Academic literature on the topic 'Exilic artists'
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Journal articles on the topic "Exilic artists"
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Sedláčková, Lucie. "Two Enfants Terribles in Dutch Exile: The Exilic Posture of Jaroslav Hutka and Ivan Landsmann." AUC PHILOLOGICA 2021, no. 1 (August 30, 2021): 83–99. http://dx.doi.org/10.14712/24646830.2021.14.
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This article addresses the topic of authorial posture (as defined by Jérôme Meizoz), in particular the exilic posture. Some exiled authors, listed as examples, or prototypes of that posture, were able to achieve a stable place in the Dutch literary or cultural field. This text shows, however, that some exiled authors or artists were not endowed with the crucial qualities and abilities, and it investigates what kind of qualities and abilities they missed. The Czechs Jaroslav Hutka and Ivan Landsmann spent a part of their lives in exile in the Netherlands, where they also created literary texts. The songwriter, poet and prosaist Hutka and the novelist Landsmann did acquire a firm position in the Czech cultural and literary field without really penetrating the Dutch one. This article examines the extent to which they represented the exilic posture, describes it in more detail, and provides more fitting designations. By doing so, it answers the question why these two authors did not or could not acquire an established position in the Dutch cultural field during their exile period
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Shapiro, Michael J. "Go west, go east: War’s exilic subjects." Security Dialogue 44, no. 4 (July 23, 2013): 315–29. http://dx.doi.org/10.1177/0967010613492839.
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This article is a commentary on Elizabeth Dauphinee’s book The Politics of Exile. Its focus is on her displacement – her dual sojourn that is, on the one hand, a physical migration (from Canada to Bosnia for research) and, on the other, a genre migration (from academic to literary writing). The main part of the analysis situates Dauphinee’s contribution among the Balkans War reflections of diverse exilic artists from the former Yugoslavia (writers and a film director), and the article ends by situating Dauphinee’s method within two analytics: Jacques Rancière’s concept of indisciplinarity and Cesare Casarino’s concept of philopoesis.
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Cavagnaro Farfán, Franco. "MÁS ALLÁ DE LA ESTÉTICA: JORGE EDUARDO EIELSON FRENTE AL LEGADO PREHISPÁNICO." Devenir - Revista de estudios sobre patrimonio edificado 4, no. 7 (January 18, 2018): 101. http://dx.doi.org/10.21754/devenir.v4i7.138.
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Realizando un recorrido por sus ensayos y su propia obra literaria, en este artículo se analiza y establece el contexto básico que lleva a Jorge Eduardo Eielson a la comprensión del legado. Para ello se hace una breve exposición de aspectos legales del patrimonio y la intuición poética del mismo a través de las ideas de otros escritores y artistas. Esta conciencia a su vez se contrapone con la posición tomada por Eielson en los años 80 a favor de una posición curatorial frente al patrimonio mueble. Adicionalmente, se hace evidente el entendimiento que el artista establecía con el pasado prehispánico. Para ello desde un enfoque multidisciplinario se analiza la iconografía y la arquitectura andina sobre las que el poeta escribía en sus ensayos; de este modo en el artículo se establece la intuición que Eielson había desarrollado desde su exilio, como una inversión de la monumentalidad italiana que se recrea en su poesía escrita en ese país. Es decir, a través de su acercamiento al pasado prehispánico, desconocido y/o despreciado, durante su vida en Lima, el artista realiza una revalorización espectacular desde el exilio. Palabras clave.-Patrimonio inmueble, arte prehispánico, poesía peruana. ABSTRACTThrough a journey of his essays and his own literary work, this article analyzes and establishes the basic context that pushed Jorge Eduardo Eielson to understand the pre-Hispanic legacy. For this purpose, it presents the heritage’s legal aspects and his poetic intuition through the ideas of other writers and artists. This conscience acts in counterpoint to the position taken by Jorge Eduardo Eielson in the 1980s in favor of a curatorial position vis-à-vis heritage assets. In addition, the article makes the artist’s understanding of the Pre-Hispanic past evident. Through a multidisciplinary approach, the Andean iconography and architecture about which the poet wrote about in his essay is analyzed. In such a way, the article establishes the intuition that Jorge Eduardo Eielson had developed from his exile, as an inversion of Italian monumentality and which is recreated in the poetry he wrote in that country. That is, through his approach to the Pre-Hispanic past, unknown and/or unappreciated, during his life in Lima, the artist puts forward a spectacular revaluation from exile. Keywords.-Property heritage, pre-Hispanic art, Peruvian poetry.
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Semenov, E. V., and V. A. Pokatsky. "Polish Exiled Artist Jozef Berkman in Baikal Region in 60—70s of XIX Century." Nauchnyi dialog 11, no. 7 (October 1, 2022): 449–66. http://dx.doi.org/10.24224/2227-1295-2022-11-7-449-466.
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The issue of the life and creative activity of the Polish exiled artist — a participant in the Polish uprising of 1863—1864 Jozef Berkman is considered. The relevance of the study is due to the fact that, despite the significant number of drawings and paintings by Y. Berkman, today the facts of his life are practically unknown both in hard labor in the Nerchinsk mining district and in a settlement in the Irkutsk province. It is noted that the information found in a number of sources regarding the life of the artist in hard labor and settlement is often unreliable. The novelty of the study is seen in the fact that a reconstruction of the period of the artist’s life in 1864—1877 in the Baikal region is presented in the article. The authors have identified and introduced into scientific circulation materials from domestic and foreign archives, portraits of Polish exiles, painted by the artist in Transbaikalia and currently stored in museums in Poland. The authors reviewed the scientific literature on the topic of the study, analyzed the memoirs of Polish political exiles who served hard labor together with Y. Berkman and described his artistic activities.
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Real López, Inmaculada. "La reconstrucción de la identidad femenina en los museos: la recuperación de las olvidadas = The Reconstruction of Female Identity in the Museums: The Recovery of the Forgotten." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 203. http://dx.doi.org/10.5944/etfvii.8.2020.26713.
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Este artículo analiza la recuperación de las mujeres artistas e intelectuales de la diáspora desde el marco museístico, la construcción de sus identidades y su incorporación a los discursos expositivos. El estudio se centra en un tipo de institución concreta, los museos monográficos del exilio creados en España. Se plantea desde una perspectiva comparativa a nivel nacional para determinar cuántos espacios están consagrados a la memoria y al patrimonio de las exiliadas, quienes además de estar condicionadas políticamente se convirtieron en las grandes olvidadas. Asimismo, se hace referencia a un proyecto feminista puesto en marcha para museos con el fin de comprobar qué lugar han ocupado en este tipo de iniciativas.AbstractThis article analyzes the recovery of women artists and intellectuals of the diaspora from the museum framework, the construction of their identities and their incorporation in the exhibition discourses. The study focuses on a specific type of institution, the monographic museums of exile created in Spain. A comparative perspective is proposed at the national level to determine how many spaces are devoted to the memory and heritage of the exiles, who in addition to being politically conditioned became the great forgotten ones. Likewise, reference is made to a feminist project launched for museums in order to verify their place in this type of initiative.
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Blanca, Rosa Maria, and Bruna Malinowski. "Arte en movimiento: Subjetividades nómadas." Contemporânea - Revista do PPGART/UFSM 4, no. 7 (March 14, 2022): e4. http://dx.doi.org/10.5902/2595523369575.
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El presente artículo tiene como objetivo estudiar cómo el movimiento interfiere en las prácticas artísticas y consecuentemente en la subjetividad de la artista. Pártese del supuesto que el movimiento de artistas en migración, en viaje o en desplazamiento, agencia percepciones que conciben una subjetividad cambiante, en contraposición a una identidad artística institucionalizada, incidiendo en categorías como género o nacional. Úsase el concepto de nómada para la investigación de las prácticas artísticas en movimiento. Como resultado, el estudio propone un pensamiento nómada reflexionar el arte en la contemporaneidad. Son expuestas categorías como exilio, xenofeminismo, nomádica y amefricanidad, formulaciones de proyectos artísticos y de las propias artistas.
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Hauser, Jakub. "Exiled Russian and Ukrainian Artists in Prague during the Interwar Period." Experiment 23, no. 1 (October 11, 2017): 127–41. http://dx.doi.org/10.1163/2211730x-12341306.
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Abstract Through several examples of the representation of Russian art in the milieu of interwar Czechoslovakia, the article shows the specificity of the local Russian cultural community which was exiled there following the October Revolution and the ensuing civil war. It examines the community’s international contacts and the role its strong institutional background played in establishing several art collections—most importantly at the Slavonic Institute and the Russian Cultural-Historical Museum in Prague—as it attempted to capture and preserve for the future the art production of Russian artists abroad. It also looks at a remarkable artistic strategy used by The Scythians artist group, which was based on an alleged otherness and even exoticism of the Russian artists residing in Prague and drew on the ideology of Eurasianism promoted in the Russian exiled community of the period.
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Rodrigues Moreira Cruz, Camila. "LE VOYAGE DE RETOUR." Palíndromo 10, no. 22 (October 25, 2018): 64–90. http://dx.doi.org/10.5965/21752346102202018064.
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Esse artigo narra os últimos meses de uma estada de oito anos em território francês. A trajetória de uma artista e pesquisadora em artes visuais são aqui confrontadas à sua experiência exílica, vinculadas ao estudo do eu, ao reconhecimento do outro na formação do sujeito. À partir da análise de obras de artistas e obras pessoais, o texto confrontará história de vida, retratos e autorretratos, biografias e autobiografia vinculados à pesquisa teórica em torno da experiência do exilio, segundo Alexis Nouss e Walter Benjamin.
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Jolanta Ré¨kawek. "La sistematurgia de Marcel.lí Antúnez O el arte del exilio." Dramaturgias, no. 14 (September 28, 2020): 396–408. http://dx.doi.org/10.26512/dramaturgias14.34387.
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Al indagar desde hace cuatro décadas sobre las potencialidades del vínculo entre el arte y la ciencia, Marcel.lí Antúnez se reafirma como uno de los más relevantes artistas que actúan en el campo de la performance en la actualidad. Tras su experiencia como co-fundador del emblemático grupo la Fura dels Baus en los años 70 en España, Antúnez empezó una carrera en solitario que le llevó a formular la original propuesta de una nueva dramaturgia creada con sistemas computacionales, llamada Sistematurgia. Destemido y curioso, el artista continua sus investigaciones y experimentos siendo un “mago tecnológico” que no teme abandonar su propio éxito y formular nuevas preguntas. Lo que le importa es seguir adelante.
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Murga Castro, Idoia. "Maruja Bardasano, entre la danza y la pintura en el exilio mexicano." Anales del Instituto de Investigaciones Estéticas 1, no. 107 (October 9, 2015): 99. http://dx.doi.org/10.22201/iie.18703062e.2015.107.2554.
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Maruja Bardasano (Madrid, 1935) es una de las artistas más polifacéticas y brillantes del exilio republicano español establecido en Mexico al finalizar la Guerra Civil en 1939. Hija de los pintores José Bardasano y Juana Francisca Rubio, con quienes llegó a bordo of the Sinaia, se formó tanto en artes plásticas como en ballet clásico. Durante los primeros años de la década de los años cincuenta formó parte, entre otras compañías, del Ballet Concierto de Sergio Unger, en la cual llegó a ser primera solista y donde desarrolló puntualmente la escenografía. Paralelamente, se convirtió en una brillante pintora que expuso en el Círculo de Bellas Artes de México. En 1956 retornó a España, donde se dedicó por completo a la pintura, actividad que continúa desarrollando en la actualidad. En este artículo se analizan las aportaciones más destacadas de esta artista, poniendo especial atención a su faceta de bailarina en el exilio en México.
Dissertations / Theses on the topic "Exilic artists"
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Oh, Keumhee. "Exilic experiences and creative practice : insights from the lives and art of scholar-artists exiled on Cheju Island during the Choson Dynasty (1392-1910)." Thesis, Curtin University, 2012. http://hdl.handle.net/20.500.11937/2154.
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The experiences of three scholar artists who are exiled to South Korea’s Cheju Island during the Choson Dynasty is examined with a focus on the conditions of exile they were subjected to and their expressions of mental and physical pain in the form of letters, poetry, paintings and other works of art and literature. Insight from the historical exiles’ experiences and creative practices is hoped to offer a more multi-faceted understanding of Choson exile artists.
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Semerjian, Victor. "Artists in exile : the great flight of culture." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29482.
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The subject of this thesis is the circumstances surrounding the emigration of European modern artists to America in the late 1930's and early 1940's, and their initial reception in the city of New York. The primary vehicle of this investigation will be the Artists in Exile show, their first collective exhibition which took place at the Pierre Matisse Gallery in March of 1942. The reason why it is felt that such an investigation is warranted is that while there is a great deal of literature concerned with the Nazis vehement denunciation of modern art and their persecution of its practitioners, little has been written on how these artists actually came to arrive in America. It is I believe, too often assumed that while their voyage may have been a difficult one, they were embraced by a nation that has perpetually proclaimed itself as a defender of democratic freedom and a haven for the oppressed. Contrary to this assumption, it will be asserted that their initial presence was largely met with resistance in America due to a historical period of economic, social, political and cultural isolationism.
In Chapter One, an attempt will be made to more clearly define the historical circumstances which gave rise to American isolationism and a resultant anti-alienism, sentiments which had a direct bearing upon the cool reception of the Europeans and their work. Given the existance of such attitudes, it becomes necessary as well to identify the various groups who championed the artist refugees, their motives in doing so, and the specific strategies employed to circumvent native resistance in order to bring these individuals to North American shores. It will be asserted that this support came from a small group of liberals situated within northeastern educational institutions who were alarmed by the fascist threat to freedom of scholary and artistic expression. In addition, they were motivated by what they believed to be an unprecedented opportunity to bring to America and place at its disposal, superior levels of European scholarly and artistic achievement.
Chapter Two will undertake an investigation into the reception of the Europeans in New York based upon an analysis of the problematic usage of catagories employed to place them in roles reflective of their circumstances. These terms include refugee, emigré, immigrant, exile, and alien. In addition, it will hopefully be revealed how these new roles had a deleterious effect upon the self perception of the emigres, seriously affecting their critical output as exiles.
Chapter Three will be devoted to the Artists in Exile show itself. Specific focus will be on the strategies employed in its manifesto and why for the most part, they were unsuccessful in winning over a viewing public largely resistant to European modern art. In addition, specific works exhibited in the show will be analysed to see how they registered the varied concerns of the artist emigrés at this time in history.
Finally, the conclusion will deal with two additional shows of European modern art in that same year; the First Papers of Surrealism, and Peggy Guggenheim's Art of This Century. It will be maintained that the strategies employed in this latter show were to a high degree, largely responsible for the eventual winning over of needed patrons necessary for the acceptance and continuation of European modern art in America.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Kiss-Davies, Adriana. "The exile experience : Hungarian and Czech Cold War refugee artists in Britain." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/f372a97d-f457-4ac0-b92c-99f577d46260.
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This study is an investigation of the life and work of émigré artists who arrived in Great Britain as refugees after the 1956 revolution in Hungary and after the crushing of the Prague Spring in 1968. The artists selected for examination represent different aspects of cultural production and range from painters through graphic artists and designers to film-makers. The work of these artists is discussed in the wider cultural, social and political context of Cold War Europe. The human aspect, that is, the way in which exile affected individual artists and their lives and altered their perception and artistic output, is a central thread of the thesis. Other key issues that are considered include: the relationship between art and politics, exile and identity, cultural exchange and issues of communication with a foreign audience. The main argument is based on the analysis of selected artworks created in exile and the thesis is structured around eight case studies which explore specific aspects of the uprooted experience in the context of artistic creativity in exile. The major themes which the case studies focus on are: questions of identity and loss in the films of Robert Vas, the feeling of dislocation and alienation in György Gordon’s self portraits, the problems of artistic acceptance in the context of the career of cartoonist Edma, the transposition of Hungarian landscape painting traditions into English art by Gyula Sajo, the origins and artistic benefits of Josef Koudelka’s wandering existence, forms of Czech Functionalism in Eva Jiricna’s architectural designs, nostalgia and memory in the paintings of Jiri Borsky and Jan Mladovsky’s conceptual explorations of Eastern and Western cultural identities. The case studies are used to identify common artistic, philosophical and theoretical threads which connect the visual responses of the examined artists to the wider subject of art in exile.
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Lang, Birgit. "Eine Fahrt ins Blaue : deutschsprachiges Theater und Kabarett im australischem Exil und Nach-Exil (1933-1988) /." Berlin : Weidler, 2006. http://catalogue.bnf.fr/ark:/12148/cb410371753.
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Walker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.
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Dabat, Amandine. "Hàm Nghi (1871-1944) : empereur en exil, artiste à Alger." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040138.
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Hàm Nghi (1871-1944), empereur patriote selon l’historiographie vietnamienne, victime ou acteur de la résistance anticoloniale selon les historiens français, fut exilé à Alger dans l’espoir de mettre fin au mouvement Cần Vương. Déporté à l’âge de dix-huit ans, pion sur l’échiquier politique de l’Indochine, il était considéré par une partie des autorités françaises comme un homme politique influent. Il fut surveillé toute sa vie et ne fut jamais autorisé à entrer en contact avec l’Indochine. Cependant, celui qui était désormais appelé « prince d’Annam », noua des amitiés avec des élèves vietnamiens au lycée d’Alger, des officiers et des missionnaires français, qui circulaient entre l’Indochine, l’Algérie et la métropole. Ces intermédiaires lui permirent de conserver un lien avec l’Indochine. Hàm Nghi consacra sa vie à l’art. Il devint peintre et sculpteur. Il fut l’élève du peintre orientaliste Marius Reynaud, du sculpteur Auguste Rodin, et fréquenta de nombreux artistes de son époque. Les archives nationales, vietnamiennes et françaises, nous apprennent les aspects administratifs de son exil : seul le point de vue du gouvernement français est alors connu. Les archives privées du fonds Hàm Nghi, récemment découvertes, apportent le regard intime de l’empereur exilé sur sa vie, par l’intermédiaire de sa correspondance. Ces documents permettent d’écrire une biographie et d’établir un catalogue raisonné de son œuvreHàm Nghi (1871-1944), patriotic emperor according to Vietnamese historiography, victim or actor of the resistance against colonisation according to French historians, was sent into exile in Algiers in order to end the movement called Cần Vương. Deported when he was eighteen years old, pawn on the political chessboard of Indochina, he was considered by some French authorities to be an influential political figure. He was kept under surveillance his entire life and was never allowed contact with Indochina. Hàm Nghi, who was henceforth called “prince of Annam”, nevertheless established friendships with Vietnamese students of the Algiers highschool, and with officiers and missionnaries who travelled between Indochina, Algeria and France. These intermediaries helped him to maintain a connection with Indochina. Hàm Nghi dedicated his life to art. He became a painter and a sculptor. He was the student of the orientalist painter Marius Reynaud and of the sculptor Auguste Rodin, and he associated with many artists of his day. Previously the Vietnamese and French national archives informed us of the administrative aspects of the emperor’s exile, revealing only the point of view of the French government. Today the private archives of Hàm Nghi’s collection bring us the personal view of the emperor on his life. These documents enable us to write a biography and a catalogueraisonné
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Surlapierre, Nicolas. "Les artistes allemands en exil en france de 1933 a 1945 : histoire et imaginaire." Amiens, 2000. http://www.theses.fr/2000AMIE0006.
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Avant l'arrivee d'hitler au pouvoir, la montee du nazisme enterine le naufrage de la republique de weimar creant une reelle diaspora intellectuelle et artistique. Le mouvement des artistes allemands commence avant 1933. Les artistes n'ont pas immediatement traduit les sentiments que l'exil genere. Les artistes allemands sont dans une position d'attente. Ce travail s'est articule en fonction de trois axes de recherche. Le premier se proposait d'integrer l'heterogeneite du phenomene. Nous avons analyse les raisons du depart des artistes, ce qui a permis de rendre compte des derniers mois de la republique de weimar. Nous avons essaye de montrer que les artistes allemands deja installes en france devenaient des exiles. L'exil des artistes allemands se caracterise par deux imperatifs : un imperatif politique et formel. Les raisons qui ont pousse les artistes allemands a emigrer en france etaient la plupart du temps basees sur ce compromis. Ils pensent pouvoir s'exprimer en france grace a l'antifascisme mouvement qui a ete dans un premier temps tres federateur. C'est pourquoi nous avons montre les specificites de la representation antifasciste allemande. Cette politisation a pris de l'importance jusqu'en 1938 puis nous avons observe et analyse la brusque depolitsation des artistes. Dans un troisieme temps, nous avons tente de comprendre les raisons qui ont pese sur la politisation, soupcon qui ne pouvait pas se resumer a la seule usure de l'imperatif politique. A ce changement d'attitude correspond une dispersion sur le territoire francais des artistes allemands exiles. Les artistes allemands ont vu se lever l'imperatif politique et ils ont pu s'exprimer plus librement. L'internement dans les camps a ete aussi une etape importante de meme que l'experience de la guerre, de la resistance. Les donnees etaient completement nouvelles puisqu'a la contrainte de la visibilite se substitue celle de l'invisisibilite. En somme, nous retiendrons pour caracteriser l'exil des artistesallemands l'idee de passage : social, politique, historique. L'art de l'exil stigmatisait bien une place que l'on niait aux artistes dans leur pays et leur difficulte a trouver la leur en france et a transposer sur le plan formel ce phenomene, cette contrainte de l'histoire.
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Benitez, Pilar L. "Calle Ocho revived : artists studios commemorate the role of Cuban exiles (1960-1973) in the development of Calle Ocho." FIU Digital Commons, 2001. http://digitalcommons.fiu.edu/etd/1508.
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The purpose of this study was to learn about the historical development of Eight Street in order to use this information in the revitalization of this area with the new migration of artists.
This study demonstrated a cyclical pattern prompted by the economical success of the immigrant group. The 1960 Cuban migration brought an era of life to Eight Street. As the Cubans became successful they left the area causing a decline. Presently the area is witnessing a migration of artists that may bring it new life.
The thesis retrofits buildings in this area to create a series of artist studios. These studios are designed using elements of 1960 Cuban urbanity, an era of robust urban life for this street.
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Foster, Emmanuelle. "Les artistes peintres et graveurs allemands en exil à Paris : 1933-1939." Paris 1, 1991. http://www.theses.fr/1991PA010527.
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Cette recherche porte sur l'exil à Paris des plasticiens allemands qui quittèrent l’Allemagne hitlérienne entre 1933 et 1939. Kandinsky, Otto Freundlich, Max Ernst, Anton Raderscheidt, Hans Bellmer, Heinz Lohmar, Gert Wollheim etc. . . Ces artistes sont, pour la plupart, les représentants des grands courants esthétiques qui avaient consacré le renom international de l'art allemand sous la république de Weimar. L'exil représente un tournant dans leur biographie, parfois, une rupture dans leurs carrières. Leur rapport au monde s'en trouve modifie. Certains artistes développent pendant ces années un art à contenu politique, expression d'une résistance au fascisme, empruntant souvent une forme réaliste (Heinz Kiwitz, Heinz Lohmar). Les peintres de l'abstraction, eux, s'engagent autrement, en continuant précisément de peindre dans la direction qui leur a valu d'être pourchassés par le nazisme. L'art allemand en exil devient alors lieu de résistance. Telles sont les œuvres à contenu militant, mais aussi les œuvres non politiques, portraits, paysages urbains, qui opposent une vision humaniste à l'esthétique nazie du "sang et sol" ; cet art figuratif est le fruit d'une résistance ; mais l'art abstrait, banni d’Allemagne, par son exigence absolue de liberté n'est-il pas également expression d'une résistance ? En quoi s'impose-t-il encore comme élément subversif dans les années 30 ? Telles sont les interrogations auxquelles cette thèse tente de répondreThe subject of this thesis is the parisian exile of german artists who fled nazi Germany between 1933 and 1939. Kandinsky, Otto Freundlich, Max Ernst, Anton Raderscheidt, Hans Bellmer, Heinz Lohmar, Gert Wollheim etc. . . In the vast majority, these were artists representative of the esthetic movements that had been responsable for the international renown of german art during the weimar republic. This exile meant a major change in the life of these artists and sometimes a complete rupture in their career. Their "weltanschauung" was radically altered. During this period, some artists developed an art with consciously political overtones in order to express their opposition to fascism. This art often took a realistic form (Heinz Kiwitz, Heinz Lohmar). Abstract painters continued in the style that had led to their being banned by the nazis. This was another form from "moral" engagement and of opposition to fasciom. German art in exile thus becomes a sector of resistance. Whether is the consciously political art or not, portraits or urban landscapes, thes works of art stand for a humanist conviction which contradicts the nazi esthetic "blut und boden". Figurative art is, in this context, the fruit of resistance. But abstract art also, (forbidden in nazi Germany) with its obvious expression of a total artistic liberty
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Tien, Ming-Chang. "Visual representations of an imagined return from a Taiwanese exile : an installation of photographic diptychs with artists' books." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/5c028a5d-b469-4622-9cc2-5cddb51ae978.
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This thesis constitutes five sets of photographic work of self-portraits in diptych form within an installation, with two Artists’ Books and a written component. It explores and visualises my autobiographical condition as an exiled artist from Taiwan, seeking for an imagined return.
Books on the topic "Exilic artists"
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El exilio de Artigas. Montevideo, Uruguay: Rumbo Editorial, 2012.
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Vae victis!: Los artistas del exilio y sus museos. Somonte-Cenero, Gijón, Asturias: Trea, 2009.
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La Andalucía del exilio. Sevilla: Fundación José Manuel Lara, 2008.
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Koudelka, Josef. Exiles. New York, N.Y: Aperture Foundation, 1997.
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Koudelka, Josef. Exiles. London: Thames & Hudson, 1997.
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Koudelka, Josef. Exiles. New York, N.Y: Aperture Foundation, 1988.
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Elvira Gascon: La linea de una artista en el exilio. México, D.F: El Colegio de México, 2014.
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Czesław, Miłosz, ed. Exiles. New York, N.Y: Aperture Foundation, 1997.
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Koudelka, Josef. Exiles: Photographs. London: Thames and Hudson, 1988.
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Koudelka, Josef. Exiles: Photographs. London: Thames and Hudson, 1988.
Find full textBook chapters on the topic "Exilic artists"
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Zeng, Hong. "Artist in Exile." In The Semiotics of Exile in Literature, 141–63. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113114_7.
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Milbauer, Asher Z., and James M. Sutton. "An Interview With Cuban-American Artist, Humberto Calzada." In Exile in Global Literature and Culture, 230–53. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003047384-19.
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Milbach, Juliette. "Zinaida Serebrjakova in Paris. Iconographic Analysis of a Russian in Exile." In Transformed by Emigration. Welcoming Russian Intellectuals, Scientists and Artists (1917–1945), 50–63. Brno, Czech Republic: Masarykova univerzita, 2021. http://dx.doi.org/10.1484/m.convisup-eb.5.130997.
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"Middle Eastern Artists as Exilic Intellectuals." In Edward Said’s Concept of Exile. I.B. TAURIS, 2017. http://dx.doi.org/10.5040/9781350986190.ch-002.
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Cohen, Richard I., and Mirjam Rajner. "Hirszenberg’s Legacy." In Samuel Hirszenberg, 1865-1908, 277–308. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781789621938.003.0010.
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This chapter records the ways in which diverse artists, writers, and curators created connections between the momentous developments in Jewish history of the last century and Samuel Hirszenberg's art. It emphasizes the fact that an artist's creation is appreciated, interpreted, and recognized for a range of reasons, and not only for its artistic merit. Following his death, the chapter recounts how Hirszenberg was exalted by various Jewish authors as the Jewish artist, who had touched the soul of the Jews like no one before him and penetrated the depths of their tragic history, their past and present state; who gave the profoundest expression to their exile in a series of paintings; and who had only begun to turn his talented hand to the new world of the Land of Israel. The chapter also traces the impact of Hirszenberg's work and charts its cultural and artistic reception over more than a century in diverse media. It concludes by illuminating how his works of art, like art in general, have engendered intense interaction over time, allowing a wide range of interpretations, references, and quotations.
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Smalls, Shanté Paradigm. "Nigga Fu." In Hip Hop Heresies, 53–86. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479808199.003.0003.
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This chapter argues that mainstream Hollywood film Berry Gordy’s The Last Dragon (dir. Michael Schultz, 1985) exposes a complex set of negotiations of fantasy, desire, masculinity, and power placed upon the figure of the Black martial artist film star. I argue that the appearance of Black martial artists in early hip hop film is a continuation of the Black male exile who must go “East” to locate his masculinity.
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Leidenberger, Georg. "“Alles z'Unterobsi” Hannes Meyer and German Communist Exiles in Mexico." In Transatlantic Radicalism, edited by Frank Jacob and Mario Keßler, 171–90. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859609.003.0008.
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The case of modern architect Hannes Meyer’s stay in Mexico during World War Two differed from the typical exile experience of German-speaking Communists. The latter identified as political exiles, engaged in Mexico to promote the Soviet Union only to immediately return to Europe after 1945. The Communist Meyer moved amidst this exile community, yet as a professional and artist developed closer ties to Mexican colleagues and institutions, and as a (German-speaking) Swiss preferred to associate with Italian Communists. Facing a precarious existence abroad, exiles like Meyer engaged in trying efforts to make community, all amidst the intensive committments and conflicts marked by the ideological fervor of the age.
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Lassner, Phyllis. "Leslie Howard: Propaganda Artist." In Espionage and Exile. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401104.003.0004.
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This chapter is devoted to the wartime radio broadcasts and films of Leslie Howard, which include Pimpernel Smith (1940) and 49th Parallel (1941). Howard worked with the Ministry of Information and independently for two political purposes: to help build British popular support for the war and to encourage Americans to join Britain in defeating Nazi conquest and persecution. He became both a critical and popular voice advocating for Britain, its people and Hitler's targeted victims, rebutting negative connotations of propaganda. His personal voice and anecdotes on radio, combinations of satire, thriller and romance in Pimpernel Smith, and epic thriller in 49th Parallel were designed to forge a mutually sympathetic transatlantic community emanating from his very successful years in America as a Hollywood star.
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Crespi, Giulia. "Breve storia di una liberazione." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/021.
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The essay offers a specific recollection of the participation of Spain at the Venice Biennale since 1976 to 1999. The starting date has a particular relevance both for historical and artistic reasons. 1976 coincides in fact with a democratic beginning for the Country, which has just witnessed Franco’s death. This meant the end of a long period of isolation and the recovery from years of repression and dictatorship. Through that time, artistically, Spain was not left behind, thanks to the strength of many artists who kept contact with other countries, always up to date on what was new. However, they had been forced to choose between being artist of the regime or stay hidden in an interior exile. With the Biennale edition of 1976, the special project, promoted by the institution and two of the most renowned art critics at the time, Valeriano Bozal and Tomàs Llorens, called España, Vanguardia artistica y realidad social. 1936-1976, tried to draw a critical and historical view on the Spanish artistic languages consumed and silenced by censorship. Through the 80s and the 90s Spain has experienced a renewed awareness of its internationally artistic role and that has reflected on the choices made for Venice Biennale. Although seeing the evolution of Spanish art in the last decades through the Biennale is limited and incomplete, it has an undeniable interest and relevance worth being investigated.
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"3. Leslie Howard: Propaganda Artist." In Espionage and Exile, 118–65. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474401111-005.
Full textConference papers on the topic "Exilic artists"
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Chouati, Yassine. "El registro gráfico en la obra del artista árabe expatriado en Europa: recursos y narrativas." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8954.
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En esta comunicación pretendemos adentrarnos en el proceso creativo de una serie de artistas árabes de la diáspora, con el propósito de comprender los mecanismos discursivos que emplean en sus trabajos y analizar la relación identitaria existente entre ellos, centrándonos en el análisis de aquellos aspectos comunes que afectan a la construcción de sus discursos artísticos. Concretamente, pretendemos profundizar en cómo la condición identitaria de dichos artistas, indefectiblemente marcada por la experiencia del exilio, ha influido en la construcción de sus respectivas estrategias narrativas y en el uso que hacen de la metáfora como instrumento con el cual tratar problemáticas como la migración, los conflictos identitarios y el racismo, entre otros. Los artistas que emplearemos como ejemplo son creadores arabo-descendientes y expatriados, voluntaria o involuntariamente. Nos referimos concretamente a creadores como, Adel Abidin, Zineb Sedira, Hicham Benohoud, Mounir El Fatmi y Yto Barrada. La obra de estos artistas que trabajan desde la distancia que les proporciona la atalaya europea se clasifica en tres líneas de trabajo -la memoria, el viaje y la identidad-, siendo el registro gráfico su principal medio de observación, captación y reflexión sobre la realidad.
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Otero, Paula Tilve, Iñaki Arredondo García, José Manuel Castaño García, and José Manuel Rey García. "El museo más allá de sus límites físicos: la llegada de los visitantes virtuales." In Congreso CIMED - II Congreso Internacional de Museos y Estrategias Digitales. Valencia: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/cimed22.2022.15575.
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En este artículo presentamos el proyecto desarrollado por el Museo de Pontevedra en colaboración con Madpixel con el fin de facilitar al visitante virtual y físico la posibilidad de explorar en súper alta resolución el espacio expositivo y las colecciones de una forma sugerente y atractiva, accediendo a nuevas narrativas a través de una innovadora experiencia digital.La iniciativa, diseñada por Madpixel mediante su plataforma Second Canvas, ofrece, además, una experiencia interactiva mediante la combinación de la exploración de las imágenes y el recurso narrativo del storytelling, generador de un discurso directo y ameno con diferentes niveles de alcance. Ello permite al visitante virtual elegir el grado de profundización que más se adecúe a sus intereses personales, pudiendo escoger entre un tour de bienvenida, una visita libre por la colección en 360º en resolución gigapixel con sesenta y dos obras esenciales con contenido adicional (ficha técnica, descriptiva y detalles), o la posibilidad de siete itinerarios temáticos guiados e interactivos. Estos, además de facilitar el acercamiento a algunas de las obras más singulares, ofrecen una mirada diferente sobre ellas, abordando patrimonios olvidados o incómodos, como el de las artistas silenciadas, o aquel que fue gestado durante la represión, el miedo y el exilio derivados de la guerra civil española.Todo ello puede ser disfrutado de forma presencial o telemática desde cualquier parte del mundo. A ello habría que sumar la novedad de la realización de visitas guiadas online e interactivas en tiempo real para grupos, una herramienta que pretende establecer puentes culturales y consolidar vínculos con otros territorios, especialmente con la diáspora y el exilio gallego.
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Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.
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Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.
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Brudasca, Ioana. "Intertextual Projections in the Theater of Matei Vișniec. Case Study." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.06.
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Matei Visniec’s theater is a process of dialogue with other writers and other literary works. Intertextual projections are also present in the play „Attic in Paris overlooking death” through quotes, allusions and a subtle parody. Beyond Visniec’s admiration for the Cioranian opera, the play reveals an identity problem present both in Cioran and Visniec, namely the profile of the Romanian writer exiled in France. We witness a metamorphosis of the philosopher Cioran into the character through memory loss. The presence of quotations from the philosopher’s work denotes in the dramatic work a genuine generic and linguistic hybridization, while the use of cinematographic projections in a stage performance leads to a cultural and artistic symbiosis.
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Sempere i Soler, Josep Francesc. ""Memorial National de Gurs. 1994"." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5879.
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El propósito del trabajo es dar a conocer la existencia de este campo denominado de internamiento en el Béarn, desde los años 1939 a 1945. En concreto en la población de Gurs, un pequeño pueblo, en el Pirineo Atlántico francés. Y del Memorial obra de Dani Karavan. Tras la derrota militar del ejército republicano se produce un exilio masivo - se cifra en medio millón de personas tras la caída de Barcelona el 26 de enero de 1939-, del ejército y población de la IIª República. El gobierno francés crea esta suerte de campos de internamiento. El de Gurs fue el más grande y encerró a los que consideraban indeseables: republicanos procedentes de España, brigadistas internacionales, aviadores republicanos. Refugiados de la Europa Central y sin papeles, comunistas y resistentes franceses, gitanos y judíos extranjeros. En esta landa inhóspita permanecieron encerrados 60.550 hombres, mujeres y niños. Muchos descansan en los dos cementerios adjuntos al antiguo campo (en uno los republicanos, brigadistas, otros presos y el otro es el cementerio judío). Decidí realizar esta investigación en el terreno y hablando con supervivientes del campo, residentes en pueblos cercanos, para que los jóvenes europeos puedan tener conocimiento de que la Segunda Guerra Mundial comenzó en 1936, aunque no aparezca en ningún libro de historia. El gobierno francés tras años de intentar hacer desaparecer cualquier vestigio del mismo y ante la presión de los ciudadanos del Béarn, de la “Amicale du camp de Gurs”, asociaciones judías y otras muchas organizaciones y personalidades, paralizaron la destrucción completa de los restos del antiguo campo y encargaron al artista israelí Dani Karavan - uno de los artistas de “Land Art” vivos más reconocidos -, la construcción de este Memorial (existen tres en toda Francia), se inaugura el 14 de octubre de 1994. Al estar realizando la tesis sobre la obra y persona de Dani Karavan, acudí - en octubre de 2011- , al igual que a otros países y lugares donde tiene emplazadas obras ( Alemania, España, Francia, Italia, Israel,..), para realizar fotografías, filmaciones, dibujos, apuntes, obtener información de los ayuntamientos e ir recabando información para la tesis. Descubrí el lugar y recordé las palabras del artista: “Cuando trabajo en un nuevo emplazamiento trato con aspectos visibles e invisibles, con materiales sensibles, con memorias y con mi propio estado de conciencia y conocimiento histórico” . Tal fue el impacto, que pasé unos días consternado y más conforme oía relatos de supervivientes y leía sobre el campo y el trabajo de Dani Karavan, ante el ofrecimiento de realizar la obra y descubrir la realidad de lo sucedido. En enero acudí al “atelier” de Dani en París (ahora reside en Tel Aviv, pero venía a Europa unos días por compromisos ), hablé con el maestro el día 21/01/2017 y realicé unas fotografías tipo retrato, tras la entrevista. Detrás de él , en la pared, había unos fotos de este “Memorial National de Gurs".http://dx.doi.org/10.4995/ANIAV.2017.5879
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Silva, Stella de Jesus Lourenço da, Alícia De Souza Santos, Derly Rodrigues De Souza, and Raquel Lira Lustosa Carvalho. "VOXELOTOR: UMA NOVA PERSPECTIVA NO TRATAMENTO DA ANEMIA FALCIFORME." In I Congresso Brasileiro de Hematologia Clínico-laboratorial On-line. Revista Multidisciplinar em Saúde, 2021. http://dx.doi.org/10.51161/rems/1992.
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Introdução: A anemia falciforme é uma doença causada por uma mutação na cadeia β da hemoglobina (Hb) que leva à produção da hemoglobina falciforme (HbS), resultando na falcização dos eritrócitos. Essa alteração pode causar crise vaso-oclusiva dolorosa, lesão vascular e dano ao órgão-alvo. O tratamento atual é feito com hidroxiuréia e L-glutamina, que tratam apenas os sintomas da doença, além disso, a hidroxiuréia apresenta efeitos adversos significativos. O voxelotor foi aprovado em 2019 pela US Food and Drug Administration. Esse medicamento forma uma ligação covalente reversível com a valina N-terminal da cadeia α da Hb e modula sua afinidade pelo oxigênio que, uma vez oxigenada, previne a falcização. Objetivo: Analisar a eficácia e os resultados obtidos na fase de teste deste medicamento através da análise de artigos disponíveis na literatura. Metodologia: A pesquisa foi realizada nas bases Biblioteca Virtual em Saúde, PubMed, SciELO e Google acadêmico. A seleção dos artigos foi realizada de acordo com título, resumo, palavras-chave e ano de publicação (2016-2021). Resultados: O voxelotor apresentou boa tolerância, perfil farmacocinético linear e meia-vida variando de 61 a 85 horas. O medicamento conseguiu aumentar os níveis de hemoglobina, reduzir os marcadores de hemólise de maneira dose-dependente e diminuiu os danos vasculares induzidos por hemólise em pacientes com anemia falciforme. Ademais, a droga inibiu a falcização das hemácias e diminuiu a viscosidade do sangue, reduzindo o risco de anemia e hemólise. Alguns pacientes apresentaram efeitos leves a moderados, como diarreia, náuseas e vômitos, entretanto, estes podem não estar diretamente relacionados ao tratamento. Conclusões: O voxelotor foi bem tolerado pelos usuários, aumentou os níveis de hemoglobina, a afinidade pelo oxigênio, diminuiu a hemólise em pacientes com anemia falciforme e exibiu apenas efeitos colaterais leves a moderados, mostrando-se ser um medicamento promissor no tratamento da anemia falciforme.
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Melo, Tayonara dos Santos, Abigail Eduarda de Miranda Magalhães, Auygna Pamyda Gomes da Silva, Eniete Lívia da Silva, Hévellin Talita Sousa Lins, Maria Amélia Paiva Ferruccio, Maria da Paz Rodrigues Silva, and Tuanne dos Santos Melo. "ESTUDO DA AÇÃO ANTIMICROBIANA DA Curcuma longa L. NO COMBATE AO Staphylococcus aureus: UMA REVISÃO." In XXVII Semana de Biomedicina Inovação e Ciência. Editora IME, 2021. http://dx.doi.org/10.51161/9786588884119/38.
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Introdução: A Curcuma longa L. pertence ao grupo das plantas de especiarias mais antigas cultivadas nos países do sudeste asiático. A Curcuma é utilizada como condimento e apresenta efeitos sobre a natureza, a cor e o sabor dos alimentos (1). Além disso, possui aplicações terapêuticas e apresenta efeitos antioxidante, antitumoral, antimicrobiano, anti-inflamatório, cicatrizante e gastoprotetor (2). O Staphylococcus aureus é um patógeno humano oportunista que causa doenças em ambientes comunitários e hospitalares (3). As infecções causadas por S. aureus multirresistente são responsáveis por alta mortalidade e morbidade em todo o mundo. Com isso exige o desenvolvimento de novas estratégias para sua prevenção e tratamento (4, 5). Objetivos: Produzir uma revisão bibliográfica sobre a atividade antimicrobiana da Curcuma longa frente à Staphylococcus aureus. Métodos: Trata se de uma revisão de literatura integrativa. Utilizaram-se artigos obtidos nas bases de dados: BVS, PubMed e SciELO. Os descritores consultados foram “Curcuma” e “Staphylococcus aureus”. Os artigos selecionados foram publicados em inglês no período de 2016 a 2021. Resultados: Foram obtidos 70 artigos inicialmente e ao final foram selecionados 10 artigos que atenderam aos objetivos do estudo. Entre os trabalhos observou-se que a C. longa possui propriedades antimicrobianas e apresenta efeito inibitório frente à S. aureus. A curcumina demonstrou efeitos muito altos contra cepas clínicas de S. aureus sensível à meticilina. Além disso, nanopartículas de curcumina demonstraram efeito antimicrobiano nas cepas de S. aureus testadas. Observou-se que as nanopartículas de prata com curcumina mostraram mais eficácia contra bactérias gram-negativas do que para bactérias grampositivas, como o S. aureus. Foi analisado que curcumina e/ou o co-tratamento com ácido ascórbico causou peroxidação lipídica em S. aureus e por extensão levou a danos no DNA. Além do mais, a nanorcurcumina exibiu atividades antimicrobianas mais potentes contra o S. aureus em comparação com a curcumina. O extrato de C. longa inibiu S. aureus e demonstrando ser uma especiaria com capacidade de controle bacteriano. Entretanto, um trabalho não mostrou boa atividade antimicrobiana para S. aureus e isso pode estar relacionado à concentração e o método de obtenção dos extratos utilizados. Alguns monocurcuminóides, em altas concentrações, exerceram efeito bactericida em S. aureus. Enquanto o óleo essencial da C. longa provocou hemólise e inibiu S. aureus. Conclusões: A C. longa pode ser considerada um agente anti-infeccioso promissor e pode ser utilizada no controle de infecções por S. aureus. Contudo, estudos adicionais são necessários para a produção de novos antimicrobianos com C. longa.
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Nascimento, David Ederson Moreira do, Maria Giceli Martins da Silva, Luana Alves de Melo, Luciano Gualberto Soares, and Maria Hermina Ferreira Ricarte. "IMPACTOS DA MORTE E O MORRER NA SAÚDE DE ENFERMEIROS(AS) DURANTE A PANDEMIA DE COVID-19." In II Congresso Nacional Multidisciplinar em Enfermagem On-line. Revista Multidisciplinar em Saúde, 2021. http://dx.doi.org/10.51161/rems/2659.
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Introdução: Desde o início da pandemia a enfermagem se encontra entre as profissões mais solícitas, e dentre as principais experiências descritas pelos enfermeiros(as), a luta pela sobrevivência dos pacientes é a que mais se destaca, onde os profissionais ficam condicionados a assistir o processo de morte e o morrer. Objetivo: Identificar os impactos gerados na saúde de enfermeiros(as) em consequência do processo de morte e o morrer na pandemia de Covid-19. Método: Revisão integrativa da literatura, descritiva e qualitativa, realizada entre os meses de agosto a outubro de 2021, mediante busca nas bases de dados: Literatura Latino-Americana e do Caribe em Ciências da Saúde. Scientific Electronic Library Online e Sistema Online de Busca e Análise de Literatura Médica. O levantamento de dados foi mediado pelo entrecruzamento dos seguintes descritores: Cuidados de enfermagem; Pandemias; Covid-19; e Morte, utilizando o operador booleano AND. Foram incluídos trabalhos completos, em língua portuguesa, publicados nos últimos dois anos, sendo excluído as duplicatas, as literaturas do tipo cinzenta, e os artigos de revisão. Após a busca, por meio dos descritores, foram encontrados 57 manuscritos, onde, após a aplicação dos critérios, foram eleitos 22 trabalhos para a pré-análise dos resumos, sendo a amostra final composta por 11 artigos, estes submetidos a seções de leitura na íntegra e tratados para os resultados da revisão. Resultados: Durante a pandemia causada pelo SARS-CoV-2, a enfermagem enfrentou muitos desafios, e um deles foi o cuidado frente a morte e o morrer. Os principais impactos oriundos dessa assistência foram: medo e pesar, desgaste psicológico e sensação de impotência. Tais sentimentos eram potencializados quando se exigia o mínimo de contato físico, gerando principalmente sobrecarga emocional nos enfermeiros(as) que assistiam uma série de óbitos consecutivos, principalmente nos picos de infecção. Conclusão: Fica evidenciado a necessidade de atenção para os processos emocionais, haja vista que são notórios os impactos a nível psicológico. É importante pontuar que mesmo após o fim da pandemia, as marcas ainda permanecerão na vida de tais profissionais, trazendo à tona lembranças de medo, insegurança e incapacidade, exigindo um acompanhamento especializado no que diz respeito a saúde física e principalmente mental.
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Silva, Evellyn Thaís Lima Monteiro da, Amanda Alves de Oliveira, Lucas Ferreira Guedes Ramos, and Renata Fernandes Do Nascimento Rosa. "PERSPECTIVA DA AVALIAÇÃO EM SAÚDE NAS EMERGÊNCIAS HOSPITALARES: FRENTE AO DESPREPARO DO PROFISSIONAL." In I Congresso Brasileiro de Saúde Pública On-line: Uma abordagem Multiprofissional. Revista Multidisciplinar em Saúde, 2022. http://dx.doi.org/10.51161/rems/3348.
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Introdução: Assim como a atenção secundária vem tomando de conta das redes de atenção à saúde, a avaliação em saúde vem se consolidando nas políticas públicas, afim de observar, julgar e intervir nos serviços em saúde que são prestados à população. Objetivo: Dessa forma, temos como objetivo analisar a perspectiva da avaliação em saúde nas emergências hospitalares, frente ao despreparo do profissional. Material e métodos: Trata-se de uma revisão bibliográfica, que utilizou artigos publicados nas bases de dados da Biblioteca Virtual de Saúde (BVS), LILACS, SCIELO, PUBMED e MEDLINE. Resultados: A avaliação em saúde se dá pelo julgamento dos serviços diante dos seus valores, alcances e resultados a partir de um objetivo traçado, é a partir da quantificação e observação das informações colhidas que se direciona as intervenções necessárias para se obter melhorias no serviço de saúde. O atendimento a urgência e emergência é considerado um local de atuação bastante desafiador não por exigir tanto do profissional no momento da liderança em equipe, mas principalmente por cobrar deles um nível máster de conhecimento na área, onde naquela situação ele precisa dominar não só a teoria, mas a prática de forma segura. O despreparo do profissional segundo os estudos se dá por dois motivos: o primeiro é sobre a formação desqualificada e o segundo a falta do interesse em capacitações, especializações e etc. Junto a isso, encontramos elevados números de mortalidade nas instituições e um índice de desempenho profissional muito a baixo do esperado. Conclusão: Após o estudo e análise do tema, observou-se que quase não há estudos relacionados a atenção secundária e muito menos sobre sua forma de avaliação, o que deixa a desejar na monitorização, pois, com o controle, avaliação e monitoramento muitos dos problemas encontrados em instituições de saúde que acarretam problemas aos usuários do sistema poderiam ser sanadas ou pelo menos amenizadas. Da mesma forma que profissionais despreparados por causa de desqualificação ou interesse em conhecimento seriam afastados, punidos ou remanejados para evitar essas situações.
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De Figueiredo, Wenberger Lanza Daniel, Maria Sílvia Prestes Pedrosa, Matheus Vinícius De Souza Carneiro, and Paula Taquita Serra. "A EFICÁCIA DO TRATAMENTO PARA CORONAVÍRUS COM ANTICORPOS MONOCLONAIS - REVISÃO DE LITERATURA." In I Congresso Brasileiro de Imunologia On-line. Revista Multidisciplinar em Saúde, 2021. http://dx.doi.org/10.51161/rems/994.
Full textAbstract:
Introdução: a pandemia de covid-19 exigiu o desenvolvimento acelerado de métodos de tratamento eficazes. Dentre esses métodos, destacamos o anticorpo monoclonal, uma técnica de imunização passiva com resultados promissores. Objetivos: relatar a eficácia do tratamento para covid-19 com anticorpo monoclonal atualmente. Material e métodos: realizou-se uma revisão de literatura nas plataformas de pesquisa PubMed e SciELO combinando os seguintes descritores em inglês: Monoclonal Antibodies, Coronavirus Infections, Immunotoxins e “Antibodies, Bispecific”. Após a pesquisa inicial, localizou-se 52 artigos científicos de estudos clínicos randomizados completos gratuitos e publicados há 1 ano. Por fim, excluiu-se os textos não relacionados ao tema ou contendo dados secundários. Resultados: obteve-se 6 textos e segmentou-se os resultados em critérios clínicos para verificar a eficácia do tratamento. Dessa forma, verificou-se o total de 1.514 pacientes avaliados no conjunto dos textos; das intervenções: 3 experimentos utilizaram tocilizumabe 8 mg/kg; 1 combinou favipiravir 600-1600 mg duas vezes ao dia com tocilizumabe 4-8 mg intravenosa; 1 utilizou o anticorpo neutralizante LY-CoV555 em uma das três doses (700 mg, 2.800 mg ou 7.000 mg); e 1 utilizou a combinação de anticorpos monoclonais REGN-COV2 em uma dose de 2,4 g (dose baixa) ou REGN-COV2 em uma dose de 8,0 g (dose alta) aplicados por infusão intravenosa. Sobre a eficácia, em síntese, apontou-se que a utilização de favipiravir com tocilizumabe obteve resultados animadores em relação a inflamação pulmonar e inibir deterioração pela doença, porém a utilização isolada de tocilizumabe não demonstrou melhoras na redução do tempo de remissão da doença ou do número de infectados, além de poder ser maléfico em uso prolongado, apesar disso, houve melhora em relação à mortalidade e necessidade de uso de ventilação mecânica; quanto a utilização de LY-CoV555 e REGN-COV2 houve redução da carga viral, como também, acelerou o declínio natural da doença. Conclusão: a utilização de anticorpos monoclonais pode ser eficaz para diminuir a mortalidade em pacientes internados, evitar a necessidade de ventilação mecânica e acelerar recuperação dos pacientes acometidos por covid-19, porém ainda há a necessidade de novas pesquisas para sustentar esses resultados.