Relevant bibliographies by topics / Gruppe 5 (Group of artists)

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Academic literature on the topic 'Gruppe 5 (Group of artists)'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Gruppe 5 (Group of artists)"

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Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (December 1, 2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.
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Lawson, Carl J. "Mortality in American Hip-Hop and Rap Recording Artists, 1987–2014." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 211–16. http://dx.doi.org/10.21091/mppa.2015.4039.

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BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage names, and city and state of death were recorded for analysis. RESULTS: The most commonly reported cause of death was homicide. The 280 deaths were categorized as homicide (55%), unintentional injury (13%), cardiovascular (7%), undetermined/undisclosed (7%), cancer (6%), other (5%), suicide (4%), and infectious disease (3%). The mean reported age at death was 30 yrs (range 15–75) and the median was 29 yrs; 97% were male and 92% were black. All but one of the homicides were committed with firearms. CONCLUSIONS: Homicide was the most commonly reported cause of death. Public health focus and guidance for hip-hop and rap recording artists should mirror that for African-American men and adolescent males ages 15–54 yrs, for whom the leading causes of death are homicide, unintentional injury, and heart disease. Given the preponderance of homicide deaths in this analysis, premature mortality reduction efforts should focus on violence prevention and conflict mitigation.
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Scheerer, Frank, Wolfgang Schmitt, Markus Dollhopf, and Marcus Kremer. "Endoskopische Submukosa-Dissektion bei mukosalen Low-Risk-Magenfrühkarzinomen – eine retrospektive, unizentrische Studie." Zeitschrift für Gastroenterologie 56, no. 11 (November 2018): 1343–53. http://dx.doi.org/10.1055/a-0729-3061.

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Zusammenfassung Hintergrund Die endoskopische Submukosa-Dissektion (ESD) ist in Asien Standard zur Behandlung von Magenfrühkarzinomen (MFK) im Rahmen von definierten Kriterien. Auch in Europa wird sie immer häufiger benutzt. Bei Risikokonstellationen (z. B. Submukosa-Invasion, Lymphangio-Invasion, schlecht differenziertes Karzinom) ist das Auftreten von Lymphknotenmetastasen möglich. Wir definierten eine „Low-Risk-Gruppe“ (differenzierte, nur mukosal gelegene MFK ohne Ulzeration und Gefäßinfiltration, größenunabhängig) um das endoskopische Ergebnis und den Langzeitverlauf dieser prognostisch günstigen Gruppe zu untersuchen. Patienten und Methoden Patienten mit nicht vorbehandelten Low-Risk-MFK wurden in die retrospektive Auswertung aufgenommen. Ausgewertet wurden Patientendaten (Alter, Geschlechterverteilung), Karzinomparameter (Anzahl, Größen, Lokalisation, Paris-Klassifikation), histologische Parameter, Resektionsdaten (u. a. En-bloc-Resektion, R-Status), Nachsorgen (u. a. Lokalrezidive, Überleben) und Komplikationsdaten. Ergebnisse Durch ESD wurden bei 55 Patienten 61 Low-Risk-MFK entfernt. In 93,4 % gelang die En-bloc-, in 91,8 % die R0-Resektion. In 8 Fällen (13,1 %) kam es zu interventionsabhängigen Komplikationen: 5 verzögerte Nachblutungen (8,2 %), 2 Mikroperforationen (3,3 %, keine Operation notwendig) und ein Nicht-ST-Hebungsinfarkt (1,6 %).Während der Nachbeobachtungszeit (Mittelwert: 54,3 Monate) kam es in 4 Fällen (6,6 %) zu Lokalrezidiven, von welchen zumindest zwei erfolgreich endoskopisch behandelt werden konnten. Die anderen beiden Patienten verstarben nach endoskopischer Re-Therapie vor der ersten Kontrolle. Insgesamt verstarben 4 Patienten (7,8 %) während des Follow-ups, jeweils nicht tumorassoziiert. Bei 9 Patienten (16,4 %) wurden syn- oder metachrone Läsionen nachgewiesen, welche alle endoskopisch behandelt werden konnten. Lymphknotenmetastasen traten nicht auf. Fazit In der von uns definierten Low-Risk-Gruppe von mukosalen MFK wurde mittels ESD eine hohe Rate von En-bloc- und R0-Resektionen erreicht. Die festgestellten Lokalrezidive konnten endoskopisch beherrscht werden. Metastasen wurden nicht festgestellt, kein Patient verstarb tumorassoziiert. ESD ist für diese Gruppe daher als Standard-Therapie zu empfehlen. Hinsichtlich des klinisch-endoskopischen Verlaufs bei Vorhandensein von Risikofaktoren sowohl bei Mukosakarzinomen als auch der übrigen MFK aus der sogenannten Expanded-Group (u. a. Lymphangio-Invasion, submukosainvasive MFK, schlecht differenzierte G3-Karzinome) liefert die Studie keine Daten.
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Boontonglek, Manoch, Pravit Rittibul, Riswan Orachun, and Panurat Boonsong. "Dramatic Arts Innovation and learning management in the 21st century." Asian Journal of Arts and Culture 23, no. 2 (December 22, 2023): 260039. http://dx.doi.org/10.48048/ajac.2023.260039.

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This research synthesis for writing academic papers aims to simplify the Thai dance teaching style by national artists and senior teachers. This academic paper uses a method of collecting information from national artists and research papers of 6 national artists and senior teachers in performing arts, namely 1. Kru Chalery Sukhawanich 2. Kru Chamrieng Phutpradab 3. Kru Lamul Yamakup 4. Kru Siriwat Disyanan 5. Kru Suwannee Chalanukroh 6. Kru Rattiya Wiksitphong. The research synthesis tool is qualitative data analysis using content analysis. The principles of analysis and data synthesis were used by content analysis to categorize and group the data. The results of the study revealed that teaching by national artists and senior teachers has a teaching process, namely teaching, making a look, living and staying visible and focusing on skills with 4 characteristics. As a result of the synthesis, it was found that teachers must develop both theoretical knowledge and practice concurrently to create an expert and expertise. There are various techniques and methods of conveying. Gratitude is a good role model. Having morals and ethics, emphasis on the development of teaching to learning to develop students to have higher performance.
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Li, Shelly-Anne, and Gemma Donn. "Facilitating Access to Healthcare for Performing Artists Using Subsidized Health Services in Canada: An Interpretive Descriptive Study." Medical Problems of Performing Artists 37, no. 4 (December 1, 2022): 259–68. http://dx.doi.org/10.21091/mppa.2022.4030.

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BACKGROUND: Performing artists are often confronted with job insecurity and insufficient health coverage. As a result, artists may not have access to non-publicly funded health services that are essential to their well-being. A health centre in Canada that specializes in providing healthcare to artists offers eligible artists subsidized health services, with the aim to treat acute health issues that impact an artists’ ability to engage in their artistic practice. PURPOSE: We evaluated the use of the subsidized health services and explored the subsidy recipients’ and the selection committee’s perspectives on the impact of these services on the health of performing artists. METHODS: We applied an interpretive descriptive approach to our qualitative inquiry. We conducted individual, semi-structured interviews with recipients of the subsidy and a focus group with the selection committee that selected recipients of the subsidy. Data were analyzed using thematic analysis. RESULTS: A total of 14 artists and all members of the selection committee (n=3) participated. Recipients and selection committee perceived that subsidized health services were critical in enabling consistent and timely diagnosis and treatment. Several themes emerged from the data: 1) need for universal health benefits to restore equity and offset healthcare insecurity, 2) the critical role of subsidies in accessing health services, 3) risks of abruptly ending health services when subsidy runs out, 4) barriers in applying for and accessing subsidies, 5) mental health challenges, and 6) importance of the subsidy in the context of the COVID-19 pandemic. All recipients saw noticeable improvement in health outcomes that they believed would have been otherwise unattainable if they did not have timely access to care. CONCLUSIONS: Subsidized health services play an important role in ensuring that performing artists have access to care for injuries and health conditions that are related to their profession. Future research can examine the long-term impact of subsidized services on the recipients’ health and employment outcomes.
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Rafalska-Łasocha, Alicja, Marta Grzesiak-Nowak, Piotr Goszczycki, Katarzyna Ostrowska, and Wiesław Łasocha. "X-ray powder diffraction data for three red azo pigments: sodium, barium, and ammonium lithol salts." Powder Diffraction 32, no. 3 (June 29, 2017): 187–92. http://dx.doi.org/10.1017/s0885715617000616.

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Lithol reds belong to the group of azo pigments, which were popular artists’ colouring materials in the first half of the twentieth century. These pigments were also used in many branches of industry. Here, we report X-ray powder diffraction data, unit-cell parameters, and space groups for three compounds from this group: sodium (E)-2-((2-hydroxynaphthalen-1-yl)diazenyl)naphthalene-1-sulphonate monohydrate (Na lithol red), monoclinic, space group C2/c, with cell parameters a = 33.343(7), b = 6.667(2), c = 16.397(4) Å, β = 90.83°, V = 3644.51 Å3, Z = 8; barium (E)-2-[(2-hydroxynaphthalen-1-yl)diazenyl]naphthalene-1-sulphonate trihydrate (Ba lithol red), monoclinic, space group P21/m, with cell parameters a = 17.758(9), b = 6.209(4), c = 16.857(8) Å, β = 92.07°, V = 1857.39 Å3, Z = 2; and ammonium (E)-2-[(2-hydroxynaphthalen-1-yl)diazenyl]naphthalene-1-sulphonate monohydrate (NH4 lithol red), monoclinic, space group P2/c, with cell parameters a = 17.721(5), b = 6.428(3), c = 16.911(5) Å, β = 100.31(3)°, V = 1895.31 Å3, and Z = 4. In the first and third cases we synthesised the pigments in their monohydrate form, performed X-ray powder diffraction measurements, and indexed all of the obtained diffraction maxima. In the case of the barium compound, despite many efforts in the course of the synthesis procedure, the powder diffraction patterns of the obtained samples were not of the best quality. Nevertheless, we indexed the best one and found a reliable space group and cell parameters.
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Morosini, Imara de Almeida Castro, Ana Paula Lazzari Marques Peron, Keila Rodrigues Correia, and Ricardo Moresca. "Study of face pleasantness using facial analysis in standardized frontal photographs." Dental Press Journal of Orthodontics 17, no. 5 (October 2012): 24–34. http://dx.doi.org/10.1590/s2176-94512012000500005.

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OBJECTIVE: The purpose of this research was to check if the numeric facial analysis can determine facial attractiveness. METHOD: The sample consisted of frontal and lateral standard facial photographs, in natural head position, of 85 Brazilian Caucasian women, without facial plastic surgery report. The sample mean age was 23 years and 9 months. A group of 5 orthodontists, 5 layman and 5 plastic artists classified the photographs according to their own attractiveness graduation in: pleasant, acceptable and not pleasant. The numeric facial analysis was then performed using a computerized method. Linear, proportional and angular measurements were compared among groups. RESULTS: According subjective analysis the sample was consisted of 18.8% of pleasant, 70.6% of acceptable and 10.6% of not pleasant. In most measurements there were no differences among groups. Just in three of them significant statistical difference was observed and in two of them the comparison value was within decision limit. All the differences found were related to the lower third of the face and to facial pattern. CONCLUSION: On the present research, the numeric facial analysis, by itself, was not capable of detecting facial attractiveness, considering that beauty judgment seems to be very personal.
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Lindner, Ekkehard, Konrad Auch, Wolfgang Hiller, and Riad Fawzi. "Darstellung und Eigenschaften von und Reaktionen mit metallhaltigen Heterocyclen, LVII [1]. Stabilisierung der RPSR′-Gruppe in der Koordinationssphäre von Carbonylmangan-Komplexen / Preparation and Properties of, and Reactions with Metal-Containing Heterocycles, LVII [1]. Stabilization of the RPSR′ Group in the Coordination Sphere of Carbonylmanganese Complexes." Zeitschrift für Naturforschung B 42, no. 4 (April 1, 1987): 454–58. http://dx.doi.org/10.1515/znb-1987-0411.

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Abstract Stabilization of RPSR′, Manganese Complexes, X-Ray Stabilization of a RPSR′ function is possible by its incorporation into the mono-and binuclear manganese complexes, t-BuP[Mn(CO)5]SPh (3b) and (μ-CH3PSPh)(μ-SPh)Mn2(CO)8 (4a), re-spectively. Formation of 4a is accomplished via the precursors 3a and PhSMn(CO)5 (5), which are both unstable. 3a, b and 5 are formed by reaction of RP(Cl)SPh (la, b) [R = CH3 (a), t-Bu (b)] with [Mn(CO)5]- (2). 4a crystallizes in the orthorhombic space group Pbca with Z = 8.
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Gasbarri, Giovanni. "A Fountain of Fire: Idolatry, Alterity, and Ethnicity in Byzantine Book Illumination." Arts 12, no. 2 (April 17, 2023): 82. http://dx.doi.org/10.3390/arts12020082.

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This article examines the visual representation of pagan idols in Byzantine book illumination and investigates how such images were employed to convey a sense of geographical or ethnic distance. The main focus of this study is a group of illuminated manuscripts containing two of the most popular texts in the Byzantine world: Barlaam and Ioasaph and the Alexander Romance. These manuscripts include numerous representations of statuary that Byzantine readers would have easily recognized as being associated with the religious practices and superstitions of distant and foreign populations, thereby reinforcing their own self-identification with “civilized” characters. Through a comparative analysis of manuscripts such as Athon. Iviron 463 (Barlaam and Ioasaph) and Venice, Istituto Ellenico cod. 5 (Alexander Romance), this article explores the variety of iconographic solutions adopted by Byzantine artists to enhance the “ethnographic” function of idol images. A close examination of these solutions sheds new light on how visual narratives contributed to the construction of notions of identity, otherness, and ethnicity in Byzantium.
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Dobrolyubska, Y., and O. Prysiazhniuk. "French Morea Expedition of 1828-1833: the Origins of Colonial Discourse." Problems of World History, no. 10 (February 27, 2020): 78–91. http://dx.doi.org/10.46869/2707-6776-2020-10-5.

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Philhellenism existed in European society long before to the Morea expedition, the latter only exacerbated this tendency. The expedition helped to transform the superficial interest into a scientific interest, since its materials formed a scientific and aesthetic luggage, which remained one of the best for many years for European scientists who were unable to visit the region in person. The ancient Greek ruins aroused the admiration and awe of Europeans who saw in them a largely romanticized past. Officers, soldiers and people of art became the first group to form a collective memory of the past. For them, these events were emotionally colored. When they return home, scientists, artists, and even officers will become carriers and translators of this collective memory in French society. This group was the bearer of information about the monuments and treasures of the ancient Greeks, the key events, the most important details of Greek antiquity – the cradle of European civilization and its values. The scientific Morea expedition was important for the expansion of knowledge about Greece as a country and its ancient heritage. In architecture, sculpture, painting, furniture, and decorative art, ancient Greek motives were actively used – usually in a much romanticized and ornate form. After the expedition, European museums and numerous collectors began to show increased interest in Greek culture. The downside of this interest was the active plundering of the country’s cultural heritage. Another result of the expedition was that science began to be regarded as “politics of the XIX century”.
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Books on the topic "Gruppe 5 (Group of artists)"

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author, Marchesi Mariana organizer, and Fundación OSDE, eds. Arte de sistemas: El CAYC y el proyecto de un nuevo arte regional, 1969-1977 : del 25 de julio al 5 de octubre de 2013. Buenos Aires: Fundación OSDE, 2013.

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1938-, Beilstein Klaus, Gässler Ewald, Weichardt Jürgen 1933-, and Oldenburger Stadtmuseum, eds. Gruppe Kranich: Szenenwechsel : 25 Jahre danach. Oldenburg: Isensee, 2000.

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Brigitte, Reinhardt, and Ulmer Museum, eds. Gruppe A-R: Slowakische Avantgarde aus Bratislava. München: Oktagon, 1992.

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1966-, Beuckers Klaus Gereon, ed. Zero-Studien: Aufsätze zur Düsseldorfer Gruppe Zero und ihrem Umkreis. Münster: Lit, 1997.

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Bijutsukan, Urawa. Furukusasu ten : geijutsu kara nichijō e: Kaikan 5-shūnen kinen. Saitama-ken Saitama-shi: Urawa Bijutsukan, 2005.

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Giersch, Museum, ed. Ersehnte Freiheit: Abstraktion in den 1950er Jahren. Petersberg: Michael Imhof Verlag, 2017.

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Ina, Ewers-Schultz, Soika Aya, Uekermann Malte, and Beck & Eggeling, eds. Max Pechstein: Beck & Eggeling International Fine Art, 5. Mai - 23. Juni 2012. Düsseldorf: Beck & Eggeling, 2012.

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Kandinsky, Wassily. Kandinskiĭ i "siniĭ vsadnik", 5 okti︠a︡bri︠a︡ 2011--15 i︠a︡nvari︠a︡ 2012. Moskva: Skanrus, 2011.

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Viktor, Mazin, Groĭs Boris, Kabakov Ilʹi︠a︡ Iosifovich 1933-, Peppershteĭn Pavel, and Pivovarov Viktor, eds. Pavel Pepperstein und Gäste: Gruppe Inspektion "Medizinische Hermeneutik" ; Viktor Pivovarov ; Gruppe Russland und Viktor Mazin ; Boris Groys und Ilya Kabakov ; [zum Abschluss der Zusammenarbeit des Kunsthauses Zug mit Pavel Pepperstein im Rahmen von Projekt Sammlung 1998 bis 2002] = Pavel Pepperstein and guests : Group Inspection "Medical Hermeneutics" ; Viktor Pivovarov ; Group Russia and Viktor Mazin ; Boris Groys and Ilya Kabakov. Ostfildern: Hatje Cantz, 2004.

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Ettore, Sottsass. Ettore Sottsass: Ouvrage publié à l'occasion de l'exposition "Ettore Sottsass" organisée par le Mnam/Cci présentée du 27 avril au 5 septembre 1994 au forum du Centre national d'art et de culture Georges Pompidou. Paris: Centre Pompidou, 1994.

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Book chapters on the topic "Gruppe 5 (Group of artists)"

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"Learning About Others." In Redefining Theory and Practice to Guide Social Transformation, 15–30. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6627-5.ch002.

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There is a necessary linkage between understanding the “self” by understanding the “other.” This chapter offers concrete experiences of “being the Other,” “being Othered,” “Othering,” and in general, getting to know and work with other people in processes of social transformation. Conceptually, the authors draw from social constructivism (Gergen) and theories of power (Deutsch) as a way to elucidate the array of how “self” and “other” is constructed collectively through social relationships mediated by power. This chapter discusses the process whereby social conflicts have roots in power relationships that hierarchize identities, rendering some as dominated and others as dominant, and how this produces personal and social struggles that have powerful transformative effects. This chapter offers the story of Son Batá, a group of Afro-Colombian artists and community leaders, that in their exploration of their personal and social identity have deeply transformed their community.
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Schultz, William Todd. "Two Prototypical Creators." In The Mind of the Artist, 80–105. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197611098.003.0006.

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In Chapter 5, the author reinforces the idea that models are approximations that work in most cases, most of the time. They capture family resemblances within groups. The members of the group, in this instance artists, “look alike.” Models help because they allow us to predict. But they also, more commonly, allow us to understand, and when we understand, we not only make sense of another person we are interested in, we also, in addition to that, make sense of ourselves. In this chapter, the author applies his model to the lives and art of two famous artists: David Bowie and Frida Kahlo. This discussion reveals that it’s not necessary, and usually not accurate, to think of art as an escape or unintended cure. It is repetition, in thin or thick symbolic terms, of uniquely important experiences.
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Frank, Patrick. "A Further Brush with Fame in 1965." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0006.

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In chapter 5, Frank traces the spread of Nueva Figuración’s international renown, discussing the artists’ growing number of group shows and related reviews in U.S. and European magazines. Comparing it to the postmodern treatise The Anti-Aesthetic by Hal Foster, Frank examines Noé’s Antiestética, a theoretical text in which he extolled chaos as a value in art and announces his views on other dominant movements of the day such as Pop Art. Frank closes on the dissolution of Nueva Figuración: with the art scene in Argentina trending toward Pop and related styles and with Marta Minujín staging “Happenings” and proclaiming that painting was dead, the New Figurationists had one final group show in Buenos Aires and then went their separate ways.
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Payne, Leah. "“Jesus Freaks”." In God Gave Rock and Roll to You, 91–116. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197555248.003.0006.

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Abstract Chapter 5 demonstrates how Contemporary Christian Music’s biggest youth-group bands created a post–Cold War soundscape for conservative white evangelical social action in the 1990s. Utilizing Billy Graham’s longstanding media networks and energized by fresh articulations of end-times urgency, CCM became the musical accompaniment for evangelical public action. Youth-group bands provided rock-centric articulations of white evangelical ideals, fueled by an expansive network of white evangelical denominations, parachurch organizations, media makers, and activists. For some of the young people raised in the “bubble” of CCM, the music provided an enduring sense of identity and meaning. In other cases, CCM came to signify a form of suffocating suburban evangelicalism that young people sought to escape. Some evangelical Christian bands and artists in that decade tried to avoid the CCM label, but escaping the evangelical brand was often easier said than done.
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Long, Declan. "Phantom publics: imagining ways of ‘being together’." In Ghost-Haunted Land. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784991449.003.0006.

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Chapter 5 focuses on case studies of wide-ranging art projects — by Susan Philipsz, the Bbeyond collective, Phil Collins, Brian O’Doherty, Philip Napier and Mike Hogg and artist-group Factotum — that, in variously performative and relational modes, have involved staging, proposing or entering provisional situations of social encounter and collectivity. These events and interventions, it will be suggested, exhibit varying degrees of sensitivity to the challenges of the uneasy post-Troubles predicament. But in notable instances we find artists striving to make space for unorthodox perspectives and unheard voices, asking what it might mean to be part of a ‘public’ in post-Troubles Northern Ireland, and attempting to making visible — often in understated, ambiguous or anxious ways — what might otherwise remain hidden.
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Miholca, Amelia. "Between Zurich and Romania: A Dada Exchange." In Narratives Crossing Borders: The Dynamics of Cultural Interaction, 123–44. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.f.

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In 1916, a group of ambitious artists set out to dismantle traditional art and its accompanied bourgeois culture. Living in Zurich, these artists—among them the Romanians Marcel Janco and Tristan Tzara, and the Germans Emmy Hennings and Hugo Ball—formulated the new Dada movement that would awaken new artistic and literary forms through a fusion of sound, theater, and abstract art. With absurd performances at Cabaret Voltaire, they mocked rationality, morality, and beauty. Within the Dada movement in Zurich, I would like to focus on the artists whose Romanian and Jewish heritage played a central role in Cabaret Voltaire and other Dada related events. Art historical scholarship on Dada minimized this heritage in order to situate Dada within the Western avant-garde canon. However, I argue that the five young Romanians who were present on the first night of Cabaret Voltaire on February 5, 1916 brought with them from their home country certain Jewish and Romanian folk traditions, which helped form Dada’s acclaimed reputation. The five Romanians—Tristan Tzara, Marcel Janco and his brothers Georges Janco and Jules Janco, and Arthur Segal—moved to Zurich either to escape military conscription or to continue their college studies. By the start of the twentieth-century, Romania’s intellectual scene was already a transcultural venture, with writers and artists studying and exhibiting in countries like France and Germany. Yet, Zurich’s international climate of émigrés from all over Europe allowed the young Romanians to fully expand beyond nationalistic confines and collaborate together with other exiled intellectuals. Tom Sandqvist’s book Dada East from 2007 is the most recent and most comprehensive study of the Romanian aspect of Dada. Sandqvist traces Janco’s and Tzara’s prolific, pre-Dada time in Bucharest, along with the folk and Jewish sources that Sandqvist claims influenced their Dada performances. For instance, Tzara’s simultaneous poems, which he performed at Cabaret Voltaire, may derive from nineteenth century Jewish theater in Romania and from Hasidic song rituals. Moreover, the Dada performances with grotesque masks created by Janco relate to the colinde festival in Romania’s peasant folk culture. In my paper, I aim to analyze Sandqvist’s claim and answer the following questions: to what extent did Janco and Tzara incorporate the colinde festival and Jewish theater and ritual? Was their Jewish identity more important to them than their Romanian identity? And, lastly, how did they carry Dada back to Romania after the war ended and the Dadaists in Zurich moved on to other cities?
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Conference papers on the topic "Gruppe 5 (Group of artists)"

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Kashina, M. A. "BEST PRACTICES OF CREATIVE INDUSTRIES: SUCCESS FACTORS OF THE SOUTH KOREAN BOY BAND BTS IN RUSSIA (BASED ON THE MATERIALS OF A SOCIOLOGICAL STUDY)." In CONVERSION PROBLEMS AND REGULATION OF REGIONAL SOCIO-ECONOMIC SYSTEMS. INSTITUTE OF PROBLEMS OF REGIONAL ECONOMICS OF THE RUSSIAN ACADEMY OF SCIENCES, 2023. http://dx.doi.org/10.52897/978-5-7310-6198-8-2023-52-37-51.

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The success of the South Korean entertainment agency HYBE, which was valued at $9.5 billion in 2020, makes studying its marketing and business strategy relevant. An analysis of the data of an online survey of 2.5 thousand Russian BTS fans (the main artists of HYBE) shows that the key factors of popularity are technological and personal ones. First factors are a large amount of video in various social net-works, high-quality video clips, beau-tiful, non-standard (Asian) appearance of artists, the inclusion of BTS creativity in the Korean wave as a whole (links, tags). Second factors are the content and the work with fans. Artists want to provide psychological support to their fans by generating in them a sense of optimism, self-love, and group identity.
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