Academic literature on the topic 'Extra-European arts'

The role of creative arts for tertiary education has been recognized for many years. Yet it is not clear to what extent the institutes of higher education take the required measures to facilitate the access to cultural activities for students. In the current study we examine this issue by means of a survey. An electronic questionnaire was filled out by 26 European universities, examining their state of affairs in the field of creative arts. The results of this survey show a mixed picture as far as the institutions are really concerned about this issue. This concern materializes for example in a large number of activities organized by the institutions or in cooperation with the regional partners. However, most universities still need to take some extra measures in order to achieve a more focused policy that guarantees a well-balanced cultural programme.

Abstract In the context of the globalization of learning, schools must become learning organizations in order to reconfigure the way of learning towards an integrated one and to value the functional dimension of education/learning through its contribution to the formation of key skills. In this article, the learning process in the subjects of the Arts curriculum area is researched in order to support and promote a learning process in accordance with the new orientations in education at the European level. The specifics of learning in Musical Education, Visual and Plastic Education are revealed by concretizing the types of learning, establishing the internal and external conditions of learning, characterizing knowledge and artistic experience, harnessing the potential values of works of art, identifying knowledge through art as an inner experience, integrating the arts through aesthetic education and extra-aesthetics, the description of the stages of awareness of the artistic experience in the learning process. Arts integration is a process that requires a multi-year commitment and requires exploring new ways of teaching and learning. The integration of arts in STEAM learning projects is conditioned by the fundamental values of art discovered and acquired through artistic activities, the integrative nature of spiritual intelligence in the act of learning through arts, the holistic approach, building connections between arts and sciences, etc. The profound benefits of integrating the arts into STEAM learning projects will come with consistent implementation over time.

Abstract The experience of the master class held by the actress Roberta Carreri (Odin Theatre) at the National University of Arts, Iaşi, has made me understand the necessity of the theatre laboratory born out of the need to leave aside all other concerns, including that of making “good” theatre. The workshop means letting yourself carried in silence as an active life principle, by other principles – of the stage movement – rediscovering the expressiveness of the body as form and sonority. It means forgetting everything you think you know about theatre and what has become an automatism; fighting with the everyday movement, abandoning it. The technical terms that designate the two types of action on the stage are “everyday movement” – where the brain acts in accordance with and by reason of automatisms, and “extra-everyday movement”, where the brain must make the effort to think in spite of the automatism. The extra-everyday movement elaboration comes from an excess/waste/potentiation of energy that is achieved by acting according to certain principles. These were carefully described in the theatre dictionary compiled by Eugenio Barba and the Italian theoretician Nicola Savareze, following half-century experiences through international confrontations of the Asian and European theatre/dance.

В беседе с Е. Купровской Жером Комбье рассказывает о своем пути к композиторскому ремеслу, о влиянии на его творчество визуальных искусств и внеевропейских культур; рассуждает о миссии композитора, о необходимости адаптации к технологиям и философским идеям сегодняшней реальности. Речь идет о трактовке музыкального материала как последовательности различных темпоральных пространств, о равновесии между вертикалью и горизонталью, об осознании различных элементов музыкального языка как сил, обладающих способностью притяжения. In a conversation with E. Kouprovskaya, Jérôme Combier talks about his path to composing, about the influence of visual arts and extra-European cultures on his work; discusses the composer's mission, the need to adapt to technology and philosophical ideas of today's reality. The discourse concerns the interpretation of musical material as a sequence of different temporal spaces, about the balance between vertical and horizontal, about the interpretation of various elements of musical language as forces with the ability of attraction.

The paper reflects on the mental dependency syndrome that continues to afflict governance and academic leadership in African countries, and as such authoritatively African epistemology remains virtually invisible at all levels of musical arts education in the continent. Northern hemispheric knowledge paradigms implanted by Colonial education schemes remain emphasized. Consequently, the mentality of African elites remains subtly enslaved under the firm manipulation of the North. As such, political independence with mental dependence is the vogue in African nations. The paper argues that the epistemological validity of indigenous African musical arts could help redeem the cultural knowledge amnesia resulting from continued over-dependence on hegemonic knowledge episteme. African learners and students are compelled to view, study, research and discuss African musical arts with European-American cultural-mental lenses as a result of speculative literature that misrepresent African mental genius. The fundamental spirituality connections of indigenous musical arts epistemology that informs the humanity- buttressed African indigenous philosophical ideals and theoretical formulations are tendered. African musical arts educators are then urged to aspire for the virtue of originality in disciplinary representations; to mobilize selves and government authorities to visibly muster pride of cultural integrity; to factually research, discern, teach and practice their prodigious but misunderstood human-intellectual wisdoms. Research orientation and methodology have always marked African indigenous knowledge inventions, practices and intra- as well as inter-cultural advancement. Pointers briefly offered on attaining Africa-sensed, education orientations that respect the primary authority of indigenous practitioners discuss issues of research that touch on library research, mental attitude, field equipment and theory, and sampled an extra curricular intervention practice. The reward is ability to discern African theoretical and philosophical principles basic for inter- cultural discourse. The conclusion is on the meaning and practice of inter-culturism, which in traditional Africa cherished the humanity ideal of sharing. Contemporary Africans need the spirit and practice of sharing, inculcated by indigenous musical arts principles, to achieve mutual benefits in inter-personal/cultural aspirations in educational and other societal practices.

Lawrence Osborne’s Beautiful Animals (2017) thematizes the arrival of refugees on Europe’s shores and the division of Europe into core and peripheral regions. The psychological thriller tells the story of two young wealthy white women whose daily routines of swimming and sunbathing are interrupted when they meet a Syrian refugee on a secluded beach. In this article, I argue that the novel overlays geographies of forced migration with those of Greek national history, myth, travel, crime, and violence. The murder committed on a Greek island compels readers to examine what might be considered the larger ‘crimes’ of Europe – exclusionary refugee policies, the meddling in Greek affairs, and the legacies of colonialism and imperialism. In doing so, the novel asks us to rethink the multiple meanings of the Mediterranean as holiday destination, deadly outer border, and Southern Other, both intra- and extra-European at the same time.

This article examines the debate regarding regional integration and Global Value Chains (GVCs) in Latin America, and the challenges and opportunities that a deepening integration would have for exporting firms. The Latin American region had been progressively taking part in these integrated economic systems when COVID 19 hit. The pandemic has exposed weaknesses in its participation due to several factors, including its dependence on extra-regional hubs. Nevertheless, the disruption has brought back the need to consider the advantages of Latin American GVCs that could enhance the resilience and performance of regional firms. The review shows various benefits in carrying out a regional integration that is GVCs-oriented, similar to Asian and European countries. However, achieving the same level of regional GVC is not without challenges for firms, governments, and institutions. This article examines these alternatives in the context of an economic and health crisis.

Despite a massive proliferation in the literature on ‘risk’ and ‘disaster management’ in the contemporary world, historians have been slow to clarify their thoughts on these issues. The paper seeks to remedy this state of affairs. For the purposes of exegesis, it separates disasters, mishaps and accidents into ‘natural’, ‘social’, ‘symbolic’ and ‘individual’ categories, before summarizing and interrogating the influential theoretical work of Karl Figlio in this field. In terms of conclusions, the article suggests a provisional social-historical methodology for the recovery and reconstruction of the individual ‘moment’ of the accident; proposes a breaking down of the barriers between ‘domestic’ and ‘non-domestic’ occurrences of this type; and analyses reasons for lack of scholarly interest in the area as a whole. Focused predominantly on Britain, the paper also draws selectively on European and extra-European experience; and deploys numerous examples derived from urban history in order to press home its major points.

AbstractThis article explores how far the concepts of de-familialisation/familialisation are adequate to the classification of long-term care (LTC) policies for older people. In the theoretical debate over LTC policies, de-familialising and familialising policies are often treated as opposites. We propose re-conceptualising the relation between de-familialisation and familialisation, arguing that they represent substantially different types of policy that, in theory, can vary relatively autonomously. In order to evaluate this theoretical assumption, this article investigates the relation between the generosity level of LTC policies on extra-familial care, and the generosity level of LTC policies on paid family care, introducing a new multi-dimensional approach to measuring the generosity of LTC policy for older persons. It also explores the consequences of this for gender equality. The empirical study is based on a cross-national comparison of LTC policies in five European welfare states which show significant differences in their welfare state tradition. Data used are from document analysis of care policy law, the Mutual Information System on Social Protection, the European Quality of Life Survey and the Organisation for Economic Co-operation and Development. The findings support the argument that de-familialising and familialising LTC policies can vary relatively independently of each other in theory. It turns out that we get a better understanding of the relationship between LTC policy and gender equality if we analyse the role of different combinations of extra-familial and familial LTC policies for gender equality. The paper brings new insights into the ways welfare states act in regard to their LTC policies. It helps to clarify how the concept of de-familialisation/familialisation can be understood, and what this means for the relationship between LTC policies and gender equality.

Abstract: The sea is central to constructions of the refugee —maritime passage indelibly linked to political process —even as image-making and narrativization on water are inhibited by the otherness of the pelagic environment. Legally unauthorized maritime transit has informed condemnatory narratives of refugeeness in recent decades, and wealthy nations increasingly rely on extra-territorial and expulsive procedures to prevent the arrival of forced migrants. The central Mediterranean is unique for its maritime activist activity, whereby NGO vessels carry out a volume of migrant rescues. The self-fashioning of NGO vessels—the so-called Civil Fleet—highlights the link between constructions of refugees as disorderly collectives and neocolonial power structures. This discussion centres around the work of the NGO boat Louise Michel, funded by the pseudonymous British graffiti artist Banksy. The vessel’s entry in 2020 into the domain of NGO search and rescue (SAR) activity in the Mediterranean increased the profile of this form of political humanitarian activism. As far as refugee processing is concerned, the Civil Fleet exemplifies intervention in its literal sense of coming between , using direct action to disrupt expulsive state-sanctioned bordering regimes, visibly exposing the relational dynamics of asylum. The maritime rescue of refugees by European NGOs constructs a hospitable mode of refugee processing that is paradoxically both predicted and unsanctioned. The aestheticization of Louise Michel’s interceptive acts is considered here in a dual sense: visually, as design, but also conceptually, as framed political dysfunction. The former renders rescue as image and narrative, while the latter reveals the limits of political humanitarianism itself within an ill-functioning asylum system.

Notre recherche s'intéresse à l'éthique de l'étude des objets d'arts extra-européens en particulier l'art africain, l'art océanien ou l'art sud-américain, à travers le prisme de leur examen macroscopique, à l'œil nu, et en imagerie médicale, en s'interrogeant notamment sur les intérêts et les limites de ces examens. Il existe peu de recherches scientifiques de grande envergure faisant appel aux techniques biomédicales d'analyse, à l'imagerie médicale et explorant en profondeur l'éthique des disciplines entourant les objets tout au long de leur cycle de vie.Cette étude inclut une revue de la littérature consacrée à l'arrivée des objets extra-européens dans les collections muséales françaises et à l'évolution de leur statut, tour à tour objets de curiosités, objets ethnographiques et objets d'art. Nous constatons aujourd'hui l'implication croissante du corps médical dans les processus d'expertise des objets. Notre recherche, mobilisant l'anthropologie, l'imagerie médicale et le droit, s'est fondée sur l'étude macroscopique et en imagerie médicale de plus de cent cinquante objets provenant des continents africain, asiatique, océanien et sud-américain, conservés au musée du quai Branly-Jacques Chirac et dans des collections privées. L'analyse ne se contente pas de mettre en lumière les intérêts et les limites de ces études mais souligne également l'importance cruciale des considérations éthiques à toutes les étapes de l'étude de ces objets, y compris lors de leur collecte, leur exposition, leur vente et enfin leur restauration.Notre recherche fournit une vue d'ensemble des pratiques actuelles ayant cours aux différentes étapes de la vie des objets. En croisant les regards entre traitement des objets du culte catholique et des cultes extra-européens, nous proposons de nouvelles lignes de conduite éthiques pour les pratiques muséales. Nous suggérons, qu'à une époque où les demandes de restitutions d'objets extra-européens s'intensifient, il est essentiel d'impliquer plus activement les communautés d'origine dans les prises de décisions. Nous plaidons pour la mise en place de comités d'éthique pluridisciplinaires et inclusifs afin de garantir le respect des perspectives, pratiques et croyances de chacun
Our research examines the ethical considerations involved in the study of extra-European art objects, specifically those from African, Oceanic, and South American origins, through the lens of macroscopic examination and medical imaging. We focus particularly on the merits and limitations of these techniques. There is a little large-scale of scientific research employing medical imaging to thoroughly explore the ethical dimensions associated with these objects throughout their lifecycle.This study includes a literature review on the introduction of extra-European objects into French collections and the evolving roles these objects have assumed, transitioning from curiosities to ethnographic artifacts and, to art objects. By integrating insights from anthropology, medical imaging, and legal studies, our research involves a detailed macroscopic and medical imaging analysis of over 150 objects from Africa, Asia, Oceania, and South America, housed at the musée du quai Branly-Jacques Chirac as well as in private collections. This analysis not only elucidates the benefits and constraints of such studies but also underscores the critical importance of addressing ethical considerations at every stage of the object's lifecycle, including collection, exhibition, sale, and restoration.Our findings provide a comprehensive overview of current practices at various stages in the life of these objects and propose new ethical guidelines for museum practices. Drawing parallels with the treatment of Catholic cult objects, we suggest that in an era where demands for the repatriation of extra-European objects are growing, it is essential to more actively involve the originating communities in the decision-making processes. We advocate for the establishment of multidisciplinary and inclusive ethics committees to ensure that diverse perspectives, practices, and beliefs are respected

The 21st century has witnessed some of the largest human migrations in history. Europe in particular has seen a major influx of refugees, redefining notions of borders and national identity. This interdisciplinary volume brings together leading international scholars of migration from perspectives as varied as literature, linguistics, area and cultural studies, media and communication, visual arts, and film studies. Together, they offer innovative interpretations of migrants and contemporary migration to Europe, enriching today’s political and media landscape, and engaging with the ongoing debate on forced mobility and rights of both extra-European migrants and European citizens.

Engaging a diverse range of contemporary anglophone literature from authors of the Asian, Middle Eastern and Caribbean diasporas, this book explores how such works turn to spirit forces, spirit realms and spirit beings - were-animals, mystical birds, and snake goddesses — as positive forces that assert perceptual dimensions beyond those of the human, and present a vision of Earth as agentive and animate. With previous scholarship downplaying these aspects of modern works as uncanny hauntings or symptoms of capitalism’s or anthropocentrism’s destructiveness, or within a blanket rubric of ‘magical realism’, Hilary Thompson rejects this partitioning of them as products of an exotic East or global South. By contrast, this book builds a new critical framework for analysis of worldly spirits, drawing on anthropological discussions of animism, the newly recovered 1930s boundary-crossing art movement Dimensionism, and multispecies theories of animals’ diverse perceptual worlds. Taking stock of novels published from 2018–2020 by such writers as Amitav Ghosh, André Alexis, Yangsze Choo, Azareen Van der Vliet Oloomi, Zeyn Joukhadar, and Tanya Tagaq, Thompson illuminates how these works extend an ecological call to decentre the human and align with multidimensional theories of art and literature to provide ways to read for rather than reduce the extra-human dimensions emerging in contemporary fiction. A refreshing rejection of ecological apocalypticism, this book unsettles typical conceptualizations of both anglophone and Anthropocene literatures by invoking European art theory, philosophy, and non-Western ideas on animism and spirits to put forward perceptions of the extra-human as a form of dealing with the many uncertainties of today’s different crises.

This introductory chapter offers a meditation on the spaces and places of modernist activity, positing that the metropolis is incidental, rather than essential, to the production of social and aesthetic modernism. In de-centring the metropolis, this chapter proposes that rural, peripheral spaces—those Raymond Williams memorably dismissed as ‘hinterlands’—should not only be recognized as essential to the development of modernist practices, but also may productively be recognized as part of a broad, modernist impulse toward ‘little’ and small-scale production in general. Working from Wallerstein’s conceptualisation of the networked, capitalist, modern world-system, this chapter makes the case for a more careful, site-specific examination of sub- or extra-urban places in which modernist practices emerged and coalesced and argues for seeing the modern little art colony as a representative modernist space. This chapter also offers a brief historical background to the development of the little art colony in the US, pointing to its nineteenth-century European antecedents as well as US-based utopian colonies (most notably that at Brook Farm), where the social practices associated with modernism fused with new and experimental arts-based practices.

Each Concentrate revision guide is packed with essential information, key cases, revision tips, exam Q&As, and more. Concentrates show you what to expect in a law exam, what examiners are looking for, and how to achieve extra marks. This chapter discusses the framework and institutions of the European Union. It covers European Union Treaty framework since 1957; sources of EU law and their status after the UK leaves the European Union; the effect of leaving the European Union on the Charter of Fundamental Rights and Freedoms; failure to transpose a Directive into national law; the effect of leaving the European Union on the Francovich principle; breach of a Treaty provision by the national legislature; breach of a Treaty provision by the national administration; incorrect transposition of a Directive into national law; liability of judicial acts; the Lisbon Treaty and the procedure for withdrawal from the European Union under Art 50. This chapter also looks at the legislative process of withdrawal from the European Union including the European Union (Withdrawal) Act 2018.

The current situation regarding air pollution, global warming and the world approaching the point of no return have led the United Nations to focus on improving the environmental situation through the SDGs [1]. In line with these ambitions, O-ZONE team, was born in 2019 with the clear objective of taking concrete action against climate change [2]. The team's goal is to build a compact, low-cost, and reusable device to sample stratospheric pollutants, at various altitudes and thus provide air quality indications in mid-range areas for monitoring, prevention, and rapid intervention in case of unpredictable events. The O-ZONE team was therefore born as an idea of some students from the Aerospace Engineering course at the same University. The students took part in the REXUS/BEXUS project by Swedish National Space Agency (SNSA), Deutsches Zentrum für Luft- und Raumfahrt (DLR) and European Space Agency (ESA) [3]. As in each of these projects, the team tackled the various steps of space missions but, in this case, with extra constraints. They had to work during the lockdown with various complications due to the pandemic. Although the launch was delayed, the students carried on with their motivation and then launched their device on board the BEXUS 30. The prototype launched in Kiruna - Sweden (at the Esrange base), and which reached an altitude of 27.8 km, is a sampling system for Volatile Organic Compounds (VOCs), such as NOX and SOX, Particulate Matter (PM) and Chlorofluorocarbons (CFCs) responsible for the depletion of the Ozone layer [4]. These types of samplers [2] fill the technological gap in atmospheric analysis; the current state of the art allows air to be monitored only statically from ground stations or by satellite analysis [5], while O-ZONE presents an accessible, easy-to-use and rapid in situ sampling method. This paper describes the technical specifications and design aspects of the device and the experience that has allowed the students to grow as a team, especially in terms of personal skills and the ability to work with concurrent engineering and interdisciplinarity. Finally, the experiment results will be shown.