The Regular Laws of the Process of Art History
Article Sidebar
Main Article Content
Abstract
When studying the great works of art, we make broad use of the concept of the epoch, applying it to define a certain
segment of historical time within the framework of which the various arts are endowed with certain common
features. Let us take as a certain model the epoch which may be called the Classical era. During the course of its
evolution, considerable distinctions between the various stages occurred in a natural way – those distinctions in
particular are what provide grounds for dividing the epoch into a set of phases succeeding each other. The first period
(approximately between the 1730s and the 1760s) presents a stage of interaction between the concluding phase of
the Baroque period and the initial stage of the Classical epoch; this phase may be called the Early Enlightenment
period. The second period (from the 1770s to the 1800s) presents the flourish of the Classical style of the time of
the Enlightenment; in this case the definition of High Enlightenment is most appropriate. The third period (from
the 1810s to the 1840s) features the advancement of Romanticism. The fourth period (from the 1850s to the 1880s)
should be most appropriately termed as Post-Romanticism, since at that time many things in art were determined
by realistic tendencies. The fifth period (from the 1890s to the 1920s) presents a stage of interaction between the
concluding phase of the Classical epoch and the initial stage of the present-day epoch; this stage is frequently
defined as Late Romantic or, more broadly – as Late Classical. It is most natural to define the boundaries of any
period by relying on analysis of generalizing thoroughfares, which is particularly what comprises the main task of
artistic-historical scholarship. The most important one of them is connected with the interaction of two fundamental
methods of artistic thought – Romanticism and Realism, with alternate predominance of one or the other, and the
periodicity of bringing out of them onto the forefront in the most direct way shapes the configuration of the epoch.
The other natural law of the artistic-historical process is its unswerving acceleration and the gradual compression
of temporal frames.
Keywords: the artistic-historical process, epoch, era, stage, period.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Blok A. A. Sobr. soch. V 6 t. T. 4: Ocherki. Stat’i. Rechi [Collected Works in 6 Volumes. Volume 4: Essays. Articles. Speeches]. Leningrad: Khudozhestvennaya literatura, 1982. 464 p.
3. Kremlev Yu. A. Proshloe i budushchee romantizma [The Past and the Future of Romanticism]. Moscow: Muzyka, 1968. 76 p.
4. Demchenko A. I. Kontseptsionnyy metod muzykal’no-istoricheskogo analiza [The Conceptual Method of Musical and Historical Analysis]. Moscow: Kompozitor, 2010. 88 p.
5. Demchenko A. I. Mirovaya khudozhestvennaya kul’tura kak sistemnoe tseloe [World Artistic Culture as a Systematic Whole]. Moscow: Vysshaya shkola, 2010. 528 p.
6. Levaya T. N. Skryabin i khudozhestvennye iskaniya XX veka [Scriabin and Artistic Search in the 20th Century]. St. Petersburg: Kompozitor, 2007. 184 p.
7. Alberro A., Stimson B. Conceptual Art: a Critical Anthology. Cambridge, Mass.: MIT Press. Lii, 1999. 569 p.
8. Bourke B., Bray, N. J., Horton C. C. Approaches to the Core Curriculum: An Exploratory Analysis of Top Liberal Arts and Doctoral-Granting Institutions. The Journal of General Education. 2009, No. 58(4), pp. 219–240.
9. Cordero A. (2012). Mario Bunge’s Scientific Realism. Science & Education. 2012, No. 21(10), pp. 1419–1435.
10. Hachtmann F. The process of general education reform from a faculty perspective: A grounded theory approach. The Journal of General Education. 2012, No. 61(1), pp. 16–38.
11. Henrich J., Boyd R. Culture and Cognition: Why Cultural Evolution Does Not Require Replication of Representations. Culture and Cognition. 2002, No. 2, pp. 87–112.
12. Heyes C. New Thinking: the Evolution of Human Cognition. Philosophical Transactions of the Royal Society B: Biological Sciences. 2002, No. 367(1599), pp. 2091–2096.
13. Lewens T. Cultural Evolution: Integration and Skepticism. The Oxford Handbook of Philosophy of Social Science. H. Kincaid (ed.). Oxford: Oxford University Press, 2012, pp. 458–480.