Dream art Pierre-Cécile Puvis de Chavannes: The Dream, 1883 Dream art is any form of art directly based on material from dreams, or which employs dream-like imagery. History[edit] References to dreams in art are as old as literature itself: the story of Gilgamesh, the Bible, and the Iliad all describe dreams of major characters and the meanings thereof. However, dreams as art, without a "real" frame story, appear to be a later development—though there is no way to know whether many premodern works were dream-based. In European literature, the Romantic movement emphasized the value of emotion and irrational inspiration. At the same time, discussion of dreams reached a new level of public awareness in the Western world due to the work of Sigmund Freud, who introduced the notion of the subconscious mind as a field of scientific inquiry. Dream material continues to be used by a wide range of contemporary artists for various purposes. Notable works directly based on dreams[edit] Visual art[edit] Film[edit]
Hapkido The art adapted from Daitō-ryū Aiki-jūjutsu (大東流合気柔術) as it was taught by Choi Yong-Sool (Hangul: 최용술) when he returned to Korea after World War II, having lived in Japan for 30 years. This system was later combined with kicking and striking techniques of indigenous and contemporary arts such as taekkyeon, as well as throwing techniques and ground fighting from Japanese Judo. Its history is obscured by the historical animosity between the Korean and Japanese people following the Second World War.[1][2][3][4] Name[edit] Hapkido is rendered "합기도" in the native Korean writing system known as hangul, the script used most widely in modern Korea. The art's name can also however be written "合氣道" utilizing the same traditional Chinese characters which would have been used to refer to the Japanese martial art of aikido in the pre-1946 period. Although aikido and hapkido are believed by many to share a common history, they remain separate and distinct from one another. Choi Yong-Sool[edit]
Materialism Materialism is a form of philosophical monism which holds that matter is the fundamental substance in nature, and that all phenomena, including mental phenomena and consciousness, are the result of material interactions. Materialism is closely related to physicalism; the view that all that exists is ultimately physical. Philosophical physicalism has evolved from materialism with the discoveries of the physical sciences to incorporate more sophisticated notions of physicality than mere ordinary matter, such as: spacetime, physical energies and forces, dark matter, and so on. Overview[edit] Despite the large number of philosophical schools and subtle nuances between many,[1][2][3] all philosophies are said to fall into one of two primary categories, which are defined in contrast to each other: Idealism, and materialism. The materialist view is perhaps best understood in its opposition to the doctrines of immaterial substance applied to the mind historically, famously by René Descartes.
Shotokan Karate What is Shotokan Karate? Shotokan Karate is one of the most popular Martial Arts practised today. It has its root in the ancient Chinese Martial Arts and, in common with many Martial Arts, can be traced back to the early activities of monks at the Shoalin Temple. Although its early roots are Chinese, Shotokan was originally developed in Okinawa (a small island between China and Japan) and from there spread to Japan (where it was named) and has since spread to the world at large. Shotokan differs in style from other martial arts like Aikido and Tai Chi Chuan that emphasise soft, circular movements. Whilst Shotokan can be practised by people of all ages and abilities, like many other things in life, it is not for everyone. The History of Shotokan As there is no written history of the origins of Martial Arts , we must rely on word of mouth and legend. From the mid 14th century, Okinawa began trading with other islands and mainland neighbours. Gichin Funakoshi
Speculative fiction History[edit] In mythography the concept of speculative fiction has been termed "mythopoesis" or mythopoeia, "fictional speculation", the creative design and generation of lore, regarding such works as J.R.R. Tolkien's The Lord of the Rings.[9] Such supernatural, alternate history and sexuality themes continue in works produced within the modern speculative fiction genre.[10] The creation of speculative fiction in its general sense of hypothetical history, explanation, or ahistorical storytelling has also been attributed to authors in ostensibly non-fiction mode since as early as Herodotus of Halicarnassus, (fl. 5th century BCE) in his Histories,[11][12][13] and was already both practiced and edited out by early encyclopaedic writers like Sima Qian (ca. 145 or 135 BCE–86 BCE), author of Shiji.[14][15] In its English language usage in arts and literature since 20th century, "speculative fiction" as a genre term is often attributed to Robert A. See also[edit] History Genres Future history Other
The Hugo Awards The Hugo Awards The Official Site of The Hugo Awards Skip to content Hugo Awards by Year The links below give the Hugo Award finalists and winners for past years. Our site currently contains only lists of winners and finalists. The majority of our external links come from this web site which is created and maintained by a committee established by the WSFS Business Meeting for the express purpose of collecting a reliable database of historical information about WSFS affairs. The Hugo Awards Proudly powered by WordPress. Science fantasy Cover of the magazine Imagination, October 1950 Science fantasy is a mixed genre within the umbrella of speculative fiction which draws upon tropes and elements from both science fiction and fantasy, and sometimes also incorporates elements of horror. The Encyclopedia of Science Fiction points out that as a genre, science fantasy "has never been clearly defined," and was most commonly used in the period 1950-1966.[1] Science fantasy versus science fiction[edit] Distinguishing between science fiction and fantasy, Rod Serling claimed that the former was "the improbable made possible" while the latter was "the impossible made probable".[2] As a combination of the two, science fantasy gives a scientific veneer of realism to things that simply could not happen in the real world under any circumstances. Historical view[edit] Henry Kuttner and C. Ace Books published a number of books as science fantasy during the 1950s and '60s. Subgenres of science fantasy[edit] Planetary romance[edit]
Art & Design Middle Ages In European history, the Middle Ages, or Medieval period, lasted from the 5th to the 15th century. It began with the collapse of the Western Roman Empire and merged into the Renaissance and the Age of Discovery. The Middle Ages is the middle period of the three traditional divisions of Western history: Antiquity, Medieval period, and Modern period. The Medieval period is itself subdivided into the Early, the High, and the Late Middle Ages. Depopulation, deurbanisation, invasion, and movement of peoples, which had begun in Late Antiquity, continued in the Early Middle Ages. During the High Middle Ages, which began after AD 1000, the population of Europe increased greatly as technological and agricultural innovations allowed trade to flourish and the Medieval Warm Period climate change allowed crop yields to increase. Etymology and periodisation[edit] Later Roman Empire[edit] Map of the approximate political boundaries in Europe around 450 Early Middle Ages[edit] New societies[edit]
Pre-Raphaelite Brotherhood The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member "brotherhood". The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite". In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, whom they called "Sir Sloshua". Beginnings[edit] Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850
Gothic Revival architecture Gothic Revival (also referred to as Victorian Gothic, Neo-Gothic or Jigsaw Gothic, and when used for school, college, and university buildings as Collegiate Gothic) is an architectural movement that began in the late 1740s in England. Its popularity grew rapidly in the early 19th century, when increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval Gothic architecture, in contrast to the neoclassical styles prevalent at the time. Gothic Revival architecture often has certain features,derived from the original Gothic architecture style, including decorative patterns, finals, scalloping, lancet windows, hood moldings and label stops. Relation to other cultural movements[edit] The Gothic Revival was paralleled and supported by "medievalism", which had its roots in "antiquarian' concerns with survivals and curiosities. Survival and revival[edit] A younger generation, taking Gothic architecture more seriously, provided the readership for J.
Romanticism Defining Romanticism[edit] Basic characteristics[edit] Defining the nature of Romanticism may be approached from the starting point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on untrammelled feeling is summed up in the remark of the German painter Caspar David Friedrich that "the artist's feeling is his law".[7] To William Wordsworth poetry should be "the spontaneous overflow of powerful feelings".[8] In order to truly express these feelings, the content of the art must come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of. Not essential to Romanticism, but so widespread as to be normative, was a strong belief and interest in the importance of nature. The term[edit] The period[edit] The early period of the Romantic Era was a time of war, with the French Revolution (1789–1799) followed by the Napoleonic Wars until 1815.
Medievalism Medievalism is the system of belief and practice characteristic of the Middle Ages, or devotion to elements of that period, which has been expressed in areas such as architecture, literature, music, art, philosophy, scholarship, and various vehicles of popular culture.[1] Since the 18th century, a variety of movements have used the medieval period as a model or inspiration for creative activity, including Romanticism, the Gothic revival, the Pre-Raphaelite and arts and crafts movements and neo-medievalism (a term often used interchangeably with medievalism). Medievalism can also be used as an insult, implying conservatism and outdated attitudes. The words "medievalism" and "Medieval" are both first recorded in the 19th century. "Medieval" is derived from Latin medium aevum (Middle Ages). History[edit] Renaissance to Enlightenment[edit] Voltaire, one of the key Enlightenment critics of the medieval era Romanticism[edit] The Nazarenes[edit] Gothic revival[edit] Late nineteenth century[edit]
Supernatural The supernatural (Medieval Latin: supernātūrālis: supra "above" + naturalis "nature", first used: 1520–30 AD)[1][2] is that which is not subject to the laws of physics, or more figuratively, that which is said to exist above and beyond nature. In philosophy, popular culture and fiction, the supernatural is associated with the paranormal, religions and occultism. It has neoplatonic[3] and medieval scholastic[4] origins. In Catholicism[edit] Catholic theologians sometimes call supernatural the miraculous way in which certain effects, in themselves natural, are produced, or certain endowments (like man's immunity from death, suffering, passion, and ignorance) that bring the lower class up to the higher though always within the limits of the created, but they are careful in qualifying the former as accidentally supernatural (supernaturale per accidens) and the latter as relatively supernatural (prœternaturale). Process theology[edit] Contrasting views[edit] indistinct from nature.