His father was a master harness maker, and his mother was the daughter of a harness maker, though she was better educated than most women of her social class. Pietism was an evangelical Lutheran movement that emphasized conversion, reliance on divine grace, the experience of religious emotions, and personal devotion involving regular Bible study, prayer, and introspection.
But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power.
For the last twenty Part vi the twentieth century essay neither matter nor space nor time has been what it was from time immemorial. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.
Marx directed his efforts in such a way as to give them prognostic value. He went back to the basic conditions underlying capitalistic production and through his presentation showed what could be expected of capitalism in the future.
The result was that one could expect it not only to exploit the proletariat with increasing intensity, but ultimately to create conditions which would make it possible to abolish capitalism itself. The transformation of the superstructure, which takes place far more slowly than that of the substructure, has taken more than half a century to manifest in all areas of culture the change in the conditions of production.
Only today can it be indicated what form this has taken. Certain prognostic requirements should be met by these statements.
However, theses about the art of the proletariat after its assumption of power or about the art of a classless society would have less bearing on these demands than theses about the developmental tendencies of art under present conditions of production.
Their dialectic is no less noticeable in the superstructure than in the economy. It would therefore be wrong to underestimate the value of such theses as a weapon. They brush aside a number of outmoded concepts, such as creativity and genius, eternal value and mystery — concepts whose uncontrolled and at present almost uncontrollable application would lead to a processing of data in the Fascist sense.
The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism. They are, on the other hand, useful for the formulation of revolutionary demands in the politics of art.
I In principle a work of art has always been reproducible. Man-made artifacts could always be imitated by men. Replicas were made by pupils in practice of their craft, by masters for diffusing their works, and, finally, by third parties in the pursuit of gain.
Mechanical reproduction of a work of art, however, represents something new. Historically, it advanced intermittently and in leaps at long intervals, but with accelerated intensity.
The Greeks knew only two procedures of technically reproducing works of art: Bronzes, terra cottas, and coins were the only art works which they could produce in quantity. All others were unique and could not be mechanically reproduced. With the woodcut graphic art became mechanically reproducible for the first time, long before script became reproducible by print.
The enormous changes which printing, the mechanical reproduction of writing, has brought about in literature are a familiar story. However, within the phenomenon which we are here examining from the perspective of world history, print is merely a special, though particularly important, case.
During the Middle Ages engraving and etching were added to the woodcut; at the beginning of the nineteenth century lithography made its appearance.Part 6: The Twentieth Century and Beyond.
Understanding of Music. STUDY.
PLAY. Music Styles. Expanded Schoenberg's idea of tone color being part of melody Music almost always very short. Bela Bartok. Hungarian Taught piano in hungary and wrote book for pedagogy Folksongs was the base of his music. Henry VI, Part 1, often referred to as 1 Henry VI, is a history play by William Shakespeare—possibly in collaboration with Christopher Marlowe and Thomas Nashe—believed to have been written in It is set during the lifetime of King Henry VI of England..
Whereas Henry VI, Part 2 deals with the King's inability to quell the bickering of his nobles and the inevitability of armed conflict. American Literature of the Twentieth Century Essay - The country as it was in the early part of the twentieth century was shaped toward regenerating and recovering from World War I, the Great Depression, and a lot of other socially-crippling disruptions that were forever altering the United States in a lot of different ways.
Introduction to Imaginative Literature. By Jeff Riggenbach. PART VI: THE ESSAY. An essay is a work of discursive prose or verse which is valuable, not alone or not at all for whatever information or philosophical truth it may contain, but rather, in whole or in part, for the thinking process, the cognitive style, the psycho-epistemology, it embodies, .
- The country as it was in the early part of the twentieth century was shaped toward regenerating and recovering from World War I, the Great Depression, and a lot of other socially-crippling disruptions that were forever altering the United States in a lot of different ways.
In this essay, I will be discussing several qualities that make. World War II: the Rise of the Superpowers, Free Study Guides and book notes including comprehensive chapter analysis, complete summary analysis, author biography information, character profiles, theme analysis, metaphor analysis, and top ten quotes on classic literature.