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National Memory and Sacred Space in the Twentieth Century
This book examines the creation of Czech nationalism through monuments, buildings, festivals, and protests in the public spaces of the city during the twentieth century. These “sites of memory” were attempts by civic, religious, cultural, and political forces to create a cohesive sense of self for a country and a people torn by war, foreign occupation, and internal strife. The Czechs struggled to define their national identity throughout the modern era. Prague, the capital of a diverse area comprising Czechs, Slovaks, Germans, Poles, Ruthenians, and Romany as well as various religious groups including Catholics, Protestants, and Jews, became central to the Czech domination of the region and its identity. These struggles have often played out in violent acts, such as the destruction of religious monuments, or the forced segregation and near extermination of Jews. During the twentieth century, Prague grew increasingly secular, yet leaders continued to look to religious figures such as Jan Hus and Saint Wenceslas as symbols of Czech heritage. Hus, in particular, became a paladin in the struggle for Czech independence from the Habsburg Empire and Austrian Catholicism. Cynthia Paces offers a panoramic view of Prague as the cradle of Czech national identity, seen through a vast array of memory sites and objects. From the Gothic Saint Vitus Cathedral, to the Communist Party's reconstruction of Jan Hus's Bethlehem Chapel, to the 1969 self-immolation of student Jan Palach in protest of Soviet occupation, to the Hosková plaque commemorating the deportation of Jews from Josefov during the Holocaust, Paces reveals the iconography intrinsic to forming a collective memory and the meaning of being a Czech.
During the mid-twentieth century, Brazil as a country seemed to be fascinated with modernism. Middle-class people would read about it in popular newspapers and journals, then go about designing their own homes in the modernist style, using distinctive layouts and façades. In other words, modernist architecture was the popular architecture of Brazil.
Fernando Luiz Lara investigates how and why modern architecture became so popular in his native country, tracking the path of the dissemination as well as the economic, cultural, and political conditions that made it possible. He views it as a direct extension of the optimism and relative stability that spread throughout the country beginning in the 1950s.
This original and significant contribution to the field counters the traditional historiography of modernist architecture, and has broad applicability in examining the importance of the style throughout Latin America.
Connecting Technology, Aesthetics, and a Process Philosophy of Time
An original consideration of the temporal in digital art and aesthetics Eschewing the traditional focus on object/viewer spatial relationships, Timothy Scott Barker’s Time and the Digital stresses the role of the temporal in digital art and media. The connectivity of contemporary digital interfaces has not only expanded the relationships between once separate spaces but has increased the complexity of the temporal in nearly unimagined ways. Invoking the process philosophy of Whitehead and Deleuze, Barker strives for nothing less than a new philosophy of time in digital encounters, aesthetics, and interactivity. Of interest to scholars in the fields of art and media theory and philosophy of technology, as well as new media artists, this study contributes to an understanding of the new temporal experiences emergent in our interactions with digital technologies.
In this groundbreaking book, David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé.
The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism.
In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s forward.
Empire and the Politics of Scholarship, 1847–1918
Matthew Rampley’s The Vienna School of Art History is the first book in over seventy-five years to study in depth and in context the practices of art history from 1847, the year the first teaching position in the discipline was created, to 1918, the collapse of Austria-Hungary. It traces the emergence of art history as a discipline, the establishment of norms of scholarly enquiry, and the involvement of art historians in wider debates about the cultural and political identity of the monarchy. While Rampley also examines the formation of art history elsewhere in Austria-Hungary, the so-called Vienna School plays the central role in the study. Located in the Habsburg imperial capital, Vienna art historians frequently became entangled in debates that were of importance to art historians elsewhere in the Empire, and the book pays particular attention to these areas of overlapping interest. The Vienna School was well known for its methodological innovations and this book analyzes its contributions in this area. Rampley focuses most fully, however, on the larger political and ideological context of the practice of art history, in particular the way in which art historical debates served as proxies for wider arguments over the political, social, and cultural life of the Habsburg Empire.
Vol. 35 (2011) through current issue
Devoted to all aspects of the poetry and life of American modernist poet Wallace Stevens, The Wallace Stevens Journal has been publishing scholarly articles, poems, book reviews, news, and bibliographies since 1977. The Journal regularly features previously unpublished primary or archival material and photographs, as well as interpretive criticism of the writer’s poetry and essays, theoretical reflections, biographical and contextual studies, comparisons with other writers, and original art work. Increasingly international in orientation, this double-blind peer-reviewed journal welcomes a diversity of approaches and perspectives. Sponsored by The Wallace Stevens Society.
Women artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also encountered prevailing sexism, often an even more serious barrier.
Including seventy-two black and white illustrations, this book chronicles the challenges of women artists, who are in some cases unknown to the general public, and places their achievements in the artistic and cultural context of early twentieth-century America. Contributors to this first book on the women artists of the Harlem Renaissance proclaim the legacy of Edmonia Lewis, Meta Vaux Warrick Fuller, Augusta Savage, Selma Burke, Elizabeth Prophet, Lois Maillou Jones, Elizabeth Catlett, and many other painters, sculptors, and printmakers.
In a time of more rigid gender roles, women artists faced the added struggle of raising families and attempting to gain support and encouragement from their often-reluctant spouses in order to pursue their art. They also confronted the challenge of convincing their fellow male artists that they, too, should be seen as important contributors to the artistic innovation of the era.