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The book analyses the collective career of the artistic profession in Brno and Vilnius and the necessity to copy the behavior of the elites of the Old Regime. The "noble" values, which shaped the artistic careers in the 19th century press, were charity, good taste, cosmopolitism and patriotism. The newspaper discourse disposed potential to integrate and to smuggle novelties by exposing old values.
Whilst much has been written about early modern urban history, the majority of this work has focussed on Western Europe with relatively little available in English on towns and cities in the former communist East. However, in recent years urban scholars have increasingly looked to a much more inclusive picture of Europe that compares and contrasts development across the whole continent. Dealing primarily with Bohemia, Hungary and the Polish-Lithuanian Commonwealth, this book provides an insight into a number of key issues concerning the economic, social and demographic trends in early modern East-Central European urban history. Taking a supra-national perspective, across a long time span, it examines the effects of migration, Reformation, state building and economic change on the transformation of medieval urban communities into early modern societies. Drawing on a wealth of primary sources, particularly the registers of new citizens kept by many towns and cities, a fascinating picture of urban development and social structure is reconstructed that not only tells us much about East-Central Europe, but adds to our knowledge of the whole continent.
This volume offers a comprehensive perspective on the relationship between the art scene and agencies of the state in countries of the region, throughout four consecutive yet highly diverse historical periods: from the period of state integration after World War I, through the communist era post 1945 and the time of political transformation after 1989, to the present-day globalisation (including counter-reactions to westernisation and cultural homogenisation). With twenty-three theoretically and/or empirically oriented articles by authors from sixteen countries (East Central Europe and beyond, including the United States and Australia), the book discusses interconnections between state policies and artistic institutions, trends and the art market from diverse research perspectives. The contributors explore subjects such as the impact of war on the formation of national identities, the role of artists in image-building for the new national states emerging after 1918, the impact of political systems on artists’ attitudes, the discourses of art history, museum studies, monument conservation and exhibition practices. The book will be of interest to scholars working in art history, cultural politics, cultural history, and East Central European studies and history.
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ
The present collection examines the complex interrelationship between the oral and the written and the problems of textualisation.
An examination of East-Central European history, this book looks to the past for the roots of the cleavage between the eastern and western regions of Europe and the reasons for the east-central countries' backward, reactionary nature; their slide into fascism and war; and the ultimate destruction of the region within the Stalinist orbit. East-Central Europe emerged as a distinct region as early as the 15th century, when, in sharp contrast to an expanding urban economy and a loosening of serfdom in the West, it pursued a brutal Second Serfdom. This development would determine much of its future course, as 19th century attempts to modernize society included revolutions from above and the abolishment of serfdom, while stubbornly retaining decisive feudal structures. After World War I, industrial developments created a semi-feudal, distorted capitalism, and the region soon saw the emergence of ultra-nationalist, fascist-style regimes whose actions would eventually lead to catastrophe. In the post-war era, the region found itself in the Soviet sphere. The short People's Democracy period attempted to purge its structure of feudal, reactionary and fascist remnants, but soon got destroyed as a distinct region by brutal Stalinization. The collapse of Communism did not restore its separate existence reintegration into the West requires a painful transition period with a yet uncertain outcome. Hodos produces a comprehensive, comparative overview of the centuries-old division, along with the resulting social, political, and economic consequences. Chapters on anti-Semitism and the Holocaust illustrate the stark differences between the regions.
Premodern History and Art through the Prism of Gender in East-Central Europe is a representative collection of current Czech research in premodern history and art history, using gender as a tool of analysis. The common denominators of the texts collected in this volume are the art history of the premodern period, gender perspectives, and, to a certain degree, the Czech milieu. The book is divided into four parts, based on area of interest, time frame, and research perspective. The first part sheds light on the state of research in the field of women's history—along with the implementation of the concept of gender—and highlights a certain paradigmatic conservatism of Czech art historiography. The second gathers contributions that analyze visual sources of Czech origin. The third includes texts that analyze gender issues on the level of literary representation. The final part presents two case studies that involve analysis of the premodern West European source base. Rywiková and Malaníková present this volume as an innovative way to introduce this specific segment of Central European art history to a broader audience in global academia.
Although the Middle Ages saw brilliant achievements in the diverse nations of East Central Europe, this period has been almost totally neglected in Western historical scholarship. East Central Europe in the Middle Ages provides a much-needed overview of the history of the region from the time when the present nationalities established their state structures and adopted Christianity up to the Ottoman conquest. Jean Sedlar’s excellent synthesis clarifies what was going on in Europe between the Elbe and the Ukraine during the Middle Ages, making available for the first time in a single volume information necessary to a fuller understanding of the early history of present-day Poland, the Czech Republic, Slovakia, Hungary, Romania, Bulgaria, Albania, and the former Yugoslavia. Sedlar writes clearly and fluently, drawing upon publications in numerous languages to craft a masterful study that is accessible and valuable to the general reader and the expert alike. The book is organized thematically; within this framework Sedlar has sought to integrate nationalities and to draw comparisons. Topics covered include early migrations, state formation, monarchies, classes (nobles, landholders, peasants, herders, serfs, and slaves), towns, religion, war, governments, laws and justice, commerce and money, foreign affairs, ethnicity and nationalism, languages and literature, and education and literacy. After the Middle Ages these nations were subsumed by the Ottoman, Habsburg, Russian, and Prussian-German empires. This loss of independence means that their history prior to foreign conquest has acquired exceptional importance in today’s national consciousness, and the medieval period remains a major point of reference and a source of national pride and ethnic identity. This book is a substantial and timely contribution to our knowledge of the history of East Central Europe.
The literary scholar Alfrun Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the ‘father’ of Prague Underground, Egon Bondy, to the neo-Dada Club of Polish Losers in Berlin. The works she considers are "underground" in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of ‘underground’ as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture. The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht). Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity.
This volume investigates the history of the representative assemblies of Sweden (the Riksdag), Poland (the sejm) and Hungary (the diaeta) in the final period of the ancien régime. It concentrates on the practices and ideas of parliamentarism and constitutionalism, and examines the ideologies that motivated the members of these parliaments. Attempts at the suppression as well as the restoration of the estates’ power in all these three countries are examined, as well as, in the case of Hungary, the establishment of popular representation that eventually replaced the estates. These three early modern representative assemblies have never before been explored systematically in a comparative framework.