The research presented the tagged (aesthetic and expressive characteristics in the works of Jean Dubuffet), so the research objective was: to know the aesthetic and expressive characteristics in the ...works of (Jean Dubuffet), and the research included four chapters. The aim of the research, the limits of the research, and the definition of terms. The second chapter included four topics. The first topic presented the aesthetic essence and style, while the second topic dealt with expressionism: approaches in concept and meaning. While the third topic was preoccupied with presenting the aesthetic and expressiveness in the drawings of modernity and beyond, while the fourth topic dealt with: Jean Dubuffet and the experience of raw art. The third chapter was devoted to research procedures. In order to achieve the aim of the research, a number of results were reached in the fourth chapter, including: 1- The aesthetic and expressive characteristics were manifested in all samples of the sample, including: instinct / emotion / mood / violence / madness / vulgarity / ugliness / distortion / rebellion / audacity / research, experimentation and innovation. 2- The value of his works and his artistic experience was embodied through his interest and fondness for raw art derived from the products of children, insane, and prisoners. He considered primitive and popular art as a source of aesthetic value for him at the expense of all aesthetic and philosophical concepts, as shown in Model (1 and 3).
According to many researchers, Russian formalists do not want to recognize the influence of German expressionism on their work. This statement leads to a distinction between both theories in many ...fields, such as the field of cinema. In this sense, it is common to read nuanced definitions of expressionism and formalism. The present article tends to verify the truthfulness of these definitions and to show that formalism could be an extension of expressionism through an analysis of two reference works:
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) (1926) by Rudolf Kurtz et
(
) (1927).
This collection, for the first time, explores women’s self-conceptions and representations of women’s and gender roles in society in their own Expressionist works. How did women approach themes ...commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, “New Man,” viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by—much belatedly—including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.
A evolução da linguagem musical em Hindemith e Schönberg, em dois pólos europeus de Berlim e Viena, de alguma forma se enraizou numa vertente comum nas obras de início do séc. XX, pela conexão ao ...movimento expressionista. Embora assumindo formas diferentes nos dois compositores, o direcionamento via um crescente atonalismo acompanhou a integração da estética expressionista, com temas de introspecção freudiana, sendo que a fragilidade psicológica explorada no Expressionismo como abordagem existencial e social se traduziu num cromatismo crescente até à dissolução total da tonalidade e, por redundância, numa anulação dos elementos constitutivos de discurso musical, enquanto o próprio discurso e a psique das personagens se fragmentavam, explorando os limites do possível ou do aceitável. Depois desta fase, cada um dos compositores seguiu o seu caminho, consolidando o seu próprio sistema musical numa reorganização cabal do material que, tendo passado por um processo de desconstrução extrema, reaparecia totalmente reorganizado.
En este texto propongo profundizar en una revisión histórica y antropológica de la construcción de la danza en la época de preguerra y posguerra, particularmente, desde el expresionismo alemán hasta ...las raíces de la danza Butoh en Japón. Esta revisión crítica nos permitirá comprender la importancia de la experiencia del cuerpo en la construcción y reconstrucción del sentido social, más aún en los contextos de crisis en los que la vida muestra sus más profundos quebrantamientos.
