Academic literature on the topic 'Drawing 21st century Themes, motives'
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Journal articles on the topic "Drawing 21st century Themes, motives"
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Blidaru, Mădălin-Cătălin. "‘With Whom We Talk?’ Drawing Regions in 21st Century Africa." Studia Universitatis Babeș-Bolyai Studia Europaea 65, no. 2 (December 30, 2020): 157–77. http://dx.doi.org/10.24193/subbeuropaea.2020.2.08.
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"The African continent inherited borders drawn by foreign actors for centuries, with a limited influence exerted by its internal political structures. This impacted its development across decades, acting as a contributing factor to economic, social and political conflicts, some of them resulting in further divisions in time: new states emerged, while the federal structures developed within some states remain unstable. In this paper, the author investigates the current regional groupings of states established in different African frameworks in an attempt to answer the question “how external actors influence and legitimize the development of regions” in 21st century. From a functionalist perspective, it explores the motives for the formation of a wide range of regional integration and cooperation organizations. The case study of G5 Sahel, an institutionalized regional arrangement focused on security and development of its member states, is analyzed as an arrangement emerged with support from France and the European Union. The case study analysis trails the cooperation with these two foreign actors with the G5 Sahel member states in the five years, focused on evolution, financing and joint initiatives – including to what extent these contributed to consolidation of the regional borders. Keywords: region-building, G5 Sahel, regional cooperation, European Union, development cooperation "
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Mårell-Olsson, Eva. "Using gamification as an online teaching strategy to develop students’ 21st century skills." Interaction Design and Architecture(s), no. 47 (February 10, 2021): 69–93. http://dx.doi.org/10.55612/s-5002-047-004.
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This paper reports on a study investigating the use of gamification as a teaching strategy in an online setting for developing upper -secondary students’ 21st century skills (i.e., collaboration, critical reasoning, communication, solving complex problems, and being able to use and manage digital tools and devices). More specifically, the study aimed to empirically explore pedagogical design perspectives as well as students’ and teachers’ experiences on what opportunities and challenges they perceive about gamification teaching designs in this context. University students co-created the gamification activities’ design and the participating teachers chose virology and immunology (Biology 2 for upper-secondary schools in Sweden) as the topics. The study was conducted during Spring 2020 and in total 26 upper-secondary students, 2 teachers, and 7 engineering students studying in the Master of Science programmes participated. The empirical material is based on observations during the online tests in which the school students tested the university students’ design, a survey with the school students, post-interviews with the teachers and the university students, and the university students’ written report as a mandatory assignment in their course. The findings illustrate three themes: 1) developing pedagogical design principles for online gamification activities, 2) the school students’ experiences, and 3) the participating teachers’ experiences. The findings show that designing for gamification teaching in an online setting with a specific purpose in developing students’ 21st skills is quite a complex process. The participating teachers, for example, perceive gamification teaching designs as a catalyst for motivating and engaging students’ learning to a high extent, but the challenges they experience concern foremost how to design tasks and assess an individual student’s knowledge in collaborative assignments. The collaboration between the university and K–12 education concerned combining the different competences in the TPACK-model, and in addition aligning expressed motives and goals towards an applied teaching design. This presented study is an aspiration and a practical example of directing towards development of smart learning ecosystems.
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Dahl, Kari Kragh Blume. "Professional development lost in translation? ‘Organising themes’ in Danish teacher education and how it influences student-teachers’ stories in professional learning communities." Research in Comparative and International Education 14, no. 3 (September 2019): 357–75. http://dx.doi.org/10.1177/1745499919865141.
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Retaining the quality of teachers and improving teacher education and professional development through professional learning communities (PLCs) has long been on the policy agenda of, among others, the United Nations Educational, Scientific and Cultural Organization (UNESCO), Organisation for Economic Co-operation and Development (OECD), and the Framework for 21st Century Skills. This study explores and compares student-teachers’ use of PLCs in Danish teacher education institutions and how PLCs are shaped by institutional, organising themes. An ‘organising theme’ is conceptualised as a fundamental ‘idea’ of how – for instance institutional – everyday practices become organised; exploring how institutional organising themes are translated into educational practice in students’ PLCs makes it possible to understand how local moral worlds in teacher education institutions shape students’ communal work and professional development. Drawing on situated learning, social anthropology of institutions and the literature about PLCs, the professional narratives of three Danish student-teachers are compared. The findings suggest that professional development in PLCs takes place in the intersection between personal stories, situated learning in PLCs and institutional themes.
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Bompani, Barbara. "Religion and development: Tracing the trajectories of an evolving sub-discipline." Progress in Development Studies 19, no. 3 (April 3, 2019): 171–85. http://dx.doi.org/10.1177/1464993419829598.
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Religion and development (RaD) has emerged as a new academic sub-discipline since the turn of the 21st century, following decades of secular assumptions and attitudes dominating development studies, and international development more broadly. In 2019, there was a little doubt that religion has been incorporated into development studies and it is therefore timely to re-appraise RaD. Recent scholarship suggests that RaD increasingly informs, engages with and influences development studies and development practice—providing rich empirical material, broader disciplinary engagement and deeper analytical insight. Drawing on a survey of almost—mainly English language—700 publications, this article traces the emergence and establishment of RaD. The article traces the emergence of the field (2000–10) and then its subsequent more critical engagement with development studies (between 2011 and 2018). The article concludes by identifying five emerging contemporary research themes within RaD and future research opportunities.
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Hayes, Desha, and Gibbs. "Findings of Case-Study Analysis: System-Level Biomimicry in Built-Environment Design." Biomimetics 4, no. 4 (November 1, 2019): 73. http://dx.doi.org/10.3390/biomimetics4040073.
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Complex systems challenges like those facing 21st-century humanity, require system-level solutions that avoid siloed or unnecessarily narrow responses. System-level biomimicry aims to identify and adopt design approaches that have been developed and refined within ecosystems over 3.8 billion years of evolution. While not new, system-level biomimetic solutions have been less widely applied in urban design than the ‘form’ and ‘process’ level counterparts. This paper explores insights from a selection of system-level case studies in the built environment, using meta-analysis to investigate common challenges and priorities from these projects to support knowledge-sharing and continued development in the field. Using a grounded research approach, common themes are distilled, and findings presented regarding success and barriers to implementation and scaling. Considering the findings, and drawing on complex adaptive systems theory, the paper posits opportunities to facilitate broader implementation and mainstreaming of system-level biomimetic design approaches in the built environment.
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Alzahrani, Alaa Ahmed. "Exploring Depictions of Bedouins in Travels in Arabia Deserta by Charles Doughty." International Journal of Applied Linguistics and English Literature 7, no. 7 (December 1, 2018): 58. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.7p.58.
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The discourse of Orientalism has often been explored from a Critical Discourse Analysis (CDA) perspective in fiction works and news media published in the 20th and 21st centuries. What remains a largely unexplored area is Oriental views in non-fiction Western writings of the 19th century. One of the key books describing the people of Arabia from this era is Charles Doughty’s (1888) Travels in Arabia Deserta. For this reason, this study analyzed one chapter from this book to explore Doughty’s representation of the Arabian Peninsula Bedouins. By drawing on CDA and the Appraisal framework, this study identified evaluative lexical items used by Doughty to describe the Bedouins and related these lexical choices to three Oriental themes identified in the literature: (1) Oriental inferiority, (2) Oriental barbarity, and (3) Oriental untrustworthiness. An examination of the Oriental themes in Doughty’s book highlights two characteristics of the discourse of Orientalism. One is the underlying cultural superiority of the West and the other is the interdependence of texts describing the people of Arabia. As such, this paper supports the idea that what is encompassed by the label “discourse of Orientalism” can include even seemingly neutral descriptions of people of Arabia, and that existing representations of Arabs are a product of an accumulated body of work rather than from one specific text.
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Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.
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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.
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Karasik-Updike, Olga B. "Contemporary Jewish Prose in the USA." Literature of the Americas, no. 10 (2021): 100–134. http://dx.doi.org/10.22455/2541-7894-2021-10-100-134.
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The essay presents an overview of Jewish American prose of the second half of the 20th — first two decades of the 21st century within the context of multicultural literature of the USA. The definition of Jewish literature remains a matter of debate. The author of the essay based on the opinions of critics concludes on the criterion for assigning a writer to Jewish literature. It is the artistic embodiment of the personal Jewish experience and identity in the works of literature, the view “from inside,” the perspective of collective memory and the connection to history and culture. Jewish literature today is one of the most developed ethnic segments of multicultural American literature. Writers under study are recognized throughout the world, their works have been translated into many languages, including Russian, they are known to readers and have already become the subject of study by literary scholars. Today, Jewish American literature is represented by two generations of writers. “Senior” generation includes the authors born in the 1920s–30s who began their literary careers in the 60s when there was a generational change in national literature. “Young” generation is represented by the writers who began their literary careers in the 2000s. On the example of the works of the most famous authors of both generations, the author of the essay talks about the factors determining the specific features of Jewish American prose and its characteristic themes, problems, and motives: the search for identity and roots, the representation and rethinking of the Holocaust, ethnic stereotypes, the image of the Jewish family, and the traditions of Jewish humor. The study of the works of modern Jewish writers in the United States allows us to draw conclusions about the display of border consciousness, national and ethnic identity, and collective memory in fiction.
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Nikitin, Andrii. "Philosophical context in the work of Sergei Zoruk." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 46–53. http://dx.doi.org/10.33838/naoma.29.2020.46-53.
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S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.
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Fletcher, Amy Lynn. "Smart city visions: pathways to participatory planning in two American cities." foresight 22, no. 5/6 (October 23, 2020): 689–702. http://dx.doi.org/10.1108/fs-04-2020-0036.
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Purpose This paper aims to evaluate the use of community visioning in Montgomery, Alabama and Chattanooga, Tennessee, as each municipality seeks to become a globally competitive 21st century smart city while also fostering participatory and inclusive planning processes. Design/methodology/approach This research is qualitative, drawing upon discourse analysis of relevant mass media and public documents to map the consultation process and identify the key themes and challenges arising in the two visioning projects. Findings Montgomery and Chattanooga are committed to using participatory visioning to generate inclusive pathways to smart city status by 2040. Each used the local utility company as the key platform to enable a smart city because of each company’s inclusive demographic reach and historical status. The two cities are at different stages of the smart city trajectory and each faces ongoing challenges in ensuring that the benefits of smart city development reach beyond elites to include communities across racial and economic lines. To date, the planning process in each city is more accurately classified as a responsive community visioning rather than participatory. Research limitations/implications This is a pilot assessment of community visioning in Montgomery and Chattanooga. Implementation of each vision is ongoing and further research is needed to illuminate how each city meets ongoing challenges and opportunities, particularly in light of the Covid-19 pandemic and its flow-on economic and social shocks. Originality/value The value of this work lies in the comparison of community visioning across two mid-sized and diverse American cities in the Southern region that must compete with larger and more established technology-hubs in both the USA and globally for investment, amenities and human capital.
Dissertations / Theses on the topic "Drawing 21st century Themes, motives"
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Fletcher, Lauren Jean. "Adaptive realities : effects of merging physical and virtual entities." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.
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In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.
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Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.
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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.
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Wasserman, Minke. "'Becoming animal': motifs of hybridity and liminality in fairy tales and selected contemporary artworks." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1019759.
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‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.
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Garisch, Margaret Isabel. "Consuming pasts : imaging food as Identity and (post)memory in post-apartheid South Africa." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018556.
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This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work
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Lhote, Florence. "Poétique de la distance: la guerre d'Algérie et les lettres françaises, 1987-2010." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209009.
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Notre thèse a pour enjeu la poétique de la distance dans les fictions de dix écrivains français et francophones de la seconde génération de la guerre d'Algérie (1954-1962), c'est à dire à distance de cet événement. Leurs fictions, publiées entre 1987 et 2010, interrogent la transmission et la filiation.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Nixon, Karla. "Re- an exploration of transience in the work of selected artists." Thesis, 2017. http://hdl.handle.net/10321/2497.
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Submitted in partial fulfilment of the requirements for the Masters of Technology in Fine Art Degree, Durban University of Technology, 2017.The aim of this research is to investigate the exploration of transience in the work of selected artists. This study used qualitative, practice-led research methodology. This research is practice-led as my art making plays an integral part in guiding my research. Process philosophy provides the theoretical underpinning and contextual framework for this dissertation. I focus on both contemporary artists and philosophers who explore the notion of transience. As my selected artists and I use paper as a predominant medium, I look at how paper is an ideal choice of material through which to explore themes of transience. The selected artists that I investigate include Peter Callesen (1967-), Mia Pearlman (1974-), Jodi Carey (1981-) and myself. Through this research I have found that artists expressed similar sentiments to that of process philosophers centuries before these theories existed, and continue to do so today. This validates transience as a relevant form of visual enquiry. Through the exploration of transience by contemporary thinkers and the selected artists, I briefly examine the scope of interpretations and possible meanings of transience. The investigation into paper as an art medium supports its appropriateness as a means to explore themes of transience. The exploration of the selected artists’ work highlights the various aspects of transience as a concept based on both subject matter and medium. This research resulted in a body of work, exhibited in partial fulfilment of the Master of Technology Degree in Fine Art.
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Forner, Jane. "Distant Pasts Reimagined: Encountering the Political Present in 21st-Century Opera." Thesis, 2020. https://doi.org/10.7916/d8-mf60-fa63.
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I focus on four operas premiered in Europe and the United States between 2009 and 2016 in which elements of the medieval, ritual, ancient, religious, and mystic emerge through their source material: _Adam and Eve: A Divine Comedy_ (2015, Norway), by Cecilie Ore and Bibbi Moslet; _Kalîla wa Dimna_ (2016, France), by Moneim Adwan and Fady Jomar; _Lilith_ (2009, USA) by Anthony Davis and Allan Havis, and _Paradise Reloaded (Lilith)_ (2013, Austria), by Peter Eötvös and Albert Ostermaier. This dissertation argues that these operas, rather than seeking a renaissance or rebirth of the mythic, draw inspiration and narratives from what I am calling “distant pasts,” reimagining universal or “timeless” narratives of humanity through a specific contemporary lens in an explicit and deliberate interrogation of the political present. Mapping out different modes of staging these distant pasts in response to cultural and political change in the twenty-first century, I suggest new modes of conceiving adaptable operatic “networks of comprehension” that encompass the multiple subject positions and geographical and cultural contexts that shape opera today. Each opera is presented as a case study in a single chapter, balancing musical analyses with political, historical, and cultural critique. Interviews with “stakeholders” (composers, librettists, singers, directors), many of which I conducted, form an integral part of this process. My analyses explore these four operas’ unconventional attitudes towards time, narrative, and drama, and in probing each opera’s idiosyncratic relationship with its distant pasts, I chart the complex manifestations of recent political discourse in Europe and the United States, especially concerning the intersection of feminism, race, religion, and secularism.
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Frederick, Ursula K. "On and off the road : creative intersections between cars and art." Phd thesis, 2013. http://hdl.handle.net/1885/156072.
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Thesis: Over the past decade there has emerged a growing body of scholarship concerned with the impacts and influences of automobility. Its purpose has been to understand the dominance of the car not simply as a technology of transport but as a system of actors, materials, objects, ideas and infrastructure. While much of this research recognises the pervasive presence of the car in our lives in terms of different representational formats, relatively little consideration has been given to what creative artists might contribute to this research. Adopting an interdisciplinary framework incorporating contemporary art, visual anthropology and the archaeology of the contemporary past, this study explores the intersection of car cultures and creative practice to consider how cars can operate as a form of art. In doing so the author proposes that artistic engagements with the car provide unique insight into the experiences of contemporary life. This argument follows from the understanding that art is not simply a mirror of or response to the socio-cultural and political context in which it is manifest. Art is also a conceptual tool for thinking about the very substance and conditions of contemporary existence. Incorporating research undertaken across numerous car culture sites and communities along with a detailed analysis of six case studies, the project makes extensive use of photography as a mode of research. Within the accompanying exegesis the author discusses how her own artwork engages with the influence of automobility in our daily lives. She identifies her working practice as one that is strongly inspired by objects, images and materials that already exist in the world. This enduring interest in the way people make their worlds is informed by her training and sensibility as an archaeologist. The artist explores this idea as a general influence on her practice and more specifically through her investigation of car cultures. The signature of the automobile is all around us, but through its very ubiquity it often goes unnoticed. It is this affect of the everyday - the power to hide in the light - that has especially influenced the artist's approach to the subject. How might this presence in our lives be envisaged without representing the car itself? By abstracting the auto from automobility the artist aims to reflect on the contradictory ideas and emotions that underlie our relationships to the motor vehicle. The story of the car is also allegorical. From the point of purchase to the aftermath of its obsolescence, the automobile is a site for the projection of our desires. The artist's photographs and video work are an expression of this sweet melancholy; the beauty of hope and the spectre of unfulfilled promise. In discussing how she came to develop her practice in response to this topic, the artist concludes that many different modes of being and making - from driving, to talking, to photography - may constitute art as practice-based research.
Exegesis: This exegesis discusses how I came to develop a body of work that engages with the influence of automobility in our daily lives. I identify my working practice as one that is strongly inspired by objects, images and materials that already exist in the world. This enduring interest in the way people make their worlds in informed by my training and sensibility as an archaeologist. I explore this idea as a general influence on my art practice and more specifically through my very ubiquity it often goes unnoticed. It is this effect of the everyday - the power to hide in the light - that has especially influenced my approach to the subject. How might this presence in our lives be envisaged without representing the car itself? By abstracting the auto from automobility I aim to reflect upon the contradictory ideas and emotions that underlie our relationships to the motor vehicle. The story of the car is also allegorical. From the point of purchase to the aftermath of its obsolescence, the automobile is a site for the projection of our desires. My photographs and video work are an expression of this sweet melancholy; the beauty of hope and the spectre of unfulfilled promise. In discussing how I came to develop my practice in response to this topic, I conclude that many different modes of being and making - from driving, to talking, to photography - may constitute art as practice-based research.
Books on the topic "Drawing 21st century Themes, motives"
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Elizabeth, Goring, ed. Jewellery moves: Ornament for the 21st century. Edinburgh, Scotland: NMS Pub., 1998.
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Kraus, Chris. Where art belongs. Los Angeles, Calif: Semiotext(e), 2011.
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Defining contemporary art: 25 years in 200 pivotal artworks. London: Phaidon, 2011.
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Craig, McDaniel, ed. Themes of contemporary art: Visual art after 1980. 2nd ed. New York: Oxford University Press, 2010.
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Craig, McDaniel, ed. Themes of contemporary art: Visual art after 1980. New York: Oxford University Press, 2012.
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Alexander, Christopher. A foreshadowing of 21st century art: The color and geometry of very early Turkish carpets. New York: Oxford University Press, 1993.
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Matisse, Henri. Intimate Matisse. [Canberra]: National Gallery of Australia, 1999.
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Schieren, Mona. Not Berlin and not Shanghai: Art practice on the periphery. Bielefeld: Transcript, 2009.
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Architecture and spectacle: A critique. Farnham, Surrey, UK, England: Ashgate, 2012.
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1955-, Roberts John, Cook Sarah 1974-, Weatherspoon Art Museum, and Austin Museum of Art, eds. The lining of forgetting: Internal & external memory in art. Greensboro, N.C: Weatherspoon Art Museum, University of North Carolina at Greensboro, 2008.
Find full textBook chapters on the topic "Drawing 21st century Themes, motives"
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Hill, Johnathan T. "Reimagining HBCUs in the Future of P-20 Black Education." In Contributions of Historically Black Colleges and Universities in the 21st Century, 41–67. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-3814-5.ch003.
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Historically Black Colleges and Universities (HBCUs) are linked to P-12 Black education through a shared history and purpose in the United States. As HBCUs are in question, it will be important to not only provide the historical perspectives of HBCUs in higher education, but to think broadly about the role of HBCUs in the entire P-20 Black education spectrum. This chapter explores HBCUs role in P-20 Black education by exploring the experiences and perspectives of Black HBCU alumni in educational spaces and shedding light on how their HBCU experiences shaped their racialized identity and consciousness (i.e., Black identity and racial consciousness). Drawing on a 90-minute focus group interview with seven HBCU graduates, the author contends three themes of experiences at HBCUs that contributed to the development of Black alumni's racial consciousness and identity and that may translate in P-12 Black education: (1) a perspective of self in educational spaces, (2) HBCUs as safe spaces, and (3) HBCUs helping to create Black and racially conscious individuals.
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Williams, Deane. "‘Every love story is a ghost story’ : The Spectral Network of Laurie Anderson’s Heart of a Dog (2015)." In Beyond the Essay Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728706_ch04.
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While it has been described as ‘a paean to a canine friend’ and ‘a meditation on love and loss’, Laurie Anderson’s Heart of a Dog (2016) can also be understood as a network of ghost stories. Drawing on Anderson’s idiosyncratic multimedia technique (foregrounding technology) and conceptualizing of the future, this chapter explores the ways in which the figures of 9/11, Lou Reed, David Foster Wallace, Gordon Matta-Clark, and the Bardo course through Heart of a Dog. Exploring the implications of the juxtaposition of these themes and Anderson’s oeuvre, Williams positions the film in relation to a confluence of network theory and hauntology as a particular rendering of 21st-century subjectivity.
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Sinenko, Oksana. "THE TOPIC OF WAR IN WESTERN EUROPEAN MUSIC ART OF THE XX–XXI CENTURIES." In Modernization of research area: national prospects and European practices. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-221-0-28.
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Wars are destructive events that, despite their destructive nature, occur with a certain frequency in the history of human existence. The course of wars, their nature and causes are different, but the impact of military events on human consciousness is inevitable. The problem of the destructive nature of war, its ability to integrate and differentiate human communities often received not only scientific coverage, but also became the subject of works of art. Art is a sphere of human life that flexibly responds to all events that occur in the socio-cultural space. There are many literary, pictorial, theatrical, cinematic works that reflect military events. Examples of military coverage can be found in the musical art of the XX–XXI century. Works related to the theme of war and peace, the balance between these phenomena, are available in both foreign and Ukrainian music culture. The purpose of the paper is to highlight the specifics of musical works on military themes and to determine the dominant features that are inherent in them. This task is urgent, given the significant transformation of modern life of the Ukrainian people and the need to define the role of musical art in society. Highlighting the features of musical works will determine their role in the context of culture. Methodology of the study is based on general research methods of analysis and synthesis, induction and deduction, observation and abstraction, which are used to systematize achievements in the study of military topics in the art of music. The logic of the study involves determining the range of works on the theme of war, highlighting their essential features, conducting a comparative analysis of works written by Western European artists and outlining further prospects for work in this direction. Results. Composers, turning in their works to military themes, often seek to make their compositions understandable to the public. After all, their works acquire the role of a kind of artistic manifestos, the result of their own subjective experiences of military events, or to reflect on them as observers. Trying to make them as accessible as possible to the audience helps to choose the principle of programmability when it comes to instrumental opuses. Composers give their works bright names that allow drawing an analogy with military events, adding poetic epigraphs and more. If composers turn to vocal and instrumental works, they choose those verbal texts that reproduce the desired artistic and figurative content. Most often, artists choose genres such as requiem, crying, oratorio. Composer’s reflection often includes reliance on texts of the Ordinary, Catholic Mass, etc., which are stable carriers of meaning, have their own symbolic value and are understandable due to their circulation in music culture to the general public. Practical implications. The study of works related to military themes provides an opportunity to understand the power of art, as well as to determine its role in society. The works of Western European composers of the XX century M. Ravel, C. Debussy became a reaction to the events of the First World War. The works of A. Schoenberg, A. Onegger, B. Britten, and K. Penderetsky were initiated at the beginning of the Second World War. Nowadays, the 21st century is a time of wars, which are a powerful emotional shock for people in general and composers in particular, who are trying to capture this traumatic experience in an artistic form. However, they see their mission not only in recreating events in an artistic form, but also in creating a kind of warning for posterity about the inability to move through wars that bring only pain and suffering, causing the death of human beings. Value/originality. Composers’ artistic manifestos are a direct reaction to the changing world, shocks that confuse people, even if they were not directly involved. A promising area for further research is to highlight the specifics of works by Ukrainian composers related to military issues.
Conference papers on the topic "Drawing 21st century Themes, motives"
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Arlinwibowo, J., H. Retnawati, and B. Kartowagiran. "How to Integrate STEM Education in The Indonesian Curriculum? A Systematic Review." In Challenges of Science. Institute of Metallurgy and Ore Beneficiation, Satbayev University, 2021. http://dx.doi.org/10.31643/2021.03.
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STEM education has received a lot of attention, including in Indonesia, because it is considered capable of preparing competitive students in the 21st century. However, the implementation of STEM learning is constrained because there are no standard guidelines according to the curriculum 2013 (education curriculum in Indonesia). Therefore, the aim of this study is to find an integration formula for STEM learning and the curriculum 2013 based on the synthesis of various literature to find a formula for implementing STEM learning in accordance with the curriculum 2013. This study is a systematic review. The data sources in this research are 46 selected literatures and relevant to the research objectives published between 1996 and 2020. The data sources are literature published in ISBN books, government documents, and journals. The data collected from the literature were analyzed with a thematic model starting with data introduction, initial coding, compiling code within a theme, analyzing themes, naming themes, and relating findings to research questions. The research resulted in a learning step that combines EDP in STEM, the scientific approach in the 2013 curriculum, and project learning steps. The merger produces a guideline for implementing STEM learning in the 2013 curriculum starting from problem identification, making problem-solving designs, design realization, testing and studying product deficiencies, improving products, drawing conclusions, and communicating the findings of the learning process.