Text and Melody in Peirol's Cansos

PMLA ◽  
1961 ◽  
Vol 76 (4-Part1) ◽  
pp. 320-325
Author(s):  
Margaret Louise Switten
Keyword(s):  
Golden Age ◽  
Art Song ◽  
Modern Art ◽  
The Subject ◽  
Love Poem

Relationships between verse content and. music in the love songs of the Provençal troubadours are not easily defined. One is tempted to seek in these cansos an expressiveness corresponding to our own acceptance of the term and to consider the melodies, like those of a modern art song, to be largely inspired by meanings and emotions of the texts. But it is not at all certain that the establishment of a close sentimental rapport between words and music was an objective overtly recognized and desired by the troubadours: if there were poet-composers who on occasion projected through melody the spirit of a poem, this was by no means a universal occurrence. Authoritative opinion on the subject is difficult to form because so little troubadour music has been preserved. All the more important then to examine carefully the evidence we do possess. Worthy of particular attention are the poets whose melodies remain in sufficient quantity to permit evaluation of individual attitudes and techniques. Such a poet is Peirol, troubadour from Auvergne, who flourished during the Golden Age of Provençal song, cultivating chiefly the love poem. His works provide material of genuine interest, often neglected where it might prove most illuminating. Despite the comparatively large number of melodies, relationships between verse content and music in his cansos have never been studied. To investigate these relationships will therefore be the aim of this paper.

Carmelo Bene e la decostruzione delle arti del secondo Novecento

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Cosetta Saba
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Interdisciplinary Practice ◽  
The Arts ◽  
The Sixties ◽  
First Results ◽  
Extended Field ◽  
The Subject

This essay collects the first results of a reflection launched in the context of the Conference "The Arts of the 1900s and Carmelo Bene" curated by Edoardo Fadini and based in Turin, at the Gallery of Modern Art, between 24 and 26 October 2002. The intent is to focus on how in the first phase of the interdisciplinary practice of Carmelo Bene, between the Sixties and the Seventies, an aesthetic reflection and a deconstructive attitude emerge that involve questions (such as the subject, subjectivity and singular / plural dimension of art) that were being defined in the philosophical field and in the extended field of art during the second half of the twentieth century.

Paris Embraces Modern Art – But Not in Court: Opinion on the Cour d’Appel de Paris Decision – Jeff Koons v Franck Davidovici

2021 ◽  
Author(s):  
Moritz Sutterer
Keyword(s):  
Subject Matter ◽  
Modern Art ◽  
Applicable Law ◽  
Traditional Notion ◽  
The Us ◽  
Exceptions And Limitations ◽  
The Subject ◽  
First Time ◽  
Jeff Koons ◽  
Court Of Appeal

Abstract In February 2021 the Paris Court of Appeal (Cour d’appel de Paris) rendered a decision against the US artist Jeff Koons, holding that he had infringed copyright relating to an advertisement photography that was more than 30 years old. Jeff Koons is famous for his Neo-pop Appropriation art – kitsch for some, a provocative breach with the traditional notion of art for others. It was not the first time Koons has had to defend his work in court. The French decision is particularly interesting, however, as it shows a very narrow understanding of the copyright exceptions. It is an illustrative example of the issues resulting from CJEU’s approach in Pelham, Spiegel Online and Funke Medien, where the Court held that once the recognisability of original elements has been established, the only way out of the infringement leads through the formal exceptions and limitations of the InfoSoc Directive. Based on the decision, I will reflect on the openness of copyright for art-specific forms of referencing and in particular analyse the subject matter and scope of the parody exception and contrast it with less formal approaches to consider new creative elements. I will also analyse the question of applicable law in internet cases.

Traditional and Modern Art

2017 ◽  
pp. 52-72
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Modern Art ◽  
Human Capabilities ◽  
The World ◽  
The Subject ◽  
Comprehensive Manner ◽  
Textual Traditions ◽  
Classical Greek Philosophy ◽  
Definition Of

In visual arts both the subject matter and the techniques form traditions extending sometimes through millennia, recording the human evolution and humanity in far more direct ways than, for instance, textual traditions can ever do. In short, visual arts open a rare window to the essence of humanity itself. Visual art is testing in a comprehensive manner the human capabilities to experience the world. Modern art has further opened up the whole definition of visual arts and freed even greater number of possibilities. Anything can be presented as visual art, if the audience is ready to accept it as art and “sees” it as art. I also discuss the basis of art as we inderstand it. Life imitates art and art imitates life. Which one is the copy then? The concept of mimêsis is one of the most frequently misunderstood concepts of classical Greek philosophy. In spite of breaks in tradition and misunderstandings, what is most important, is that in European art traditions the idea of liberal art as a means of expressing and shaping in a creative way ideas has kept alive and strives.

Cheong, Soo Pieng (1917–1983)

2018 ◽  
Author(s):  
Kelvin Chuah
Keyword(s):  
Subject Matter ◽  
Modern Art ◽  
Southeast Asian ◽  
Chinese Art ◽  
Western Art ◽  
The Subject ◽  
The 1950S ◽  
Female Bodies ◽  
Tropical Landscape ◽  
Art Techniques

Cheong Soo Pieng was a Chinese-born artist who became well known for his contributions to Singapore’s modern art. In Nanyang, Cheong’s Chinese art training was integrated with the lush tropical landscape and the arresting allure of local communal practices. Cheong was part of a group of artists who visited Bali, Indonesia, in 1952 in search of the Nanyang Style, which involved Southeast Asian themes visualized with Western art techniques. The resulting imagery in the works created by the artists was exhibited back in Singapore the following year in the hugely lauded exhibition Four Artists to Bali. This provided the stimulus for these artists to develop further this particular genre of art. For Cheong, his artistic excursions were not confined to Singapore. He also traveled to Sarawak, Borneo, in 1959 and resided in Europe from 1961 to 1963, where he held solo and group shows, and where he also dabbled with abstraction in his works. Cheong is recognized for his development of distinctive figural types known as "elongated figures": female bodies with elongated limbs. The figural types he developed in the 1950s were reassessed and reworked in the 1970s. These later works reflect a matured handling and refinement, reinforcing his personal stylization of the subject matter.

Brackets and flying commas: UDC in Tate Library

2011 ◽  
Vol 36 (4) ◽  
pp. 13-17
Author(s):  
Maria White
Keyword(s):  
Classification Scheme ◽  
Modern Art ◽  
Full Expression ◽  
Universal Decimal Classification ◽  
The Subject ◽  
Decimal Classification

Universal Decimal Classification (UDC) is a flexible classification scheme that allows the full expression of the subject of a book. However such flexibility requires decisions to be taken on how to apply and use the schedules. This article discusses the choices made by Tate Library in its implementation of the classification scheme and how the Library has developed UDC for its in-house use, in particular the expansion of the section for modern art.

Photography and Cinema in 20th-Century Mexico

2015 ◽  
Author(s):  
John Mraz
Keyword(s):  
Golden Age ◽  
Mexican Revolution ◽  
Great Majority ◽  
Documentary Films ◽  
Feature Films ◽  
Mexican Society ◽  
International Audience ◽  
The Subject ◽  
The Government ◽  
The Revolution

Photography, film, and other forms of technical imagery were incorporated quickly into Mexican society upon their respective arrivals, joining other visual expressions such as murals and folk art, demonstrating the primacy of the ocular in this culture. Photojournalism began around 1900, and has formed a pillar of Mexican photography, appearing in illustrated magazines and the numerous picture histories that have been produced. A central bifurcation in the photography of Mexico (by both Mexicans and foreigners) has been that of the picturesque and the anti-picturesque. Followers of the former tendency, such as Hugo Brehme, depict Mexicans as a product of nature, an expression of the vestiges left by pre-Columbian civilizations, the colony, and underdevelopment; for them, Mexico is an essence that has been made once and for all time. Those that are opposed to such essentialism, such as Manuel Álvarez Bravo, choose instead to posit that Mexicans are a product of historical experiences. The Mexican Revolution has been a central figure in both photography and cinema. The revolution was much photographed and filmed when it occurred, and that material has formed the base of many picture histories, often formed with the archive of Agustín Víctor Casasola, as well as with documentary films. Moreover, the revolution has been the subject of feature films. With the institutionalization of the revolution, governments became increasingly conservative, and the celebrity stars of “Golden Age” cinema provided models for citizenship; these films circulated widely throughout the Spanish speaking world. Although the great majority of photojournalists followed the line of the party dictatorship, there were several critical photographers who questioned the government, among them Nacho López, Héctor García, and the Hermanos Mayo. The Tlaltelolco massacre of 1968 was a watershed, from which was born a different journalism that offered space for the critical imagery of daily life by the New Photojounalists. Moreover, the representation of the massacre in cinema offered sharply contrasting viewpoints. Mexican cineastes have received much recognition in recent years, although they do not appear to be making Mexican films. Television in Mexico is controlled by a duopoly, but some programs have reached an international audience comparable to that of the Golden Age cinema.

Neo-concretism, Apex and Rupture of the Brazilian Constructive Project

October ◽  
2017 ◽  
Vol 161 ◽  
pp. 89-142
Author(s):  
Ronaldo Brito
Keyword(s):  
Modern Art ◽  
Artistic Practice ◽  
Western Model ◽  
Geometric Abstraction ◽  
Concrete Art ◽  
The Subject

Written in 1975 and first published in its entirety in 1985, this essay constitutes the first and most consequential analysis of the Brazilian Neo-concrete movement of the late 1950s and early '60s. It argues that Neo-concretism realized and simultaneously forced into crisis the essential tenets of the constructive traditions of geometric abstraction as they had been inherited by artists in Brazil. According to Brito, Brazilian Concrete art sought to import a Western model of constructive practice that, while utopian in aim, was ultimately complicit with both a capitalist organization of the market and a positivist, universalizing formulation of the subject. Ill-equipped to adapt to Brazil's prevailing socioeconomic realities, this model was surpassed by the Neo-concrete movement, which, in channeling the “singularities” of art, allowed for the emergence of previously repressed elements such as desire, subjectivity, and expression. A critical rupture within Brazilian modern art, Neo-concretism thus established the conditions for contemporary artistic practice and its “insertion into the ideological field.”

scholarly journals Methodology of studying art: sociology, culturology, and art history

2021 ◽  
pp. 45-53
Author(s):  
Evgenii Aleksandrovich Popov
Keyword(s):  
Art History ◽  
Modern Art ◽  
Comprehensive Analysis ◽  
Comprehensive Approach ◽  
Social Dimension ◽  
Sociological Research ◽  
The Social ◽  
The Subject ◽  
Scientific Fields

This article describes the capabilities of methodology of studying art in the three interrelated scientific fields – sociology, culturology, and art history. Emphasis is placed on determination of the key criteria of comprehensive approach towards the analysis of art: each of the three scientific fields may have its own unique criteria for such analysis, but there also universal criteria that allow most fully assessing the essence and purpose of art, considering the general trends of its development in modern reality. The subject of this research is the methodology of comprehensive analysis of art using the instruments of sociology, culturology, and art history. The main conclusions are as follows: 1) disclosure of the content of the methodology of studying art; 2) determination of various criteria for comprehensive analysis of art within the framework of sociology, culturology, and art history; 3) demonstration of capabilities of using certain criteria in analyzing the essence of art and artworks; 4) focus on the social dimension of art, touching upon the heuristic value of the methods of applied sociological research; 5) characteristics of the capabilities of studying the symbolic nature of art in the context of culturology; 6) assessment of the development trends of the methodology of modern art history.

scholarly journals Teologiczne podstawy monastycznej mistyki nestoriańskiej (syro-orientalnej) w listach Jana z Dalijata

Vox Patrum ◽  
2018 ◽  
Vol 70 ◽  
pp. 281-294
Author(s):  
Andrzej Uciecha
Keyword(s):  
Golden Age ◽  
Spiritual Experience ◽  
Human Soul ◽  
Current Analysis ◽  
The World ◽  
Christian Literature ◽  
The Subject ◽  
Literary Output ◽  
The Invisible

The article attempts to draw an outline of the mystic theology of the Nesto­rian monk John of Dalyatha (John Saba, „the Elder”), who lived at the border of what is now Turkey and Iraq at the turn of the 7th and the 8th centuries. His literary output consists of the letters and the homilies and belongs to the „golden age” of the East Syrian Christian literature. In line with the Nestorian Orthodoxy, John Saba denied the perception of the God’s nature, which was identified by him with the transcendent nature of Father. He accepted, however, a contemplation of God’s glory, understood as a radiance and a reflection of the invisible nature. John of Dalyatha was the only mystic who attempted to explain this distinction in the light of ideas of St. Paul (2Cor 3:18 and 4:6). The subject of the current analysis is the idea behind the expressions „remembrance of God” and „the world of changeability”. Unceasing looking at the God, and searching for Him deep into the heart is necessary for the development of mystical sensitivity. The psychological depth of John’s religious programme is striking. In the human soul, the heart is the place of a union with the God, as it was in „the Holy of Holies”. John conveys his spiritual experience, although he is fully conscious of imperfect means through which man can communicate the mysteries of God.

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