Relevant bibliographies by topics / Masquerades in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Masquerades in art'

Author: Grafiati
Published: 29 July 2024

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Journal articles on the topic "Masquerades in art"

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BolanleTajudeen, Opoola. "Incantation as a Means of Communication in Yorùbá Land: ‘Eégún Aláré’ as a Case Study." International Journal of Comparative Literature and Translation Studies 7, no. 2 (April 30, 2019): 67. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.67.

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Yorùbá oral literature is of three categories namely chant, song and recitation. This paper, therefore, focused on incantation as a means of communication among the masquerades in Yorùbá land with its data drawn from “Eégún Aláré”, a Yorùbá novel. Incantation is a combination of carefully arranged speeches or words in a poetic form and its use makes things work miraculously as the users wish or words that make human wishes come to reality with immediate effect. Before Christianity and Islam gained prominence in the Yorùbá society, Alárìnjó masquerades were among the well known traditional public entertainers and that during performances, incantation was often used to know who is who among the masquerades. However, Christianity and Islam have made the use of incantation, as a means of communication during masquerade performances, a thing of the past and what used to be a family profession in the past is no longer so because members of the Ọ̀jẹ̀ families who were in charge of this cultural profession in the past have now been converted to either Christianity or Islam or have been negatively influenced by Western education. This study nullifies the communication chain as the person to whom incantation is directed does not need to understand the language of the person that uses the incantation as the feed back would be the effect of the incantation in positive or negative form. The essence of this paper is to promote Yoruba oral literature through formal documentation of incantation as a Yoruba linguistic verbal art.
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Gagliardi, Susan Elizabeth. "Art and the individual in African masquerades Introduction." Africa 88, no. 4 (November 2018): 702–17. http://dx.doi.org/10.1017/s0001972018000438.

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S. Omoera, Osakue, and Ruth Etuwe Epochi-Olise. "MEDIATIZATION OF NDOKWA MASQUERADE PERFORMANCES: THE AESTHETIC DYNAMICS OF AN AFRICAN INDIGENOUS CARNIVAL." Journal of Cultural and Creative Industries 3, no. 1 (December 22, 2022): 1–22. http://dx.doi.org/10.21134/jcci.v3i1.1763.

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This article examines the mediatization of the aesthetic dynamics or dimensions in the masquerade performances of the Ndokwa people in Delta State, Nigeria. Masquerade performances and carnivals are spectacular indigenous theatrical activities or forms that involve the impersonation of fictive characters by costumed performers in Nigeria and across Africa. These art forms share similar elements that make them culturally significant in terms of creativity and social commentary. The Ndokwa masquerade performances during festive celebrations have been on for over two decades but have virtually not been given the deserved publicity to project them as fine tourist events. Deploying Etop Akwang’s “Medialization” model, this study uses historical-analytic, key informant interview (KII) and direct observation to consider the uniqueness of the Ndokwa masquerade performance. It holds that the masquerade performance is a valuable cultural product that combines the characteristics of carnivals and celebrations of fluid cultural exchange that appear to have led to hybridized cultural performances amongst the people. It highlights some of the aesthetic dimensions of the Ndokwa masquerades and how they could be made more culturally viable and economically appealing through the use of new media outlets. This article, therefore, advocates for the use of social media as a trendy form of mediatization or media production to give visibility to Ndokwa masquerade performances in the global cultural space.
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McNaughton, Patrick. "Agency in artistry: comments on ‘Art and the individual in African masquerades’." Africa 88, no. 4 (November 2018): 824–39. http://dx.doi.org/10.1017/s0001972018000487.

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Understanding masquerade performance is a difficult challenge because so many dimensions of expressive culture come together. There are questions of performer ambiguity and secret expertise, the confounding relationships between secular and spiritual, the many aspects of secrecy, and the involvement of higher powers. There is also the basic question of what a performance is supposed to accomplish, and the most fundamental issue of individual identity and agency.
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Gagliardi, Susan Elizabeth. "Masquerades as the Public Face: Art of Contemporary Hunters' Associations in Western Burkina Faso." African Arts 46, no. 4 (December 2013): 46–59. http://dx.doi.org/10.1162/afar_a_00107.

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Thomas, Sanju. "The Moor for the Malayali Masses: A Study of "Othello" in "Kathaprasangam"." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 105–16. http://dx.doi.org/10.1515/mstap-2016-0008.

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Shakespeare, undoubtedly, has been one of the most important Western influences on Malayalam literature. His works have inspired themes of classical art forms like kathakali and popular art forms like kathaprasangam. A secular story telling art form of Kerala, kathaprasangam is a derivative of the classical art form, harikatha. It was widely used to create an interest in modern Malayalam literature and was often used as a vehicle of social, political propaganda. The story is told by a single narrator who masquerades as the characters, and also dons the mantle of an interpreter and a commentator. Thus, there is immense scope for the artist to rewrite, subvert and manipulate the story. The paper explores V. Sambasivan’s adaptation of Othello in kathaprasangam to bring out the transformation the text undergoes to suit the cultural context, the target audience and the time-frame of the performance. The text undergoes alteration at different levels—from English language to Malayalam, from verse to prose, from high culture to popular art. The paper aims at understanding how a story set in a different time and distant place converses with the essential local milieu through selective suppression, adaptation and appropriation.
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Clunis, Sarah. "The Passing: The Evocative Worlds of Ebony Patterson's Dancehall Egúngún." Women, Gender, and Families of Color 9, no. 2 (October 1, 2021): 167–88. http://dx.doi.org/10.5406/23260947.9.2.04.

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Abstract In 2010, Jamaican artist Ebony Patterson lost her father. This shifted her art significantly, and she recalls that, for the first time, she began to work with death in her practice. Her new body of work, elegantly ornamented tapestries, evokes spectral disembodied figures, elaborately coiffed and assembled with glitter, plastic, cotton, and glass. What is unexpected about the complicated tapestry of ideas in Patterson's work is that, through its use of cloth to memorialize death, it offers an evocative connection to the use of adornment and clothing in dancehall culture and its connection to both Jonkonnu and Egúngún masquerade traditions. My analysis of Patterson's work looks at the prominence of cloth and ornamentation in Egúngún masquerade traditions in Nigeria and within the cultural sphere of the Jamaican Jonkonnu masquerades of the eighteenth and nineteenth centuries. This analysis links the expensive and abundant uses of cloth in the design of highly embellished Nigerian Egúngún costumes to similar traditions within Jamaican Jonkonnu masking and argues that the aesthetics of both traditions (in the form of adorned maskers) creates a body that acts as an agent of social control, communicating important ideas about kinship, masculinity, wealth, violence, and death. Through this examination of excessively embellished cloth and its historical connection to memorializing kinship connections, solidifying community relations, and simultaneously communicating wealth, aggression, and a hypermasculinity, I suggest that not only is Patterson creating Egúngún with her work but that our understanding of the popular expressive culture of men's fashion within dancehall culture is not a feminized expression at all, but a hypermasculine Africanized expression which champions flamboyant and excessively adorned expressions of dress, while at the same time solidifying community kinships, exhibiting wealth, and memorializing the deceased.
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Farajallah, Hana Fathi, and Amal Riyadh Kitishat. "The Self and the Other in Philip Massinger’s “The Renegado, the Gentleman of Venice”: A Structural View." Theory and Practice in Language Studies 9, no. 1 (January 1, 2019): 118. http://dx.doi.org/10.17507/tpls.0901.17.

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Renaissance England (1500-1660) is the most flourishing era of English history which testified the emergence of classical humanistic arts. Of course, drama is a literary genre that prospered, then, to entertain the interests of the Royal ruling families, especially Queen Elizabeth 1 (1558-1603) and her successor King James 1 (1603-25), as theatres were built in London along with dramatic performances held in the courts like masquerades. This study aims at showing the distortion of Islam in Philip Massinger’s “The Renegado or The Gentleman of Venice”, via tackling the theme of “the self and the other” and analyzing the structure of the play. Why not, and English Renaissance citizens love to watch the non-Christians, the misbelievers, humiliated and undermined. Massinger, among other Elizabethan dramatists like William Shakespeare, uses the art of tragicomedy to show the Western hatred, which is “the self”, of the Oriental Islam that is in turn “the other”.
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Ortiz, Federico, and Ushma Thakrar. "TRABAJAR SIN SOLUCIONES. ENTREVISTA CON KELLER EASTERLING." Materia Arquitectura, no. 23 (December 30, 2022): 22. http://dx.doi.org/10.56255/ma.v1i23.532.

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La diseñadora y escritora Keller Easterling es profesora Enid Storm Dwyer de arquitectura en la Universidad de Yale. Su investigación y sus escritos han sido incluidos en las bienales de Venecia de 2014 y 2018. Su obra ha sido expuesta en el Queens Museum, la Bienal de Róterdam, el Storefront for Art and Architecture y la Bienal de Diseño de Estambul. Es autora de Medium Design: Knowing How to Work on the World (Verso 2021), Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), Subtraction (Sternberg, 2014), Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) y Organization Space: Landscapes, Highways and Houses in America (MIT, 1999), entre otros libros. Easterling también es coautora (junto con Richard Prelinger) de Call it Home: The House that Private Enterprise Built, A Laserdisc/DVD History of US Suburbia from 1934-1960. En 2019, Easterling fue designada “Artista de los Estados Unidos” en arquitectura y diseño.
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Rea, William R. "Rationalising culture: youth, elites and masquerade politics." Africa 68, no. 1 (January 1998): 98–117. http://dx.doi.org/10.2307/1161149.

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Studies of associations in West Africa have tended to focus upon the development of new development-related institutional forms. Other, so-called traditional, cultural groupings have tended to be ignored. This article points to transformations and changes in the masquerade society of the north-eastern Yoruba town of Ìkòlé and considers the continuing development of the masquerade society as an association. Changes in the masquerade society are being strongly promoted by younger men as a way to establish masquerade as a resource, promoting Ìkòlé's cultural identity. They are aided and funded by groups of elite citizens who are not necessarily resident in Ìkòlé. The article examines the relations between the various groups involved in masquerade, as well as the relationship between those often elite town members who support masquerades and Pentecostal Christian groups which would happily see their demise.
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Dissertations / Theses on the topic "Masquerades in art"

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Medlen, Kim Stanley. "Deliberate masquerades: socialised stigma, HIV/AIDS and altered gay male body image." Thesis, Curtin University, 2010. http://hdl.handle.net/20.500.11937/824.

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Three themes are developed in this exegesis. Firstly, it discusses the conceptual base that informs the creative outcomes of this research. This centres on homo-sexuality, disease, illness and the deliberate masquerades that are often under-taken by HIV-positive Australian homosexual males as a response to socialised stigma. Through these masquerades, they enhance the physicality of their bodies so as to conform to Western cultural perceptions of masculine and healthy body ideals and thus avoid stigma that would otherwise be placed on them. This exploration draws upon theories from sociology to discuss these physical enhancements with an emphasis on the period since the onset of HIV/AIDS in the early 1980s. Secondly, it explores the works of visual artists that comment on the HIV/AIDS pandemic prior to the mid 1990s when no effective long-term treatments were available. Thirdly, it investigates HIV/AIDS-based art produced since the mid 1990s, after long-term treatments became available, and discusses how this work contrasts with the earlier works. Also discussed are the parallels and differences between the body of work that is supported by this exegesis and these other contemporary artworks that address HIV/AIDS issues.
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Boyes, Emma Louise. "The masquerade of the feminine." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16250/1/Emma_Boyes_Thesis.pdf.

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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
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Boyes, Emma Louise. "The masquerade of the feminine." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16250/.

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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
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Harper, Savannah. "The Masculinity Masquerade: the Portrayal of Men in Modern Advertising." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283789/.

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The depiction of gender in advertising is a topic of continuous discussion and research. The present study adds to past findings with an updated look at how men are represented in U.S. advertising media and the real effects these portrayals have on the male population under the theoretical framework of hegemony and social cognitive theory. This research is triangulated with a textual analysis of the ads found in the March 2013 editions of four popular print publications and three focus group sessions separated by sex (two all-male, one all-female), each of which is composed of a racially diverse group of undergraduate journalism and communications students from a large Southwestern university. The results of the textual analysis reveal little ethnic or physical diversity among male figures in advertising and distinguish six main profiles of masculinity, the most frequent of which is described as the "sophisticated man." The focus groups identify depictions of extreme muscularity and stereotypical male incompetence as the most negative representations, while humorous and hyperbolic portrayals of sexual prowess and hyper-masculinity are viewed positively as effective means of marketing to men.
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Burton, Laini Michelle, and n/a. "The Blonde Paradox: Power and Agency Through Feminine Masquerade and Carnival." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070122.110616.

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Blonde hair is a potent and highly visible sign in western culture. Although the popularity and desirability of blonde hair in the West is well documented, since the 1950s, blonde hair has also generated many negative associations and these have contributed to myths around blondeness. In particular, women who dye their hair blonde find themselves in a paradoxical position; they simultaneously evoke desire and derision. This thesis uses the model of feminine masquerade outlined by Joan Riviere (1929) as a locus for discussing the transgressive potential of the knowing use of blondeness as a sign. When women wear blondeness in this way they embrace it as an oblique means to access privilege. This self-reflexivity allows women to enter sites of power that they are otherwise excluded from. Drawing on ideas of the carnivalesque, as described by Mikhail Bakhtin (1968), this thesis also proposes that the carnivalesque is employed by women in order to transgress patriarchal boundaries through an ironic masquerade of the archetypal blonde. These paradoxical meanings of blondeness are evoked in the work of performance artist Vanessa Beecroft. Beecroft stages both the reflexive awareness of today's blonde woman and the way in which she is shaped by socio-cultural forces beyond her control. Through reference to Beecroft's art, this dissertation builds upon the optimism and transgressive potential of Bakhtin's 'carnival' and Riviere's 'feminine masquerade' to re-present the identity/position of blonde women as one of agency and power.
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Gómez, Todó Sandra. "The visual culture of women's masking in early modern England." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6952.

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The act of wearing a mask, of concealing one’s identity, has been one of the most enticing but controversial cultural practices since the 1500s. Masking evoked an even bolder act of self-fashioning when enacted by the female sex, since the gesture came to be read as a materialization of the deceitful and duplicitous character of woman’s nature, proclaimed by the major state and religious institutions of the early modern era. The ubiquity of this cultural and religious trope, however, has overshadowed a parallel dimension of this phenomenon: women’s appropriation of masking as means to obtain cultural agency and public (in)visibility in the context of a number of sartorial, theatrical, and entertainment practices. How visual representations of female masking served both maskers and audiences to navigate the social, moral, and cultural implications of this reality constitutes the subject of the present study. This dissertation explores the gendering of the act of (un)masking and its dissemination in visual culture during the early modern period in England, looking at four different cultural and chronological settings: the Carnival, the Stuart court masque, the Restoration urban space, and the Georgian masquerade. Through the examination of women’s uses of masks and their artistic representations in these different contexts, the author argues that the iconography of the (un)masked woman not only pervaded contemporary imagery, but also acted as a primary vehicle to comment on, formulate, and negotiate models of femininity throughout the early modern period. As this was a quintessential form of self-fashioning, central to a number of pageants, entertainments, and rituals, the analysis of women’s masking and its depictions reveals the core of early modern attitudes to power, gender, and class, in both the public and private realms. In order to flesh out such ideological discourses, this study considers a wide range of visual depictions and cultural practices, including drawings, prints, paintings, ephemera, costumes, fashion accessories, cosmetic customs, and architectural settings. In methodological terms, this dissertation applies an interdisciplinary, feminist, and art-historical perspective to the study of early modern masking in England, engaging at the same time with a number of interpretative tools from the fields of the history of costume, dance, theatre, and literature.
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Snyman, Amé. "Die karnavaleske as sosiale kommentaar : 'n ondersoek na geselekteerde werke van Steven Cohen / A. Snyman." Thesis, North-West University, 2012. http://hdl.handle.net/10394/9204.

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This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation.
Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.
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Melia, Juliette. ""Ceci est mon corps" : l'intime et l'extime dans l'autoportrait photographique contemporain (États-Unis, Grande-Bretagne, 1970-2010)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC243.

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Le corpus d’autoportraits photographiques allant des années 1970 aux années 2010 permet de constater trois invariants dans la façon dont les artistes se présentent : la mascarade, la nudité, et la textualité. Chacune de ces thématiques interagit avec les questions plus larges d’intime, d’extime et de politique, car mettre en jeu l’image intime de soi dans son art a souvent pour but d’accentuer ses prises de positions sur le monde. Une partie des artistes obscurcissent leur identité et se représentent dans une mascarade totale ou partielle qui interroge la valeur du masque. Le choix du masque, ainsi que l’espace sensible pour le spectateur entre le visage et le masque, révèlent paradoxalement certains aspects de l’identité, comme Cindy Sherman dont l’apparence reste floue malgré des centaines d’autoportraits mais dont les politiques de réécriture subversive des stéréotypes de représentation sont bien connues. Si la mascarade dans l’autoportrait semble mettre à distance la possibilité même de l’intime, l’autoportrait nu donne l’impression d’une révélation absolue de l’intime, qui devient extime du fait de son partage avec le public et des échanges que ce partage permet. Là encore, l’artiste qui dénude son corps est bien dans l’action politique lorsqu’il met à mal des normes et des tabous sociaux, comme l’interdiction de mettre en images et en mots son désir et sa sexualité. Une profondeur nouvelle dans l’extimisation de l’intime est atteinte lorsque le photographe associe des textes à son autoportrait. Pourtant, les artistes évitent la tautologie, écrivant au contraire en regard de leurs autoportraits des textes qui se les révèlent en se permettant toutes les libertés textuelles, allant de l’autobiographie parfois fictionnelle au poème, du journal intime au manifeste politique. Il s’agit de s’interroger sur le paradoxe de l’art intime : pourquoi se risquer à l’aporie de l’art intime qui se détruit en s’accomplissant lorsque l’artiste se représente justement par ce qui lui est le plus douloureux et le plus secret à partager ? Surmonter la douleur de l’art intime est au cœur de la politique d’une telle démarche
The corpus of photographic self-portraits from the 1970s to the 2010s highlights three invariants in the ways artists present themselves : they use masquerade, nudity or add texts to their self-portraits. Each of these themes interacts with the larger issues of intimacy, extimacy, and politics, as using one’s intimate image in one’s art often emphasizes one’s views on the world. Some artists obfuscate their identity and present themselves in a total or partial masquerade that questions the value of the mask. Its choice, as well as the perceptible space between mask and face, paradoxically reveal aspects of the artist’s identity, as does Cindy Sherman whose appearance is eventually blurred by the hundreds of self-portraits, but whose politics of rewriting society’s representational stereotypes is well-known. If the masquerading self-portrait seems to diffuse the very possibility of intimacy, the nude self-portrait give the impression of a total revelation of intimacy, so much so that it become extimacy when it is shared with the public and allows a conversation to take place. Here too, artists who reveal their own bodies are political, because they refuse social norms and taboos such as the interdiction to picture one’s own desire and sexuality. A new depth in the extimisation of intimacy happens when the photographer associates texts to his self-portraits. However, artists are seldom tautological: on the contrary they reveal themselves through texts that make use of every freedom, from autobiography to fiction and poem, from diary to political manifesto. The point is to question the paradox of intimate art: why risk the aporia of intimate art, which destroys itself to happen when the artist shares his pain and his secret? Overcoming the pain of intimate art is at the heart of the politics of such a process
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Setje-Eilers, Margaret Eleanor. "Faces : maps, masks, mirrors, masquerades in German Expressionist visual art, literature, and film /." 2003. http://wwwlib.umi.com/dissertations/fullcit/3083084.

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Magowan, Robyn. "Social masquerade: a theoretical and practical analogy as applied to selected case studies of battered women in Johannesburg." Thesis, 2009. http://hdl.handle.net/10210/2390.

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My research, in support of my cultural practice approaches the notion of masquerade from the position of battered women who employ it socially as a vehicle that allows them to perform the traditionalist ‘happily-ever-after’ fantasy of marriage. I propose that their ‘masquerade’ functions as a performance of what they perceive they should be in the public domain, and as a defence against punishment in the private domain. Central to my research are interviews with battered women who masquerade socially, from a select group who have been battered for most of their married lives. In a response to these interviews, I refer to the prevalence of battery in South Africa and propose a psychological rationale for social masquerade in these particular battered women. As the masquerade of these women informs my art production I have included a discussion of alternative expressions of masquerade in the work of two artists, Tracey Rose and Cindy Sherman. This forms a counterpoint to the use of masquerade as explained in my own cultural practice, which highlights the importance of dress as an adjunct to communication and disguise.
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Books on the topic "Masquerades in art"

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1975-, Felipe Arranz David, Domus Artium 2002, and Festival Internacional de Fotografía de Castilla y León, eds. Mascarada: Masquerade. Salamanca]: Explorafoto, 2006.

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Phillips, Ruth B. Representing woman: Sande masquerades of the Mende of Sierra Leone. Los Angeles, Calif: UCLA Fowler Museum of Cultural History, 1995.

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Maurice, Tuchman, ed. Masquerade. San Francisco: Chronicle Books, 1993.

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Iberia, Perez, If I Can't Dance, I Don't Want To Be Part Of Your Revolution (Organization), Dutch Art Institute, Piet Zwart Instituut, and Stedelijk Van Abbemuseum, eds. (Mis)reading masquerades. Berlin: Revolver, 2010.

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Andrew, Perchuk, Posner Helaine, and MIT List Visual Arts Center., eds. The masculine masquerade: Masculinity and representation. Cambridge, Mass: MIT List Visual Arts Center, 1995.

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Rachel, Kent, ed. Masquerade: Representation and the self in contemporary art. Sydney: Museum of Contemporary Art, 2006.

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Allert, Tillman. Alles Maskerade!: It's all a masquerade! [Burgrieden-Rot]: Hoenes-Stiftung, 2014.

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Kasfir, Sidney Littlefield. Art history, history in art: The Idoma ancestral masquerade as historical evidence. Boston: BostonUniversity, African Studies Center, 1985.

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M, Cole Herbert, and University of California, Los Angeles. Museum of Cultural History., eds. I am not myself: The art of African masquerade. Los Angeles: Museum of Cultural History, University of California, 1985.

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Okoye, Chike. Liminal margins: Performance masks, masquerades and facekuerades. Awka, Nigeria: Society of Nigeria Theatre Artists (SONTA), 2019.

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Book chapters on the topic "Masquerades in art"

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Patrick, Martin. "Exploring Posthuman Masquerade and Becoming." In Animism in Art and Performance, 213–31. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66550-4_11.

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Rubin, Patricia. "Art and the Masquerade of History." In History and Art History, 117–33. New York, NY : Routledge, 2021. | Series: Routledge research in art history: Routledge, 2020. http://dx.doi.org/10.4324/9780429288623-8.

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Grant, Ben. "Autofiction and Self-Portraiture: Jenny Diski and Claude Cahun." In Palgrave Studies in Life Writing, 287–307. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_15.

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AbstractThis chapter argues that the contemporary British writer Jenny Diski and the Modernist French photographer and writer Claude Cahun are both literary self-portraitists, as this term is defined by Michel Beaujour. This is evident in their similar approaches to the themes of masquerade, narcissism, and naming. By reading Diski’s The Dream Mistress and Cahun’s Disavowals in the light of Julia Kristeva’s account of narcissism, as well as theories of autofiction and self-portraiture, the chapter further contends that self-portraiture arises from a distinct conception of the self, and of the psychological origins of artistic creativity. On this basis, it can be contrasted with autofiction, and autofiction and self-portraiture can then be seen to be related to each other as the two poles of contemporary life-writing.
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Jong, Ferdinand de. "The Art of Tradition." In Masquerades of Modernity, 173–84. Edinburgh University Press, 2007. http://dx.doi.org/10.3366/edinburgh/9780748633197.003.0008.

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Schuring, Martin. "Practice." In Oboe Art and Method, 70–92. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195374582.003.0006.

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Abstract The most important thing to learn is how to practice. If you learn how to practice, you will certainly learn how to play. Many students (and professionals too, for that matter) don’t like to practice, don’t do it enough, and don’t use their practice time productively. Many students don’t even know what to do when they are supposed to be practicing. A lot of doodling and messing around masquerades as practicing. We all know players who assert that they practice three or four hours a day, and yet they are rarely prepared for lessons, much less concerts. This chapter is intended to help with these problems. While reading this, some may feel that the suggestions are excessively strict and that there must surely be some sort of a shortcut. On the contrary, these suggestions are the shortcut. Anything else will take longer and not work as well.
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Batsleer, Janet, and James Duggan. "Asking for help and offering connection." In Young and Lonely, 121–30. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447355342.003.0011.

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The complexity of asking for help and giving and receiving it at a time of life when independence is prized above everything is explored. Requests for and offers of help and connection intersect with flows of power where control can masquerade as care. Such masquerades carry the marks of patriarchal control, class-based symbolic violence as well as of individual personalities and life stories. The small acts and everyday connections presented in this chapter are often ingenious and creative forms of mutual support and friendship, subtly undermining expectations about status and control.
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"7. The Political Dimension of Art and Music." In Masquerade Politics, 92–105. University of California Press, 1993. http://dx.doi.org/10.1525/9780520912571-009.

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"Refashioning Fetishism and Masquerade." In Art and Psychoanalysis. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755603824.ch-003.

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Tonkin, Elizabeth. "Mask." In Folklore, Cultural Performances, And Popular Entertainments, 225–32. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069198.003.0030.

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Abstract The mask is used on all the continents of the world and has a long history. The English words person and persona derive from personal, the Latin word for “mask.” Although masks are often admired as works of art in themselves, their communicative character cannot be understood without considering their use, which is generally in Performance, as part of a costume. They communicate meanings through transforming the wearer. One can dispute whether people are masked when they put on makeup, or even dark glasses, which have also come to be used in some Melanesian and African masquerades, along with ringing the eyes in contrasting pigment. Formally comparable mask ensembles can be used for very different occasions. On the other hand, an African community’s masking repertoire may include a mask that is never seen, but only heard, as an eerie cry in the night. It is possible to relate such different manifestations by comparing and contrasting the type of transformation intended and its degree of distance from ordinary humanity. Masks very often seem to present a supernatural world by appearing and being used in ways that are taken to be nonnatural.
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HELFFERICH, TRYNTJE. "Masquerades and Christian Zeal:." In Religious Plurality at Princely Courts, 141–63. Berghahn Books, 2024. http://dx.doi.org/10.2307/jj.9827059.10.

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Conference papers on the topic "Masquerades in art"

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Melchior, Shelly. "You Are Invited to a Masquerade! Academic Women in the Pandemic and Beyond." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2108205.

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