Britannia on Roman coins of the second century A.D.

1924 ◽  
Vol 14 (1-2) ◽  
pp. 142-157
Author(s):  
Jocelyn Toynbee
Keyword(s):  
Second Century ◽  
Ancient World ◽  
The Other ◽  
Accurate Representation ◽  
Roman Coins ◽  
Greek Revival ◽  
History Of Art ◽  
Greek Tradition ◽  
History Of ◽  
The One

The history of art in the Roman period is the history of the interplay of two opposite tendencies. On the one hand there is the Roman taste for realism and accurate representation, combining with the Italian love of naturalism; on the other, the fostering of the Greek tradition of idealism in art both by the Greek artists who worked at Rome and by the Greek enthusiasts among their Roman employers. After the culmination of Roman historical art under the Flavians and Trajan, the second century, as is well known, was marked by a great reaction in favour of things Hellenic, and it is with one small part of the Greek revival under Hadrian and the Antonines, when Greek art blossomed afresh for the last time during the history of the ancient world, that I propose to deal in this paper.

Modernism and World Art, 1950–72

ARTMargins ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 55-76
Author(s):  
Nikolas Drosos
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
American Art ◽  
Global Perspective ◽  
The Other ◽  
Soviet Bloc ◽  
Universal History ◽  
History Of Art ◽  
History Of ◽  
The One

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

La tv come casa dell’arte. Sperimentazioni e utopie

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Silvia Bordini
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Double Point ◽  
Point Of View ◽  
The Other ◽  
Audiovisual Communication ◽  
History Of Art ◽  
History Of ◽  
The One ◽  
Short Essay

The involvement of art in tv devices is examined from a double point of view: on the one hand, the use of tv as a divulgation tool that compares the history of art, entertainment and spectacularization; and on the other, the interpretation of tv as a tool for artistic experimentation. The hypothesis of a cultural use of the potential of audiovisual communication is elaborated in particular by numerous art historians, with different initiatives that reflect the variants of the very notion of art history and art criticism. The hypothesis of TV as a possible tool for making art according to unprecedented linguistic modulations starts from Lucio Fontana in the context of spatialist theories and then develops autonomously in the specific of new technological languages: the programs, the devices and the physicality of the television itself were in fact the first "material" that the artists used to elaborate what went down in history as "videoart". In the paths outlined in this short essay, television has taken on the significance of a strongly symbolic medium, in the alternation of different and often contrasting messages and models, linked to a variety of cultural and ideological positions.

The symptomatology of a surpassing disaster: Narrativization and temporality in the work of Walid Raad

Maska ◽  
2020 ◽  
Vol 35 (200) ◽  
pp. 84-101
Author(s):  
Kaja Kraner
Keyword(s):  
Standard Treatment ◽  
Arab World ◽  
The Other ◽  
Historical Documents ◽  
American Artist ◽  
History Of Art ◽  
Common Thread ◽  
History Of ◽  
The Common ◽  
The One

Since the 1990s, the common thread to artistic practices based on the collection, archiving and presentation of historical documents can be derived from what is happening with the space, time and the regimes of visibility and knowledge as part of digital reproductivity. Nevertheless, roughly two separate key approaches can be identified: construction approaches that are often designed as an intervention in the dominant historiographical practice, on the one hand, and approaches focusing on the study of infrastructural, epistemological and other conditions for the possibility of archiving and historicization in general, on the other. The latter approaches frequently question the standard treatment of documents that is most often based on the ability to trace their origin as well as on their presumptive expressive and narrative potentials. The article therefore analyses the approach to studying history adopted by Lebanese-American artist Walid Raad, drawing from the performance-lecture Les Louvres and/or Kicking the Dead, which is part of a broader project about “a history of art in the Arab world”. In the process of defining the specifics of Raad’s approach based on the concepts of “spaces of interrupted histories” and “self-historicization”, the article draws a comparison between artistic uses of documents in the context of former socialist countries and the Middle East or, more specifically, the Lebanese socio-political context. Instead of unifying both “spaces of interrupted histories” by focusing on narrativization and temporality in Raad’s work, I concentrate mostly on the differences.

Towards a Social History of Art: Defining "Mozarabic"

1999 ◽  
Vol 5 (3) ◽  
pp. 272-288 ◽  
Author(s):  
Cecily Hilsdale
Keyword(s):  
Social History ◽  
Historical Development ◽  
The Other ◽  
History Of Art ◽  
Art Historians ◽  
History Of ◽  
Spanish Art ◽  
The One

AbstractMedieval Spanish art posed a particular problem for art historians due to the difficulty in reconciling strcmg formal differences between perceived Classicism on the one hand and foreign "Mozarabic" elements on the other. The connotations of such formal designations reveal much about larger perceptions of historical development at the beginning of this century. The term "Mozarabic" in early essays by Meyer Schapiro among others attained its definition solely in opposition to other earlier and later styles. It was understood in a pejorative light as the inferior counterpart to other formal idioms such as the Romanesque.

Theodor W. Adorno

2018 ◽  
Author(s):  
Colby Dickinson
Keyword(s):  
The Other ◽  
History Of Thought ◽  
History Of ◽  
The One

In his somewhat controversial book Remnants of Auschwitz, Agamben makes brief reference to Theodor Adorno’s apparently contradictory remarks on perceptions of death post-Auschwitz, positions that Adorno had taken concerning Nazi genocidal actions that had seemed also to reflect something horribly errant in the history of thought itself. There was within such murderous acts, he had claimed, a particular degradation of death itself, a perpetration of our humanity bound in some way to affect our perception of reason itself. The contradictions regarding Auschwitz that Agamben senses to be latent within Adorno’s remarks involve the intuition ‘on the one hand, of having realized the unconditional triumph of death against life; on the other, of having degraded and debased death. Neither of these charges – perhaps like every charge, which is always a genuinely legal gesture – succeed in exhausting Auschwitz’s offense, in defining its case in point’ (RA 81). And this is the stance that Agamben wishes to hammer home quite emphatically vis-à-vis Adorno’s limitations, ones that, I would only add, seem to linger within Agamben’s own formulations in ways that he has still not come to reckon with entirely: ‘This oscillation’, he affirms, ‘betrays reason’s incapacity to identify the specific crime of Auschwitz with certainty’ (RA 81).

Policy analysis and complexity – a non-equilibrium approach for integrated water management

1995 ◽  
Vol 31 (8) ◽  
pp. 301-309 ◽  
Author(s):  
Govert D. Geldof
Keyword(s):  
Water Management ◽  
Control System ◽  
Planning Process ◽  
The Other ◽  
Integrated Water Management ◽  
Equilibrium Approach ◽  
History Of ◽  
The One ◽  
Groundwater Policy ◽  
Non Equilibrium

In integrated water management, the issues are often complex by nature, they are capable of subjective interpretation, are difficult to express in standards and exhibit many uncertainties. For such issues, an equilibrium approach is not appropriate. A non-equilibrium approach has to be applied. This implies that the processes to which the integrated issue pertains, are regarded as “alive”’. Instead of applying a control system as the model for tackling the issue, a network is used as the model. In this network, several “agents”’ are involved in the modification, revision and rearrangement of structures. It is therefore an on-going renewal process (perpetual novelty). In the planning process for the development of a groundwater policy for the municipality of Amsterdam, a non-equilibrium approach was adopted. In order to do justice to the integrated character of groundwater management, an approach was taken, containing the following features: (1) working from global to detailed, (2) taking account of the history of the system, (3) giving attention to communication, (4) building flexibility into the establishing of standards, and (5) combining reason and emotions. A middle course was sought, between static, rigid but reliable on the one hand; dynamic, flexible but vague on the other hand.

On the nature of chemistry

2018 ◽  
Vol 10 (2) ◽  
pp. 74 ◽  
Author(s):  
Eric R. Scerri
Keyword(s):  
19Th Century ◽  
The Other ◽  
Recent History ◽  
History Of Chemistry ◽  
History Of ◽  
The One ◽  
Fundamental Unity ◽  
The 19Th Century

<span>The very nature of chemistry presents us with a tension. A tension between the exhilaration of diversity of substances and forms on the one hand and the safety of fundamental unity on the other. Even just the recent history of chemistry has been al1 about this tension, from the debates about Prout's hypothesis as to whether there is a primary matter in the 19th century to the more recent speculations as to whether computers will enable us to virtually dispense with experimental chemistry.</span>

Introduction

2017 ◽  
Author(s):  
Anh Q. Tran
Keyword(s):  
Eighteenth Century ◽  
The Other ◽  
Pragmatic Approach ◽  
History Of ◽  
The One ◽  
Vietnamese Studies

The Introduction gives the background of the significance of translating and study of the text Errors of the Three Religions. The history of the development of Confucianism, Buddhism, and Daoism in Vietnam from their beginning until the eighteenth century is narrated. Particular attention is given to the different manners in which the Three Religions were taken up by nobles and literati, on the one hand, and commoners, on the other. The chapter also presents the pragmatic approach to religion taken by the Vietnamese, which was in part responsible for the receptivity of the Vietnamese to Christianity. The significance of the discovery of Errors and its impact on Vietnamese studies are also discussed.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Multicultural and Transnational Novels

2018 ◽  
Author(s):  
James Meffan
Keyword(s):  
National Identity ◽  
New Zealand ◽  
The Other ◽  
Colonial History ◽  
History Of ◽  
Return Home ◽  
Access Rights ◽  
The One

This chapter discusses the history of multicultural and transnational novels in New Zealand. A novel set in New Zealand will have to deal with questions about cultural access rights on the one hand and cultural coverage on the other. The term ‘transnational novel’ gains its relevance from questions about cultural and national identity, questions that have particularly exercised nations formed from colonial history. The chapter considers novels that demonstrate and respond to perceived deficiencies in wider discourses of cultural and national identity by way of comparison between New Zealand and somewhere else. These include Amelia Batistich's Another Mountain, Another Song (1981), Albert Wendt's Sons for the Return Home (1973) and Black Rainbow (1992), James McNeish's Penelope's Island (1990), Stephanie Johnson's The Heart's Wild Surf (2003), and Lloyd Jones's Mister Pip (2006).

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