Αντρέα Φραγκιά.

2018 ◽  
Vol 26 ◽  
pp. 81
Author(s):  
Νάντια Αυγερινός Φραγκούλη
Keyword(s):  
War Literature ◽  
The Novel ◽  
Greek Society ◽  
Crucial Problem ◽  
Post War ◽  
The Aesthetic

The years 1951-1961 mark the reception of Italian neorealist cinema in Greece with the production of films influenced by neorealism and the discussion of the nature of neorealism by Greek film critics. The novel Anthropi ke spitia [Of Houses and Men] by Adreas Fragkias, published in 1955, four years after the first viewing of De Sica’s Bicycle Thief in Greece, shows significant similarities to the themes and style of the Italian neorealist cinema. Discussing unemployment as a crucial problem of post-war Greek society Anthropi ke spitia presents the life in a poor urban neighbourhood in a series of seemingly random episodes that B. Klaras in his review of the book called ‘cinematic tableaux’. Most importantly, however, it seems that Fragkias’ novel explores the boundaries and the style of realism in post-war literature in a way that resonates the aesthetic principles of the Italian neorealistic films.

scholarly journals Cosmovisiones amazónicas // Amazonian Cosmovisions

2017 ◽  
Vol 8 (1) ◽  
pp. 202-204
Author(s):  
Rember Yahuarcani López
Keyword(s):  
Contemporary Art ◽  
Natural Environment ◽  
Abstract Concept ◽  
Material World ◽  
Dark Background ◽  
Contemporary World ◽  
Art Scene ◽  
The Aesthetic ◽  
Visual Description

Resumen      En el cuadro “La primera chacra”, a través de una paleta vibrante de colores contrastantes y delicados trazos sobre un fondo monocromático oscuro, Yahuarcani representa el lugar donde las plantas son cultivadas, un espacio lleno de vida y espíritus. Según el conocimiento Amazónico, las plantas tienen distintos espíritus que pueden influenciar el mundo material y los cuerpos humanos, y pueden comunicarse con la gente. Esta perspectiva de la naturaleza cuestiona el punto de vista moderno occidental sobre el cultivo de plantas y el lugar de ellas en la sociedad. Pero “La primera chacra” no es una representación del entorno natural, ni una descripción visual de temas mitológicos. Por el contrario, Yahuarcani pinta un concepto más abstracto: una fuerza natural, productora de vida, un dominio donde lo espiritual y lo material están interconectados.      En “La primera chacra”, así como en las pinturas “El río” o “Al caer la noche”, el entorno Amazónico no es explícito. Yahuarcani se inspira en el conocimiento y mitos de la Amazonía para producir un trabajo evocativo sobre ella. A través de pinturas en las que el tratamiento estético de las imágenes predomina sobre la narrativa, Yahuarcani da nueva forma al conocimiento ancestral amazónico, reivindicando su importancia y validez en el mundo contemporáneo. Abstract     In the first painting “La primera chacra”  (The First Little Farm), through a very vibrant palette of contrasting colors and delicate traces over a monochrome dark background, Yahuarcani depicts the place where plants are cultivated, a space full of life and of spirits. According to the Amazonian knowledge, plants have distinct spirits that are able to influence the material world and human bodies, and can communicate with people. This perspective on nature questions modern Western views on farming and the place of plants in society. But “The First Little Farm” is not a depiction of the natural environment, neither a visual description of mythological subjects. Rather, Yahuarcani paints a more abstract concept of it: a natural force, producer of life, a domain where the spiritual and the material are interconnected.      In “The First Little Farm” as well as the paintings El río (River) or Al caer la noche (Nightfall), the Amazonian environment is not explicit. Yahuarcani is inspired by the knowledge and myths of the Amazon to produce a work evocative of the Amazonia in his own language. Through paintings in which the aesthetic treatment of the images predominates over the narrative, Yahuarcani reshape the ancient Amazonian knowledge, reassessing his importance and validity in the contemporary world. ReferencesBorea, Giuliana. “Personal cartographies of a Huitoto mythology: Rember Yahuarcani and the enlarging of the Peruvian contemporary art scene.” Revista de Antropologia Social dos Alunos do PPGAS-UFSCar 2, n. 2 (Jul.-Dec. 2010): 67-87.Yahuarcani, Rember. “Los ríos de nuestra memoria.” Mundo Amazónico 5 (2014): 197-209.Yllia Miranda, María Eugenia. “Antropófagos contemporáneos: paradojas y lógicas visuales en la pintura amazónica contemporánea peruana.” Actas del Seminario Internacional Estudios y Encuentros entre Antropología y Arte. Lima: PUCP, en prensa.

ANALYSIS OF THE CURRENT STATE AND DESIGN PROPOSALS FOR THE RESTORATION OF VISUAL CONNECTIONS ON THE AXIS OF THE GRAND CASCADE OF THE NIKITSKY BOTANICAL GARDEN

2021 ◽  
Vol 3 ◽  
pp. 31-50
Author(s):  
E.V. Golosova ◽  
◽  
A.V. Kotova ◽  
M.I. Khomutovskiy ◽  
A.A. Nikolaeva ◽  
...  
Keyword(s):  
Historical Analysis ◽  
Botanical Garden ◽  
Full Scale ◽  
Current State ◽  
Aesthetic Appearance ◽  
Vegetation Water ◽  
Post War ◽  
The Aesthetic

Nikitsky Botanical Garden is one of the oldest botanical institutions in Russia. For more than two centuries of history, the appearance of the garden has repeatedly changed. A significant amount of work on the development of the territory dates back to the post-war period. In the late 40s, a staircase with a cascade of pools was erected, the structure of the axis of which is built on the principle of an enfilade with adjacent spatial elements that create a through expressive perspective. The appearance of the cascade changed in the following years. The conducted historical analysis and visual full-scale surveys of the Lower Park of the Nikitsky Botanical Garden along the axis of the Cascade Staircase showed the loss of the integrity of the visual connection between the spatial elements. The article proposes the concept of restoring visual connections. The territory of the object was divided according to the compositional principle into six zones. The space includes a number of viewpoints from which an overview of various parts of the landscape is revealed, consisting of viewing platforms, vegetation, water objects and other elements connected by stairs. It is possible to restore the connections between the viewpoints of the garden and the landscapes perceived from them on this object using the methods of arboristics and arboplasty. This will significantly improve the aesthetic appearance of the space, restore its integrity and a certain solemnity inherent in the formation.

scholarly journals Kärlekens etos i Gösta Ågrens 1960-talslyrik

2017 ◽  
pp. 22-37
Author(s):  
Anna Möller-Sibelius
Keyword(s):  
Early Stage ◽  
Left Wing ◽  
Rudolf Steiner ◽  
Contemporary World ◽  
Common Opinion ◽  
History Of ◽  
The Common ◽  
Post War ◽  
The 1960S ◽  
The Aesthetic

The Ethos of Love in Gösta Ågren’s Poems from the 1960s Gösta Ågren is one of the most appreciated poets in contemporary Finland-Swedish literature. Nevertheless, his early works dating back to the 60s have been considered (not least by himself) to be of little interest. The common opinion is that his engagement with left-wing politics impoverished the aesthetic aspects of his poetry; when released from these ideological bonds in the late 1970s he became an important poet. The aim of this article is to call into question the reasons put forth by the negligence of his early poetry. Ågren is one of the earliest examples of the 1960s left-wing movement in Finland-Swedish poetry, which per se is of literary historical interest. However, he combines his Marxist perspective with ideas recognizable in a broader tradition of history of ideas, which makes his ideological and ethical undertaking complex. In addition, he integrates political and existential aspects in his poems at an early stage. In this article, I examine a central theme in Ågren’s early poetry from the 1960s: love. I relate his thoughts on the topic to various thinkers such as eodor W. Adorno & Max Horkheimer, R.W. Emerson, C.G. Jung and Rudolf Steiner. Although love between man and woman in many respects is a timeless issue, the contextual aspects of love are important in Ågren’s poems. Furthermore, in his early poetry dating from the rather dystopic post-war period in Europe love has an emphasized ethical function. In his efforts to find a solution to the problems of a contemporary world in distress, the very concept of “woman” becomes a metaphor for ideas such as peace, hope, love and freedom. Clearly, this is an idealist but also (more surprisingly) a feminist standpoint.

“Déjà Vu” or Memory-Science between Gérard de Nerval and Marcel Proust

2005 ◽  
Vol 18 (4) ◽  
pp. 583-606 ◽  
Author(s):  
Evelyne Ender
Keyword(s):  
Nineteenth Century ◽  
Marcel Proust ◽  
Entry Point ◽  
Mental Event ◽  
Literary Representations ◽  
Gerard De Nerval ◽  
Deja Vu ◽  
The Aesthetic ◽  
Déjà Vu ◽  
The Mind

ArgumentCultivated by a number of writers and studied by psychologists, the phenomenon of déjà vu is an invention of the nineteenth century and is part of a broader exploration of how the mind experiences memory and time. Thus this typically benign mental aberration provides an entry-point into the mechanisms that preside over the regulation of the flow of consciousness. The theories of the mind developed recently by neuroscientists help us understand, meanwhile, why investigations into this mental “event” necessarily invoke concepts of representation and narrative. In fact, our increasingly sophisticated models for processes of memory and perception depend on literary representations. This article relies on the paramnesiac writings of Gérard de Nerval, seen through the lens of Proust's analysis, to argue that a consideration of the aesthetic and representational features of déjà-vu can bring us closer to solving the epistemological challenges we face in studying this phenomenon.For Gregory T. Polletta

Rethinking the crisis in historicity: Precarity and postmodernism in French science fiction and film after May ’68

2020 ◽  
pp. 095715582092683
Author(s):  
Brittany Murray
Keyword(s):  
Science Fiction ◽  
Temporal Structure ◽  
Economic Planning ◽  
Aesthetic Response ◽  
National Economic ◽  
Post War ◽  
The Aesthetic ◽  
Fredric Jameson ◽  
Historical Movement ◽  
Literature And Film

This article re-examines the crisis in historicity, an aesthetic hallmark of postmodernism, in light of unemployment and economic precarity in France during the 1970s. Whereas influential critics like Jean Baudrillard, Jean-François Lyotard and Fredric Jameson famously diagnosed an inability to represent historical movement, I argue that the decade’s literature and film represent changes to the organisation of working time. The article first discusses how time in post-war France was mediated through practices like national economic planning, industrial chronométrage, and staggered shifts, a temporal structure dramatically disrupted in the 1970s. The article then examines the aesthetic response to such economic disruption, drawing on examples like Michel Jeury’s science fiction novel, the cinétracts of May 1968, and the protest film, Rhodia 4/8. The crisis in historicity, I suggest, should be understood not as general disorientation, but rather as a specific solution to the problem of representing precarious employment in France.

scholarly journals (Words and) Images of power in Pier Paolo Pasolini's Petrolio

2019 ◽  
Vol 20 (3) ◽  
pp. 31
Author(s):  
Alberto Vespaziani
Keyword(s):  
Two Dimensions ◽  
Consumer Society ◽  
Pier Paolo Pasolini ◽  
Central Thesis ◽  
Normative Force ◽  
Infinite Network ◽  
Words And Images ◽  
Post War ◽  
The Aesthetic ◽  
Limit Power

This contribution focuses on an unfinished novel, Petrólio by Pier Paolo Pasolini to reflect on nature and images of power, as interpreted by one of the greatest Italian post-war intellectuals. The central thesis is that while the peasant and fascist society was based on the male command, on the normative force of tradition, the contemporary consumer society is based on female persuasion, on the push to conform and not to differentiate. However, while patriarchal authoritarianism allowed emancipatory rebellion, consumerist homologation was able to prevent forms of resistance by disseminating power in an infinite network of relationships, whose plot cannot be dissolved. The reading of Petrólio invites the jurist not to focus exclusively on the rational aspects of the rules and procedures that limit power, but also to devote herself to reflecting on the two dimensions of power, the discursive and the aesthetic.

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