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Szegedy-Maszák, Mihály

doi:10.1023/a:1010972830314

Cited by 4 publications

(7 citation statements)

References 4 publications

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“…26 Yet the idea that the photograph represented the objective condition of reality was also questioned from a number of perspectives in the twentieth century, primarily those that remind us that if the camera is impartial the photographers is not. 27 Perhaps of greater significance here, though, is the way in which the idea of an objective facsimile of phenomenal reality was constructed through photography. The historian Lindsay Smith has observed that prior to photography, 'painting's potential for verisimilitude had other determinants.'…”

Section: Trompe L'oeil Photography and Pictorial Realismmentioning

confidence: 99%

“…In early photographs of Greek ruins, for example, monuments are presented as being symbolic of the heights reached by classical civilisation as well as its inevitable decline, and thus indicative of Enlightenment notions of the sublime. 30 Whether these followed a picturesque, archaeological or political view of that sublime depended on the photographer and the immediate historical and personal context of the photograph's production. Felix Bonfil's photographs of the Parthenon from the 1870s were meant to instil in viewers a sense of Greek architecture's 'timeless perfection'.…”

Section: Trompe L'oeil Photography and Pictorial Realismmentioning

confidence: 99%

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Cheap Trick: Trompe l’oeil, photography and kitsch as economies of ‘the real’ in the discourses of modernity

Daly¹

2018

EMAJ

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ANNA DALY Cheap Trick: Trompe l'oeil, photography and kitsch as economies of 'the real' in the discourses of modernity ABSTRACT Critical accounts of kitsch that have been prompted by Clement Greenberg's 1939 theorisation of avant-garde art bear more than a passing resemblance to the nineteenthcentury critical reception of trompe l'oeil painting. Each of these critiques either accuse kitsch or trompe l'oeil artefacts of being both instigators and disseminators of a debased reality-a reality connected to the first waves of industrialised culture. This article examines the resemblances between these criticisms of kitsch and trompe l'oeil, especially in terms of what they reveal about the formalist-modernist conceptualisation of reality. By reviewing the literature that positions trompe l'oeil, photography and kitsch as superficially realistic modes of representation, the article aims to shed light on the discursive relations that produced a particular cultural conception of 'reality'. The implications of this approach have been well rehearsed in postmodern and poststructuralist accounts of mass culture, but the present discussion takes a different route by suggesting that a similar spirit of revision could be applied to artefacts that were not mass produced. This proves to be the case particularly where, as with nineteenth-century trompe l'oeil paintings, such artefacts have also been derided as cultural forms.

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Section: Trompe L'oeil Photography and Pictorial Realismmentioning

confidence: 99%

Section: Trompe L'oeil Photography and Pictorial Realismmentioning

confidence: 99%

Cheap Trick: Trompe l’oeil, photography and kitsch as economies of ‘the real’ in the discourses of modernity

Daly¹

2018

EMAJ

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“…Anna Fuchs 1 Dezső Kosztolányi (1885Kosztolányi ( -1936) is one of the greatest Hungarian writers in the first third of the 20 th century. However, his early articles have not been sufficiently examined in Hungarian reference literature.…”

Section: Turn-of-the-century Aestheticism In the Early Articles Of Dementioning

confidence: 99%

“…Although they are journalistic writings, they can be discussed as literary texts as well. Mihály Szegedy-Maszák, in his study on the early articles of Kosztolányi -although he primarily discusses the intellectual interest of the writer -also mentions the literary aspects of these texts 1 . Mihály Szegedy-Maszák emphasizes that, in these early articles, there are thematic similarities to the novels of Kosztolányi and also underlines -referring to Miklós Szabolcsi 2 -that the short stories of the turn of the century were influenced by the feuilleton genre.…”

Section: Turn-of-the-century Aestheticism In the Early Articles Of Dementioning

confidence: 99%

Turn-of-the-Century Aestheticism in the Early Articles of Dezső Kosztolányi

Fuchs¹

2010

trans

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Les premiers écrits journalistiques de Dezső Kosztolányi (1885-1936), écrivain, poète, traducteur et journaliste hongrois, peuvent être lus en tant que textes littéraires. L’esthétisme du tournant du siècle s’y illustre de façon spectaculaire. Les objets de la culture matérielle jouent souvent le rôle d’éléments décoratifs, phénomène à mettre en relation avec le culte de l’artificiel qui émerge dans la littérature du tournant du siècle en réaction au naturalisme. Ce culte est aussi à relier à cette époque avec le caractère esthétique de la religion. Les thématiques, mais aussi les formes du langage (l’accumulation des adjectifs et la syntaxe complexe qui renvoient au style de l’art nouveau) montrent que ces articles font partie intégrante de la littérature de l’époque. Plus important encore, plusieurs de ces écrits suivent le courant perfectionniste qui prévalait dans la littérature du tournant du siècle.

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“…On the whole, however, the usages of politai in archaic texts render this inclusion unlikely. It is difficult to imagine Pindar inviting all the politai to come and celebrate the victor of the Nemean Games and expecting the slaves to gather in the marketplace as well, or to see him grudging the gossip of slaves rather than that of free fellow-townspeople.20 The strong connection between polit- Szegedy-Maszak (1978), Holkeskamp (1999) 130-144, for the material on/of Charondas. Horn.…”

Section: Politai Poliitaimentioning

confidence: 99%

Becoming Citizens. Some Notes on the Semantics of „Citizen“ in Archaic Greece and Classical Athens

Blok¹

2005

Klio

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The emergence of the polis as the prominent form of socio-political life is one of the most important developments of archaic and classical Greece. Its result was a type of society consisting of a group of free inhabitants, who lived in an identifiable territory with some kind of city centre, and who claimed to exercise a form of self-government which might but did not necessarily include a foreign policy of its own.' The existence of the polis as a socio-political system depended on a sense of territorial and social coherence, both as a subjective experience and as a practice in common activities. This sense of coherence was the outcome of a number of separate but mutually influential processes. Among the most significant and most intensely debated factors involved in the materialisation of the archaic polis are population growth, development of common cults, military cooperation especially in the hoplite falanx, the creation of written laws, changes in political discourse, and changing political consciousness in relation to (re)organization of space.2The process of polis formation implied that groups of people accepted and recognised each other as co-inhabitants of the same area and came to identify themselves as a community that shared laws, cults and other vital interests. Among the numerous social activities involved in this process, political decision-making in the strict sense was only It is not the aim of this essay to (re)produce a definition of the polis, least of all of the pas as a specific type of political structure; for a useful description Welwei (2000) 87. For a list of ancient descriptions Hansen (1998); on the meaning of autonomia for definitions of the polis, Hansen (1995) with extensive bibliography. The overriding emphasis of the Copenhagen Polis-project on the ,political` nature of the polit embodied in institutions, in spite of some modifications as to its social and religious qualities (see for instance Hansen 119981 34), makes the results of this project only rarely helpful for my present investigations. For valuable comments on the tension between an approach focusing on institutions versus one based on analysis of cultural systems, Ober (19966).

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Cited by 4 publications

References 4 publications

Cheap Trick: Trompe l’oeil, photography and kitsch as economies of ‘the real’ in the discourses of modernity

Cheap Trick: Trompe l’oeil, photography and kitsch as economies of ‘the real’ in the discourses of modernity

Turn-of-the-Century Aestheticism in the Early Articles of Dezső Kosztolányi

Becoming Citizens. Some Notes on the Semantics of „Citizen“ in Archaic Greece and Classical Athens

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