scholarly journals Иван Грозев. „Новата културна раса“ в естетикорелигиозния проект на българския модернизъм

2020 ◽  
Vol 20 ◽  
Author(s):  
Цветана [Tzvetana] Георгиева [Georgieva]
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Rudolf Steiner ◽  
New Type ◽  
The Aesthetic ◽  
Hellenistic Philosophy

Ivan Grozev and the “New Cultural Race” in the Aesthetic Religious Project of Bulgarian ModernismThe aesthetic-religious views of Ivan Grozev, a Bulgarian writer, poet and spiritual awakener, combine various aspects whose unifying center is the mystical ability of man to reach God: the Christian idea of man’s aspiration for God; theosophical and Masonic conceptions; and elements of Hellenistic philosophy and mystery. In his articles and studies that he published in the journal Hyperion, Ivan Grozev promoted ideas about the poet as “a priest and a prophet”, his “worldly sacrifice”, and “the steps towards godly knowledge” (scientist, genius, mystic). As a true Theosophist, he contrasts his utilitarian times with the spiritual from past eras (reason vs. mysticism), affirming the idea of a “New Heaven” and a “New Cultural Race” for the devoted ones. The Bulgarian modern consciousness from the late 19th and early 20th century perceived such ideas as a new type of religion of the aesthetic, and at the same time as a new ethic of the creator (prophet, Übermensch in the sense of Nietzsche or Rudolf Steiner) as a necessity of spiritual creation of a new cultural race that abandons mercantilism for the sake of ideal values. Iwan Grozew i „nowa rasa kulturowa” w religijno-estetycznym projekcie bułgarskiego modernizmuPoglądy estetyczno-religijne Iwana Grozewa, bułgarskiego pisarza, poety, działacza na rzecz duchowego przebudzenia społeczeństwa, łączą aspekty chrześcijańskiej idei dążenia człowieka do Boga, koncepcje teozoficzne i masońskie, elementy hellenistycznej filozofii i misteriów, a ich wspólnym jądrem jest mistyczna zdolność człowieka, aby dotrzeć do Boga. W artykułach i studiach publikowanych na łamach czasopisma „Хиперион” Iwan Grozew propaguje idee dotyczące poety „kapłana i proroka” i jego „ziemskiej ofiary”, „kroków w kierunku boskiej wiedzy” (naukowiec, geniusz, mistyk); jako wyznawca teozofii, utylitarne czasy, w jakich żyje, przeciwstawia epokom duchowym z przeszłości (rozum przeciwko mistycyzmowi), potwierdzając ideę „nowego nieba” i „nowej rasy kulturowej” dla osób poświęconych. W bułgarskiej świadomości modernistycznej przełomu XIX i XX wieku takie idee postrzegane były jako nowy rodzaj religii estetycznej, a jednocześnie jako nowa etyka twórcy (proroka, nadczłowieka w rozumieniu Friedricha Nietzschego lub Rudolfa Steinera), pojęta jako konieczność duchowego stworzenia nowej rasy kulturowej, która odrzuca postawę merkantylną w imię wartości idealnych.

E.N. Trubetskoy on the Interrelation of the Sacred and the Aesthetic in Ancient Russian Iconography

2021 ◽  
pp. 34-40
Author(s):  
Elena V. Kovaleva
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Religious Philosophy ◽  
The Aesthetic

The article studies the problem of interrelation of the cult and aesthetic components of iconography and analyzes the approach to its solution in the works of the representative of Russian religious philosophy of the early 20th century E. Trubetskoy.

Djalkiri

2021 ◽  
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Philosophical Foundations ◽  
Collaborative Community ◽  
Arnhem Land ◽  
New Type ◽  
The University ◽  
The Relationship ◽  
Over Time

Djalkiri are “footprints" – ancestral imprints on the landscape that provide the Yolŋu people of eastern Arnhem Land with their philosophical foundations. This book describes how Yolŋu artists and communities keep these foundations strong, and how they have worked with museums to develop a collaborative, community-led approach to the collection and display of their artwork. It includes contributions from Yolŋu elders and artists as well as Indigenous and non-Indigenous historians and curators. Together they explore how the relationship between communities and museums has changed over time. From the early 20th century, anthropologists and other collectors acquired artworks and objects and took photographs in Arnhem Land that became part of collections at the University of Sydney. Later generations of Yolŋu have sought out these materials and, with museum curators, proposed a new type of relationship, based on a deeper respect for Yolŋu intellectual frameworks and a commitment to their central role in curation. This book tells some of their stories.

scholarly journals A New Type of Subjectivity in the Works of Dmitry Prigov

Problemos ◽  
2020 ◽  
Vol 98 ◽  
pp. 154-169
Author(s):  
Natalia Artemenko
Keyword(s):  
20Th Century ◽  
The Self ◽  
Moscow Conceptualism ◽  
The Third ◽  
New Type ◽  
Personal Consciousness ◽  
The Aesthetic

The article dwells upon the issue of a subject intrinsic to the art of the 70s and 80s of the 20th century, it elicits the reasons determining the problematization of “the Self” category inherent in the aesthetic program of the Moscow Conceptualism, preeminently with regards to the works of Dmitry Prigov. “The crisis of the language describing ‘the Self’” has been considered as discrediting the dominant discursive models, disabling the possibility of individual expressing. Within the first part of the article we problematize “the Self” category inherent in the aesthetic program of the Moscow Conceptualism, examine the dominant discursive models and denote the crisis of the language describing “the Self.” The second part is devoted to the issue of “the personal consciousness” coming into being within the aesthetic program of Moscow Conceptualism. The Self is considered as a “category of categories” in dichotomy between “the collective” and “individual” ones. Finally, the third part represents the analysis of a subject of the aesthetic activity. “An imaginary personality” intrinsic to the works of Dmitry Prigov is considered as a subject of “a gnoseological game.”

scholarly journals Feodosia of Konstanin Bogaevsky

2020 ◽  
pp. 137-147
Author(s):  
Анастасия Сергеевна Сиренко
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Main Theme ◽  
Chronological Order ◽  
The Enlightenment ◽  
The Aesthetic ◽  
The City ◽  
High Skill

Статья посвящена интерпретации образов города Феодосии в творчестве Константина Федоровича Богаевского – представителя «Киммерийской школы живописи». Приводятся итоги исследования вех творческой биографии художника, выстроенные в хронологическом порядке, учитывая особенности изменений стилистической манеры и решаемые им эстетические задачи. Охарактеризованы параметры и круг мастеров «Киммерийской школы живописи». Выбрав главной темой своего творчества в самом начале пути загадочную страну Киммерию, художник претворял ее в больших панорамных живописных произведениях и малоформатных рисунках и акварелях, отмеченных высоким мастерством и глубокой мифопоэтикой. Рассказывается о мастерской живописца, ставшей местом притяжения для многих гостей, представлявших творческую интеллигенцию Москвы и Ленинграда. Освещается вклад уроженца Феодосии и почитателя творчества К.Ф. Богаевского – И.М. Саркизова-Серазини в просвещение родного города среди модных курортов начала ХХ века, а также судьба его необычайной коллекции. The article is devoted to the interpretation of images of the city of Feodosia in the creativity of Konstanin F. Bogaevsky – the representative of the “Cimmerian painting school”. The results of the study of the milestones of the artist’s creative biography are presented, arranged in chronological order, taking into account the peculiarities of changes in the stylistic manner and the aesthetic tasks that he solves. The parameters and circle of masters of the “Cimmerian painting school” are described. Having chosen the mysterious country of Cimmeria as the main theme of his work at the very beginning of his work, he embodied it in large panoramic paintings and small-format drawings and watercolors, marked by high skill and deep mythology. The article tells about the artist’s workshop, which has become a place of attraction for many guests representing the creative intellectuals of Moscow and Leningrad. The contribution of the native of Feodosia and admirer of the work of Konstantin F. Bogaevsky – Ivan M.Sarkizov-Serazini to the enlightenment of his native city among the fashionable resorts of the early 20th century and the fate of his extraordinary collection is highlighted.

scholarly journals „Auf das Material kommt es an“ – Franz Friedrichs Roman Die Meisen von UUsimaa singen nicht mehr als Reflex auf den Umbruch ins digitale Zeitalter

2017 ◽  
Vol 141 ◽  
pp. 135-149
Author(s):  
Beate Sommerfeld
Keyword(s):  
Digital Media ◽  
20Th Century ◽  
Walter Benjamin ◽  
Roland Barthes ◽  
Literary Texts ◽  
Early 20Th Century ◽  
Media Discourse ◽  
The Novel ◽  
The Aesthetic ◽  
Analogue To Digital

Der Artikel behandelt den Roman Die Meisen von UUsimaa singen nicht mehr 2014 des Experimentalfilmers und Autors Franz Friedrich als Reflex auf den Umbruch vom analogen zum digitalen Zeitalter. Stark polarisierend bezieht der Roman zum Medienwandel Stellung und schlägt sich auf die Seite der Analogmedien Fotografie und Film, wobei er auf den Fotografie- und Filmdiskurs des 20. Jahrhunderts von Bela Balazs, Walter Benjamin bis hin zu Roland Barthes und Georges Didi-Huberman zurückgreift. Indem der Roman ein Gewebe aus photoästhetischen Topoi, Metaphern und Diskursen spinnt, modelliert er eine Ästhetik des Abdrucks und der Berührung, die auf Roland Barthes’ Modell des “vokalischen Schreibens” rekurriert. Das Unbehagen an der Repräsentation, das aus Friedrichs Roman spricht, geht mit einer nostalgisch gefärbten Sehnsucht nach dem Authentischen einher.“The material matters” — reflections on the upheaval from analogue to digital media in the novel The Tits of Uusimaa Don’t Sing Any More by Franz Friedrich The purpose of the article is to show how literary texts reflect upon the upheaval from analogue to digital media using the example of the novel The Tits of Uusimaa Don’t Sing Any More by the experimental filmmaker and author Franz Friedrich 2014. Friedrich approaches the technological shift from analogue to digital and the transforming landscape of media from a critical viewpoint by looking back at the early 20th-century scenario of intermedial exchange. Doing so, he refers to the 20th-century media discourse Béla Balázs, Walter Benjamin to Roland Barthes and Georges Didi-Huberman, scrutinizing and redefining analogue media by referring to various topoi, metaphors the analogue as a mental imprint of the real. Friedrich confronts the representation paradigm of literature to the aesthetic of contact and resonances, strongly related to Roland Barthes’ concept of “vocal writing”.

scholarly journals SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY

2021 ◽  
pp. 137-145
Author(s):  
T. Vilhovchenko
Keyword(s):  
20Th Century ◽  
Historical Development ◽  
Modern Dance ◽  
Specific Form ◽  
Historical Period ◽  
Early 20Th Century ◽  
New Era ◽  
Historical Aspects ◽  
The Aesthetic ◽  
Spiritual State

The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.

The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets

2021 ◽  
Vol 17 (6) ◽  
pp. 626-637
Author(s):  
Anna P. Navetnaya
Keyword(s):  
20Th Century ◽  
Modern Dance ◽  
Bela Bartok ◽  
Early 20Th Century ◽  
Musical Structure ◽  
New Type ◽  
Classical Ballet ◽  
Definition Of ◽  
Classical Subject ◽  
New Generation

This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, which took place at the turn of the 19th and 20th centuries. Classical ballet, which had reached its peak in the works of the Russian ballet school and the works of M. Petipa, was suddenly recognized as outdated and unviable. The new generation of choreographers sought to refute, to a certain extent, the genre’s old laws. The idea of searching for new means of expression became the leading one, and the canon of classical choreography was replaced by pantomime and a new unusual dance technique, which later became known as modern dance. B. Bartók’s ballets “The Wooden Prince” (1917) and “The Miraculous Mandarin” (1919) are examples of the new type of ballet performance of the early 20th century. The article shows that the composer focused on creating a symphonic score corresponding to the ideas of pantomime. His appeal to this had been primarily dictated by the librettos themselves, in which B. Balázs and M. Lengyel had defined the work character in this way. Naturally, the rejection of classical ballet’s traditional forms influenced the works’ compositional features. The article demonstrates that the scores of “The Wooden Prince” and “The Miraculous Mandarin” are distinguished by a new approach to the musical structure, in which the principles of instrumental forms play a significant role. At the same time, each of the ballets expresses the dialectical pair of “canon and heuristic” in its own way: “The Wooden Prince” retains to a certain extent the flair of classical ballet; in “The Miraculous Mandarin”, this genre pattern is violated almost ostentatiously. In this work, B. Bartók’s appeal to such an anti-classical subject reflects the era’s new trends associated with the artistic movement of expressionism. In the Hungarian composer’s ballets, the dualism of the traditional and the innovative gives rise to a different type of ballet score itself.

Dark play: Aesthetic resistance in Lukács, Benjamin and Adorno

2019 ◽  
Vol 46 (10) ◽  
pp. 1182-1202
Author(s):  
Surti Singh
Keyword(s):  
Critical Theory ◽  
20Th Century ◽  
Modern Society ◽  
Early 20Th Century ◽  
The Aesthetic

This article examines the turn to the aesthetic dimension in early 20th century critical theory, particularly in the work of Lukács, Benjamin and Adorno. It focuses on the concept of play ( Spiel), which garnered particular attention as a possible form of aesthetic resistance to the reification of reason in modern society. The article traces the concept of play from the work of Lukács, who engaged with Schiller’s notion of the play-drive but ultimately viewed it to be an inadequate form of aesthetic resistance, to the work of Benjamin, who optimistically embraced the revolutionary possibility of play. In contrast, the article argues that Adorno’s work tacitly advances a critical concept of dark play that offers a third perspective between Lukács’s pessimism and Benjamin’s optimism, thus avoiding both the retreat into an apolitical aesthetic dimension and the uncritical embrace of play’s revolutionary potential.

scholarly journals AESTHETIC EDUCATION IN THE CONTEXT OF PEDAGOGICAL CONGRESSES OF 1862 - 1919

2021 ◽  
pp. 92-96
Author(s):  
I. DIDENKO ◽  
O. FILATOVA
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Aesthetic Education ◽  
Educational Process ◽  
Early 20Th Century ◽  
Late 19Th Century ◽  
Harmonious Development ◽  
Native Land ◽  
Political Conditions ◽  
The Aesthetic

Current research is a historic and pedagogical study. It uncovers the problem of aesthetic education in the context of such a meaningful phenomenon of the education of the late 19th century and the early 20th century as pedagogical congresses. The study has proved that the issues of the aesthetic education were considered during almost every pedagogical congress from 1862 till 1919. This type of education was recognized as the necessary part of comprehensive and harmonious development of the child’s personality. Under different political conditions aesthetic education was discussed during the pedagogical congresses either as a separate issue or as an element of other types of education: labor, ethical, national and even physical ones. The main methods and means of the aesthetic education considered by the participants of the pedagogical congresses were the following ones: familiarizing with the works of the prominent foreign and national authors, excursions, getting to know the native land, national traditions, creative labor, different forms of recreation and entertainment, art and musical events, taking care of your appearance. For supporting pedagogical councils, the delegates of the congresses suggested to create aesthetic committees and professional councils.  To cut the long story short, the participants of the pedagogical congresses were very attentive to the issues of the aesthetic education and considered it as one of the necessary elements of harmonious development of the personality What remained uncovered was the degree of implementation of the solutions and recommendations of the participants of the pedagogical congresses in the educational process of the schools, namely, what ideas were introduced and what left just on the paper.

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