scholarly journals Comics Journalism and Fine Art: War, Massacre, and The Individual, in works of Pieter Bruegel, Joe Sacco and Otto Dix

2017 ◽  
Vol 6 (2) ◽  
pp. 01 ◽  
Author(s):  
Sara Owj
Keyword(s):  
20Th Century ◽  
Comparative Studies ◽  
Fine Art ◽  
16Th Century ◽  
Conflict Studies ◽  
New Objectivity ◽  
Potential Link ◽  
Pieter Bruegel ◽  
The Individual ◽  
Modern Artists

<p>As a pioneer of Comics Journalism, Joe Sacco’s works have been linked to conflict studies, migration, education, and so on. But despite references that Sacco makes to 16th Century master painter, Pieter Bruegel, and 20th century New Objectivity painter Otto Dix in his interviews, there have been few studies on the potential link between comics of Sacco and works of these masters of fine art. In this study I explore this connection by examining the questions of war, individuality and portrayal of massacre in paintings of Bruegel and Dix and journalistic comics of Sacco. My greater aim is to demonstrate the potential of further comparative studies between arts and comics journalism, especially between Renaissance and modern artists.  </p>

Sabri, Atta (1912–1988)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Modern Art ◽  
Fine Art ◽  
Museum Of Modern Art ◽  
National Museum ◽  
World War ◽  
Founding Member ◽  
Plastic Arts ◽  
Modern Artists

Born in Kirkuk, Iraq, Atta Sabri was among the pioneer generation of Iraqi modern artists with careers peaking in the mid-20th century. He was an active exhibitor and participant in several burgeoning art groups. After being educated and employed as a teacher in Baghdad, Sabri joined many of his peers in studying art abroad, first in Rome at the Accademia di Belle Arti and then, after World War II, in London at Goldsmith College and the Slade School. During the years of the war, Sabri held a job at the Department of Antiquities in Baghdad. After completing his studies, the artists again took up teaching this time at the Baghdadi Institute of Fine Art. Over the course of his career, Sabri became a founding member of the Society of the Friends of Art and a member of the Society of Iraqi Plastic Arts. His exhibition record includes the seminal Industrial and Agricultural Fair in 1931 and the 1950 First Iraqi Art Show in London. Sabri also exhibited extensively at the National Museum of Modern Art in Baghdad and in 1979 the museum held a retrospective of the artist’s oeuvre.

scholarly journals “One Kind of Water Brings Another.” Teresa de Jesús and Ibn ‘Arabi

Religions ◽  
2020 ◽  
Vol 11 (10) ◽  
pp. 542
Author(s):  
María M. Carrión
Keyword(s):  
Comparative Study ◽  
Early Modern ◽  
20Th Century ◽  
16Th Century ◽  
Global Context ◽  
Ibn Arabi ◽  
The Individual ◽  
Mystical Literature ◽  
Teresa De Jesus ◽  
Vital Element

Mystical literature and spirituality from 16th-century Spain engage religious images from the three most prominent religions of al-Andalus—Christianity, Islam, and Judaism: among others, the dark night, the seven concentric castles, the gazelle, the bird, the sefirot‘s encircled iggulim or towering yosher, the sacred fountain, ruins, and gardens. Until the 20th-century, however, scholarship read these works mostly as “Spanish” mysticism, alienated from its Andalusī roots. This comparative study deploys theological, historical, and textual analysis to dwell in one of these roots: the figure of the garden’s vital element, water, as represented in the works of Teresa de Jesús and Ibn ‘Arabi. The well-irrigated life written by these mystics underscores the significance of this element as a path to life, knowledge, and love of and by God. Bringing together scholarship on Christian and Sufi mysticism, and underscoring the centrality of movement, flow, and circulation, this article pieces together otherwise disparate readings of both the individual work of these two figures and their belonging in a canon of Andalusī/Spanish mysticism. The weaving of these threads will offer readers a different understanding of early modern religion, alongside traditional readings of Spain’s mystical literature and its place in the global context.

Development and destruction of the liberal prison system in Spain: a general framework for studying the topic

2019 ◽  
Vol 5 (10) ◽  
pp. 424
Author(s):  
Luis Gargallo Vaamonde
Keyword(s):  
Civil War ◽  
20Th Century ◽  
General Framework ◽  
Belief System ◽  
Prison System ◽  
Early Years ◽  
Second Republic ◽  
Social Harmony ◽  
The Government ◽  
The Individual

During the Restoration and the Second Republic, up until the outbreak of the Civil War, the prison system that was developed in Spain had a markedly liberal character. This system had begun to acquire robustness and institutional credibility from the first dec- ade of the 20th Century onwards, reaching a peak in the early years of the government of the Second Republic. This process resulted in the establishment of a penitentiary sys- tem based on the widespread and predominant values of liberalism. That liberal belief system espoused the defence of social harmony, property and the individual, and penal practices were constructed on the basis of those principles. Subsequently, the Civil War and the accompanying militarist culture altered the prison system, transforming it into an instrument at the service of the conflict, thereby wiping out the liberal agenda that had been nurtured since the mid-19th Century.

scholarly journals Digital Graphic Documentation and Architectural Heritage: Deformations in a 16th-Century Ceiling of the Pinelo Palace in Seville (Spain)

2021 ◽  
Vol 10 (2) ◽  
pp. 85
Author(s):  
Juan Reinoso-Gordo ◽  
Antonio Gámiz-Gordo ◽  
Pedro Barrero-Ortega
Keyword(s):  
20Th Century ◽  
Digital Image ◽  
Digital Images ◽  
Laser Scanner ◽  
16Th Century ◽  
Southern Europe ◽  
Architectural Heritage ◽  
Digital Documentation ◽  
First Time

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

scholarly journals PERANG BUBAT, REPRESENTASI SEJARAH ABAD 14 DAN RESEPSI SASTRANYA

2018 ◽  
Vol 10 (1) ◽  
pp. 51
Author(s):  
Yeni Mulyani Supriatin
Keyword(s):  
Data Collection ◽  
20Th Century ◽  
18Th Century ◽  
The Other ◽  
16Th Century ◽  
Historical Aspect ◽  
14Th Century ◽  
Literary Structure ◽  
The Will ◽  
The Difference

Penelitian ini bertujuan mengungkap peristiwa Perang Bubat yang terjadi pada abad ke-14 atau tahun 1357 M dan resepsi sastranya. Masalah yang dibahas adalah bagaimana latar belakang terjadinya Perang Bubat, reaksi, dan tanggapannya. Teori yang digunakan adalah resepsi sastra. Metode untuk pengumpulan data adalah kualitatif dengan menerapkan prinsip resepsi sastra. Hasil penelitian menggambarkan bahwa terjadinya Perang Bubat adalah Raja Sunda tidak tunduk pada kehendak Gajah Mada dan Gajah Mada ingin menyatukan Nusantara. Resepsi sastra terhadap Perang Bubat dapat dikelompokkan menjadi 3, yaitu resepsi dari aspek kesejarahannya, resepsi pengaruhnya terhadap penciptaan karya baru, dan resepsi terhadap struktur sastra.  Simpulan penelitian ini adalah peristiwa Bubat diresepsi setelah dua abad berlalu, yaitu pada abad ke-16  dan peristiwa tersebut diresepsi ulang pada abad ke-20-an. Hasil resepsi sastra  dari abad ke-18 sampai dengan abad ke-20 cukup beragam. Keberagaman resepsi itu menunjukkan bahwa terdapat perbedaan horizon harapan pembaca.  This study aims to reveal the events of the Bubat War that occurred in the 14th century or the year 1357 AD and literary receptions that emerged after the incident occurred. The issue discussed is how the background of the Bubat War and the reactions and responses to the event through literary receptions. The theory used in analyzing data is literary receptions. The method used for data collection is qualitative by applying the principle of literary receptions. The results of this study illustrate that the background of the Bubat War have two versions and both controversial, the first version because the King of Sunda entourage do not obey to the will of Gajah Mada, on the other hand, the second version is that Gajah Mada tactics in unifying the archipelago while the Kingdom of Sunda is a state that has not been submitted. Literary receptions to the War of Bubat can be grouped into three, they are the reception of its historical aspect, the reception of its influence on the creation of new works, and the reception of the literary structure. The conclusion of this research is  Bubat event was perceived after two centuries passed, in the 16th century and the event was redrawn in the 20th century. Results of literary receptions in the 18th century until the 20th century quite diverse. The diversity of the receptions shows the difference in the horizon of readers' expectations.    

scholarly journals Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan

Asian Studies ◽  
2020 ◽  
Vol 8 (1) ◽  
pp. 77-98 ◽  
Author(s):  
Téa Sernelj
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
Modern Art ◽  
Chinese Modernity ◽  
Material Development ◽  
Modern Chinese ◽  
Chinese Aesthetics ◽  
Basic Approaches ◽  
Art And Society ◽  
The Individual

Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.

scholarly journals Post- Modern elements in the novels of Chetan Bhagat

2018 ◽  
Vol 6 (8) ◽  
pp. 11
Author(s):  
Dr. Radha ◽  
Dr. Premalatha. C 
Keyword(s):  
20Th Century ◽  
Real Life ◽  
16Th Century ◽  
Western Philosophy ◽  
Economic Power ◽  
Late 20Th Century ◽  
Distant Observer ◽  
Post Modernism ◽  
The Difference

Postmodernism is a Western philosophy, a late 20th-century movement characterized by broad skepticism, subjectivism, or relativism; a general suspicion of reason; and an acute sensitivity to the role of ideology in asserting and maintaining political and economic power”.Post-Modernists are independent while expressing their ideas, they never drop their statements and theory. It is more personal than identify with some other categories. The post-modernism was started in America around 16th century later it extended to Europe and other countries.Post-modern civilization fails to accept the modification between high and low class. There is a little place for modernism, originality or individual thinking. Bhagat has concentrated on the preconceptions of toppers, however there is more to life than these things your family, your friends, your internal desires and goals and the grades you get in dealing with each of these areas will define you as a person.The post-modernism has defused the difference between good and bad, moral and immoral, right and wrong. If there is a choice to select modern generation would not hesitate to go for one which is traditionally named as bad. Bhagat imbibed all these qualities in his writing. His characters go against the traditional customs and values. Bhagat represents intricate, deeply engrained socio-cultural complications of multicultural India, light-heartedly. He wishes readers to giggle at themselves, at their stupidities, their partialities, and their wrong-actions; not as a member but as a distant observer. He doesn’t bout them directly, but through fiction he attempts to understand their errors and gives a chance to rectify in the real life. Bhagat’s linking story telling method and the funny situations appeal readers.

scholarly journals Melancholy and Crisis Worldview as the Situation of Man “In His Time” in the First Third of the XX Century

Discourse ◽  
2021 ◽  
Vol 7 (4) ◽  
pp. 33-44
Author(s):  
D. V. Andreenko
Keyword(s):  
20Th Century ◽  
Sigmund Freud ◽  
Mutual Influence ◽  
Charles Baudelaire ◽  
Historical Period ◽  
Individual Experience ◽  
Individual Perception ◽  
Experience Of Time ◽  
The Individual ◽  
The Relationship

Introduction. Shaping modernity in the first third of the twentieth century is tied to the private worldview of the person of this era in which the main metaphor of the individual perception of “their time” is melancholy. The crisis of this historical period forms the prism of melancholic worldview. The goal of this article is to substantiate the reasons for the perception of melancholy as a phenomenon caused in part by the problem of individual experience of time. The relationship between melancholy and modernity has already been noted in the literature, but this text raises a new question – what is the temporal nature of this mutual influence?Methodology and sources. A key role in the understanding of melancholy is played by the texts of authors of the early 20th century: Walter Benjamin, devoted to Charles Baudelaire and the work of Sigmund Freud “Mourning and Melancholy”. The issue of temporality in the work is interpreted through the reference to the phenomenological tradition, namely in reference to the modern phenomenological analysis of depressive disorder in the work of Domonkos Sik.Results and discussion. The author comes to the conclusion that the feeling of the interrelation of melancholy and the epoch is extremely specific for a person of the first third of the 20th century, evidence of which could be found in the philosophical and cultural reflection of this period. Crisis worldview is reflected in literature, painting, cinema, philosophy, social theory, etc. Thus, it is possible to represent melancholy as a phenomenon, partly caused by the problem of individual experience of time. Melancholy occurs when a crisis worldview is supplemented by an experience of circular temporality, the disappearance of the future, preoccupation with the past, passivity, or isolation.Conclusion. If these elements come together, a total worldview is formed in which real world events intensify melancholy. In this sense, phenomenologically speaking, melancholy is not so much a state as a dynamic process.

scholarly journals Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past

2019 ◽  
Vol 66 (1 SELECTED PAPERS IN ENGLISH) ◽  
pp. 19-31
Author(s):  
Barbara Niebelska-Rajca
Keyword(s):  
20Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Avant Garde ◽  
The Past ◽  
Polish Version ◽  
Dominant Tendency ◽  
Late Renaissance ◽  
Theoretical Reflection ◽  
Present Text

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1. Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.

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