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Relevant bibliographies by topics / Chinese performing arts organisation / Journal articles

Journal articles on the topic 'Chinese performing arts organisation'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Hui, Huang, and Yanying Lu. "Interactions of cultural identity and turn-taking organisation." Chinese Language and Discourse 4, no. 2 (December 31, 2013): 229–52. http://dx.doi.org/10.1075/cld.4.2.03hua.

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Conversation Analysis (CA) has been used to reveal cultural groups with which an individual identifies him- or herself as interactants are found to practice identity group categories in discourse. In this study, a CA approach — the organisation of turn-taking in particular — was adopted to explore how a senior Chinese immigrant in Australia perceived her own identity through naturally occurring conversations with two local secondary school students, one being a non-Chinese-background English monolingual and the other a Chinese-background Cantonese-English bilingual. How the senior initiated and allocated her turns in four conversations is taken to reflect the way in which she perceived herself and her relationship with her interlocutor(s). The findings suggest that the senior’s cultural identity is not static but emerging and constructed in the conversations with her interlocutors over interactive activities. As such, this study contributes to our understanding of the nature of identity and the role of conversational interaction in negotiating cultural identities.

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2

Rentschler, Ruth, Jennifer Radbourne, Rodney Carr, and John Rickard. "Relationship marketing, audience retention and performing arts organisation viability." International Journal of Nonprofit and Voluntary Sector Marketing 7, no. 2 (May 2002): 118–30. http://dx.doi.org/10.1002/nvsm.173.

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3

Levi S. Gibbs. "Faces of Tradition in Chinese Performing Arts." Journal of Folklore Research 55, no. 1 (2018): 1. http://dx.doi.org/10.2979/jfolkrese.55.1.01.

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4

Lee, Joanna C. "Faces of Tradition in Chinese Performing Arts." Journal of American Folklore 135, no. 535 (January 1, 2022): 111–13. http://dx.doi.org/10.5406/15351882.135.535.14.

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5

Leidy, Denise P., Wai-fong Anita Siu, and James C. Y. Watt. "Chinese Decorative Arts." Metropolitan Museum of Art Bulletin 55, no. 1 (1997): 1. http://dx.doi.org/10.2307/3269222.

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6

Weinstock, Michael. "Self-organisation and material constructions." Architectural Design 76, no. 2 (2006): 34–41. http://dx.doi.org/10.1002/ad.238.

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7

Vardy, Sam. "Spatial agency: tactics of self-organisation." Architectural Research Quarterly 13, no. 2 (June 2009): 133–40. http://dx.doi.org/10.1017/s1359135509990224.

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This paper sets out to introduce the notion of self-organisation in spatial, social and political terms, as a form of spatial agency in response to issues of subjectivity and the politics of urban space. Self-organisation – a complex notion, with multiple and sometimes contradictory meanings and implications – has gained increased relevance in contemporary political and urban discourses. In this sense, self-organisation can be understood as ‘a collective process of taking on political functions and addressing tasks that have been excluded from the field of real politics or pushed out of public space’. This reading is representative of the view taken here, particularly in its (perhaps unintentional) conflation of the political and the spatial. Indeed, the political functions that it speaks of are also, for this paper, spatial functions; and the field of politics, is also the field of architecture and urban planning.

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8

Ballé, Catherine. "Musées, changement et organisation." Culture & Musées 2, no. 1 (2003): 17–33. http://dx.doi.org/10.3406/pumus.2003.1176.

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9

Eidelman, Jacqueline, Anne Monjaret, and Mélanie Roustan. "MAAO, mémoire d'une organisation." Culture & Musées 2, no. 1 (2003): 101–27. http://dx.doi.org/10.3406/pumus.2003.1180.

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10

Hensel, Michael. "Computing self-organisation: environmentally sensitive growth modelling." Architectural Design 76, no. 2 (2006): 12–17. http://dx.doi.org/10.1002/ad.235.

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11

Kuo, Jason C., James Cahill, Julia K. Murray, Kathlyn Maureen Liscomb, Claudia Brown, and Ju-hsi Chou. "Chinese Painting." Art Journal 54, no. 2 (1995): 97. http://dx.doi.org/10.2307/777469.

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12

Weinstock, Michael. "Self-organisation and the structural dynamics of plants." Architectural Design 76, no. 2 (2006): 26–33. http://dx.doi.org/10.1002/ad.237.

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13

Frîncu, Raluca. "Die Nachbarschaft: Ein Muster gesellschaftlicher Organisation." Annales Universitatis Apulensis Series Historica 23, no. 2 (December 15, 2019): 9–45. http://dx.doi.org/10.29302/auash.2019.23.2.2.

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14

Peacock, David. "Creative Performance Arts Degree Courses." British Journal of Music Education 4, no. 1 (March 1987): 71–80. http://dx.doi.org/10.1017/s0265051700005738.

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Young musicians wishing to study music in higher education now have a variety of options open to them. One of these, a relatively recent development, is Creative/Performing Arts degree courses, where students can study music in an interdisciplinary setting. This article sets out to trace the emergence of such courses and to present in a descriptive and informative way their philosophy, admissions procedures, general principles of organisation, curricular content and approach, assessment policies and graduate employment possibilities.

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15

Berrebi, Sophie. "Goats, Lamb, Veal, Breast: Strategies of Organisation in Zoe Leonard’sAnalogue." Afterall: A Journal of Art, Context and Enquiry 25 (September 2010): 30–37. http://dx.doi.org/10.1086/657460.

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16

Ackermann, Bronwen J. "Health literacy and health promotion challenges in performing arts medicine." Medical Problems of Performing Artists 34, no. 1 (March 1, 2019): 61–62. http://dx.doi.org/10.21091/mppa.2019.1001.

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In recent years, the role of health literacy in determining appropriate attitudes and behaviours to health has received extensive attention. According to the World Health Organisation, health literacy refers to the ability of individuals to access, understand, and use information in ways which promote and maintain good health for themselves, their families, and their communities. It has been increasingly recognised that this information should be tailored to the specific needs of the community (e.g., performing artists) to empower them to take an active role in improving their own health outcomes. One concern recognised for well over a decade now has been the challenge for non-health-trained individuals to recognise what is reliable when searching through the highly variable sources of “health information” published on the internet.

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17

Caillet, Elisabeth. "Profession et organisation : le cas paradoxal des arts plastiques." Culture & Musées 2, no. 1 (2003): 53–76. http://dx.doi.org/10.3406/pumus.2003.1178.

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18

Lee, Tong Soon. "Chinese Theatre, Confucianism, and Nationalism: Amateur Chinese Opera Tradition in Singapore." Asian Theatre Journal 24, no. 2 (2007): 397–421. http://dx.doi.org/10.1353/atj.2007.0036.

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19

Sun, Shaoyi. "Chinese-language film or Chinese cinema? Review of an ongoing debate in the Chinese mainland." Journal of Chinese Cinemas 10, no. 1 (January 2, 2016): 61–66. http://dx.doi.org/10.1080/17508061.2016.1139803.

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20

Wallis, Jillian. "LESSONS FROM VILLAWOOD: The Importance of Spatial Organisation in Urban Housing." Architectural Theory Review 2, no. 2 (November 1997): 41–66. http://dx.doi.org/10.1080/13264829709478318.

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21

Xiaodong, Li. "Implications of Chinese architectural education in contemporary Chinese architecture." Journal of Architecture 8, no. 3 (January 2003): 303–20. http://dx.doi.org/10.1080/1360236032000134817.

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22

Yan, Haiping 颜海平. "My Dream: The Intermedial Turn in Contemporary Chinese Performing Arts." diacritics 41, no. 2 (2013): 32–57. http://dx.doi.org/10.1353/dia.2013.0011.

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23

Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 176–81. http://dx.doi.org/10.31686/ijier.vol3.iss5.373.

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Having gone through many generations of inheritance and development, Chinese paintings have become world′s artistic and cultural treasure. Chinese culture has influenced the world for thousands of years with its art, philosophy, technology, food, medicine and performing arts. In this article, it is discussed that painting and calligraphy is from fountain, between the traditional culture and traditional art, which impresses the soul of the Chinese traditional culture.

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24

Poon, Wena. ": Chinese Box . Wayne Wang ." Film Quarterly 52, no. 1 (October 1998): 31–34. http://dx.doi.org/10.1525/fq.1998.52.1.04a00050.

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25

García, Sandra Fernández, and Francisco Sánchez Valle. "‘Informal Infrastructure’ of Prototyping: Practicing Organisation by Performing Materiality." Somatechnics 12, no. 3 (December 2022): 162–84. http://dx.doi.org/10.3366/soma.2022.0386.

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In recent years, sheltered by the so-called ‘ontological turn’ in the social sciences, organisational analysis has paid special attention to artefacts. Nevertheless, there is still a dominant account grounded in a dichotomist view of the subject-object relationship either in teleological (mind-body) or in hylomorfic (form-matter) terms when analysing organising practices. On the contrary, our argument is based on non-dualistic approaches in an attempt to foreground relational aspects of practices. From a practice-based approach, the article addresses the role of three ‘prototypes’ aimed at the management of the ‘air’ by citizenship, in the re-configuration of bodies, technics and ethical-political engagement. Specifically, it focuses on the normative dimensions of organising by which knowledges, materials and values converge in the open-ended process of prototyping. The argument is deployed by relying on qualitative research based on multi-sited ethnographic fieldwork, developed both at different workshops and by online ethnography. The main aim of the article is to show how bodies and artefacts are mutually in/trans/formed when negotiating the social implications for the ontological category of ‘air’. In doing so, the concept of ‘informal infrastructure’ is proposed to account for those practices (which appear somewhat contingent, mundane or, at best, taken for granted) by which agents do not only commit to a particular ethical implication embedded in the category of ‘air’, as a symbolic result, but also to distinctive ways of practicing organisation as a political process of performing materiality. To this end, adopting the analytical concept of ‘informal infrastructure’ allows to simultaneously consider both the formal and informal aspects that emerge in these collaboration-driven practices, as well as to address their effects on the maintenance within and expansion into other networks.

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26

Corbeiller, Clare Le, and Alice Cooney Frelinghuysen. "Chinese Export Porcelain." Metropolitan Museum of Art Bulletin 60, no. 3 (2003): 1. http://dx.doi.org/10.2307/3269266.

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27

O’Kane, Paul. "Chinese Whispers." Third Text 23, no. 2 (March 2009): 211–12. http://dx.doi.org/10.1080/09528820902840722.

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28

Wang, Cindy, Goh Su-Lynn, Ashley Chen, and Ho-Chien Su. "From Chinese Aesthetics to Art and Design: Bringing Chinese Aesthetics in Chinese Ink Paintings into Product Design." International Journal of Designed Objects 14, no. 2 (2020): 19–31. http://dx.doi.org/10.18848/2325-1379/cgp/v14i02/19-31.

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29

Doecker, Georg. "“Out, and under, and out, and out.” Self-(Dis-)Organisation and the Stories of Libertatia." Performance Philosophy 4, no. 2 (February 1, 2019): 546–63. http://dx.doi.org/10.21476/pp.2019.42241.

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Recent socio-political developments in the experimental performing arts scenes from Europe have seen a strong commitment to the practices of self-organisation and their liberating impetus. Responding to the experimental nature of many such activities with a likewise experimental theoretical enquiry, this paper invests in an interpretation of self-organising principles from anarchism, cybernetics, and vitalist materialism through the fictional narrative of the pirate utopia Libertatia. The argument thus developed is that the liberating potentials of self-organisation can be located precisely in its inherent tendency toward self-dis-organisation.

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30

Strahan, Donna. "Color in Ancient Chinese Bronzes." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 28, no. 2 (September 1, 2021): 327–31. http://dx.doi.org/10.1086/721216.

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31

Carson, Diane. "Chinese Film: Sources and Resources." Cinema Journal 34, no. 4 (1995): 83. http://dx.doi.org/10.2307/1225581.

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32

Van Zile, Judy. "Chinese Dance: A Bicentennial Project." Dance Research Journal 22, no. 1 (1990): 54–55. http://dx.doi.org/10.1017/s0149767700011049.

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33

Aufderheide, Patricia. "Chinese Documentaries at IDFA 2015." Film Quarterly 69, no. 4 (2016): 92–97. http://dx.doi.org/10.1525/fq.2016.69.4.92.

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34

Rorex, Robert Albright, Wen C. Fong, Richard Vinograd, and R. Stewart Johnston. "Chinese Painting, Calligraphy, and Gardens." Art Journal 52, no. 4 (1993): 98. http://dx.doi.org/10.2307/777642.

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35

Whyte, Iain Boyd. "Editorial: Chinese Art and Translation." Art in Translation 5, no. 2 (June 2013): 163–64. http://dx.doi.org/10.2752/175613113x13623999736455.

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36

Ruru, Li. "Chinese Traditional Theatre and Shakespeare." Asian Theatre Journal 5, no. 1 (1988): 38. http://dx.doi.org/10.2307/1124021.

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37

Clunas, Craig. "Chinese Art and Chinese Artists in France (1924-1925)." Arts asiatiques 44, no. 1 (1989): 100–106. http://dx.doi.org/10.3406/arasi.1989.1262.

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38

Paul, John Steven. "Misreading the Chinese Character: Images of the Chinese in Euroamerican Drama to 1925 (review)." Asian Theatre Journal 18, no. 1 (2001): 117–19. http://dx.doi.org/10.1353/atj.2001.0006.

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39

Liu, Siyuan. "Performing Gender at the Beginning of Modern Chinese Theatre." TDR/The Drama Review 53, no. 2 (June 2009): 35–50. http://dx.doi.org/10.1162/dram.2009.53.2.35.

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In the early twentieth century, female impersonators in Japan's first Western-style theatre, shinpa (new school drama), employed gender performance conventions based on kabuki onnagata and European melodramatic techniques. Shinpa performers influenced the performance of gender in early Chinese spoken drama. Chinese student actors emulated shinpa conventions in Tokyo and popularized them in Shanghai in the 1910s, where they were accepted as being accurate enactments of modern women.

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40

de Almeida, Gabriel Guarino. "Humanity and animality in Chinese martial arts." Theatre, Dance and Performance Training 13, no. 3 (July 3, 2022): 482–95. http://dx.doi.org/10.1080/19443927.2022.2045516.

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41

Martin-Jones, David, and David H. Fleming. "Deleuze and Chinese Cinemas." Journal of Chinese Cinemas 8, no. 2 (May 4, 2014): 93–98. http://dx.doi.org/10.1080/17508061.2014.915559.

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42

Leung, Helen Hok-Sze. "Unthinking: Chinese • Cinema • Criticism." Journal of Chinese Cinemas 1, no. 1 (January 2006): 71–73. http://dx.doi.org/10.1386/jcc.1.1.71_7.

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43

Silbergeld, Jerome. "Chinese Concepts of Old Age and Their Role in Chinese Painting, Painting Theory, and Criticism." Art Journal 46, no. 2 (1987): 103. http://dx.doi.org/10.2307/776887.

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44

Zavoleas, Yannis, and Mark Taylor. "Patterns and Spatial Organisation: Culture, History and Future Perspectives." Nexus Network Journal 23, no. 1 (February 13, 2021): 1–4. http://dx.doi.org/10.1007/s00004-021-00548-x.

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45

Schreg, Rainer. "Farmsteads in early medieval Germany – architecture and organisation." Arqueología de la Arquitectura, no. 9 (April 10, 2013): 247–65. http://dx.doi.org/10.3989/arqarqt.2012.11608.

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46

Poon, Wena. "Review: Chinese Box by Wayne Wang." Film Quarterly 52, no. 1 (1998): 31–34. http://dx.doi.org/10.2307/1213356.

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47

Yingjin Zhang. "Transnationalism and Translocality in Chinese Cinema." Cinema Journal 49, no. 3 (2010): 135–39. http://dx.doi.org/10.1353/cj.0.0204.

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48

Fu, Ping. "Cross-Dressing in Chinese Opera (review)." Asian Theatre Journal 22, no. 1 (2005): 158–61. http://dx.doi.org/10.1353/atj.2005.0006.

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49

Juliano, Annette. "POSSIBLE ORIGINS OF THE CHINESE MIRROR." Source: Notes in the History of Art 4, no. 2/3 (January 1985): 36–45. http://dx.doi.org/10.1086/sou.4.2_3.23202424.

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50

Wilkerson, Douglas. ": Perspectives on Chinese Cinema . Chris Berry." Film Quarterly 46, no. 3 (April 1993): 59–60. http://dx.doi.org/10.1525/fq.1993.46.3.04a00120.

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