bluuebunny/crossref_metadata_2025_split huggingface dataset:
Young Vietnamese Artists Association [Hội Họa Sĩ Trẻ Việt Nam]
Authors: Tran Thuy N. D. 
Published: September 2018

The Young Vietnamese Artists Association (YVAA; 1966–75) was an avant-garde artist collective founded in Saigon in November 1966 in the Republic of Vietnam (South Vietnam; 1954–75). Also referred to as the Society of Saigonese Young Artists, the majority of its members were under the age of thirty and were recent graduates of the National College of Fine Arts, Saigon (est. 1954) and the Fine Arts College of Hue (est. 1957). The YVAA’s mission was to foster a new direction for visual art in Vietnam that would better reflect the cultural internationalism and modernization of the era. While YVAA artists experimented with a variety of artistic styles, abstract works influenced by the modernist styles found in the School of Paris—including Lyrical Abstraction, Cubism, Fauvism, and Naive Art—were prevalent.
Initiated by art collector Dr Nguyễn Tấn Hồng and artist Ngy Cao Uyên (YVAA’s founding president), the Association’s founding members were mainly painters and sculptors: Vị Ý, Cù Nguyễn, Âu Như Thụy, Nguyễn Trung, Trịnh Cung, Nguyên Khai, Hiếu Đệ, Nguyễn Phước, Mai Chửng, Đinh Cường, Nghiêu Đề, Nguyễn Lâm, Hồ Hữu Thủ, and Hồ Thành Đức. With frequent sponsorships from the Goethe Institut and the Alliance Française, the YVAA became a driving force behind Saigon’s arts scene.
Tagore, Rabindranath (1861–1940)
Authors: Kumar Siva 
Published: September 2018

Rabindranath Tagore is India’s pre-eminent writer and was the first Asian to win the Nobel Prize for Literature, in 1913. He is best known for his poetry collection Gitanjali: Song Offerings, which he self-translated into English from Bengali. Tagore introduced new verse forms into Bengali poetry, and revolutionized literary prose by using colloquial Bengali (calit bhasa) in his novels and short stories. Previously, Bengali literature had been written in refined Bengali (sadhu bhasa), which drew on Sanskritic vocabulary and archaic grammatical forms. Tagore was a strong advocate of caste reform in colonial India, a critic of nationalisms worldwide, and the founder of an international university called Visva-Bharati whose motto was Yatra visvam bhavatieka nidam (‘Where the whole world meets in one nest’).
Rabindranath Tagore was born on 7 May 7 1861 to Debendranath and his wife Sarada Devi. The surname Tagore is an Anglicization of ‘Thakur’, which means lord in Bengali. His father was an influential member of the Brahmo Samaj, a religious society dedicated to reforming Hinduism. Brahmoism’s tenets of caste and marriage reform can be seen in the development of Tagore’s short stories and novels from Chokher Bali [Grain of Sand] in 1903 to Char Adhyay [Four Chapters] in 1934.
Unamuno y Jugo, Miguel de (1864–1936)
Authors: Vandenbosch Dagmar 
Published: September 2018

Miguel de Unamuno is a Spanish writer and philosopher whose work includes essays, novels, poetry, drama, and journalism. He is considered to be one of the leading members of the Generation of 1898, a group of canonical writers championing the political and cultural regeneration of Spain in the early twentieth century. Recurrent themes in his oeuvre are the struggle between reason and faith, the question of mortality, and the search for identity (of both individuals and nations). His narrative oeuvre breaks away from the model of nineteenth-century realism by focusing on the inner life of the protagonist and introducing metafictional devices.
Born in the Basque city of Bilbao, Unamuno studied at the Faculty of Arts and Philosophy of the University of Madrid. In 1891, he obtained the chair of Greek Philology at the University of Salamanca, of which he was appointed rector ten years later. In 1924 Unamuno was banished for six years due to his opposition to the dictatorship of General Primo de Rivera. On his return to Spain in 1930, he welcomed the Second Republic but soon was disappointed by it. After the outbreak of the Civil War, he first supported the Francoist rebellion but ended up condemning it publicly shortly before his death in 1936.
The Provincetown Players (1915–1922)
Authors: Black Cheryl 
Published: September 2018

Founded in Provincetown, Massachusetts in 1915 and transplanted to Greenwich Village in 1916, the Provincetown Players was one of the most influential theatrical organizations in American theater history. Their membership was a veritable who’s who of the era’s leading political and cultural revolutionaries, including its spiritus rector, socialist writer George Cram (Jig) Cook; postimpressionist artists William and Marguerite Zorach and Bror Nordfeldt; labor journalists John Reed and Mary Heaton Vorse; modernist poets Wallace Stevens, Alfred Kreymborg, Mina Loy, and Edna St Vincent Millay; New Stagecraft pioneers Robert Edmond Jones and Cleon Throckmorton; and more than fifty playwrights whose dramaturgical innovations defied contemporary critical description.
In addition to formal experimentation, Provincetown playwrights were noted for their frank treatment of such topical issues as racial, ethnic, and religious Otherness, class conflict, war, and changing gender and sexual mores. Their plays manifested the most current trends in the era’s intellectual discourse: Freudian and Jungian psychology; Nietzschean challenges to traditional morality; Havelock Ellis’s and Ellen Keys’ ideas on egalitarian sexual and marital relationships; the social theories of Karl Marx and Edward Carpenter; the feminism of Emma Goldman, Margaret Sanger, and Crystal Eastman; and the parenting techniques of Maria Montessori.
Epstein, Jean (1897–1953)
Authors: Patrick Pringle Thomas 
Published: September 2018

Born in Warsaw in 1897 to a Jewish Franco-Polish family, Jean Epstein was an early queer filmmaker, poet, and theorist. Epstein is best remembered for the innovative camerawork and editing techniques in his interpretation of Edgar Allen Poe’s The Fall of the House of Usher (La Chute de la Maison Usher, 1928). Epstein’s engagement with cinematic form ranged from rhythm-based impressionist editing in Coeur fidéle (The Faithful Heart, 1923), to experimental sound work in Le Tempestaire (The Storm Master, 1947), and his writings on the concept of photogénie. Epstein’s theoretical reflections on the interwar period dovetailed with film criticism’s shift toward ontology and attention to the transformative effects of the moving image on perception and knowledge.
Epstein spent his formative years in Switzerland before moving to France in 1917 to study medicine. His interests soon turned toward cinema following contact with Louis and Auguste Lumière. Epstein made forty-four films between 1922 and 1948, all while publishing prolifically. He released three full books and founded the arts journal Promenoir before moving to Paris in 1922. His relocation coincided with the gathering of many impressionist filmmakers and artists in France—including the young Luis Buñuel, who apprenticed on two of Epstein’s films.
Reminiscences of a Journey to Lithuania (1972)
Authors: Ionita Maria 
Published: September 2018

Reminiscences of a Journey to Lithuania is an experimental 82-minute color film directed by Jonas Mekas. It documents the director’s and his brother Adolfas’ return to their native village of Semeniškai, Lithuania, for the first time in twenty-five years. The Mekas brothers had fled their village in 1944 trying to escape the war; however, they ended up in a German labor camp. After the end of the war they immigrated to the United States but had great difficulty establishing contact with their extended family that was now living under Soviet occupation.
Pärt, Arvo (1934–)
Authors: Moody Ivan 
Published: September 2018

Arvo Pärt is an Estonian composer whose music has had phenomenal success worldwide since his radical stylistic change from an overtly modernistic aesthetic to a radically simplified, post-tonal idiom. While still a student under Heino Eller, he caused a sensation in Moscow and Leningrad with the première of Nekrolog (1960), the first dodecaphonic work to be written in Estonia.
In 1962, however, Pärt received the first prize in the Competition for Young Composers held in Moscow for Meie aed (Our Garden, 1959), a tonal work, and for the oratorio Maailmaa samm (1961). Between 1958 and 1967, he worked as an engineer at Estonian Radio, afterwards working in Tallinn as a freelance composer.
Comics
Authors: Willmott Glenn 
Published: September 2018

The early twentieth century saw the rise of the modern comic strip, the comic book and the artist’s book as distinctive forms of graphic narrative art that merged literary and graphic traditions into new modes of expression. As with literature more broadly, comics have ranged in quality and aims from the banal to the bizarre, from the blandly conventional to the wildly original. Their close association, from their very inception, with a network of advertising and commodity tie-ins has kept them at an uneasy distance from the anti-commercialist culture of High Modernism. Yet the ubiquity of comics in newspapers internationally, and the often absurd, transgressive, and episodic worlds they depicted, ensured their interest to modernist writers and artists more widely.
Comic strips developed out of roots in the satirical genre of editorial and humor cartoons of the nineteenth-century periodical, and, in their unique invention of personified ‘funny animals’, drew as well from folk traditions of the trickster and the animal fable. They often explored subaltern class and ethnic life worlds not prominent in other modern arts, or offered flights of fantasy that directly challenged or therapeutically escaped from social norms.
Drachmann, Holger Henrik Herholdt (1846–1908)
Authors: Carbone Elettra 
Published: September 2018

Holger Drachmann was a Danish writer and painter, active in the period of the Modern Breakthrough in Scandinavia (1870s–1890s). He was influenced by Georg Brandes and his radical ideas but later moved towards more national conservative trends. He was a prominent public figure of his time as well as a very productive and versatile author. His works range from realistic and impressionistic poems, novels and travel accounts to national romantic dramas and historical melodramas. A number of his songs have become embedded in the Danish popular tradition.
Born in Copenhagen, he was the son of physician Andreas Georg Drachmann. He entered the Academy of Fine Arts and started a career as a marine painter. Although he abandoned this path in favour of literature in 1870, he continued to paint. He is particularly remembered for his seascapes of Bornholm and Skagen, where he settled in 1904. His interest in the sea and maritime life had a direct influence on his literary works, as shown instance by his poetry collection Sange ved Havet (1875).
Die Brücke [The Bridge]
Authors: Grimm Dagmar 
Published: September 2018

Convinced that art should be an expression of life representing the vitality of the times, four architecture students in Dresden joined together to found Die Brücke [The Bridge] in 1905. The name, suggested by one of their founding members, Karl Schmidt-Rottluff, reflected their intention to provide a bridge between the art of previous generations and that of the new era of the twentieth century.
As the initiator of Die Brücke and its chief spokesman, Ernst Ludwig Kirchner had the audacious idea of renewing German art. He was joined by Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff, fellow students studying at Dresden’s Technische Hochschule [Dresden Technical Institute]. In preceding years, both Kirchner, who had taken leave of absence to study art, and Bleyl had been working on woodcuts influenced heavily by the earlier Jugendstil. While Bleyl remained interested in the illusion of space, Kirchner had begun to simplify his style to include greater planarity, with jagged lines providing delineation and contour, creating a two-dimensional effect that was already indicative of his signature stylistic innovations of the future.
Covacevic, Gaggero, Medina, Echeñique and Gonzālez (1972)
Authors: de Cortazar Galleguillos Gabriela Garcia 
Published: September 2018

The architectural practice Covacevic, Gaggero, Medina, Echeñique and Gonzālez was established in 1971 for the sole purpose of designing a single building over a period of only 275 days. Despite its brief existence, its significance for Chilean architecture is paramount, both in terms of the specific building designed by the collective and because of the individual relevance of each architect. This "super-firm" was put together by Miguel Lawner and Jorge Wong, from the CORMU (Corporación de Mejoramiento Urbano—Urban Development Corporation), following the direct instruction of the then president, Salvador Allende, with the objective of designing the UNCTAD building.
UNCTAD III (the third United Nations Conference on Trade and Development) was scheduled to be held in Santiago in May 1972, and as Chile lacked an existing space to host it, the required 40,000-sq-m building had to be hastily constructed. This presented a challenge that would demand an exceptional combination of legal, human, and technical resources. The establishment of an ad hoc architectural practice and the selection of a recently vacated plot in downtown Santiago, among other strategies, made this building important not only in architectural terms, but also urban, social and, eventually, historical ones.
Mendelsohn, Erich (1887–1953)
Authors: Kiessel Marko 
Published: September 2018

Erich Mendelsohn was born on March 21, 1887, in Allenstein, East Prussia. He gained his architectural education at the technical universities in Charlottenburg and Munich in 1908–1912. Immediately after WWI he established his office in Berlin. Like other German avant-garde architects in the revolutionary atmosphere after the war he was affiliated to the Arbeitsrat für Kunst [Work Council for Art] in 1919. In 1925 he became a member of the architectural organization Der Ring [The Ring] which promoted Neues Bauen [New Building]. The 1920s were probably the most successful period for Mendelsohn and his crowded office. Shortly afterwards the changed political situation led to a brief period of exile for the Jewish Mendelsohn in Amsterdam after which he established a new office in London in 1933. The opening of a second office in Jerusalem followed in 1935, before he moved again to Palestine in 1939. From 1941 he spent the later part of his career in the United States until his death on September 15, 1953, in San Francisco.
Mendelsohn, who was inspired by Henry van de Velde, Joseph Maria Olbrich, and Frank Lloyd Wright, began his career with the expressionist, organically shaped Einstein Tower in Potsdam (1919–1922), a research observatory and at the same time a dynamic symbol of Albert Einstein’s theories on energy and matter. It won him many private engagements, making him one of the most successful modern architects of the 1920s with numerous commissions in Germany and one in Leningrad (Red Flag Textile Factory 1925), despite not being mentioned in Sigfried Giedion’s influential Space, Time and Architecture (1941).
Solsona, Justo José (1931--)
Authors: Plotquin Silvio 
Published: September 2018

Justo Solsona is an Argentinian architect, the onset of whose activity corresponds to the process of political reorganization which followed the collapse of the government of Juan Domingo Perón (1955). During this period the political agenda aimed to use architecture and design in a bid to encourage eloquent modernization, metropolitan culture, and upgraded technology. As a result, a dozen works placed Solsona at the heart of architectural production in Argentina.
The proposed 300-house complex in La Boca, south of the city of Buenos Aires, winner of the competition sponsored by the National Mortgage Bank (1957), and designed in partnership with the architects Ernesto Katzenstein, Gianni Peani, and Josefa Santos, was a high-density original and fresh answer in reinforced concrete to cultural and traditional ways of living.
The winner of the second prize in the competition for the design of the National Library (1961), Solsona proposed a sculptural metal roof comprising metabolist abstract shapes that created innovative relationships between the main reading rooms and the lawns of an existing state garden where the new library was to be located. In fact, it was his entry to this competition in collaboration with Flora Manteola, Javier Sánchez Gómez, and Josefa Santos (and later, Carlos Sallaberry) that led to the establishment of the architectural studio MSGSSS, where he remained throughout his subsequent career.
Stam, Mart (1899–1986)
Authors: Poppelreuter Tanja 
Published: September 2018

Mart (Martinus Adrianus) Stam (b. in 1899 in Purmerend, Netherlands—d. in 1986 in Goldach, Switzerland) was a Dutch architect, designer, and architectural theorist, and was involved in a number of principal events and organizations during the 1920s and 1930s.
Stam moved to Berlin in 1922 to work as a draftsman with Max Taut and Hans Poelzig among others. While in Berlin, Stam met El Lissitzky who introduced him to Constructivism. Inspired by the progressive and social outlook of this Russian movement Stam founded the avant-garde magazine ABC: Beiträge zum Bauen [ABC: Contributions on Building] together with Hans Schmidt, Hennes Mayer, and Emil Roth (1924–1928). The magazine focused on convincing readers about the social necessity for low-cost, well-designed, and functional houses, as well as the use of modern technologies. ABC also established connections with Asnova, the association of new architects in Moscow, and published the student work of Vkhutemas [School of Modern Architecture] in Moscow.
Valparaíso School (1952--)
Authors: García de Cortázar Gabriela 
Published: September 2018

The term "Valparaíso School" is often applied to the school of architecture, design, and arts of the Catholic University of Valparaíso, Chile, in specific relation to a novel academic approach initiated in 1952 and established in 1967 through an academic reform. The shift in teaching strategies implied the rejection of a Beaux-Arts-inspired syllabus in favor of a particularly local approach that involved new interests, processes, and products, in part inspired by aspects of imported heroic Modernism. The main promoters of this change were the architect Alberto Cruz and the poet Godofredo Iommi.
Alberto Cruz was born in 1917. He studied architecture at the Catholic University in Santiago from 1934. After graduating, he became a teacher there and participated in movements to change the school’s syllabus in 1949. In 1975 he received the National Architecture Award from the Chilean Architects’ Association. Godofredo Iommi, from Argentina, was born in 1917 and studied Economics for two years in Buenos Aires before leaving his studies uncompleted. Instead, he began a poetic practice, inspired by the modern Chilean poet Vicente Huidobro.
Archer, William (1856–1924)
Authors: Postlewait Thomas 
Published: September 2018

Born in Edinburgh, William Archer served as a London theater critic from 1881 to 1920. He retired from weekly reviewing when his melodrama The Green Goddess was a major success in New York (1920–1922) and London (1923–1924). His translations of Henrik Ibsen’s plays began to be published in 1888 and culminated in The Works of Henrik Ibsen (twelve volumes, 1906–1908). He translated and helped to stage the first London productions of A Doll’s House (1889), Ghosts (1891), and Rosmersholm (1892), and in close partnership with the actress Elizabeth Robins co-directed the productions of Hedda Gabler (1891), The Master Builder (1893), Little Eyolf (1896), and John Gabriel Borkman (1898).
He also translated and published plays by Maurice Maeterlinck and Gerhart Hauptmann. In his advocacy for modern English drama, Archer supported the plays of Arthur Wing Pinero, Oscar Wilde, James Barrie, Harley Granville Barker, and Bernard Shaw. He led the British campaigns against stage censorship and for a national theater. In 1907 he and Barker published A National Theatre: Scheme and Estimates. In the mid-1880s he and Shaw drafted a play entitled Rhinegold that Shaw later transformed into Widowers’ Houses (1892), the play that launched his playwriting career. Between 1892 and 1924 Archer wrote well over 100 articles and reviews on Shaw and his plays. Although he criticized some of the plays, he repeatedly praised Shaw as a modern dramatic genius. Their abiding friendship thrived on their debates about all aspects of modern drama, including Shaw’s plays. In 1923 Archer published The Old Drama and the New, a historical survey of British drama with a lengthy (and still argumentative) section on Shaw.
Ichikawa, Ennosuke II (1888–1963)
Authors: Wetmore Kevin 
Published: September 2018

Ichikawa Ennosuke II was a kabuki actor in the Meiji, Taishō, and Shōwa eras who collaborated with artists in the modern drama movement and was instrumental in the Shin Buyō [New Dance] movement. He is regarded as a progressive, even radical artist who reinvigorated kabuki through innovation, and modern and Western influences.
Born Kinoshi Masayasu, the son of Ichikawa Danshirō II, he began performing child roles in kabuki at an early age, debuting at the Kabuki-za in Tokyo in 1892 under the name Ichikawa Danko I. He spent the next two decades performing traditional kabuki. He also joined Ichikawa Sadanji II and Osanai Kaoru’s Jiyū Gekijō [Free Theater], in 1909, participating in the early development of shingeki. In 1910 he took the name Ichikawa Ennosuke II and performed in plays by modern and shin-kabuki playwright Okamoto Kidō.
In 1919 Ichikawa travelled to the United States and Europe to experience Western theater and dance. The productions he encountered profoundly shaped his understanding of performance and fired his imagination. Upon his return to Japan he began experimenting with fusions of modern and traditional forms. In September 1919 he premiered an adaptation of the play Sumidagawa [The Sumida River] influenced by Russian ballet. In 1920 he joined other modernist artists to form Shunjūza, a study group and artists’ collective including Osanai Kaoru, Ichikawa Sadanji II, Bandō Jusaburō III, Ichikawa Sumizō VI, and Ichikawa Shōchō II, the last three all kabuki actors, to present plays by Tanizaki Jun’ichiro, Kikuchi Kan, and Okamoto Kidō.
Katsureki-mono
Authors: Zheng Guohe 
Published: September 2018

"Living history" plays were historical kabuki plays produced during the Meiji period 10s and 20s (1868–1888) in an attempt to reform the practices associated with genre’s Edo period (1603–1867) to suit the rapidly changing times. As such they represent an early phase of the modernist movement in Japanese theater.
Due to strict government censorship to prevent subversion, kabuki plays based on historic events in the Edo period tended to twist the plot, set the action in the distant past (a practice known as mitate, "disguise"), or to include absurd materials or performance tricks. Dissatisfied with this state of affairs in this new age, Ichikawa Danjūrō IV (1838–1903), a famous Meiji period (1868–1912) actor, in 1870s started to reform the art in response to what he perceived as the expectations of the post-Restoration spectators and to make it suitable for entertaining the upper classes and visiting foreign dignitaries. In order to achieve his goal, Ichikawa Danjūrō IV invited Kawatake Mokuami (1838–1893), the greatest playwright of the day, to write new historical plays based on documented history. Moreover, costumes, props, and even lines used in these plays were all to be the result of careful research and investigation. Thus a sense of realism was introduced into kabuki.