scholarly journals Kryzys filozofii polityki

2011 ◽  
Vol 13 ◽  
pp. 23-42
Author(s):  
Barbara Markowska
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Theoretical Consideration ◽  
Scientific Discipline ◽  
Operating Conditions ◽  
Decisive Factor ◽  
Early 20Th Century ◽  
Leo Strauss ◽  
Set Up ◽  
Scholarly Pursuit

The purport of the article is a reflection on the operating conditions of the philosophy of politics, beginning with its crisis, as described by Leo Strauss in the early 20th century and continuing up to the latest proposals, which emerged at the turn of the 20th and 21st centuries. First, the author poses a question regarding the essence of this crisis; was it related to the scientific paradigm of the philosophy of politics applied hitherto or, rather, to the very subject matter of this scholarly pursuit, which is to say, to politics itself. A scientific discipline must be able to delineate its subject matter and if the latter undergoes an unexpected modification, the former suffers a crisis. Was this what happened to politics itself? What was the decisive factor which caused it to escape a theoretical consideration that ceased to be a systematic reflection, in short, ceased to be science, only to become philosophy again, whereby the author understands ‘philosophy’ as a level of reflection such as to allow itself to posit subliminal questions purely in order to set up the determinants for further thinking as to what science is, what politics is and what makes politics different from non-politics.

Gill, Eric (1882–1940)

2018 ◽  
Author(s):  
Tracy Bergstrom ◽  
Ruth Cribb
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Arts And Crafts ◽  
Early 20Th Century ◽  
Arts And Crafts Movement ◽  
Popular Press ◽  
Working Relationship ◽  
The Arts ◽  
Religious Subject ◽  
Public Architecture

Eric Gill was a sculptor, typeface designer, printmaker and craftsman associated with the Arts and Crafts movement whose greatest influence was on the development of modern British sculpture in the early 20th century. As an advocate of hand-making in small workshops, he is considered one of the main proponents of the method of direct carving. Through his close working relationship with Jacob Epstein between 1910 and 1912, and receiving support from Roger Fry, Gill’s sculptures were received as representing modernity through direct carving, the simplification and flattening of line and form, and the use of British stones. Gill’s work as a typographer, letter cutter, wood engraver, and essayist also placed him at the heart of many modern movements in Britain during his lifetime, including the Society of Wood Engravers. As a writer and prolific sculptor for public architecture in the 1930s, he became prominent in the popular press. As a Catholic convert, his views and the religious subject matter of his art have complicated his status in the art historical canon. Since his death, his influence and importance have been predominately attributed to his letter cutting and typography.

Protestant Confucianism: Kang Youwei’s Influence in Korea

Numen ◽  
2020 ◽  
Vol 67 (4) ◽  
pp. 347-372
Author(s):  
Uri Kaplan
Keyword(s):  
20Th Century ◽  
Religious Practice ◽  
Early 20Th Century ◽  
The Reformation ◽  
Set Up ◽  
The Impact

Abstract The impact of Kang Youwei’s Confucius-church movement has not been limited to China proper. Korean intellectuals in the early 20th century had been in contact with Kang and his students, set up affiliated institutions in their homeland, and authored creative manifestos on the reformation of Confucianism. This article surveys the reform proposals of four representative Korean Confucians and analyzes their support of, and negotiations with, Kang’s Confucius religion. It illustrates how some Korean reformers chose to adopt only Kang’s “state-protecting Confucianism” or join the movement in form but not in content, while others embraced his vision more fully, depicting their own perennial versions of the Great Unity, and developing original formats of Confucian religious practice. These proposals highlight the remarkable ways in which Protestantism served as a central model for the Confucian religious reforms of the early 20th century.

scholarly journals GENERAL OVERVIEW TO DRUM KIT IN TURKISH POPULAR MUSIC DURING THE PERIOD 1970-1980

2018 ◽  
Vol 7 (46) ◽  
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
Historical Development ◽  
Music History ◽  
Main Topic ◽  
Early 20Th Century ◽  
General Overview ◽  
Starting Point ◽  
Popular Music History ◽  
Set Up

The invention of Drum has been known to trace thousands of years.However, the drum kit came to exist in the early 20th century. Considering its historical development and our country's popular music history, development of this instrument in Turkey is the starting point of this research. In this study, the cults and playing attitudes that influenced the drummers, the location of drum kit in the studio environment, the set up prefrrences in the band with equipments used will be commented by analysing the data obtained via interviews. Within this framework, questions in 4 main topic have been asked to Osman İşmen and Turhan Yükseler, two of the significant arrangers of the period; Okay Temiz, one of the significant drummers of the period; Cahit Berkay, one of the founders of the band Moğollar; İsmail Soyberk, the bass-guitarist; the drummer Mert Türkmen as the representative of Cezmi Başeğmez. In accoedance with the data obtained, it has been concluded that jazz and rock drummers influenced our country, Anadolu Pop attitude was seen in the playing attitudes and set ups of that period drummers, Studio Hayri and sound technician Sıtkı Acim (tonmeister) rose to prominence in terms of studios where drum records were made, Ludwig drums were used together with Turkish brands in equipments. Keywords: Drum kit, drums, popular music, turkey, drummers, drum playing

Sickert, Walter (1860–1942)

2018 ◽  
Author(s):  
Tom Furness
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
New Age ◽  
Future Generations ◽  
Early 20Th Century ◽  
Pictorial Space ◽  
Edgar Degas ◽  
British Art

Walter Sickert is widely acknowledged as one of the most important figures in modern British art. He was instrumental in furthering acceptance of Impressionist art in Britain and in the progression of modern British painting during the pre-war period in his capacities as both a painter and a writer for periodicals such as New Age. Sickert’s works demonstrate an abiding interest in the surface of pictures and the essence of paint as a material. The painting Minnie Cunningham at the Old Bedford (1892) shows Sickert at the confluence of his two great influences. Inspired by the tutelage of Whistler, its thin washes of wet paint and a shallow pictorial space depict a theatrical subject matter much favored by Edgar Degas. A decade later, in early 20th-century London, Sickert found his place as the elder statesman amongst artists including Spencer Gore, Harold Gilman and Malcolm Drummond in the Camden Town Group and London Group. Through his teaching at, among others, the Westminster School of Art, he imparted his devotion to everyday, urban subjects and his dispassionate recording of visual fact to future generations of figurative artists including William Coldstream and David Bomberg.

Ashcan School

2018 ◽  
Author(s):  
Lara Kuykendall
Keyword(s):  
New York ◽  
20Th Century ◽  
Subject Matter ◽  
Public Spaces ◽  
Early 20Th Century ◽  
Popular Entertainment ◽  
Ashcan School ◽  
American Artists ◽  
George Bellows ◽  
Total Freedom

The Ashcan School was a group of American artists that began exhibiting together in the early 20th century and advocated for total freedom in style and subject matter. Also known as Urban Realists because of their focus on urban, public spaces including trains, streets and parks, restaurants and bars, and other spaces of popular entertainment, Ashcan members included Robert Henri, John Sloan, George Luks, William Glackens, Everett Shinn, and George Bellows. "Ashcan" was initially a pejorative term applied to the group because they employed dark colors and painterly, unblended brushstrokes, which were thought to make their works appear dirty or unfinished. The Ashcan School was initially associated with a secessionist art group called The Eight, which also included postimpressionists Arthur B. Davies, Maurice Prendergast, and Ernest Lawson. The Eight rebelled against the National Academy of Design, the principal art school and host of prestigious juried exhibitions in New York, because they sought greater stylistic freedom and more control over their exhibition opportunities. Implicitly, the Ashcan painters also rebelled against The Ten, a group of American Impressionists, because they thought their predecessors’ works were too delicate in style and genteel in subject matter.

Bell, Vanessa (1879–1961)

2018 ◽  
Author(s):  
Grace Brockington
Keyword(s):  
20Th Century ◽  
Interior Design ◽  
Virginia Woolf ◽  
Early 20Th Century ◽  
Bloomsbury Group ◽  
Experimental Art ◽  
Set Up ◽  
Hogarth Press

Vanessa Bell was a painter and decorative artist, and an innovator in interior design, who became central to the development of modernism in Britain in the early 20th century. As a member of the Bloomsbury Group, she was a key figure in the ground-breaking Omega Workshops, set up by the artist and critic Roger Fry in 1913. She worked across several media, including painting, print-making, photography and textiles; and she designed illustrations and dusk-jackets for the Hogarth Press, notably for books published by her sister, the writer Virginia Woolf. Her work was at its most radical between 1910 and 1920, when she was among the first artists in Britain to respond to "post-impressionism," a term coined by Fry to describe the new art from Europe. Her experimental art explored the limits of representation through a variety of modernist techniques, including bold use of color, emphatic outlines, flattened surfaces, and papier collé, while her subjects were often intimate and domestic.

scholarly journals “Jephthah’s Daughter” by Amy Beach: the Biblical World in the Words of a Woman

ICONI ◽  
2019 ◽  
pp. 59-67
Author(s):  
Sofiya V. Sysolyatina ◽  
Keyword(s):  
New England ◽  
20Th Century ◽  
Old Testament ◽  
Subject Matter ◽  
Turn Of The Century ◽  
Early 20Th Century ◽  
Equal Rights ◽  
American Composers ◽  
Religious Subject ◽  
The Subject

The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.

scholarly journals Egypt in the Early 20th Century in the Light of Newspaper Essays of Tadeusz Smoleński

2020 ◽  
Vol 31 (4) ◽  
pp. 9-28
Author(s):  
Leszek Zinkow
Keyword(s):  
20Th Century ◽  
Arab World ◽  
The Political ◽  
Early 20Th Century ◽  
Nation State ◽  
Panoramic View ◽  
Daily Newspaper ◽  
British Rule ◽  
History Of ◽  
Set Up

This paper brings to light the reports and analyses written by Tadeusz Smoleński, a forgotten source on the political history of the Middle East and particularly Egypt, in the first decade of the 20th century. Tadeusz Smoleński (1884–1909), the first Polish Egyptologist, was also a regular correspondent of the Lviv daily newspaper Słowo Polskie [‘The Polish Word’]. In his reports, he outlines a panoramic view of Egypt’s extraordinarily complex political situa­tion, determined by tensions between the European powers, i.e., the rivalry between Britain and France, and between Russia and Germany. Another fac­tor whose growing importance was noted by the Polish observer, is the rise of nationalist and Islamist movements in both Egypt and the Arab world as a whole. This takes place alongside the chronic political instability of the Otto­man Empire. While acknowledging all of the beneficial aspects of British rule (especially under the consulship of Sir Evelyn Baring), Smoleński does not hide his sympathies for Mus????t????afà Kāmil Bāšā, leader of the Egyptian national­ists. In his analysis, Smoleński also hints at some analogies between the situa­tion of the Egyptians and the Poles in their ambitions to set up an independ­ent nation-state.

Takarazuka Revue Company (1913--)

2018 ◽  
Author(s):  
Masaaki Nakano
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Musical Theater ◽  
Early 20Th Century ◽  
Television Programs ◽  
Training School ◽  
Communication Satellite ◽  
Hyogo Prefecture

The popular Takarazuka Revue Company, based in Takarazuka, Hyogo Prefecture, is the oldest established musical theater company in Japan. The performers are unmarried women; if a dancer marries, she must retire from the company. The Takarazuka Revue Company—actually five separate troupes—is managed by the Hankyu Railway Corporation. It has a training school with a dormitory system and exclusive theaters, publishes magazines, broadcasts television programs, and owns the Communication satellite channel. The Takarazuka Revue Company can be viewed as an example of the modernization and Westernization of Japanese theater and the industrialization of its business during the early 20th century by rejecting the traditional kabuki style as well as introducing female performers to the Japanese stage and adopting Western subject matter and theatrical practices by establishing multiple performance groups to meet audience demands.

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