Suchergebnisse

This chapter discusses the history of bicycle art, examining how artists from the early twentieth century onwards have used the bicycle as a device for exploring issues of identity, injustice and inequality. The discussion considers work by a number of artists from around the world, but the principal case studies are contemporary artists Ai Weiwei and Rainer Ganahl. This chapter examines the way these artists have used the bicycle as the symbolic device through which to explore questions of contemporary capitalism and technology, political repression and freedom of movement, economic inequality and nationhood, as well as masculinity, sexuality and individual identity. Both artists have also used the bicycle as a tool with which to make art in a variety of media, and this chapter argues that their work invites us to reflect upon cycling cultures and the bicycle's transformative political potential as a device that enables us to see and experience the world differently.

This article discusses a philosophical perspective the relationship between fine arts Division proposed by Kant and Hegel. Aims to clarify the approaches and distances between the Division of fine arts presented by philosophers, pointing out their similarities and differences. Basing your analysis on 'The Critic of Judgement of 1790 and Aesthetics Courses' (1820-21), respectively prepared by Immanuel Kant and Friedrich Hegel. Performs a comparative analysis between the Division of Kantian and Hegelian fine arts. Features initially the Division of fine arts on Kantian perspective, addressing the concept of beautiful art, your classification and your hierarchy, according to the philosopher of Königsberg. Then, the Division of the arts according to Hegel, introducing the concept of your beautiful, artistic forms of symbolic art, classical and romantic, exposing and analyzing also the private Arts according to the philosopher of Stuttgart. Concludes that, despite the differences between the two analyses on the Division of fine arts, such as the defense of Hegel in beautiful artistic relationship and of Kant to the beautiful natural, the Hegelian claim that there is a science of the beautiful while the Kantian conception is that there is no science of the be it, for example, featured philosophers agree, among other things, that poetry occupies the highest place in the hierarchy of the fine arts, being the more spiritual and free them.

Intro -- Half Title Page -- Title Page -- Copyright -- Dedication -- Contents -- List of Illustrations -- Acknowledgments -- List of Abbreviations -- Introduction: A Female Secession -- Part I Women's Art Education -- 1. The Art of Unlearning at the Viennese Women's Academy, 1897-1908 -- 2. Surface Decoration and the Female Handcrafts in the Böhm School -- 3. Separate but Equal? Academic Accreditation and the Question of a Female Aesthetic at the Viennese Women's Academy, 1908-28 -- Part II The Female Secession -- 4. Kinderkunst and Frauenkunst at the 1908 Kunstschau -- 5. The Birth of Expressionist Ceramics: "Crafty Women" and the Interwar Feminization of the Applied Arts -- 6. Decorative Trouble: Collectivity, Craft, and the Decorative Women of the Wiener Frauenkunst -- Conclusion: The Collapse of the Female Secession, 1928-38 -- Notes -- Bibliography -- Index.

Pasadas de moda las especulaciones sobre «el fin del arte» y «el fin de la historia», el entramado discursivo y conceptual que les dio forma en el debate norteamericano se vuelve evidente como parte estructural de su objeto. Su pregunta fundamental es aquella por la relación del presente con el pasado histórico y por la historicidad de esa relación. La trilogía novelística The Dancers at the End of Time (1972–1974–1976), de Michael Moorcock, simultáneamente enuncia, dramatiza y encarna esta preocupación. El autor —emblemática figura del fantasy y la ciencia ficción de la segunda mitad del siglo XX— proyecta hiperbólicamente sobre un futuro remotísimo una constelación de referencias culturales que evocan a la vez el fin de siècle decimonónico y «la posmodernidad». El conflicto se cataliza al irrumpir una mujer procedente de 1896 en la neoesteticista sociedad del Fin del Tiempo. Para comprender la propuesta y la importancia histórica de la serie, este artículo reúne en un mismo plano comparatístico la teorización implícita en este producto de genre fiction y las «ficciones teóricas» de autores como Jameson, Danto, Huyssen, Fukuyama, Sontag y Baudrillard. Particularmente se interroga sobre el impacto político–ideológico del reconocimiento de la constructibilidad de las «épocas» (pasadas y presentes) y sobre la posibilidad de una redención de la historia, entre los mitos del progreso y la decadencia. ; Long after the speculations regarding «the end of art» and «the end of history» reached their peak, the discursive and conceptual framework that shaped them in the American debate has become evident as a structural part of its own object. Its main concern is the relation between the present and the historical past and the historicity of such a relation. Michael Moorcock's novelistic trilogy The Dancers at the End of Time (1972–1974–1976) simultaneously states, dramatizes and embodies this concern. The author —one of the leading figures of fantasy and science fiction in the second half of the twentieth century— imagines a far-future scenario that hyperbolically feeds off both fin-de-siècle and «postmodern» cultural references. The sudden appearance of a woman coming from 1896 in the neo-aestheticist society of the End of Time acts as a catalyst for the dramatic conflict. In order to understand the series' qualities and its historical relevance, this papers builds a comparative framework joining the implicit theorizing in this product of genre fiction and the «theoretical fictions» of authors such as Jameson, Danto, Huyssen, Fukuyama, Sontag and Baudrillard. Above all, it examines the political and ideological impact of acknowledging the fabricated nature of «epochs» (past and present) as well as the possibility of redeeming history, between the myths of progress and decadence.

Sponsorship in sport is a rapidly growing part of the business
scene. Association with success or the right image can reap rich rewards
but there is also a danger of allowing enthusiasm for a sport run away
with your company′s money. Selecting a sponsorship target, choosing a
sport which provides an appropriate image for your company, and making
professional use of your sponsorship, are all vital to a successful
campaign.

The study considers the historical and cultural situation of the Stavropol Territory in 1950s–1970s. The analysis of the influence of ideas and policy of socialism on the development of trends in paintings of regional artists has been performed from a historical perspective. The historical and cultural approaches serve as a methodological background of the study. The relevance of evaluating the pieces of socialist realism art is theoretically substantiated. The study reveals the peculiarities of reflecting the events of 1950s–1970s in the artistic culture of the Stavropol Territory. The collections of Stavropol museums served the example for identifying the historical context and main ideas of artistic paintings, in which local artists depicted the regional history. It is concluded that the essence of the basic aesthetic principle of the considered time period was artistic communication. The scientific novelty of the study is to apply a historical approach in the analysis of artistic museum collections. The results of the research can be used when studying the history of the Stavropol territory during the Soviet period. They can also be applied in higher and secondary institutions providing education in fine arts when developing special courses on the history of fine arts in the Stavropol Territory.