Introduction

2019 ◽  
pp. 1-32
Author(s):  
Emma Cole
Keyword(s):  
Bertolt Brecht ◽  
Reception Studies ◽  
Antonin Artaud ◽  
Diverse Range ◽  
Avant Garde ◽  
History Of ◽  
Heiner Müller

This introduction makes the case for postdramatic classical receptions to be included within reception studies scholarship. It contextualizes the overall study by providing an overview of the role of the classics within the development of postdramatic theatre and by charting the history of postdramatic classical receptions. The chapter offers an alternative to the standard teleological approach of documenting the history of postdramatic theatre, and instead suggests that the form arose from a diverse range of international theatrical experiments led by highly influential avant-garde practitioners, which gained enough notoriety and exposure to influence a range of other theatre makers. It examines Antonin Artaud, Bertolt Brecht, Richard Schechner, Tadashi Suzuki, and Heiner Müller, alongside a range of broader contextual environments, to argue that an interest in the classical underpinned the development of postdramatic theatre.

Paul Dessau and the Hard Work of Socialist Music in the German Democratic Republic

2019 ◽  
Vol 16 (1) ◽  
pp. 51-66
Author(s):  
MARTIN BRADY
Keyword(s):  
German Democratic Republic ◽  
Choral Music ◽  
Democratic Republic ◽  
Bertolt Brecht ◽  
Hard Work ◽  
New Music ◽  
Avant Garde ◽  
Heiner Müller

AbstractThis article examines the labour of socialist music in the German Democratic Republic, focusing on composer Paul Dessau's use of political cryptography and quotation in a number of compositions from the opera The Condemnation of Lukullus (1950) through to Choral Music No. 5 (1976). Most famous for his collaborations with Bertolt Brecht, Dessau was the leading avant-garde composer of the GDR and its chief practitioner of serialism. He believed that only difficult, progressive New Music could convey the struggle(s) of socialism. This brought him into conflict with the authorities, who accused him of formalism. Choral Music No. 5 is a setting of a poem by Heiner Müller based on a speech by Erich Honecker (Žižek refers to the text as an ‘obscenity’). Dessau's composition is complex and dialectical, abrasive in its rhythms and counterpoint, and pluralistic in style. It is the embodiment of Dessau's belief in socialist music as rewarding hard work.

scholarly journals The role of mask in art culture of the Russian Silver Age

2020 ◽  
pp. 77-93
Author(s):  
Natal'ya Borisovna Kirillova
Keyword(s):  
Social Life ◽  
Communication Process ◽  
Special Role ◽  
Silver Age ◽  
Avant Garde ◽  
The Public ◽  
The People ◽  
History Of ◽  
Analysis Of Dynamics

The subject of this article is the role of mas in art culture of the Silver Age as a peculiar era of the “Russian Renaissance”. The term was introduced by N. A. Berdyaev and is present in a number of hisp philosophical writings. The object of this research is the Silber Age, perceived by the author as a somewhat mythological concept. Within the history of Russian culture “Golden Age” is attributed to the time of Pushkin, while “Silver Age” is a period of the bloom of modernism at the turn of XIX-XX centuries, when creative revival coincided in the visual and scenic arts, literature, music, science, and social life. The goal of this work consists in the analysis of dynamics and interconnection between artistic pursuits of the era of Russian modernism and the role of mask in this process The research results testify to the fact that in the Silver Age art prevails the cult of mask as a so-called challenge, protest against reality, which defined its special role in the works of painters, theatrical designers, symbolist poets, avant-garde filmmakers, whose experiments were aimed at determination of the new forms of relationships between art and the public. The relevance of study is substantiated by “interchange” of eras: new trends in development of sociocultural sphere of turn of XX-XXI centuries, when mask came into the people’s everyday life, and the image (persona) becomes an intrinsic part of communication process.

scholarly journals Introduction: Literary Advice from Quill to Keyboard

2020 ◽  
pp. 1-43
Author(s):  
Anneleen Masschelein
Keyword(s):  
Henry James ◽  
Creative Industries ◽  
Avant Garde ◽  
Publishing World ◽  
The Usa ◽  
History Of ◽  
Anglo American ◽  
The Uk ◽  
Cultural And Creative Industries

AbstractThis chapter presents a brief history of the dominant, Anglo-American literary advice tradition from the nineteenth century to the present as well as a state of the art of the existing scholarship on literary advice. We focus on several key moments for literary advice in the USA and in the UK: Edgar Allan Poe’s “Philosophy of Composition” (1846), the debate between Sir Walter Besant and Henry James surrounding “The Art of Fiction” (1884), the era of the handbook (1880s–1930s), the “program era” (McGurl 2009) and postwar literary advice, the rise of the “advice author” in the 1980s and 1990s, and finally advice in the “digital literary sphere” (Murray 2018). The overview captures both the remarkable consistency and the transformations of advice, against the background of changes in the literary system, the rise of creative writing, changes in the publishing world, and the rise of the Internet and self-publishing. It highlights the role of some specific actors in the literary advice industry, such as moguls, women, and gurus, and draws attention to a number of subgenres (genre handbooks, self-help literary advice, and the writing memoir),  as well as to counter-reactions and resistance to advice in literary works and in avant-garde manuals. Advice is regarded both in the context of the professionalization of authorship in a literary culture shaped by cultural and creative industries, and of the exponential increase of amateur creativity.

scholarly journals URBAN ROLE OF THE LENINGRAD PALACES OF CULTURE OF THE FIRST THIRD OF THE XX CENTURY ON THE EXAMPLE OF PETROGRADSKY AND VASILEOROVSKY DISTRICTS

2020 ◽  
pp. 76-81
Author(s):  
N. Dubrovina
Keyword(s):  
Twentieth Century ◽  
Urban Planning ◽  
Avant Garde ◽  
Spatial Framework ◽  
History Of ◽  
Regional Centers ◽  
The City

In Russia, the experience of restoration of architectural monuments of the twentieth century totals only a few decades, and this process turned out to be complex and contradictory. It becomes obvious that, in comparison with the history of classical restoration, the “new heritage” requires the formation of its own restoration methodology. During the restoration and reconstruction of the Palaces of Culture of the first third of the twentieth century, it is necessary to take into account the characteristics of the building itself and the urban planning situation. The Palace of Culture, as a special type of building, must be studied in its historical environment. All Leningrad Culture Palaces are designed as important elements of urban planning regional centers. The placement of the Palace of Culture in the district structure was carefully selected based on the urban planning situation and with the aim of creating a new cultural and planning center, and in some cases, an urban ensemble. This paper discusses the design and contemporary urban importance of the Palaces of Culture of the era of the avant-garde of the Petrogradsky and Vasileostrovsky districts of Leningrad (modern St. Petersburg), namely the Lensoviet Palace of Culture and the Palace of Culture named after S. M. Kirov. It is established that the Palaces of Culture in question are important elements of the urban planning ensemble in the compositional and spatial framework of the city and / or part of the architectural and urban planning complex of buildings of regional significance.

scholarly journals The role of I. V. Stalin in the history of architecture

2021 ◽  
Vol 18 (68) ◽  
pp. 23-25
Author(s):  
Alexander Rappaport
Keyword(s):  
Front Line ◽  
Avant Garde ◽  
Environmental Standard ◽  
General Line ◽  
History Of ◽  
History Of Architecture ◽  
The Common

We have long regarded beating babies of avant-garde to be the most serious cultural crime, which threw the USSR back from the front line of architecture by 20-30 years and made them start from the beginning in 1960. If Stalin had seen a mainstream for architecture in that advanced idea and supported it, we would have had quite a different Soviet architecture today. His choice put an end to the constructivism utopia, according to which architecture would become a technical means of life organization. Ginzburg’s constructivism of the 1920s was a clear program of the common style and environmental standard, which could make an oppressive impression in the hands of third-rate doers. Unrealized opportunities of constructivism now don’t look so desirable. The paradoxicality of choosing academism and Stalin’s Empire style has probably another logic, a logic of reflexive frauds and false pretenses. However, if constructivism had remained as a general line for about 30 years, we would have had a kind of culture resembling Orwell more than anything else.

scholarly journals Formation of Creative and Professional Dialogue of the Avant-gardists of the World: Interpretational Model by Bengt Jangfeldt

2019 ◽  
pp. 105-112
Author(s):  
Svitlana Kholodynska
Keyword(s):  
Structural Element ◽  
Personal View ◽  
Fundamental Study ◽  
Theoretical Understanding ◽  
Avant Garde ◽  
Russian Futurism ◽  
Wide Circle ◽  
History Of ◽  
Traditional Approaches

The article analyses fundamental study Stake is Life by the profound Swedish writer, scholar of Slavistics and translator of Russian poetry of the first half of the 20th century Bengt Jangfeldt in which the main attention focuses on the personality of V. Mayakovsky and his milieu. The article shows how the Swedish scholar proposed personal view of the role and place of futurism within the logics of Russian avant-garde establishment and development. Timeliness of study B. Jangfeldt’s viewpoint is motivated by the fact that the material he used in his work is of relevance to the history of Ukrainian futurism. Methodology of the study is stipulated by the specific character of the article theme and based on historical and chronological methods, as well as on the personalization principle as structural element of biography methodology. The study aims to introduce existing research space to a wide circle of both scholars and readers who are keen on theoretical understanding of avant-garde. The novelty of the study lies in a broad representation of scholars’ interpretational model concerning the place and the role of futurism in the logic within establishing and development of Russian avant-garde compared to out-of-dated and traditional approaches to Russian futurism. Actual importance of the study lies in analyzing creative and professional dialogue formation between European and Russian and Ukrainian avant-garde. Conclusions. It is noted that timing of appealing to B. Jangfeldt’s view is provoked by the fact that the material researched by the author is relevant to Ukrainian futurism history.

scholarly journals Dadaism in the Dynamics of the Development of European Avant-garde

2019 ◽  
pp. 54-62
Author(s):  
Olena Onishchenko
Keyword(s):  
European Countries ◽  
Italian Futurism ◽  
Avant Garde ◽  
History Of Development ◽  
History Of ◽  
The Aesthetic

The article focuses on the history of development and the establishment on the European cultural territories of Dadaism. Based on the chronological approach, it shows the place of Dadaism in the dynamics of the first experiments of French (Fauvism) and Italian (Futurism) avant-garde. Despite the lack of consistency in the aesthetical and artistic orientations of the Dadaists, the scatteredness in individual articles and manifestos of their ideas, the starting points should be the theses on the relation of the “Dada” art and “reality”, which at the turn of the 19th – 20th centuries, was distorted by poets and painters. Dada offers its own vision of “reality”, where various aspects of it can intersect, namely, social and artistic. The article considers originality of both the aesthetic and artistic, and political and ideological orientation of German and Swiss Dadaists, as well as the role of Dadaism in the formation of surrealism. It states that the theoretical searches of the Dadaists need further analysis, since their scientific explorations of the 1920s-30s went beyond the borders of European countries and aroused considerable interest among those writers and poets who, starting 1914, formed and developed the “Ukrainian model of futurism”. The author analyzed the most indicative artistic and expressive means “worked out” in the process of Dadaistic searches and confirmed the original aesthetic platform of this direction during the 1910s-30s conditions.

Hikmet, Nâzım (1902–1963)

2018 ◽  
Author(s):  
İpek Kismet Bell
Keyword(s):  
World Literature ◽  
Bertolt Brecht ◽  
Marxist Theory ◽  
Pablo Neruda ◽  
Turkish Republic ◽  
Avant Garde ◽  
Louis Aragon ◽  
Political Views ◽  
History Of ◽  
Narrative Poem

Nâzım Hikmet (Ran) (b.January 15, 1902, Thessaloniki–d.June 3, 1963, Moscow) was a Turkish poet, playwright, novelist, and screenwriter who spent nearly fifteen years of his life in prison due to his political views. He is considered to be one of the leading figures of twentieth-century world literature and has been compared to such literary figures as Louis Aragon, Bertolt Brecht, and Pablo Neruda. His work, which has been translated into many languages, is imbued with an avant-garde aesthetics, marked by formal experimentation, and informed by Marxist theory. Among his most well-known works are Memleketimden İnsan Manzaraları (Human Landscapes from My Country), which covers the history of the Ottoman Empire/Turkish Republic between 1908 and 1945 in a five-volume literary piece consisting of verse, dramatic sequences, and prose; Şeyh Bedreddin Destanı (The Epic of Sheikh Bedreddin), a highly political and reformist extended prose poem which demonstrates Hikmet’s formal experimentation, and Taranta-Babu’ya Mektuplar (Letters to Taranta-Babu), a narrative poem promoting Hikmet’s antifascist views. The Turkish military began persecuting Hikmet in 1935 for his views found in this poem which led to numerous imprisonments and finally to the revoking of his Turkish citizenship. Hikmet’s Turkish citizenship was restored posthumously in 2009.

The role of alcohol in Canadian family food practices: Commensality, identity, and everyday tastes

2019 ◽  
Vol 6 (2) ◽  
Author(s):  
Brent Hammer ◽  
Helen Vallianatos
Keyword(s):  
Cultural Values ◽  
Alcoholic Beverages ◽  
Identity Change ◽  
Cultural Groups ◽  
Diverse Range ◽  
Food Practices ◽  
Changing Roles ◽  
History Of ◽  
Study Participants

The authors use an anthropological lens to examine the role of alcoholic beverages and their consumption within everyday food practices of contemporary Canadian families. Anthropology and anthropologists have a long history of interest and fascination in the ceremonial and ritual use of alcohol within a diverse range of societies and cultural groups. The focus has typically been on the positive social and cultural values of these practices. In this exploratory study, the authors draw on data gathered from a cross-Canada project exploring Canadian family food practices. As part of this study, participants were asked to take photographs of images they felt represented their everyday family food practices. The authors examine participants’ discussions of photographs they took containing images of alcoholic beverages. Findings represent three themes which suggest the diverse and changing roles that alcohol may have within a contemporary Canadian context: commensality and the taste experience; everyday tastes; and taste and identity change.

Comment

1969 ◽  
Vol 11 (4) ◽  
pp. 403-412 ◽  
Author(s):  
Thomas S. Kuhn
Keyword(s):  
History Of Science ◽  
Major Conclusion ◽  
Developmental Patterns ◽  
Avant Garde ◽  
Scientific Revolutions ◽  
Science And Art ◽  
The World ◽  
History Of

For reasons which will appear, the problem of the avant-garde, as presented by Professors Ackerman and Kubler, has caught my interest in unexpected and, I hope, fruitful ways. Nevertheless, both on grounds of competence and because of the nature of my assignment, my present remarks are directed primarily to Professor Hafner's rapprochement of science and art. As a former physicist now mainly engaged with the history of that science, I remember well my own discovery of the close and persistent parallels between the two enterprises I had been taught to regard as polar. A belated product of that discovery is the book on Scientific Revolutions to which my fellow contributors have referred. Discussing either developmental patterns or the nature of creative innovation in the sciences, it treats such topics as the role of competing schools and of incommensurable traditions, of changing standards of value, and of altered modes of perception. Topics like these have long been basic for the art historian but are minimally represented in writings on the history of science. Not surprisingly, therefore, the book which makes them central to science is also concerned to deny, at least by strong implication, that art can readily be distinguished from science by application of the classic dichotomies between, for example, the world of value and the world of fact, the subjective and the objective, or the intuitive and the inductive. Gombrich's work, which tends in many of the same directions, has been a source of great encouragement to me, and so is Hafner's essay. Under these circumstances, I must concur in its major conclusion: ‘The more carefully we try to distinguish artist from scientist, the more difficult our task becomes.’ Certainly that statement describes my own experience.

Sign in / Sign up

Export Citation Format

Share Document