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Journal articles on the topic 'Classical arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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1

Kuranov, Sadullo Dilmuratovich. "HARMONIZED ORIENTAL CLASSICAL ARTS." Theoretical & Applied Science 38, no. 06 (June 30, 2016): 121–23. http://dx.doi.org/10.15863/tas.2016.06.38.25.

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2

EKE, Nagehan. "Classical Arts At Üsküplü İshak Çelebi’s Dîvân." Journal of Turkish Studies Volume 2 Issue 4, no. 2 (2007): 371–80. http://dx.doi.org/10.7827/turkishstudies.179.

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3

Thomas, Lorenzo. ""Classical Jazz" and the Black Arts Movement." African American Review 29, no. 2 (1995): 237. http://dx.doi.org/10.2307/3042299.

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4

Jarvin, Linda. "TALENT DEVELOPMENT IN THE WORLD OF CLASSICAL MUSIC AND VISUAL ARTS." RUDN Journal of Psychology and Pedagogics 14, no. 2 (2017): 131–42. http://dx.doi.org/10.22363/2313-1683-2017-14-2-131-142.

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5

Yoon, Jeongahn. "Emotional Education Using Classical Novel:Indirect experience of various feelings of love." Research of the Korean Classic 59 (November 30, 2022): 91–118. http://dx.doi.org/10.20516/classic.2022.59.91.

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This article presents a method for how to educate the emotion of ‘love’ using classical novels in liberal arts classes at universities. Classical novels were difficult for modern readers to enjoy due to barriers to entry such as archaic words and Chinese characters, stereotypes of “no fun”, and other cultural customs due to differences in the times. In order to overcome this situation, this article proposed to instrumentally deal with classical novels in liberal arts classes at universities. Instrumental handling of classical novels means that they are free to read classical novels and ‘misread’ them to open a place of thought. This also means that classical novels are consumed in terms of fun. If liberal arts classes are aimed at improving critical thinking rather than conveying knowledge, it is also meaningful to use classical novels in this way, and students may have an opportunity to be interested in classical novels. In order to handle classical novels instrumentally, accessibility must be improved through translation and students must be motivated to read. Therefore, this article suggested to students how to read classical novels through the theme of ‘love’ in liberal arts classes. In the class, classical novels were used as a tool to look into the emotion of ‘love’. This is based on what Erich Fromm calls ‘The Art of Loving’. In other words, love is an object to study and learn, and it will be used as a tool to indirectly experience love for students in their 20s through classical novels. The class was divided into three parts: “What is love?” “The event surrounding love,” “Love and deviance,” and with the instructor’s lecture, students formed a group of presentations and personal assignments. This composition can be carried out differently depending on the instructor’s intention.
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6

ParkJeonYull. "Modern and classical the performing arts of Japan." Journal of japanese Language and Culture ll, no. 12 (April 2008): 5–49. http://dx.doi.org/10.17314/jjlc.2008..12.001.

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7

Edwards, Kenneth. "Virtual Versus Classical Universities: Liberal Arts and Humanities." Higher Education in Europe 26, no. 4 (December 2001): 603–7. http://dx.doi.org/10.1080/03797720220141942.

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8

Folbre, Nancy. ""The Improper Arts": Sex in Classical Political Economy." Population and Development Review 18, no. 1 (March 1992): 105. http://dx.doi.org/10.2307/1971861.

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9

Lebensztejn, Jean-Claude. "Framing Classical Space." Art Journal 47, no. 1 (1988): 37. http://dx.doi.org/10.2307/776904.

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10

Kim, Moonju, and Jungwon Yang. "A Practice of Liberal Arts Classes using Classical Drama." Korean Association of General Education 14, no. 3 (June 30, 2020): 159–74. http://dx.doi.org/10.46392/kjge.2020.14.3.159.

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11

Seo, Gi Ja. "Research on Classical Seminars As University Liberal Arts Education." Liberal Arts Innovation Center 1 (May 30, 2018): 7–21. http://dx.doi.org/10.54698/kl.2018.1.7.

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12

Mench, Fred, and Jane Davidson Reid. "The Oxford Guide to Classical Mythology in the Arts." Classical World 89, no. 3 (1996): 235. http://dx.doi.org/10.2307/4351802.

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13

Lembcke, Jerry Lee. "Classical theory, postmodernism, and the sociology liberal arts curriculum." American Sociologist 24, no. 3-4 (September 1993): 55–68. http://dx.doi.org/10.1007/bf02691919.

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14

Pelegrín, Marta Albalá, and Esther Fernández. "Introduction: Spanish Classical Theater Across the Arts and Practices." Hispanófila 198, no. 1 (June 2023): 5–10. http://dx.doi.org/10.1353/hsf.2023.a901024.

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15

Thanouli, Eleftheria. "POST‐CLASSICAL NARRATION." New Review of Film and Television Studies 4, no. 3 (December 2006): 183–96. http://dx.doi.org/10.1080/17400300600981900.

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16

Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 67, no. 2 (October 2020): 287–92. http://dx.doi.org/10.1017/s0017383520000145.

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Bloomsbury's Imagines series, edited by Filippo Carlà-Uhink and Martin Lindner, focuses on classical receptions in the visual and performing arts. It has blazed into 2020 with three edited volumes and one monograph. The monograph by Carlà-Uhink is on the reception of classical Greece in theme parks, and the edited volume that has landed on our desk is Classical Antiquity in Video Games. In this attractive volume, clad in the stylish graphics of Alientrap's Apotheon (2015), Christian Rollinger has assembled a vital collection of essays on the underexplored subject. As he emphatically proclaims, ‘Video games are everywhere’ (xiii) and this book is a lifeline for countless university teachers faced with the task of supervising students enthusiastically writing about the ever-expanding mass of classically inspired games.
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17

Han, Chang Hun. "Professional Characteristics and Liberal Arts Character of Classical Literature Education Text: Focusing on Its Status as a University’s Major Education." Research of the Korean Classic 61 (May 31, 2023): 39–66. http://dx.doi.org/10.20516/classic.2023.61.39.

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Traditionally, there has been a general perception that universities are immersed in specialized research that creates new knowledge, and the contents of education established hereby are spread through secondary education. However, as Korean language education itself moved away from academic-centered knowledge education and moved to a communication-centered function center, classical literature education also has had a gradual change from the education content focusing on the existing literature theory and history of literature to education centered on the linguistic attributes of literature. Classical literature has two educational properties. One is a property that is constantly enjoyed and reinterpreted while being handed down over a long time, which has a certain emotional influence even today. This can be conceptualized as a liberal arts character. The other is the fact that it shows the original form of culture as a material that contains the appearance of life at the time. This gave it an academic status of acquiring literacy for classical texts. I attempt to conceptualize this in terms of professional characteristics. Every classical literature text has its own inherent value. However, even if the original text is valuable, it does not immediately acquire educational value. ‘Liberal arts’ refers to creative understanding or knowledge that is embodied through acquiring a certain cultural ideal, and its content changes according to the changing times or the cultural ideology of a nation. As an educational philosophy of classical literature, I emphasize that ‘culture’ has a meaning encompassing history and philosophy. Here, the concept that responds well to culture is considered liberal arts. At this time, in the case of Korea, attention is paid to the concept term of ‘culture’ in the composition of the curriculum. In the case of Japan, the concept term of ‘liberal arts’ is highlighted as important in the composition of the curriculum. Here, I will not make a value-based evaluation of the difference between the two countries. The difference in perception between the two countries is because each has its own historical background and reason. This trend comes to affect the university curriculum in Korea, and even in undergraduate major classes at universities, there has been a situation where we are thinking about new teaching methods. As a result, it shows the characteristics that flow from the existing professional characteristics to the strengthening of liberal arts characteristics.
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18

Rain, B. "RELEVANCE OF CLASSICAL MUSIC IN CINEMA MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3465.

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Indian scholars have considered music to be a divine voice. This entire universe is subject to nad, and nad is called Brahm, because nad is everywhere. This entire universe is foolish. Naad is composed of Brahman, Brahman with word, word by sentence and sentence by song, so it can be said that Naad is the soul of music.Harsh, gaiety, zeal, it is the makeup of a person's life, when the person becomes weak by getting entangled in social bonds or problems, then the arts in which the work of replenishing power and passion is there, they are called fine arts and fine arts. Music is considered to be the highest in the world. It would not be an exaggeration to say that man and music have an integral relationship. भारतीय विद्वानों ने संगीत को ईष्वरीय वाणी माना है। यह समस्त सृष्टि, नाद के अधीन है तथा नाद को ब्रह्म कहा गया है, क्योंकि नाद सर्वत्र व्याप्त है। यह सम्पूर्ण ब्रह्माण्ड ही नादमय है। नाद से ब्रह्म, ब्रह्म से शब्द, शब्द से वाक्य तथा वाक्य से गीत बनता है, अतः यह कहा जा सकता है कि नाद संगीत का प्राण है।हर्ष, उल्लास, उमंग, यह व्यक्ति के जीवन का श्रृंगार है, जब व्यक्ति सामाजिक बंधनों अथवा समस्याओं में उलझकर कमजोर होने लगता है, तब उसमें पुनः शक्ति तथा जोष भरने का कार्य जिन कलाओं में है, उन्हें ललित कलायें कहा जाता है और ललित कलाओं में संगीत का स्थान सर्वोच्च माना जाता है। यह कहना अतिष्योक्ति नहीं होगा कि मनुष्य तथा संगीत का अभिन्न सम्बन्ध है।8
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19

Kang Heejung. "Religious Arts in the Early Classical Period in Southeast Asia." Journal of Humanities, Seoul National University ll, no. 65 (June 2011): 189–219. http://dx.doi.org/10.17326/jhsnu..65.201106.189.

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20

Scouller, Dianne. "The Liberal Arts Tradition: A Philosophy of Christian Classical Education." International Journal of Christianity & Education 19, no. 1 (March 2015): 87–88. http://dx.doi.org/10.1177/2056997115578367.

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21

Kelsey, W. Michael, Jan Walls, and Yvonne Walls. "Classical Chinese Myths." Asian Folklore Studies 44, no. 1 (1985): 129. http://dx.doi.org/10.2307/1177991.

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22

Chopra, Pankaj. "CLASSICAL EXPERIMENT IN CINE MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3456.

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From the beginning of the creation man has wandered in search of happiness. Its imagination has been keeping pace with this creation and this imagination has been trying to materialize the artistic tendency. To provide stability to the beauty of nature, fine arts were born and music is considered to be the highest place in the fine arts. In the words of Dr. Nisha Rawat ji, music is the moral law of the world, it fills the human mind with colorful colors in new colors and emotions. Music brings joy to the forecourt of despair and enlivens life and enthusiasm in every substance of the world. Nowadays, from morning to evening and sometimes 24 hours and continuous music echoes in our ears in many forms. In any place or any work, music continues to spread like the haze of the sky. सृष्टि के आरम्भ से मानव आनंद की खोज में भटकता रहा है। इसकी कल्पना, इस सृष्टि के साथ तालमेल स्थापित करती रही है और यह कल्पना ही, कलात्मक प्रवृत्ति को मूर्त रूप देने की कोशिश करती रही है। प्रकृति के सौन्दर्य को स्थायित्व प्रदान करते के लिए ललित कलाओं का जन्म हुआ और ललित कलाओं में सबसे ऊँचा स्थान माना गया है, संगीत का। डाॅ0 निशा रावत जी के शब्दों में संगीत विश्व का नैतिक विधान है,यह मानव मस्तिष्क में नवीन रंग और भावनाओं मंे रंगीन उडान भरता है। संगीत निराशा के प्रांगण में आनन्द का प्रपात प्रवाहित करता है तथा विश्व के प्रत्येक पदार्थ मे जीवन और उत्साह को मुखरित करता है। आजकल सुबह से शाम तक व कभी-कभी चैबीस घंटे व अनवरत संगीत की गूँज हमारे कानों में अनेेक रूपों में पडती रहती है। कोई भी स्थान हो या कोई भी कार्य हो सब जगह आकाश की धुन्ध की भाँति संगीत का प्रसार होता रहता है।
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23

Cast, David, and Damie Stillman. "English Neo-Classical Architecture." Art Bulletin 72, no. 4 (December 1990): 664. http://dx.doi.org/10.2307/3045772.

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24

Manchester, Ralph A. "The Popular and the “Proper” Performing Arts." Medical Problems of Performing Artists 28, no. 4 (December 1, 2013): 179–80. http://dx.doi.org/10.21091/mppa.2013.4036.

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The two articles on the health of marching band musicians and the one on Irish traditional musicians in this issue of the journal are the most recent examples of research on the health of performing artists who participate in non-classical art forms. While it may not be easy for everyone to agree on the definitions of classical (or, more broadly, “art”) versus popular music (or dance), that hasn’t stopped scholars from trying. The point of this editorial is not to debate the relative merits of art music or dance with popular music or dance—each art form has its passionate practitioners and supporters, some of whom do all the debating that is needed. What I will try to do is to review how much attention we have paid to the more popular art forms as the field of performing arts medicine has evolved over the last three decades.
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25

Han, Sae-hae. "Classical narrative literature as a requirement in liberal arts education in vocational colleges." Research of the Korean Classic 55 (November 30, 2021): 259–93. http://dx.doi.org/10.20516/classic.2021.55.259.

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26

Davies, Stephen. "Rock versus Classical Music." Journal of Aesthetics and Art Criticism 57, no. 2 (1999): 193. http://dx.doi.org/10.2307/432312.

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27

Hagener, Malte. "The Classical Hollywood Reader." Historical Journal of Film, Radio and Television 33, no. 2 (June 2013): 324–26. http://dx.doi.org/10.1080/01439685.2013.793007.

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DAVIES, STEPHEN. "Rock Versus Classical Music." Journal of Aesthetics and Art Criticism 57, no. 2 (March 1, 1999): 193–204. http://dx.doi.org/10.1111/1540_6245.jaac57.2.0193.

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29

Miedema, Hessel, Franciscus Junius, Keith Aldrich, Philipp Fehl, and Raina Fehl. "The Literature of Classical Art." Simiolus: Netherlands Quarterly for the History of Art 22, no. 4 (1993): 323. http://dx.doi.org/10.2307/3780817.

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30

Tegtmeyer, Susan. "The Second Williams Symposium on Classical Architecture, "Refinements in Classical Architecture: Curvature"." Journal of the Society of Architectural Historians 53, no. 3 (September 1994): 374–75. http://dx.doi.org/10.2307/990958.

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31

Marcalo, Rita. "Failing to do without: writing as classical documentation of post-classical choreographic documentation." Journal of Writing in Creative Practice 2, no. 1 (July 1, 2009): 105–16. http://dx.doi.org/10.1386/jwcp.2.1.105_1.

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32

Conrad, Leon. "Integration and the liberal arts: a historical overview." On the Horizon 22, no. 1 (February 4, 2014): 46–56. http://dx.doi.org/10.1108/oth-11-2013-0045.

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Purpose – The traditional liberal-arts curriculum of the word-based Trivium (grammar, dialectic/logic, rhetoric) and the number-based Quadrivium (arithmetic, geometry, astronomy, music) has an intrinsic unity. Used in an integrated way, it provides a tool for self-development, self-realisation and self-integration. The purpose of this paper is to outline the core nature of the integrative quality of the liberal-arts curriculum, trace the gradual disintegration of the curriculum from its adoption in classical Greece, and provide practical suggestions for the re-integration of the curriculum in the context of modern educational practice. Design/methodology/approach – The paper presents a philosophical survey of the history of the theory and practice relating to the intrinsic integrated quality of liberal-arts education from pre-classical Greece to the present day. Findings – The integrated quality of the liberal-arts curriculum has experienced a gradual disintegration from its adoption in classical Greece to the twenty-first century. The paper provides practical suggestions for the re-integration of an integrated approach to the curriculum in the context of modern educational practice. Practical implications – Re-engaging with the integrated quality of the liberal-arts curriculum is vital for fulfilling the purpose of education as a practice: that of enabling a human being to flourish in a holistic way, in order to take an active role within a civil society. Originality/value – The paper provides a valuable antidote to overly rational thinking by arguing for the need to restore the intrinsic integrative quality of the liberal-arts curriculum in educational practice in order to support the flourishing of individuals, society in order for the emergence of a mutually supportive interaction between them to appear.
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33

Russell, D. A. "Arts and Sciences in Ancient Education." Greece and Rome 36, no. 2 (October 1989): 210–25. http://dx.doi.org/10.1017/s0017383500029776.

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Those of us who grope around in the mists of classical antiquity often come upon objects that remind us of the world we live in. There are analogies, always dangerous. There are many of the same words, or so it seems: arts, science, rhetoric, thesis, history, encyclopaedia. But they do not mean what we are used to. There are even historical continuities, but these also tend to be illusory.
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34

Pechilis, Karen. "Bhakti’s Visualities of Connection in the Arts Today." Journal of Hindu Studies 12, no. 2 (August 1, 2019): 142–67. http://dx.doi.org/10.1093/jhs/hiz009.

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Abstract Recently, artists in drama, dance, and contemporary art have visually evoked bhakti through their engagement with the historically remote Tamil bhakti poet-saint Kāraikkāl Ammaiyār. For centuries, bhakti in regional languages has been deeply intertwined with the arts, with its emphasis on personal engagement, emotionally inflected expressiveness and declarative performance. The bhakti poet-saints’ own words and deeds promoted a visuality of connection that enabled new and diverse participation in religio-social authority. Drawing on a resonant yet transformed mode of this visuality of connection, the arts today assert that Kāraikkāl Ammaiyār is a socially relevant figure—teacher, feminist, global spiritual icon—grounded in her own time and as speaking to ours. The contemporary arts’ mediation of classical ideas and contemporary concerns through visualities of connection that engage audiences today suggests a challenge to contemporary museum culture, which shares with the arts immersive display, yet grapples with envisioning a visuality of connection that provides a global audience today with an experience of classical art of India as both accessible and relevant.
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Kolesnikov, Ilya. "Notes on the history of ancient classicism." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 2 (2021): 772–88. http://dx.doi.org/10.25205/1995-4328-2021-15-2-772-788.

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The article discusses the genesis of classicism in the Antiquity. At first, we give a brief retrospective review of the concept of “classic” until to the Renaissance, then the emergence on this concept in Aulus Gellius and Cicero. Further, we present a retrospective history of the classical tendency on the example of the disputes between Asians and Atticists, neoterics and lovers of old poetry, and in the ancient attitude towards the plastic arts. Hereafter the article focuses on the Hellenistic poets and philologists and, finally, we trace the origin of the classical tendency in the classical age – particularly, the creation of lists of «selected writers», the development of artistic canons and the relationship between classicism in arts and the pursuit of the old and «good» mores.
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Boreczky, Anna. "Classical Protagonists – Medieval Postures." Acta Historiae Artium 60, no. 1 (December 2019): 29–49. http://dx.doi.org/10.1556/170.2019.60.1.2.

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Preece, Stephen B. "Commentary: Whither classical music?" Cultural Trends 11, no. 41 (January 2001): 37–42. http://dx.doi.org/10.1080/09548960109365148.

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Moravcsik, Julius M., and Jane Davidson Reid. "The Oxford Guide to Classical Mythology in the Arts, 1300-1990s." Journal of Aesthetics and Art Criticism 54, no. 3 (1996): 300. http://dx.doi.org/10.2307/431636.

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Kaufmann, Thomas DaCosta, Jane Davidson Reid, and Chris Rohmann. "The Oxford Guide to Classical Mythology in the Arts, 1300-1990s." Dance Research Journal 26, no. 1 (1994): 27. http://dx.doi.org/10.2307/1477709.

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40

Curry Woods, Marjorie. "Rhetoric, Gender, and the Literary Arts: Classical Speeches in the Schoolroom." New Medieval Literatures 11 (January 2009): 113–32. http://dx.doi.org/10.1484/j.nml.1.00586.

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Leech-Wilkinson, Daniel. "Classical music as enforced Utopia." Arts and Humanities in Higher Education 15, no. 3-4 (July 2016): 325–36. http://dx.doi.org/10.1177/1474022216647706.

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42

Tambe, Tina. "NEW EXPERIMENTS IN CLASSICAL DANCES." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3427.

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Change is the law of life. No element existing in nature has remained untouched by this process. Living, eating, eating, ethics, beliefs, mentality, moral values ​​etc. and change is visible in every area of ​​social and cultural landscape. Natural changes are occurring naturally but in many other areas, these changes arise as a result of the creative tendency of humans, the main one being the "arts" field. Creating is the natural quality of human being and the pursuit of newness is its basic tendency. When this trend is used with dexterity, work skills, talent and beauty, we create a new and beautiful panoramic cover for creation, then we call it art. One of the Panchakalas under the Fine Arts is Sangeet Kala and one of the arts under the Sangeet is dance art. In Indian culture, dance has been considered as the medium of worship of God, it originated from God and its basis is believed to be religion and spirituality. The dance in the "Natya Veda", formed as the fifth Veda after taking into account the major elements of the four Vedas, attained a systematic, scriptural and normative form and it was from here that the rich tradition of classical dances began. Classical dances have been single-use since the beginning, they were used for worshiping God in temples and today in modern society, these dances have appeared in front of new observers on social theater with a new vision and new form. In these migrations from ancient times to modern times, these dances saw many ups and downs and changes and they had to wear many new clothes to appear in front of new viewers in new circumstances. This is an attempt to shed some light on this migration of new creation, new experiments and new trends of classical dances. परिवर्तन प्रकृति का नियम है। प्रकृति में विद्यमान कोई भी तत्व इस प्रक्रिया से अछूता नहीं रह पाया है। रहन-सहन, खान-पान, आचार-विचार, मान्यताए, मानसिकता, नैतिक मूल्य आदि तथा सामाजिक व सांस्कृतिक परिदृश्य के प्रत्येक क्षेत्र में परिवर्तन दृश्यमान है। प्राकृतिक परिवर्तन तो नैसर्गिक रूप से होते रहते है परंतु अन्य कई क्षेत्रों में यह परिवर्तन मानव की सृजनात्मक प्रवृत्ति के फलस्वरूप उत्पन्न होते है जिसमें प्रमुख है “कला” क्षेत्र। सृजन करना मानव का नैसर्गिक गुण है तथा नवीनता की खोज उसकी मूल प्रवृत्ति। यही प्रवृत्ति जब निपुणता, कार्य कौशल, प्रतिभा व सौन्दर्यबोध से प्रयुक्त होकर सृजन को नित-नवीन नयनाभिराम आवरण पहनाती है तब उसे हम कला कहते है। ललित कलाओं के अंतर्गत आने वाली पंचकलाओं में से एक है संगीत कला तथा संगीत कला के अंतर्गत आने वाली कलाओं में से एक है नृत्य कला। भारतीय संस्कृति में नृत्य को ईश्वर की उपासना का माध्यम समझा गया है, यह ईश्वर से ही उत्पन्न हुआ है व इसका आधार धर्म व आध्यात्म ही माना गया है। चार वेदों के प्रमुख तत्वों को ग्रहण कर पंचम वेद के रूप में निर्मित “नाट्य वेद” में नृत्य को व्यवस्थित, शास्त्रोक्त व नियमबद्ध स्वरूप प्राप्त हुआ तथा यहीं से शास्त्रीय नृत्यों की समृद्ध परंपरा का आरंभ हुआ। शास्त्रीय नृत्य आरंभ से ही एकल प्रयोज्य रहे है, इनका प्रयोग मंदिरों में ईश्वर उपासना हेतु हुआ तथा आज आधुनिक समाज में ये नृत्य एक नयी दृष्टि व नवीन स्वरूप के साथ सामाजिक रंगमंच पर नए प्रेक्षकों के समक्ष उपस्थित हुये है। प्राचीन काल से आधुनिक काल के इस प्रवास में इन नृत्यों ने अनेक उतार चढाव व बदलाव देखे तथा समयानुरूप नवीन परिस्थितियों में नए दर्शको के समक्ष अवतरित होने हेतु इन्हें अनेक नवीन कलेवर धारण करने पडे। शास्त्रीय नृत्यों के नवीन सृजन, नवीन प्रयोग व नवीन प्रवृत्तियों के इस प्रवास पर कुछ प्रकाश डालने का यह एक प्रयास है।
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43

Wei, Han, and Hui Geng. "The Revival of Classical Chinese Poetry Composition: A Perspective from the New Liberal Arts." International Journal of Comparative Literature and Translation Studies 10, no. 2 (May 5, 2022): 18–22. http://dx.doi.org/10.7575/aiac.ijclts.v.10n.2p.18.

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For nearly a century, the composition of classical Chinese poetry had been on the decline, which was caused by the evolution of language and the transformation of education. However, the last decade has seen a rise in classical poetry writing. What most astounds the world is that younger generations have actively joined this writing movement. The objective of this paper is to examine the current phenomenon and the potential factors from the perspective of new liberal arts. Through general observations from students’ works in the composition of Chinese classical poetry, this paper also makes a historical comparison of the education mode between the decline and revival period. The findings indicate that it is information technology that brings back the three-millennia-old artistic form to this new era. The enhancement of information technology has removed the obstacles to accessing poems and has aided the process of writing poems. The revival of classical Chinese poetry composition exerts a far-reaching impact on poetry education in the context of new liberal arts. The results of this paper highlight the necessity of more research in similar areas.
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Jones, Betty True, Kay Ambrose, and Ram Gopal. "Classical Dances and Costumes of India." Dance Research Journal 17, no. 2 (1985): 89. http://dx.doi.org/10.2307/1478089.

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Osborne, Frederick S. "The Classical Education of an Artist." Art Journal 53, no. 3 (September 1994): 14–27. http://dx.doi.org/10.1080/00043249.1994.10791642.

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Milliken, Christie. "Resetting the Scene: Classical Hollywood Revisited." Canadian Journal of Film Studies 32, no. 2 (September 2023): 156–60. http://dx.doi.org/10.3138/cjfs-2023-0012.

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Villalba Cívico, Luis Miguel. "Richard Shusterman (2021). Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love. Cambridge: Cambridge University Press." RAPHISA. Revista de Antropología y Filosofía de lo Sagrado 7, no. 1 (January 5, 2024): 131–33. http://dx.doi.org/10.24310/raphisa.7.1.2023.18329.

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van Bommel, Bas. "Classical Scholarship between Extremes." History of Humanities 8, no. 2 (September 1, 2023): 273–84. http://dx.doi.org/10.1086/726369.

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Səfxan qızı Məhərrəmova, Nigar. "History of Azerbaijani carpets with classical composition." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 113–17. http://dx.doi.org/10.36719/2663-4619/67/113-117.

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Today, many artists and designers are creating new compositions, bringing a new look and a new breath to the art of decorative application, working on modern methods of combining the national traditions of Azerbaijan's classical carpet compositions. Unusual, beautiful and intricate national and sometimes abstract patterns that adorn Azerbaijani carpets are real works of decorative art. Azerbaijani carpets have been representing our rich historical past and national culture for centuries all over the world. At present, the main task of masters of decorative and applied arts, carpet artists and carpet designers is to create beautiful and perfect works, to create modern carpet compositions using national carpet traditions. Key words: carpet, artist, designer, modern, composition, abstract
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Berlin, Adele, and W. G. E. Watson. "Classical Hebrew Poetry." Journal of the American Oriental Society 106, no. 3 (July 1986): 579. http://dx.doi.org/10.2307/602125.

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