scholarly journals Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary

2014 ◽  
Vol 23 (44-45) ◽  
Author(s):  
Peter Osborne
Keyword(s):  
18Th Century ◽  
Cultural Representation ◽  
Stable Set ◽  
Theoretical Terms ◽  
Dialectical Logic ◽  
Avant Garde ◽  
Late 18Th Century ◽  
Relationship Of ◽  
The Relationship

Reflections on the relationship of aesthetics to politics tend to circle, almost compulsively, around a relatively stable set of conceptual oppositions, inherited from German philosophies of the late 18th century. This essay proposes an expansion of the theoretical terms of the debate by extending the field of transcendental aesthetics into the domain of historical temporalization. Fundamental art-historical categories may thereby be incorporated, philosophically transformed, into ‘aesthetics’ as forms of historical temporalization: avant-garde, modern, contemporary. The essay expounds two theses, in particular: 1. The historical subsumption of the temporality of the avant-garde by the temporality of the modern: the modern stands to the avant-garde as the negation of its politics by the repetition of the new –‘the new as the ever–same’; 2. the historical subsumption of the temporality of the modern by ‘the contemporary’: the contemporary stands to the modern as the negation of the dialectical logic – and hence specifically developmentalist futurity – of the new by a spatially determined, but imaginary co-presencing. One effect of this latter subsumption, it is argued, is a particular, regressive ‘repetition of the national’, at the level of cultural representation, on the terrain of the global.

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

Neoliberalism, Neocorporatism, and Worker Representation

2018 ◽  
Author(s):  
Jonathan Preminger
Keyword(s):  
Balance Of Power ◽  
Research Process ◽  
Theoretical Framework ◽  
Political Community ◽  
The Political ◽  
Conceptual Approach ◽  
Theoretical Terms ◽  
Relationship Of ◽  
The Relationship

Chapter 1 lays out the book’s theoretical framework. Accepting the claim that Israel is a neoliberalizing society, it asserts labor’s agency and its potential to thwart neoliberalism as part of a struggle taking place on the ideological or symbolic level too. It then proposes neocorporatism as a useful conceptual approach, and links this to union revitalization and concepts of power. These theoretical terms and concepts are used to anchor the three “spheres” of union activity which structure the book: union democracy, or workers’ relationship to their representative organization; the balance of power between labor and capital, and the way the potential clash of interests between them is viewed and played out; and the relationship of labor to the political establishment and wider political community. Finally, a short coda explains the research process and approach that led to the book.

P. V. Tavanéc. O vidah suždéniá (On types of judgment). Izvéstiá Akadémii Nauk SSSR, Sériá istorii i filosofii, vol. 7 (1950), pp. 69–84. - P. V. Tavanéc. Kritika istolkovaniá prirody suždénij logikoj otnošénij (A critique of the interpretation of the nature of judgments in the logic of relations). Izvéstiá Akadémii Nauk SSSR, Sériá istorii i filosofii, vol. 7 (1950), pp. 360–372. - K. S. Bakradzé. K voprosu o sootnošénii logiki i dialéktiki (On the question of the relationship of logic to dialectic). Voprosy filosofii, no. 2 (1950), pp. 198–209. - V. I. Čérkésov. O logiké i marksistskoj dialéktiké (On logic and Marxist dialectic). Voprosy filosofii, no. 2 (1950), pp. 209–222. - M. S. Strogovič. O prédmété formal'noj logiki (On the subject matter of formal logic). Voprosy filosofii, no. 3 (1950), pp. 309–317. - I. I. Os'makov. O logiké myšéniá i o nauké logiké (On the logic of thought and the science of logic). Voprosy filosofii, no. 3 (1950), pp. 317–330. - P. S. Popov. Prédméi formal'noj logiki i dialéktika (Dialectic and the subject matter of formal logic). Voprosy filosofii, no. 1 (1951), pp. 210–218. - N. V. Zavadskaá. K diskussii po voprosam logiki (On the discussion of questions of logic). Voprosy filosofii, no. 1 (1951), pp. 218–222. - A. O. Makovél'skij. Čém, dolžna byt' logika kak nauka? (What should logic be as a science?) Voprosy filosofii, no. 2 (1951), pp. 179–181. - Dobrin Spasov. Dialéktičéskuú logiku nado né otricat', a razrabatyvat' (Dialectical logic should not be rejected but elaborated). Voprosy filosofii, no. 2 (1951), pp. 182–184. - M. N. Alékséév. Obsuždénié voprosov logiki v Moskovskom Gosudarstvénnom Univérsdtété (Discussion of questions of logic at the State University of Moscow). Voprosy filosofii, no. 2 (1951), pp. 184–192. - A. D. Aléksandrov. O logiké (On logic). Voprosy filosofii, no. 3 (1951), pp. 152–163. - F. Á. Ostrouh. Protiv iskažéniá marksizma v voprosah logiki (Versus distortion of Marxism in questions of logic). Voprosy filosofii, no. 3 (1951), pp. 164–173.

1952 ◽  
Vol 17 (2) ◽  
pp. 124-128
Author(s):  
George L. Kline
Keyword(s):  
Subject Matter ◽  
Nauk Sssr ◽  
Formal Logic ◽  
State University ◽  
Akademii Nauk Sssr ◽  
Dialectical Logic ◽  
Science Of Logic ◽  
The Subject ◽  
Relationship Of ◽  
The Relationship

scholarly journals Architecture and music/sound: Points of meeting, networking, interactions

2014 ◽  
Vol 6 (1) ◽  
pp. 75-88
Author(s):  
Biljana Srećković
Keyword(s):  
Sound Art ◽  
Avant Garde ◽  
Formal Level ◽  
History Of ◽  
Music And Architecture ◽  
Relationship Of ◽  
The Relationship ◽  
Architecture And Music

This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).

scholarly journals Η ευδαιμονία ως σκοπός της παιδείας στο πλαίσιο του ευρωπαϊκού και του νεοελληνικού διαφωτισμού

2019 ◽  
Author(s):  
Όλγα Χριστοδουλίδου
Keyword(s):  
Political Philosophy ◽  
18Th Century ◽  
Well Being ◽  
Modern Greek ◽  
Liberation Education ◽  
Greek Manuscript ◽  
Spiritual Movement ◽  
Relationship Of ◽  
First Time ◽  
The Relationship

The Ph.D. Thesis consists, in addition to the Introduction, of two Parts and one Appendix. Part One deals with European Enlightenment as a spiritual movement and the dimensions that the idea of eudaimonia as an aim of education has taken in its context. Part Two deals with how Greek scholars of Modern Greek Enlightenment, and especially scholars within the ideological circle of Adamantios Korai, approached the idea of eudaimonia or “happiness on earth” as the object of education. The thesis explores the meaning of education specifically for Greeks as a means of happiness, as it is primarily understood as a means of spiritual and political liberation. Education can lead to prosperity and prosperity, which is conditionally based on freedom, both political and individual, should be pursued through an educational content of both moral philosophy, political philosophy, and a properly structured Christian education. Part One, which contains 4 chapters, presents the problem of European Enlightenment in relation to education, in order to establish the relevance of Modern Greek to European Enlightenment in relation to the interconnection of education and eudaimonia. Part Two, dealing with Modern Greek Enlightenment, examines how scholars belonging to the Korai ideological circle approach the relationship of happiness and education. Following is an Appendix presenting, briefly but for the first time, an 18th-century Greek manuscript dedicated to the collection of the Holy Archimandrite of Aigio, which saves a work entitled Practical Philosophy under the name of Antonios Moschopoulos (1718-1788). The work, among others, deals with issues of Ethical and Political Philosophy and addresses the issue of the relation of education and well-being. A precise table of comparison of the chapters between the Greek manuscript and the original Latin work written by Ludwig Philipp Thümmig (1697-1728), a student of Christian Wolff (1679-1754) is also given. In summary, the originality of the thesis lies in the following. (1) For the first time, an overall view is given of the concept of eudaimonia in the ethical and political texts of Modern Greek Enlightenment and its relation to education. (2) It is attempted to ascertain the equilibrium attempted in these Greek sources between “secular-earthy happiness” and “heaven bliss”. (3) It appears that the main source for the ethical and pedagogical ideas the Greek enlightenment scholars used, were the works of scholars representing the "moderate" stream of the European Enlightenment, which were translated or reproduced freely by modern Greek scholars.

scholarly journals The fecund interval: visualizing acoustic space in Canadian experimental cinema.

2021 ◽  
Author(s):  
Daniel Browne
Keyword(s):  
Media Analysis ◽  
Space Forms ◽  
Cultural Traditions ◽  
Avant Garde ◽  
Experimental Cinema ◽  
History Of ◽  
Unique Approach ◽  
Acoustic Space ◽  
Relationship Of ◽  
The Relationship

"In this paper, I seek to develop an analysis of an aesthetic framework in which my filmmaking practice is situated, through Marshall McLuhan's ideas concerning acoustic space and their resonances within the avant-garde cinema. This may sound at first to be an inherently contradictory formula, given that a visually predominant medium such as the cinema may not be considered to impart experiences beyond this realm, with the exception of its acoustic components. (Sound cinema, similarly, is generally assumed to evoke sense impressions that exist merely in support of the fidelity of its 'realistic' image). However, I seek to demonstrate how the visualization of acoustic space forms a centrally unifying aesthetic strategy within the Canadian avant-garde cinema and many of the perceptual investigations conducted by film artists working during the time of Mcluhan's writings, resulting in a tradition of works which aim to translate visual experience beyond a fragmentary, visually-abstracted field, thus embodying aspects of kinesthetic vision and tactile/acoustic spatial experience. begin by examining the reception of Mcluhan's scholarship from within communication studies, suggesting the most fruitful reading of his often controversial figure as an artist-mystic rather than strictly as a theorist. I will then examine the varied influences from literary and cultural traditions that shaped his unique approach to media analysis and the development of his model of acoustic space-which Richard Cavell proposes as the primary feature that "connects a multiplicity of elements in Mcluhan's large and diverse oeuvre" (2003: xiii)-and consider the relationship of the cinema to Mcluhan's project of a history of the human sensorium."--Introduction.

scholarly journals Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century

2019 ◽  
Vol 16 (4) ◽  
pp. 406-417
Author(s):  
Elena E. Agratina
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
Constant Attention ◽  
Decorative Art ◽  
Street Theater ◽  
Long Time ◽  
Relationship Of ◽  
First Time ◽  
The Relationship ◽  
Opera Productions

The article, for the first time, exami­nes the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fra­gonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thema­tic and figu­rative composition of his works. Early histo­rical pain­tings of Fragonard, such as “Jeroboam Sacrifi­cing to Idols” (1752, School of Fine Arts, Paris), were crea­ted under the influence of Baroque thea­ter and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was wor­king at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exem­plify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.

The fecund interval: visualizing acoustic space in Canadian experimental cinema.

2021 ◽  
Author(s):  
Daniel Browne
Keyword(s):  
Media Analysis ◽  
Space Forms ◽  
Cultural Traditions ◽  
Avant Garde ◽  
Experimental Cinema ◽  
History Of ◽  
Unique Approach ◽  
Acoustic Space ◽  
Relationship Of ◽  
The Relationship

"In this paper, I seek to develop an analysis of an aesthetic framework in which my filmmaking practice is situated, through Marshall McLuhan's ideas concerning acoustic space and their resonances within the avant-garde cinema. This may sound at first to be an inherently contradictory formula, given that a visually predominant medium such as the cinema may not be considered to impart experiences beyond this realm, with the exception of its acoustic components. (Sound cinema, similarly, is generally assumed to evoke sense impressions that exist merely in support of the fidelity of its 'realistic' image). However, I seek to demonstrate how the visualization of acoustic space forms a centrally unifying aesthetic strategy within the Canadian avant-garde cinema and many of the perceptual investigations conducted by film artists working during the time of Mcluhan's writings, resulting in a tradition of works which aim to translate visual experience beyond a fragmentary, visually-abstracted field, thus embodying aspects of kinesthetic vision and tactile/acoustic spatial experience. begin by examining the reception of Mcluhan's scholarship from within communication studies, suggesting the most fruitful reading of his often controversial figure as an artist-mystic rather than strictly as a theorist. I will then examine the varied influences from literary and cultural traditions that shaped his unique approach to media analysis and the development of his model of acoustic space-which Richard Cavell proposes as the primary feature that "connects a multiplicity of elements in Mcluhan's large and diverse oeuvre" (2003: xiii)-and consider the relationship of the cinema to Mcluhan's project of a history of the human sensorium."--Introduction.

A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race

Slavic Review ◽  
2021 ◽  
Vol 80 (2) ◽  
pp. 280-289
Author(s):  
Eli Rosenblatt
Keyword(s):  
African American ◽  
Soviet Union ◽  
The United States ◽  
James Weldon Johnson ◽  
Race And Racism ◽  
Avant Garde ◽  
The Soviet Union ◽  
Black Modernism ◽  
Relationship Of ◽  
The Relationship

This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discourse about race and racism, the writings of James Weldon Johnson and W.E.B. Du Bois, with whom Magidoff corresponded, and the Yiddish modernist poetry of Shmuel Halkin, who edited the book series in which the anthology appears. When placed alongside Du Bois's and others’ visits to the Soviet Union in the 1930s, the appearance of African-American and Caribbean poetry in Yiddish translation shows how a transatlantic Jewish avant-garde interpreted and embedded itself within Soviet-African-American cultural exchange in the interwar years. Magidoff served as a Soviet correspondent for NBC and the Associated Press from 1935. He was accused of espionage and expelled from the USSR in 1948.

Empires within and without: the conquest of the self and the Florentine avant-garde

Modern Italy ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 49-62
Author(s):  
Bertrand Marilier
Keyword(s):  
The Self ◽  
Individual Level ◽  
Avant Garde ◽  
Psychological Understanding ◽  
The Subject ◽  
The Individual ◽  
Intellectual Formation ◽  
Relationship Of ◽  
The Relationship ◽  
Intense Debate

This article examines the relationship of the young Giovanni Papini to the notion of imperialism. The period of Papini's intellectual formation was a time of intense debate among the Italian intelligentsia concerning imperialism and its relationship to nation and culture. He joined the conversation with a distinctive interpretation of the idea, one that could at once make him heir apparent to the tradition of Umbertian nationalism, while also rejecting the positivist slant of his forebears. William James's porous conception of the subject and Papini's sense of his own fragmented subjectivity provided the ground for a psychological understanding of imperialism: one that relied on knowledge and appreciation, which translated into literature at the individual level, and into culture at that of the nation. Ultimately, however, disappointments abroad, the demands of nationalist politics, and Papini's own avant-garde posture, led him to abandon his intellectual empire in favour of a more concrete one.

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