165,794 research outputs found
Recommended from our members
Korean art and the avant-garde dilemma
No full textThe thesis covers Korean avant-garde art history and the dilemma that faced Korean artists at the end of the Japanese Colonial Period (1910-1945). Current literature adequately details avant-garde as progressive fine arts; however, there is limited literature on Korean art in this period. This thesis suggests the term avant-garde dilemma to indicate Korean artists‘ difficulty in style selection to follow a traditional aesthetical trend or progressive socio-political attitude for the foundation of Korean post-modernism. A salient démarche is found when Korean political avant-garde artists meet this dilemma in the midst of the Korean Demonstration Era (1976-1989) that initiates the decline of aesthetical activism and Demonstrative Art. Several styles of avant-garde dilemma after the Korea War are critiqued in the avant-garde evolution; subsequently, there arise hybrid styles between socio-political avant-garde and aesthetical avant-garde styles in Contemporary Korean Art. The examples included are Nam-Jun Baik‘s Video Art (a combination of art and technology), Do-Ho Suh‘s combination of meticulous sculpture with installation to satire Korean neo-capitalist society, Doo-Shik Lee‘s combination of oriental color with western gesture, and Suk-Chang Hong‘s free calligraphy to combine still-life, landscape, calligraphy, and scribbling
Artists and Radicalism in Germany, 1890-1933: Reform, Politics and the Paradoxes of the Avant-Garde
No full textThis thesis seeks to lay the foundations for a socio-historical analysis of German radicalism and the avant-garde. Following first the development of the German applied arts movement from 1890, and then the debates over the role of painting from within and beyond the avant-garde in the interwar period, it addresses the ways the reform of artistic and technical-vocational education was intertwined with the questions of the ‘art proletariat’ and the nature of intellectual labour in capitalist economy. It argues that the history of what was widely conceived as the ‘avant-garde’ in the interwar period was still responding to the same set of concerns addressed in the context of the applied arts movement. The concept of functional, ‘useful’ artistic labour as opposed to the ‘useless’ fine arts, a concept connecting the prewar reform movement with the interwar avant-garde, is translated here into a new model of professional politics serving the radical or vanguard artist. ‘Radicalism’ is discussed here neither in terms of political positions per se nor with regard to artistic innovation, but instead as a distinct historical phenomenon of professional politics. The question is not what makes an artwork or an idea radical, but how artistic radicalism itself was shaped. The secession of the applied artist from the traditional art institutions is seen as a decisive moment in this process. Precisely this outsider position – beyond fine arts and traditional crafts – determined the increasingly exclusionary policies of the avant-garde movement. Thus this thesis ultimately proposes a new interpretation of the conflict between the advocates and enemies of modern art as a whole. It was the artists’ own professional politics which shaped this conflict and determined affiliations with specific political parties, and not the opposite. The relation of artistic developments to larger political issues must, I argue, be read through the specific professional politics emerging out of the polarity between the vanguard artist-reformer and the so-called ‘art proletariat’
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Mindscapes: Laura Riding's poetry and poetics /
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.Esta tese propõe uma leitura revisionista da poesia contemporânea através do exame do caso de um dos mais esquecidos escritores norte-americanos do século XX: Laura (Riding) Jackson (1901-1991). O objetivo é demonstrar que Riding não apenas possuía uma poética definida e singular, mas que ela permanece uma das instâncias mais extremas e paradoxais do modernismo anglo-americano, a ponto de Riding abandonar a escrita da poesia em 1938. Recorrendo a conceitos de "formação do cânone" bem como às noções de "discurso" e "função do autor", em Foucault, investigo a construção do cânone da poesia moderna anglo-americana, recuperando o contexto e as circunstâncias da ocultação de Riding. Enquanto cubro os "discursos" poéticos em circulação na primeira metade do século XX-o "imagismo" de Pound, a "dissociação da sensibilidade", "impersonalidade" e "tradição" de Eliot, a "unidade orgância" e "ambigüidade" da Nova Crítica-ofereço um panorama crítico de modernismos alternativos sendo articulados à época. Minha intenção é demonstrar que os poemas de Riding são expressões vigorosas de um escritor para quem "a mente pensando se torna a força ativa do poema", para usar a apta formulação de Charles Bernstein. Entre minhas descobertas sobre as várias e complexas razões que levaram à não-canonização de Riding estão a hegemonia da Nova Crítica, o exílio voluntário de Riding da cena literária (onde são feitas ou desfeitas as reputações), sua recusa em ser antologiada, bem como em ser explicada em termos críticos que não os dela. Todos esses fatores, mais a "dificuldade" de sua poesia, contribuíram para fazer de Riding "a maior poeta esquecida da poesia norte-americana", como escreveu Kenneth Rexroth. Ajudado pelos insights de dois importantes críticos de poesia norte-americana, Charles Bernstein e Marjorie Perloff, defendo que a "poesia da mente" de Riding-onde o que está em jogo é que o que pensamos ser a nossa realidade-representa uma mudança radical no paradigma da poética modernista: de uma poesia centrada na imagem para uma poesia centrada na linguagem. Focalizando a experiência consciente e o tempo duracional do pensamento presente em seus poemas, concluo que as "pensagens" de Riding têm o objetivo preciso de constatar um fato universal: enquanto seres humanos e pensantes, estamos numa condição permanente chamada linguagem
Psicologia e arte: os diálogos de Vigotski com a arte russa de seu tempo
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Psicologia, Florianópolis, 2015.Esta tese pretende contribuir para o preenchimento de uma lacuna sobre as relações entre o pensamento de Lev S. Vigotski sobre arte e as manifestações artísticas na Rússia de seu tempo. As obras de Vigotski analisadas foram ?A tragédia de Hamlet, príncipe da Dinamarca?, de 1916; ?Psicologia da Arte?, de 1925; ?A Educação Estética?, de 1926; e ?Imaginação e criação na Infância?, de 1930. Esses escritos foram cotejados com poemas, romances, contos, excertos de textos de críticos de arte, textos teatrais e análises visuais de obras de arte. O diálogo com as artes compreendeu o período entre 1890 e 1934. O estudo demonstrou profícuas possibilidades de diálogo entre a categoria do trágico em Vigotski e a obra do pintor Pavel Filonov. Evidenciou-se uma clara diferença entre o conceito de catarse em Vigotski e as perspectivas aristotélica e psicanalítica. A função da catarse em Vigotski tem caráter social e não implica em alívio, mas estimula algum tipo de resposta não necessariamente prazerosa no espectador. Constatou-se frequente interlocução com Lev Tolstói, mas observou-se maior aproximação de Vigotski com a perspectiva simbolista da arte como elemento transformador. Do debate com o Formalismo russo, Vigotski destilou uma abordagem objetiva da arte e a consideração da relação entre forma, material e conteúdo na obra de arte. Relacionou-se o tema da criação artística em Vigotski e a produção de coletivos de arte da vanguarda russa, constatando-se inovadoras problematizações da questão da autoria em ambos. Vigotski afirmou a polissemia da obra de arte e a importância da recepção artística, elementos evidenciados também na vanguarda russa. O tema arte e vida foi problematizado a partir de Vigotski e as perspectivas realistas, simbolistas, as performances futuristas, e a relação entre arte e indústria dos construtivistas e produtivistas. A educação estética preconizada por Vigotski é relacionada com as instituições de ensino de arte de antes e após a revolução de outubro de 1917. Comprovou-se as diversas ressonâncias entre a obra de Vigotski e as produções práticas e teóricas dos artistas e críticos de arte de seu tempo. Deste intenso diálogo, afirma-se a atualidade e potência do pensamento de Vigotski para pensar os fenômenos artísticos de seu tempo e de hoje.Abstract : This thesis aimed to promote a dialogue between Lev S. Vygotsky s writings about art and the Russian artistic events of his time. The works analysed were "The tragedy of Hamlet, Prince of Denmark", 1916; "Psychology of Art", 1925; "The Aesthetic Education", 1926; and "Imagination and creation of Childhood", 1930. These writings were collated with poems, novels, short stories, excerpts of art critics texts, theatrical texts and visual analysis of works of art, concerning the period between 1890 and 1934. The study showed profitable possibilities for dialogue between the category of the tragic in Vygotsky and the work of the painter Pavel Filonov. A clear difference between the concept of catharsis in Vygotsky and the Aristotelian and psychoanalytic perspectives was evident. The function of catharsis in Vygotsky has social character and does not imply relief, but stimulates some sort of response that is not necessarily pleasant in the viewer. Tolstoy appears as a frequent interlocutor, but Vygotsky identifies more with the view of art as a transforming element found also in Russian Symbolism. From the debate with the Russian Formalism, Vygotsky distilled an objective approach to art and the consideration of the relationship between form, material and content in the artwork. The theme of artistic creation in Vygotsky was related with the Russian art collectives of the avant-garde, what shows that they all questioned the subject of authorship. Vygotsky affirmed the polysemy and the importance of the reception of the work of art, and we discovered that these were concerns also shared with the Russian avantgarde. The relationship between art and life was questioned by Vygotsky and by the main modernist trends of the time, such as Realism, Symbolism, Futurism, Constructivism and Productivism. We associated the aesthetic education advocated by Vygotsky with the art educational institutions prior and after the revolution of October 1917. This study showed many resonances between the work of Vygotsky and the practical and theoretical productions of artists and art critics of his time. We also concluded that Vygotsky s ideas about art are powerful to think about the artistic phenomena of his time and today.<br
RUSSIAN AVANT-GARDE MUSIC OF THE EARLY 20<SUP>TH</SUP> CENTURY IN THE MODERN CULTURE
No full textAvant-garde became a global cultural phenomenon of the 20th century, essentially symbolizing the epoch. It’s impossible to picture the 20th century image without avant-garde. Nevertheless, the study of the Russian first wave musical avant-garde is still challenging since this unique phenomenon was neglected by national science on ideological grounds. In this article the author discusses the dual character of avant-garde, its ability to resist tradition, interacting with it at the same time and creating conditions for the synthesis of new, interesting and promising forms. The article presents key personalities of the Russian first wave musical avant-garde, such as: N. Kulbin, actually elaborating theoretical foundation of the Russian avant-garde music reflected in his article “Free music”; I. Vyshnegradsky, following N. Kulbin and proceeding to investigate theoretically the technique of quarter tones as well as to use it for music and new instruments’ creation. The paper also focuses on those composers who followed their own independent way inventing original systems of sound organization, among them: A. Avraamov, who invented a musical system with the octave divided into 48 equal intervals; N. Obukhov who developed the concept of 12-tone atonal techniques apart from A. Schoenberg. The author examines the main theoretical ideas of the musical avant-garde and their practical implementations, presents historical parallels with current musical trends, and analyzes the reasons for the Russian musical avant-garde short life and its significance for world music
Introduction
No full textIn 2005, the EU Directive on Unfair Commercial Practices was adopted. The UCP Directive has the ambitious aim of addressing unfair commercial practices directly related to distorting consumers' economic behaviour concerning transactional decisions. In this introductory chapter to the edited volume "The European Unfair Commercial Practices Directive - Impact, Enforcement Strategies and National Legal Systems" (Willem van Boom, Amandine Garde & Orkun Akseli (eds.); Ashgate 2014), we first give a brief overview of the main features of the Unfair Commercial Practices Directive. Secondly, we sketch three themes that seem to have a prominent presence in all discussions of the Directive: the tension between consumer autonomy, empowerment and protection; the problematic nature of the maximum harmonization principle; and finally the decentralized enforcement framework and the challenges this poses at Member State level. Finally, we introduce the contributions to the volume.Coherent privaatrech
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
- …
