scholarly journals Ramón Gaya: "Creo que soy poeta pintando"

Monteagudo ◽  
2021 ◽  
pp. 191-208
Author(s):  
Elide Pittarello
Keyword(s):  
Water Flow ◽  
Art Criticism ◽  
Philosophy Of Art ◽  
Avant Garde ◽  
Verbal Language ◽  
Verbal Creativity ◽  
Logical Negation ◽  
Linguistic Strategy ◽  
The Aesthetic ◽  
First Time

Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema.   Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.

Aesthetics and Philosophy of Art Criticism. Jerome Stolnitz

Ethics ◽  
1961 ◽  
Vol 71 (2) ◽  
pp. 143-144
Author(s):  
Manuel Bilsky
Keyword(s):  
Art Criticism ◽  
Philosophy Of Art

Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe

2021 ◽  
Vol 66 (1) ◽  
pp. 329-343
Author(s):  
Liudmyla Shapovalova ◽  
Іryna Romaniuk ◽  
Marianna Chernyavska ◽  
Svitlana Shchelkanova
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Accurate Identification ◽  
Philosophy Of Music ◽  
Philosophical Concept ◽  
Avant Garde ◽  
The Third ◽  
Ninth Symphony ◽  
Human Ontology ◽  
First Time

"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "

scholarly journals Thinking in colors

2021 ◽  
pp. 12-38
Author(s):  
Nikolai Aleksandrovich Kormin
Keyword(s):  
Cultural Identity ◽  
Color Harmony ◽  
Color Determination ◽  
The World ◽  
New Interpretation ◽  
The Aesthetic ◽  
First Time ◽  
Philosophy Of Arithmetic

This article reveals the philosophical grounds of the aesthetics of color, analyzes the correlation between the structures of philosophical and artistic comprehension of coloristics. Interaction of philosophy and art as the forms of cultural identity manifests in the sphere of intellectual understanding of the perception of color and its semantics in painting. In the hidden logic of contemplation of color, can be traced the outlines of the problematic of transcendental and intelligible in art conditions for the aesthetic approach towards chromatic space. Color creates the visual beauty, thus it is apparent why the aesthetic knowledge seeks to clarify to which extent we can assess the experience of color – the result of coloration of light. The art itself creates the so-called color ontology of the world. First the first time, the beauty of color and its perception are analyzed in the context of correlation between art and transcendental traditions of philosophizing  (Descartes, Kant, early Husserl –  his work “The Philosophy of Arithmetic”) that allows matching the key to a new interpretation of the tradition of color. Determination of its meaning requires comparing history and structure of the philosophical and artistic metaphor of color. It is demonstrated that the phenomenon of color is of crucial significance for the aesthetics, as it implies not only comprehension of the problem of correlation between nature and art, but also cognition of the beauty of color, its universal value for all forms of art, profound structures of perception of coloristic phenomena, picturesque unveiling of the color harmony of the painting.

scholarly journals Cultural Capital in China? Television tastes and cultural distinction among college students in Beijing

2020 ◽  
Author(s):  
Yang GAO ◽  
giselinde kuipers
Keyword(s):  
Cultural Capital ◽  
Multiple Correspondence Analysis ◽  
International Experience ◽  
Cultural Knowledge ◽  
Two Dimensions ◽  
Social Boundaries ◽  
Cultural Goods ◽  
The Aesthetic ◽  
Cultural Hierarchies ◽  
First Time

Can television taste function as cultural capital in contemporary China? This paper investigates, for the first time, how Chinese engage with global pop culture to mark their positions in China’s swiftly changing social and cultural hierarchies. Using multiple correspondence analysis (MCA) of a survey (n=422) and 48 interviews with students at an elite Beijing university, we identify three distinct taste dimensions: not-knowers versus dislikers; TV lovers versus avoiders; and Western and Eastern TV taste. We identify dimensions 1 and 3 as cultural capital dimensions: respondents on the “high end” draw taste-based social boundaries vis-à-vis those on the low end, who in turn accept the hierarchies implied in these tastes. The two dimensions differ in the criteria used to make aesthetic distinctions, the type of cultural knowledge they rely on, and in the strength of their boundary-drawing. We conclude that the “Western” taste is more exclusive than the “dislike” taste. The first is mainly based on aesthetic criteria (complexity, authenticity), whereas the second combines aesthetic (complexity, depth) and cosmopolitan (language skills, international experience) distinctions. While the liking of both dimensions is related to parental cultural capital (education, occupation, urbanity), the “Western” taste also correlates with parental economic capital and international experience. This “discovery” of cultural capital in China has implications for our understanding of cultural and cosmopolitan capital, of the global diffusion of cultural goods and the aesthetic and status systems implied in these goods, and for our understanding of culture and stratification in China.

scholarly journals Satirical Weekly “Iskra”: Post-Folklore, Post-Irony and Post-Modern

2021 ◽  
Vol 20 (6) ◽  
pp. 19-34
Author(s):  
A. E. Kozlov
Keyword(s):  
Literary Criticism ◽  
Russian Empire ◽  
Left Wing ◽  
General Audience ◽  
Post Modernism ◽  
The Everyday ◽  
New Interpretation ◽  
The Russian Empire ◽  
The Aesthetic ◽  
First Time

Purpose. The reputation of the satirical weekly Iskra is traditionally determined by the political context of the Russian Empire in 1860s. Despite the fact that in the first years of its existence, the publication attracted writers of various fractions, views, and convictions, Iskra was perceived as a radical magazine, “…another department of Sovremennik”. Moreover, Iskra’s defamations and attacks against provincial and capital officials, and writers have become an inte gral part of the everyday life of the 1860s. Individual articles and whole issues have been banned and censored, though this policy only promoted and strengthened the reputation of weekly. Later, reflecting the importance of the magazine, the Soviet literary criticism established a typological relationship between Iskra by Kurochkines brothers and the left-wing newspaper of the same name published by V. I. Lenin at the beginning of the 20th century. This article attempts to reinterpret Iskra, implying a “weakening” of the sociological and political aspects of interpretation in favor of the aesthetic ones.Results. The article put forward a hypothesis that publications such as Charivari, Punch, and Iskra can be considered from perspective of modern discursive practices: post-folklore (the phenomenon of variable text and multiple authorship), post-modernity (discrediting the classical heritage or its carnival rethinking) and post-irony (deconstruction of modern leaders of opinion, self-exposure). Based on the study of prosaic and poetic parodies and satire, graphic texts - cartoons and serials (comics), the author analyzes the specificity of the construction and presentation of Russian reality as an anti-world. The article contains fragments of prose and poetic feuilletons by D. D. Minaev, V. P. Burenin, and M. Stopanovsky, many of which are published for the first time.Conclusion. Iskra as a product of the polemical journalism of the Russian Empire in 1860s displayedan experience of a new aesthetics (a kind of anti-aesthetics), synthesizing schoolchildren (cartoons) and decadent subcultures (Baudelaire translations). Apparently, the 8000 subscribers included not only a radical and democratic reader but also a general audience, equally tired of the official tone of government periodicals and the moralizing of the progressive camp. Demonstrating Russian life as the so-called ‘antiworld’, Iskra proposed a version of “carnival liberation”, which was probably reflected in the poetics of many contemporaries: M. E. Saltykov-Shchedrin, N. S. Leskov, F. M. Dostoevsky. In this regard, the issue of post-folklore, post-modernism, post-truth, and post-irony on the pages of Iskra rather remained unresolved. However, the change in perspective, it seems to us, enables reinterpretation of the previously collected data, allowing us to give a new interpretation. 

scholarly journals CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS

2020 ◽  
pp. 36-40
Author(s):  
M. V. Ternova
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art Criticism ◽  
The Other ◽  
Historical Period ◽  
Rudyard Kipling ◽  
Cultural Traditions ◽  
Avant Garde ◽  
History Analysis ◽  
The One

The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.

ICONOLOGICAL METHOD IN SEMIOTIC ANALYSIS OF ARTWORKS

2021 ◽  
Vol 1 (4) ◽  
pp. 92-99
Author(s):  
А. А. Gruzdev ◽  
Keyword(s):  
Art Criticism ◽  
Historical Study ◽  
Semiotic Analysis ◽  
Wide Range ◽  
Semiotic Approach ◽  
History Of ◽  
Erwin Panofsky ◽  
Symbolic Content ◽  
Structural Mechanisms ◽  
First Time

The history of art is marked by many experiments in expanding and contrasting different methods and concepts. Nevertheless, in recent years there have been increasing attempts to draw parallels between iconology and semiotics. Of particular interest is the so-called Erwin Panofsky method, which forms the basis of modern iconology. The article discusses various aspects of the use of the iconological method in connection with the semiotic analysis of artistic works. Both general questions of the formation of iconology and special questions of its application and synthesis in the context of semiotic analysis are highlighted. A brief overview of the main iconological principles in revealing the figurative and symbolic content of the work is given, and the main features of the structural mechanisms underlying the semiotic approach are summarized. The scientific novelty of the work is determined primarily by the fact that for the first time the peculiarities of the application of the iconological method as one of the tools of semiotic analysis are investigated. Semiotics and iconology have a wide range of application in the study of culture-specific relations, since in contemporary art criticism, there is a great scientific interest in understanding the artwork as a carrier of national-cultural information. All this increases the methodological possibilities for studying the artwork, and thus expands the boundaries of the historical study of fine art.

Handel’s Transformative Compositional Practices

2021 ◽  
Vol 38 (4) ◽  
pp. 479-502
Author(s):  
David Ross Hurley
Keyword(s):  
Eighteenth Century ◽  
Vocal Music ◽  
Original Music ◽  
Developing Variation ◽  
Compositional History ◽  
Early Eighteenth Century ◽  
Musical Transformations ◽  
The Aesthetic ◽  
First Time ◽  
Variation Process

In recent decades singers of Handel’s music have made great strides in recapturing the art of embellishing his music, thus breathing new life into forms such as the da capo aria. Yet Handel’s own “variations”—his development and transformation of musical material in his vocal music, important for understanding his compositional practice with borrowed as well as (presumably) original music—are not yet fully explored or appreciated. Admittedly, scholars have discussed musical procedures such as inserting, deleting, and reordering musical materials, as well as other Baroque combinatorial practices in Handel’s arias, but the musical transformations I discuss here are closer to a specifically Handelian brand of developing variation. To my knowledge, the concept of developing variation has never before been applied to early eighteenth-century music. I explore the relation of developing variation to drama (also rarely done) in two of Handel’s arias, providing a close examination of “Ombre, piante” from the opera Rodelinda and new thoughts about “Lament not thus,” originally intended for the oratorio Belshazzar. Although these arias belong to different genres and different stages of Handel’s career, they both exhibit material that undergoes a kind of progressive variation process that has tangible musical and dramatic ramifications, of interest to opera specialists and performers. Furthermore, both arias have a complicated compositional history; I offer fresh insights into the aesthetic qualities of each version, thereby throwing light on Handel’s possible compositional intentions. This article also discloses for the first time some recurring musical passages shared between “Lament not thus” and other pieces that could influence the listener’s interpretation of certain musico-dramatic gestures.

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