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.

Periods of accelerated societal change in European history have disrupted gradual alteration in the landscape, creating breaks with the past. This has led to, what we refer to as, the contemporary landscape identity complex in the Netherlands. Composed of dissonant narratives surrounding the landscape that play out on the societal level, the contemporary landscape identity complex may create tensions that can obstruct conservation efforts. In this article, we map out this complex. Three narrative clusters, distilled from literature and supplemented (...) by interviews, aid in understanding the tension regarding the future of the Dutch contemporary rural landscape, namely: ‘the utilitarian narrative’, ‘the romantic narrative’, and ‘the eco-scientific narrative’. The contemporary landscape identity complex is fed by these narratives, specifically through how rural landscapes are imagined and discussed, as opposed to how they are lived and acted upon. The way such narratives play out in practice is further investigated through a case study on the ‘Bommelerwaard’, an area in the south-central of the Netherlands. From our results, we propose a pathway to reconcile the contemporary landscape identity complex towards a landscape conservation ethic that allows for a co-existence of a diversity of images and ideas about (semi-) natural landscapes. (shrink)

My aim in this paper is to address some difficulties related to the development of an emerging research program called world art studies. While it originates as a European discipline in the German scholarly tradition around 1900, this program comes to the fore only recently, with recent advances in natural and cognitive sciences which hold promise for providing more inclusive categories that could serve the study of art as a worldwide phenomenon. I focus more specifically on the strengths and (...) weaknesses of psychology as explanatory framework for world art studies. Unlike the romantic art historiographers of the late 19th century, contemporary scholars no longer dwell on collective mentalities or spirits of an age but the problem of postulating mysterious faculties in relation to art behavior and aesthetic response is still present when adopting as an entry point the universality of human nature. (shrink)

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one (...) of two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...) of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)

Presently, Australian art histories do not adequately account for the existence of Aboriginal art. They tend to re-present and accentuate European constructions of difference, otherness and isolation, rather than explore sites of intersection or look for similarities. A radical readjustment of perspective is needed in order to address this imbalance. This article suggests that although Smith’s writing on Aboriginal art does not provide a suitable basis for this revision, his evaluation of European visual culture during the early exploration (...) of the Pacific might form a useful starting point for an art historical reassessment of the relationship between Aboriginal and Australian art. (shrink)

This study examines the changing role of art and artist during the turn-of-the-century period, offering a consideration of the multiple dichotomies of art and life, aesthetics and economics, production and consumption, and centre and periphery.

"Discusses the European interpretation of the Pacific in the late eighteenth and early nineteenth centuries. It considers the work of artists attached to scientific voyages of discovery and exploration from the time of Cook to the time of Dumont d'Urville and elucidates the ways in which their work is related to the scientific interestes and prevailing ideas of their eras."--Book jacket.

_A bold revision of the history of European art, told through the lens of neuroscience_ Ambitious and much anticipated, this book celebrates the value of recent neuroscientific discoveries as tools for art-historical analysis. Case studies ranging across the whole history of European art demonstrate the relationships between forms of visual expression and the objects of visual attention, emotional connection, and intellectual interest in daily life, thus illuminating the previously hidden meanings of many artistic styles and conventions. Art historians (...) have until now concentrated on the conscious intentions of artists and patrons, but neuroscience provides insights into the role of non-conscious mental processes in the production and consumption of works of art. As John Onians powerfully argues, these insights have the potential to revolutionize cultural history. For the first time, an authority renowned for a more traditional approach has applied new neuroscientific knowledge to a wide range of art-historical problems, both familiar and fresh. The result is a provocative, original, and persuasive case for neuroscience as an aid to research in the humanities. (shrink)

This book examines the role of the EU in ensuring privacy and data protection on the internet. It describes and demonstrates the importance of privacy and data protection for our democracies and how the enjoyment of these rights is challenged by, particularly, big data and mass surveillance. The book takes the perspective of the EU mandate under Article 16 TFEU. It analyses the contributions of the specific actors and roles within the EU framework: the judiciary, the EU legislator, the independent (...) supervisory authorities, the cooperation mechanisms of these authorities, as well as the EU as actor in the external domain. Article 16 TFEU enables the Court of the Justice of the EU to play its role as constitutional court and to set high standards for fundamental rights protection. It obliges the European Parliament and the Council to lay down legislation that encompasses all processing of personal data. It confirms control by independent supervisory authorities as an essential element of data protection and it gives the EU a strong mandate to act in the global arena. The analysis shows that EU powers can be successfully used in a legitimate and effective manner and that this subject could be a success story for the EU, in times of widespread euroskepsis. It demonstrates that the Member States remain important players in ensuring privacy and data protection. In order to be a success story, the key stakeholders should be prepared to go the extra mile, so it is argued in the book. The book is based on academic research for which the author received a double doctorate at the University of Amsterdam and the Vrije Universiteit Brussels. It builds on a long inside experience within the European institutions, as well as within the community of data protection and data protection authorities. It is a must read in a time where the setting of EU privacy and data protection is changing dramatically, not only as a result of the rapidly evolving information society, but also because of important legal developments such as the entry into force of the General Data Protection Regulation. This book will appeal to all those who are in some way involved in making this regulation work. It will also appeal to people interested in the institutional framework of the European Union and in the role of the Union of promoting fundamental rights, also in the wider world.. (shrink)

This book constitutes the strictly refereed post-workshop proceedings of the 11th International Workshop on Computer Science Logic, CSL '97, held as the 1997 Annual Conference of the European Association on Computer Science Logic, EACSL, in Aarhus, Denmark, in August 1997. The volume presents 26 revised full papers selected after two rounds of refereeing from initially 92 submissions; also included are four invited papers. The book addresses all current aspects of computer science logics and its applications and thus presents the (...) state of the art in the area. (shrink)

How have the theories of aesthetics which were worked out in europe evolved in america? are there widely differing standpoints between european and american aestheticians? what herrmann tried to do, to shed light on these questions, was to look over the issues of "the journal of aesthetics and art criticism" since 1941. thomas munro, a pupil of john dewey and founder of the journal tried to provide in the united states a broader and more open-ended and undogmatic platform for (...) aesthetics including such separate disciplines as philosophy, psychology, and cultural history. this interdisciplinary approach was an important part of his campaign against an a priori aesthetics. once this encyclopedic view concerning art and its theoretical understanding is adopted, one is in a position to go beyond the one-sided, partial, and dogmatic attitude in aesthetics that often dominates in european journals. the author concludes by considering an example that is closely related to contemporary aesthetics as well as to the present american scene. what is the reason that there have been so few articles on these contemporary art movements? (shrink)

An illustrated study of the early twentieth-century transformation from Expressionism to Constructivism and beyond in the Central European arts. Central European Avant-Gardes presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. (...) The borders between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today. The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by Timothy Benson, assisted by Monika Krol, is arranged around events and situations rather than by linear, art historical categories. It features hundreds of color plates and reproductions of documents; discussions of movements from Artificialism to Zenitism; essays on figures, publications, and exhibitions; and shorter "city views" of Belgrade, Berlin, Bucharest, Budapest, Cracow, Dessau, Ljubljana, £ódz, Poznañ, Prague, Vienna, Warsaw, Weimar, and Zagreb. (shrink)

In this first of two articles, I look at the project for the “Encyclopedia of Artistic Terminology” in connection with the idea of a synthesis of the “artistic sciences” as the principal task of the State Academy of Artistic Sciences (GAKhN, 1921–1930) in Moscow. The most important feature of the Academy was the unity of its epistemological conception (the system of artistic sciences) and the institutional structure of the Academy (its “departments,” “sections,” and “laboratories”), which embodied the interdisciplinary intention of (...) uniting the philosophy of art, the artistic sciences, and artistic experimentation. I analyze the connection of the project with the task of “concept formation” in the artistic sciences, which was recognized in European philosophy at the beginning of the twentieth century as the main criterion for scientificity in the human sciences. I also investigate how the Encyclopedia project, developed by Gustav Shpet, took into account previous attempts to systematize aesthetic terminology (in nineteenth-century dictionaries). I show that the project of the “Encyclopedia of Artistic Terminology” was not the sole attempt to create a new dictionary of aesthetic concepts and of the cultural sciences. Similar projects were being developed in the 1920s and 30s in Germany (Erich Rothacker planned to produce Handwörterbuch der gesamten gemeingeisteswissenschaftlichen und kulturphilosophischen Grundbegriffe) and in France (Étienne Souriau published Vocabulaire d’esthétique; see Souriau 2010). (shrink)

During the sixteenth and early seventeenth centuries, physics was regularly taught as part of instruction in philosophy and the arts at Central European schools and universities. However, physics did not have a special or privileged status within that instruction. Three general indicators of this lack of special status are suggested in this article. First, teachers of physics usually were paid less than teachers of most other university-level subject-matters. Second, very few Central European academics during this period appear to (...) have made a career out of teaching physics. And third, Reformation Era schools and universities in Central Europe emphasized language instruction; such instruction not only was instrumental in promoting the confessional-i.e., Calvinist, Lutheran, and Roman Catholic-agendas of those same schools and universities, but also helped to prepare students for service in nascent but growing state governments. (shrink)

The encounter of amateur science with synthetic biology has led to the formation of several amateur/do‐it‐yourself biology (DIYBio) groups worldwide. Although media outlets covered DIYBio events, most seemed only to highlight the hope, hype, and horror of what DIYBio would do in the future. Here, we analyze the European amateur biology movement to find out who they are, what they aim for and how they differ from US groups. We found that all groups are driven by a core leadership (...) of (semi‐)professional people who struggle with finding lab space and equipment. Regulations on genetic modification limit what groups can do. Differences between Europe and the US are found in the distinct regulatory environments and the European emphasis on bio‐art. We conclude that DIYBio Europe has so far been a responsible and transparent citizen science movement with a solid user base that will continue to grow irrespective of media attention. (shrink)

The European Legacy, Volume 17, Issue 4, Page 517-523, July 2012.

Examines how the modern city is portrayed in art and literature, discusses modernism, futurism, and expressionism, and looks at the work of Rilke, Eliot, Pound, Joyce, and Brecht.

3D digitization of social legacy has been utilized to safeguard data about colonial legacy items like design, craftsmanship, and trinkets. The 3-d unfolding of gadgets via improvements including elevated reality, augmented reality, and 3-d printing have affected the fields of expertise records and social legacy and features grow to be extra normal. However, concentrates on that go past the specialized parts of 3D innovation and treat such points as their importance for reclamation, protection, commitment, schooling, exploration, and morals scarcely exist. (...) The point of this paper is twofold: from one perspective, it expects to get a superior comprehension of the materialness of every innovation for various purposes gallery show, and, then again, it centers on the discernment of these innovations. This exploration was completed by joining a writing survey with quantitative and subjective investigations of the information procured through a study of SIX inquiries a. Given the analysis of this quantitative and personal information, we give a few measures to utilizing 3D digitized and printed multiplications to upgrade social encounters. The outcomes show the significance of cautiously planning 3D collaborations in the individual and social settings of end-clients and colonial establishments in a request to make genuine social encounters_._. (shrink)

By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...) the myth of economic rationality, street art can change people’s experience of finance, while opening up a space for imagining alternative economic scenarios. (shrink)

The scope of David Roberts’ book on the Total Work of Art is daunting. It stretches from the French Revolution through to the modernist avant-garde and its dissolution in totalitarianism. If Wagner is its chief leader and artistic animator, it also echoes back to Robespierre, Napoleon and Saint-Simon, and through at least to Bolshevism and Futurism, Stalinism and Italian Fascism. The total work of art totalizes the world of the artwork, but it also adds in the politics of the sublime, (...) turns politics into art and negates both as independent spheres of existence at the same time. In this piece I offer some observations on the thinking of a key switchman in this story: Leon Trotsky. (shrink)

The subject of this article is naive art, one of the important artistic trends of the XX - early XXI centuries. The object of the study is the main approaches of experts to the study of naive art. At the first stage: 1930s–1950s – a historical approach was formed, which is associated with the definition of naive art as one of the forms of amateur art, "hobby". At the second stage – the 1960s-1990s, the traditional approach is considered, which includes (...) the consideration of naive art as a separate artistic direction. Innovative approach: 1990-2000: determined by the study of naive art from the point of view of outsider art. The main contribution of the research is to determine the criteria of naive art as a separate direction, and in the context of a whole range of directions of non-professional art. These include amateur creativity, naive art, "borderline artists", art brut, the art of outsiders. Their main features are determined. The novelty of the research is a generalizing analysis of the presented approaches to the study of naive art of the twentieth century, the main criteria of naive art are clarified and described. During its attribution and examination, it will allow the most accurate and complete to give an art criticism assessment, to talk about the authenticity, authorship, historical value of specific works of naive art. (shrink)

Artworks are seen here as presenting themselves as a means by which to navigate and plot the city for a writing interlocutor; The examples discussed reveat a plethora of emergent forms which are concentrated into three key modalities of urban arts practice in the twenty-first century walking play and cultural memory walking includes the talked walks of artist such as Richard Wentworth, the generative street incursions of Francis Alys, and the walking spectator at a site-based event, including works by Gustv (...) Metzger, Mark Wallinger and Pavel Althamer. Play embraces popular instances of mass public mobilisation in the form of flash mobs and mobile clubbing as well as ̀creative interventions such as free ranning, graffin writing and video sniffing, which reveal themselves to be engaged increasingly in a dialogue with the ̀high art' of artists like Antony Gomely, Mark Quinn and Carsten Holler. Cultural memory is considered via the burgeoning cases of holocaust installations, interrogating two of the best-known- and controversial-European urban sites from the point of view of the physical encounters that they implicity invite Peter Eisenman's memorial in Bertin and Rachel Whitereads' in Vienna. --Book Jacket. (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

Tribal art , also termed ethnographic art or, in an expression seldom used today, primitive art , is the art of small-scale nonliterate societies. Some of the traditional artifacts to which the term refers may not be art in any obvious European sense, and many of the cultures where they occur may not strictly-speaking be tribal in social structure. The rubric nevertheless persists because the arts produced by small-scale cultures share significant elements in common. The tribal arts which have (...) gained the greatest attention in the West come from the Americas (such as the Inuit, Southwest and Plains Indians, and isolated areas of Central and South America), Oceania (including Melanesia and Australia, Polynesia and New Zealand), and Subsaharan Africa. The characteristics which define a small-scale, traditional society are (1) isolation, politically and economically, from civilizations of Europe, North Africa, or Asia, (2) oral traditions in the absence of literacy, (3) small, independent population groupings, usually in villages of no more than a few hundred souls who live a life of face-to-face social interaction and informal social control, (4) a low level of labor/craft specialization, (5) subsistence by hunting, fishing, and gathering and/or small-scale agriculture, (6) little technology beyond hand tools, and that often of stone rather than metal, and (7) slow rates of cultural change prior to European contact. Of this list, small size, lack of written language, and isolation from large civilizations are the essential features of societies whose art is discussed here. (shrink)

Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...) primitive art, there are special complications. First, objects of tribal art are sometimes so strange to us that we cannot tell immediately whether they are intended to be works of art (or some local analogue of what we would call art) at all.1An African head-rest I once came across had an odd, extravagant extrusion which made the whole piece reminiscent of Arp. It seemed to my baffled, ignorant eyes to be much more than a mere head-rest, but I couldn’t tell what more it was supposed to be. Maybe that extension on the side of the object had some purely utilitarian function, acting as a handle, or perhaps it was a natural part of the original block of wood, left there merely because it looked nice to the eye of the carver. Though the head-rest seemed beautiful, I still don’t know if I was admiring as an essentially expressive object some simple item of practical use, or something that combined expression and utility. (shrink)

ABSTRACTWhen encountering something unfamiliar, it is natural to describe and understand it by reference to what is familiar. Commentary on Chinese landscape painting usually relies heavily upon analogies with Western art. James Elkins, concerned to understand the implications of this procedure, asks whether in seeing and writing about this art we ever can escape our Western perspectives. His problem is not just that he himself does not know Chinese. Even bilingual specialists or native Chinese speakers employ this vocabulary, for the (...) vocabulary of contemporary art history, developed in the West, now is the language of academic art history everywhere. We know that we are distorting our descriptions of this Chinese art, even though we don't know how to “get it right.” In the history of European painting from Cimabue to the present, it would be hard to find any Western paintings that could be confused with any art made in China, so the frequent reliance of scholars upon such comparisons seems problematic. Of course, in the near future this situation might change. Perhaps in fifty years, as China becomes more prosperous, art history will become a hybrid discipline. At that point, the situation, which Elkins analyzes, will be reversed. But such a change is a long way in the future. (shrink)

This book is an introduction to the history of art as an institution, from its development in Central Europe to its global expansion through colonialism and diaspora. It considers how the class, gender, and race of artists function to challenge highbrow notions of art and develops the concept of nobrow as a way to democratize art in the future.

This is a multicultural philosophy of art applied to common American and European experience and discussed in relation to Taoist, Buddhist, Hindu, Native American, and African traditions.

The Eurozone Crisis is not just a monetary and economic challenge. It is as well the first tremendous challenge of the European Community and as well the national institutions and constitutions of the member states not only within the Eurozone. On one side the European Commission, the European Parliament and the ECB with its endeavours to safeguard and stabilize the single currency EURO within the Eurozone, to support the suffering countries in the south with its struggle against (...) speculative hedge funds, to render financial relief measures to those countries and its financial industry. Irrespective the fact governments and citizens within that countries, less appear to appreciate or honor that measures as efficient help to stabilize but condemn as form of European paternalism and patronage. On the other hand the countries and its citizenship especially in the north of the Eurozone to set a stop sign to the EU and the ECB. Therefore they stress the Maastricht criteria and cite the Art 125 of the TEU, which prohibits one nation to stand for or to be liable for the Government debts of another nation. Especially in the German perspective the demarcation line appears to run along between the European Commission, European Central Bank and European Court on the European side and the Bundesverfassungsgericht, the Bundesbank on the national German side. Each of the institutions feels to be bound to its origin functions and principles and save the respective constitution and the task rendered by that constitution. For a better understanding it is essential to get aware of and to reinforce the constitutional role which the Grundgesetz awarded to the Bundesverfassungsgericht and the Bundesbank and the German citizenship placing their confidence in these institutions. Es soll konkret das Verhältnis zur Nichtbeistandsklausel No-Bail-out Klausel Art 125 AEUVertrag, den Europäischen Fiskalpakt / dem ESFS, ESM / dem OMT-Programm der EZB, möglichen Entwicklung des EU zur Haftungs- und Transferunion mit einem zukünftigen Haftungsautomatismus der Mitglieder, der Unterscheidung von gemeinsamer Währungspolitik und nationaler Wirtschaftspolitik, der drohenden Vergemeinschaftung von Staatsschulden einzelner EU-Länder, die Budgethoheit des nationalen Parlaments als freie Entscheidung über die Verwendung des nationalen Haushaltes untersucht werden. Mit allen diesen Fragen mussten sich das höchste Deutsche und Europäische Gericht in jüngster Vergangenheit intensiv beschäftigen. (shrink)

Can we really trust the things our bodies tell us about the world? This book reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet, and Philippe de Loutherbourg, it argues that Romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how artists drew (...) upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of Romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy, and other popular sciences. This volume reorients conventional accounts of Romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them. (shrink)

The article is dedicated to Ukrainian Art Nouveau architecture, which became a unique phenomenon in the development of late nineteenth and early twentieth-century architecture. Along with the reality that architecture in Ukraine evolved as a component of the European artistic movement, a distinctive architectural style was formed, based on the development of the traditions of folk architecture and ornamentation. This style produced much innovation in the shaping, decor, and ornamentation of buildings. Significant contributions to the development of architectural modernism (...) in Ukraine were made by Opanas Slastion, Vasyl Krychevskyi, Yevhen Serdiuk, Oleksandr Verbytskyi, Serhii Tymoshenko, Oleksandr Lushpynskyi, Ivan Levynskyi, Dmytro Diachenko, and others. Ukrainian Art Nouveau architecture was represented by five main architectural styles: modernist, folkloric, rationalist, neo-baroque, and Vienna Secession. Due to an attainment of the possibilities embodied in the constructions, developed techniques, and in the design of interior space and external features — such as walls, roofs, doors and windows, columns and balustrades — this style formed its own expressive system, which included a significant number of socially significant types of buildings. The styles of Ukrainian architectural modernism have not exhausted their potential and may yet have a continuation in contemporary architecture and that of the future. (shrink)

A thorough historical survey of philosophies of the arts.

One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII – (...) early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized. (shrink)