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Contrastive study of the trend of metamorphosis of political activism using theatre in the twentieth and twenty-first century

100%
Joseph, Waliya, Yohanna
International Journal of Pedagogy, Innovation and New Technologies
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2017
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vol. 4(1)
80-86
EN
Ever since antiquities, theatre has been a medium of provoking sentimental reaction and an entertainment of the populace especially the elite. Authors of this genre do present active noble characters in their works making as if it is real. We do learn in Greco-Roman Empire how amphitheatre hosted Caesars, their officials and empiric subjects watching the gladiators and the persecuted Christians in the medieval era. Fifty years of cinema and the television as well as the new media have changed the mind-set of the global community towards life in general to form a unique interconnected universal cultural chains. In this research, we would like to use political activism theories called pluralist theories of Norris Pippa as critical lens to analyse the trend of political activism in the modern theatre of the early 21st century in comparison to that of the 20th century which led to violent revolutionary movements.
2

The Discovery of Alsatian Space in the Regionalist Art Historiography of the First Half of the 20thCentury

100%
Trifescu V.
Acta Universitatis Sapientiae, Philologica
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2014
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vol. 5
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issue 2
241-254
EN
Our paper tries to analyse the way in which the regional identity of art historiography in Alsace came into being in the 20th century. Similarly to Transylvania, Alsace represented a highly disputed territory, being claimed by two hostile nations. We shall focus upon the regionalist point of view, which used to be overshadowed by the official nationalist discourse of the centres, Paris and Berlin. We shall examine the way in which a regional identity was invented through works of art. Regionalist art historians did no longer speak of the existence of French or German art in Alsace, but of the existence of an Alsatian art individualized within European art. We shall also emphasise the role the genius loci and regional geography played in forging this new identity.
3
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Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism

75%
Mance I.
Artium Quaestiones
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2019
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issue 30
191-209
EN
The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that it should therefore be considered an equally valuable movement of contemporary art. However, in order to defend its authenticity, he began adhering to the ab ovo theory, the notion that naïve art does not arise as a cumulative result of the historical development of art, but that it ontologically precedes that development. The naïve artist, according to Gamulin, always starts from the beginning, independent of events in the art world, and immune to influences. A naïve artist is therefore necessarily authentic, or rather original: not having any role models, he develops an individual style, independently building his own visual arts language. Gamulin further posits that the visual arts language of the naïve is not based on a naive imitation of reality, or mimesis, but on an instinctive, spontaneous symbolisation of subjective experience, and as such is completely autonomous in relation to the laws of reality, i.e. it is ontologically grounded in the artist’s imagination. Finally, in an effort to explain the social significance of naïve art, Gamulin interprets the emergence of the naïve in the context of the culture of modernism as compensation – a supposedly naïve attitude to aesthetic norms, as well as an imaginarium that evokes “lost spaces of childhood,” necessarily functions as a therapeutic substitute for the alienation of art and the modern life in general. As such, Gamulin’s theory vividly testifies to the character of naïve art as a phenomenon that is constitutive of the culture of modernism, but that also reflects a number of contemporary polemics and split opinions, not only on the topic of the naïve but of modernism as a whole. The split of opinions on naïve art, especially with regard to its genesis, partly reflects the positions of the so-called conflict on the left, discussions that were taking place between the interwar period and early 1950s with the aim of defining the relationship of leftist ideology to modernism, or rather the relationship between the values of socially-critical engagement and aesthetic autonomy. The discussion on the naïve, however, experienced a certain changing of sides– Grgo Gamulin, a one-time advocate for socialist realism, began supporting naïve art and thus rose to the defence of basically liberal understanding of modernism, while former opponents of socialist realism denounced the phenomenon of the naïve as ideologically inconsistent and aesthetically doctored. In conclusion, Gamulin’s theory, as well as the entire polemic around naïve art that was taking place during the 1960s and which the theory necessarily ties in with, demonstrates the complex contextual reality of a seemingly integral modernist paradigm, illustrating the confrontation of positions that is by no means peculiar to Yugoslav society.
4
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Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn

75%
Krispinsson C.
Artium Quaestiones
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2018
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issue 29
5-23
PL
Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder.  The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history:  the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why? In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history.  Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance. 
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Returns to Kobro: Reconfigurations of the Myth and Figure of a “Great Artist”

51%
Rejniak-Majewska A.
Rocznik Historii Sztuki
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2022
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issue XLVII
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