scholarly journals Chinese avant-garde poetry in times of mind, mayhem and money through the interpretation of Maghiel van Crevel

2019 ◽  
Vol 45 (4) ◽  
pp. 409-422
Author(s):  
Ołeksandra Hul
Keyword(s):  
Chinese Culture ◽  
Contemporary Poetry ◽  
Avant Garde ◽  
Western Art ◽  
History Of ◽  
Ordinary Person ◽  
The Times ◽  
Colloquial Speech ◽  
Controversial Nature

The article is written in the form of a book review. It tells about the Chinese avant-garde poetry as a tendency in the literature of the turn of the 20th and the 21st centuries. We are acquainted with the contemporary poetry through the eyes of Maghiel van Crevel, who, being a famous professor-sinologist, describes the lyrical vanguard with all its peculiarities. In his book he shows the real background of the exile poetry. The reader can not only see the positive sides of the modern poetry, but can also understand the controversial nature of the “Misty poetry” in its entirety. The article gives a brief history of contemporary poetry. It covers the period of forbidden underground poetry during the times of cultural revolution, and shows all the transformation stages of the Chinese avant-garde in literature. In the article we can trace the attitude of Maghiel van Crevel towards the Western art influence on the Chinese culture and poetry. He skillfully expresses his thoughts and feelings by using the words of the others and citing the leading Chinese literary critics. The most interesting thing is that the author of the book focuses his attention on the poets who do not belong to the key representatives of the poetic avant-garde. This helps the reader to understand that a poet is an ordinary person and can write in a simple manner using the colloquial speech just to be closer to other people. The key aim and goals of the Article is to become a vivid literary guide to the avant-garde poetry environment and to give some clues to the reasons of the poetry in exile.

scholarly journals Book Review : Sejarah Organisasi Perempuan Indonesia (1928-1998) (History of Indonesian Women's Organizations (1928-1998))

2021 ◽  
Author(s):  
Fenti Nur Azizah ◽  
Moses Glorino Rumambo Pandin
Keyword(s):  
Millennial Generation ◽  
Women's Movement ◽  
Book History ◽  
Women's Organizations ◽  
Historical Period ◽  
The Social ◽  
History Of ◽  
The Times ◽  
Women’S Organizations

The book "The History of Indonesian Women's Organizations (1928-1998)" has the aim of showing how the social and political history of the Indonesian women's movement, as time has gone by, the times have been punctured by the times. Apart from that, this book also shows the various issues that were raised, debated, and fought for in different historical contexts and the actors who played a role in the Indonesian women's movement. By showing these two things, readers can have a broad understanding of the Indonesian women's movement.This book is intended for the millennial generation so that they know how the Indonesian women's movement is. Why is that? Because this book deliberately took a very long period of time, namely in the span of seventy years (1928-1998). So that readers, especially the millennial generation, can imagine what happened at that time.History writing about the Indonesian women's movement has been done by many scientists, but in the book "History of Indonesian Women's Organization (1928-1998)" has a difference, namely using detailed references to reliable sources and coverage of a very long historical period. In addition, this book provides information on how the priority of the issues under debate reflected the political context in different historical periods.This book needs to be reviewed because the content in the book is very interesting so that it can be dissected in depth. The author of the book has been doing research for at least the last ten years, it is also interesting why you need to review the book because the author made this book with a long struggle.

scholarly journals The Music Room: Betty Freeman's Musical Soirées

2017 ◽  
Vol 14 (3) ◽  
pp. 391-409
Author(s):  
JAKE JOHNSON
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Art Music ◽  
Avant Garde ◽  
Western Art ◽  
Interaction Rituals ◽  
Salon Culture ◽  
History Of ◽  
Western Art Music

AbstractFor over ten years, Los Angeles arts patron Betty Freeman (1921–2009) welcomed composers, performers, scholars, patrons, and invited guests into her home for a series of monthly musicales that were known as ‘Salotto’. In this article, I analyse Freeman's musicales within a sociological framework of gender and what Randall Collins calls ‘interaction rituals’. I contextualize these events, which took place in a space in her Beverly Hills home known as the Music Room, within a broader history of salon culture in Los Angeles in the twentieth century – a history that shaped the city's relationship with the artistic avant-garde and made Los Angeles an important amplifier for many of the most important voices in contemporary Western art music of the last sixty years.

Study on Sculpture Based on New Materials

2013 ◽  
Vol 340 ◽  
pp. 335-338
Author(s):  
Jun Xiao Wang
Keyword(s):  
Chinese Culture ◽  
Culture Shock ◽  
Visual Image ◽  
Strict Sense ◽  
Western Art ◽  
Post Modernism ◽  
History Of ◽  
New Type ◽  
Traditional Sense ◽  
Aesthetic Ideas

In the field of sculpture, the material is a sculptor's medium for the expression of aesthetic ideas, presenting a visual image. In a strict sense, all of the sculptures in the world are reflected through the material. It is recorded in the history of Western civilization development that ancient man started the sculpture very early and they also learned to take advantage of them during the creation of the material. As time goes on, the material has been an extremely important role to play in the sculpture development. In China, traditional sculpture materials have thousands of years of development, and our predecessors have already been familiar with heat and use it freely. After the beginning of the 20th century, the traditional Chinese culture triggered major changes in the concept under the influence of Western culture shock, the traditional realist sculpture in the West spread in China for more than half a century. During this period, Western art experienced the evolution of modernism and post-modernism, and the Western modernist sculpture broaden people's understanding of the "material", they were no longer the four materials of clay, wood, stone and copper of the traditional sense. And the use of the material is very extensive. In view of this, the article analyzes and discusses the application of a new type of material in sculpture.

scholarly journals Book Review: Sejarah Peradaban Islam (History of Islamic Civilization)

2021 ◽  
Author(s):  
Farras Kartika Kusumadewi ◽  
Moses Glorino Rumambo Pandin
Keyword(s):  
Foreign Languages ◽  
Islamic History ◽  
The Past ◽  
The Social ◽  
Student Reading ◽  
History Of ◽  
Limited Edition ◽  
The Times ◽  
Islamic Civilization

The study of Islamic history today may not have been regulated through literature, either in foreign languages or using Indonesian (translations or works of the nation's children). Many books have studied the history of Islam that we can get to fill our information, but no one book is so complete, one literature with another can complement each other to form knowledge of Islamic history. From the thought that no single work is perfect and on the contrary will complement each other, the author of this book aims to present the book Sejarah Peradaban Islam to be a reference and teaching material for the history of Islamic civilization course. The author hopes that this work will not only serve as a reference for students majoring in history at various universities, but has also become a public reading as an important contribution to reinventing Islamic civilization in the past, present, and future.Previously, this book entitled Sejarah Islam was only published in a limited edition (30 copies) by Rayhan Intermedia six years ago for student reading. After undergoing revisions in several parts as well as adjusting the curriculum and lecture materials, a book with the title Sejarah Peradaban Islam was presented. This book is intended for everyone, from all walks of life. Although it focuses on Islam, it can be read by anyone who wants to gain additional knowledge about Islamic history.The flow of study in the book does not follow the periodization of Islamic history as written by Harun Nasution, which is divided into the classical period (650-1250 AD), the middle period (1250-1800 AD), and the modern period (1800 AD). His presentation in the book is more based on the growth and development of Islamic civilization in various regions and the reign of a certain caliph or king, however, it does not ignore the characteristics of the times and the character of the period in which Islam grew and developed. In certain parts of the book, it also reviews the roots and implications of the social revolution, the glorious achievements of the rulers, and the peaks of the development of Islamic civilization in various parts of the world.The book of Sejarah Peradaban Islam from Ahmadin needs to be reviewed to know what is in the book, considering some of the previous things. In addition, also to find out what weaknesses and strengths are contained in the book, it is possible to recommend the book as additional reading for others.

scholarly journals History, Identity, Memory: Nikzad Nodjoumi’s Arzhang

2016 ◽  
Vol 70 (4) ◽  
Author(s):  
Layla S. Diba
Keyword(s):  
Case Studies ◽  
Modern Art ◽  
Avant Garde ◽  
Western Art ◽  
History Of

AbstractOne of the strategies available to scholars challenging the Western art-historical canon is the use of case studies of the careers of pioneering artists from the “periphery”. This essay will tell the story of a long forgotten chapter of the history of Iranian modern art which has only recently come to light. Just before the 1979 revolution, one of Iran’s young avant-garde painters, Nikzad Nodjoumi (b. 1941), was invited to provide a set of illustrations for a publication and translation of the Manichean text of the

de Zayas, Marius (1880–1961)

2018 ◽  
Author(s):  
Fabiola Martinez-Rodriguez
Keyword(s):  
United States ◽  
New York ◽  
Modern Art ◽  
The United States ◽  
American Modernism ◽  
Avant Garde ◽  
Western Art ◽  
History Of ◽  
Formed Part ◽  
The Aesthetic

Marius de Zayas was a Mexican caricaturist, writer, collector, dealer, and curator who formed part of the New York avant-garde, and did much to promote European modernism in the United States. Through his writings, curatorial, and creative work, de Zayas helped to lay the foundations of American modernism, and to assert the centrality of primitive art to the modernist aesthetic. Exhibited for the first time in 1913, de Zayas’ abstract portraits are some of the earliest examples of avant-garde production the United States. These drawings reflect his engagement with the aesthetic explorations of the European avant-gardes, and the challenges posed by photography to the tradition of Naturalism in Western art. Marius de Zayas’ work was instrumental in promoting a transnational exchange of art and ideas between Europe and the Americas. In his conception of modernism, primitive art was the source of formal experimentation, but also of spirituality and transcendence. His contribution to the history of modern art in the United States remains to be appropriately acknowledged, but it is there for anyone who cares to read his How, When and Why Modern Art Came to New York written for Alfred Barr towards the end of his life.

Modernism without an Avant Garde in India

2018 ◽  
Author(s):  
Parul Mukherji
Keyword(s):  
Classical Tradition ◽  
Late Nineteenth Century ◽  
American Modernism ◽  
Oil Painting ◽  
Colonial Modernity ◽  
Avant Garde ◽  
Western Art ◽  
Critical History ◽  
History Of ◽  
Late Nineteenth

Any critical history of modern Indian Art must take into account the key difference between Indian and Euro-American modernism: the distinct absence of an avant-garde in Indian modernism. No Hegelian dialectics or Kantian autonomy impelled Indian modernism along the same historical lines plotted in Western art historiography, nor was there a distinct classical tradition to be disregarded and to start anew from. India’s distinct origins of modernity stem from the fact that it was under colonial modernity that modernism first made its appearance in India. If the beginnings of modernism in India are traced to the late nineteenth century, Raja Ravi Varma can be considered as India’s first Salon artist, who acquired a mastery over the medium of oil painting and the genre of portraiture. Any neat dichotomy between the colonizer and the colonized becomes blurred when considering the close nexus between the two. It was the Western Orientalists and their investment in disciplines such as Indology, for instance, whose arduous discovery of the past fed the Indian nationalist imagination and its desire to return to the precolonial past.

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