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NADIA PODZEMSKAIA

Piper text was compared with the first German version, discovered by Vergo in the Munich archive and dated, at the end of the typed text, August 3, 1909, as well as with the Russian edition, which consisted of the text of a paper presented by Nikolai Kul'bin on December 29 and 31, 1911 at the Second All

NICOLETTA MISLER

Chernetskaia's Expressonist dances, and, if we can believe Sidorov, was often present at the Laboratory demonstrations. 54 Never- theless, in spite of, or, rather, because of, the MONO Decree, a flurry of clandestine dance activity ensured.55 The Laboratory itself was not im- mune to criticism and insinuation

NATALIA CHERNOVA

- ater, but at no other venue. Alexander Yakovlevich Tairov will ... also be requested to allow our Studio to present White Mass in his theater with music by Scriabin, and also the one act ballet, The Tam- ing of Pantalon or the Love of Harlequin, with music by Shaminad. It has been decided to petition

NICOLETTA MISLER

November 28, 1923, with Baranov-Rossine speaking "On the Dynamics of Painting" and illus- trating his remarks with his so-called "Chrono-Form."" But the apparatus was rejected outright as being "dilettante" by the historians, critics, and scientists present, who included the psychologist Pavel Karpov, the

NATASHA KURCHANOVA

unconsciously."25 Similar to Shklovsky, Polivanov was concerned with a hidden content be- hind a sound-image. Polivanov's article, "Sound Gestures in Japanese Lan- guage," explored onomatopoeia - an exception from the theory of the sign as presented by Saussure, an instance of a poetic application of language

MATVEI KAGAN

being, as phenomena in the purity of being, they are not closed, not enclosed in their present or future alone. Were this not the case, they would be the dead manifestations of the departure from being, phenomena of destruction and not of being. They are all - together with art - not the dying out of

MILKA BLIZNAKOV

: the present period of trial, the immanent judgment, and the future salvation, but during our cen- tury this model has changed in one important aspect. As faith in divine revelation diminished with the advent of science and technology, the lat- ter became the more solid foundation for future prognoses

MILKA BLIZNAKOV

ex- periment, as, for example, at Inkhuk [Institute of Artistic Culturel initiated by Vasilii Kandinsky in 1920.45 A. Vesnin, a primary member of both the Constructivist movement and Inkhuk, presented his theoretical credo there in 1922, reinforcing Ginzburg's concepts of rhythm in architecture: "Our

MARTIN HAMMER and CHRISTINA LODDER

Gabo: Sixty Years of Constructivism, No. 25. 42. See N. Gabo and N. Pevzner [Antoine Pevsner), Realisticheskü manifest (Moscow: Second State Printing House, 1920), reproduced with Gabo's translation in Read, Gabo, 0 sert opposite p. 151 and pp. 151-52. The present quotation is from the authors' own

ELIZAVETA SOURITS

of the "new school," those who felt the re- strictions of the "academy," were also present in .11e concert halls where Dun- can appeared. So when she performed dances :hat were free-form improvisa- tions, a kind of antithesis to the strict danse d'�cole, appearing semi-nude and using concert music by