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Journal articles on the topic 'Other Arts'

To see the other types of publications on this topic, follow the link: Other Arts.

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Rosbottom, Ronald C., Jean-Pierre Barricelli, Joseph Gibaldi, and Estella Lauter. "Teaching Literature and Other Arts." Modern Language Journal 76, no. 2 (1992): 230. http://dx.doi.org/10.2307/329776.

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2

Scaglione, Aldo. "Linguistics and other semiotic arts." WORD 46, no. 1 (April 1995): 55–74. http://dx.doi.org/10.1080/00437956.1995.11435938.

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3

Levinson, Sanford, and J. M. Balkin. "Law, Music, and Other Performing Arts." University of Pennsylvania Law Review 139, no. 6 (June 1991): 1597. http://dx.doi.org/10.2307/3312391.

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4

Rosmaninho, Nuno. "PORTUGUESE AZULEJOS AND OTHER NATIONAL ARTS." ARTis ON, no. 8 (December 30, 2018): 8–20. http://dx.doi.org/10.37935/aion.v0i8.213.

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In this article I intend to link the identity appropriation of the azulejo to a source common to most artistic discourse in the nineteenth and twenty-first centuries. I am convinced the national assumptions concerning the azulejo followed six phases which I have linked to different identity mutations that could be summarized as unceasing historicist approaches, which are characterological and long-term. Historicism prevailed until the end of the nineteenth century. A passion for characterological principles followed, which was conveyed by Reynaldo dos Santos with unsurpassable strength. However, when the Estado Novo’s identity pattern started to decline, art historians focused on researching unchanged structures. First, traces of Portuguese originality, though ephemeral, were sought after. Second, researchers attempted to show that the azulejo is an expression of Portuguese sensibility which, with its ups and downs, remained throughout the centuries. Third, by inventorying and analysing, they tried to integrate the azulejo in the structural attributes of Portuguese art.

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5

Parsons, Michael. "Editorial: The Arts and Other Subjects." Studies in Art Education 41, no. 3 (2000): 195. http://dx.doi.org/10.2307/1320375.

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6

Williams, Richard W. "Billing, reimbursement and other mystic arts." American Journal of Hospice and Palliative Medicine® 8, no. 4 (July 1991): 7–12. http://dx.doi.org/10.1177/104990919100800413.

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7

Burton, Judith M. "The Arts in School Reform the Arts in School Reform: Other Conversations." Teachers College Record: The Voice of Scholarship in Education 95, no. 4 (June 1994): 477–93. http://dx.doi.org/10.1177/016146819409500403.

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8

Abisheva, O., M. Derbisova, A. Tanabayeva, and A. Karbozova. "INTERCONNECTION OF FINE ARTS AND OTHER DISCIPLINES." Pedagogy and Psychology 49, no. 4 (December 15, 2021): 195–201. http://dx.doi.org/10.51889/2021-4.2077-6861.23.

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The article examines the research of interdisciplinary researchers and encourages the systematic study of knowledge based on close to each other materials. It is shown that interdisciplinary communication encourages students to deepen their study materials, developmental abilities, increase their interest in the subject, stimulate and develop creative abilities. Collected teaching methods form a system of specified teaching methods, which organizes the cognitive and practical activities of students, ensuring the assimilation of the content of knowledge following the purpose of the aforementioned methods. Fine arts, literature, geometry, technology, etc. interdisciplinary relations with students help to create mental, moral qualities of the student, improve aesthetic perception, and emotional impact. The establishment of interdisciplinary links is possible only because of their interconnectedness and cohesion, as well as through large-scale integrative contacts.

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9

Lopez, Iraida H., Ardis L. Nelson, Isabel Alvarez Borland, and Pamela Maria Smorkaloff. "Guillermo Cabrera Infante. Assays, Essays, and Other Arts." Hispanic Review 70, no. 4 (2002): 660. http://dx.doi.org/10.2307/3247115.

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10

Adler, Jonathan, Nelson Goodman, and Catherine Z. Elgin. "Reconceptions in Philosophy and Other Arts and Sciences." Journal of Philosophy 87, no. 12 (December 1990): 711. http://dx.doi.org/10.2307/2026979.

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11

Armistead, Jack M., and Shirley Strum Kenny. "British Theatre and the Other Arts, 1660-1800." Eighteenth-Century Studies 19, no. 2 (1985): 286. http://dx.doi.org/10.2307/2738654.

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12

Georgieva Fileva – Ruseva, Krasimira. "PERCEPTION OF MUSIC BY HELP OF OTHER ARTS." Knowledge International Journal 28, no. 7 (December 10, 2018): 2391–97. http://dx.doi.org/10.35120/kij28072391k.

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It is known that a person perceives most of the information in a visual way. This means that the sensory culture of vision is richer, more fully developed than that of other senses. It is known that a human as a social individual uses daily and effectively develops verbal communication with other people. This means that the word with all the information it carries, including emotional, is easily understandable by all who speak the same language. Both types of receiving signals are most worked out and developed the most versatile and rich in every person, and information obtained in these ways is the most detailed, varied, including subtle emotional nuances, easily understandable and perceived most accurately, with the least distortions, as it is invariably needed in everyday human activities and therefore its perception and processing is constantly trained and developed. The non-verbal information that one receives by hearing also has a place in everyday practice, but its volume is not as large as that of information obtained by sight, nor is it so significant and as often used as the communication perceived through speech communication. All these facts warrant claiming that the processed non-verbal hearing information is also not as complete as the visual and the speech. A type of organized non-verbal sound signals is also the music that one perceives. However, as is clear, musical perception is not as versatile and complete as the perception of works of fine (visual perception) and verbal arts (speech perception). This makes it possible to assert that in order to become richer and more precise, the perception of a musical work can be supported by the perception of works of these arts which have a similar character to that of the musical piece that is listened.This idea is an important part of Prof. Penka Mincheva's system for enriching and refining the musical perception of students from the general education school in Bulgaria through combining the perception of a musical work with the perception of suitable works of other arts. This idea is widely used in the textbooks on music of our authors' team under the guidance of Prof. Penka Mincheva [7 - 15]. With various specific tasks in music textbooks throughout the training course, while listening to tonal works are displayed paintings, drawings, photographs, interpreted and composed poems, students paint their own impressions of the sounded music. It is also planned to introduce the adolescents from the 3rd to the 7th grades with works of the musical-stage genres, through which it is fulfilled an integrative connection with more types of arts. The combination of the perception of music with a display of works of other arts, made in the textbooks on music for the 1-7 grade [7 - 15], I am examining in this study, by reference to specific examples.The result of the combined perception of works of various arts is not only enriching the impressions of the particular perceived musical work, but also a longer-term:- Gradual development of the skills to experience the listened music, to reveal its character, to track not only the brightest but also the most delicate changes in this character in the course of musical act;- Education of the style sense, respect, understanding and love to the valuable musical art.Naturally, this approach, with the vivid impressions created during its implementation, has a beneficial effect on the more reliable memorization of the main subjects of the auditioned samples of tonal art. Thus, the musical culture of the young people is also increased.

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13

Georgieva Fileva – Ruseva, Krasimira. "PERCEPTION OF MUSIC BY HELP OF OTHER ARTS." Knowledge International Journal 28, no. 7 (December 10, 2018): 2391–97. http://dx.doi.org/10.35120/kij29082391k.

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It is known that a person perceives most of the information in a visual way. This means that the sensory culture of vision is richer, more fully developed than that of other senses. It is known that a human as a social individual uses daily and effectively develops verbal communication with other people. This means that the word with all the information it carries, including emotional, is easily understandable by all who speak the same language. Both types of receiving signals are most worked out and developed the most versatile and rich in every person, and information obtained in these ways is the most detailed, varied, including subtle emotional nuances, easily understandable and perceived most accurately, with the least distortions, as it is invariably needed in everyday human activities and therefore its perception and processing is constantly trained and developed. The non-verbal information that one receives by hearing also has a place in everyday practice, but its volume is not as large as that of information obtained by sight, nor is it so significant and as often used as the communication perceived through speech communication. All these facts warrant claiming that the processed non-verbal hearing information is also not as complete as the visual and the speech. A type of organized non-verbal sound signals is also the music that one perceives. However, as is clear, musical perception is not as versatile and complete as the perception of works of fine (visual perception) and verbal arts (speech perception). This makes it possible to assert that in order to become richer and more precise, the perception of a musical work can be supported by the perception of works of these arts which have a similar character to that of the musical piece that is listened.This idea is an important part of Prof. Penka Mincheva's system for enriching and refining the musical perception of students from the general education school in Bulgaria through combining the perception of a musical work with the perception of suitable works of other arts. This idea is widely used in the textbooks on music of our authors' team under the guidance of Prof. Penka Mincheva [7 - 15]. With various specific tasks in music textbooks throughout the training course, while listening to tonal works are displayed paintings, drawings, photographs, interpreted and composed poems, students paint their own impressions of the sounded music. It is also planned to introduce the adolescents from the 3rd to the 7th grades with works of the musical-stage genres, through which it is fulfilled an integrative connection with more types of arts. The combination of the perception of music with a display of works of other arts, made in the textbooks on music for the 1-7 grade [7 - 15], I am examining in this study, by reference to specific examples.The result of the combined perception of works of various arts is not only enriching the impressions of the particular perceived musical work, but also a longer-term:- Gradual development of the skills to experience the listened music, to reveal its character, to track not only the brightest but also the most delicate changes in this character in the course of musical act;- Education of the style sense, respect, understanding and love to the valuable musical art.Naturally, this approach, with the vivid impressions created during its implementation, has a beneficial effect on the more reliable memorization of the main subjects of the auditioned samples of tonal art. Thus, the musical culture of the young people is also increased.

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14

Kulka, Tomas, Nelson Goodman, and Catherine Z. Elgin. "Reconceptions in Philosophy and Other Arts and Sciences." Poetics Today 10, no. 4 (1989): 854. http://dx.doi.org/10.2307/1772817.

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15

Dempster, Douglas, Nelson Goodman, and Catherine Z. Elgin. "Reconceptions in Philosophy and Other Arts and Sciences." Journal of Aesthetic Education 23, no. 4 (1989): 110. http://dx.doi.org/10.2307/3333039.

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16

Siegel, Harvey, Nelson Goodman, and Catherine Z. Elgin. "Reconceptions in Philosophy and Other Arts and Sciences." Philosophy and Phenomenological Research 51, no. 3 (September 1991): 710. http://dx.doi.org/10.2307/2107897.

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17

BEST, DAVID. "Culture-Consciousness: Understanding the Arts of other Cultures." Journal of Art & Design Education 5, no. 1-2 (June 1986): 33–44. http://dx.doi.org/10.1111/j.1476-8070.1986.tb00185.x.

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18

Crosbie, Michael J. "The Judicious Eye: Architecture against the other Arts." Journal of Architectural Education 63, no. 2 (March 2010): 177–78. http://dx.doi.org/10.1111/j.1531-314x.2010.01089.x.

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19

Pemberton, Barbara. "The Arts as Portals for Understanding "The Other"." Athens Journal of Humanities and Arts 3, no. 3 (June 30, 2016): 159–70. http://dx.doi.org/10.30958/ajha.3.3.1.

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20

MacNeill, Kate, Ann Tonks, and Sarah Reynolds. "Authenticity and the Other: Coleadership in Arts Organizations." Journal of Leadership Studies 6, no. 3 (September 2012): 6–16. http://dx.doi.org/10.1002/jls.21252.

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21

Oliveira, Solange Ribeiro de. "Literature and the other arts: postmodern poetry in English." Aletria: Revista de Estudos de Literatura 19, no. 1 (January 31, 2009): 43–60. http://dx.doi.org/10.17851/2317-2096.19.1.43-60.

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Resumo: Partindo da tendência pós-moderna para a eliminação de fronteiras entre as artes e mídias, o artigo analisa as relações intermidiáticas frequentes na poesia pós-moderna de expressão inglesa.Palavras-chave: intermidialidade; literatura e as outras artes; poesia pós-moderna de expressão inglesa.Abstract: Starting from the postmodern tendency towards the erasing of frontiers between the arts and the media, the essay analyses the frequent intermedial relations in postmodern poetry in English.Keywords: intermediality; literature and the other arts; postmodern poetry in English.

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22

Pope, Carol A., and Karen L. Kutiper. "Instructional Materials: Speaking and Listening: The "Other" Language Arts?" English Journal 78, no. 2 (February 1989): 81. http://dx.doi.org/10.2307/819140.

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23

Lambert, Carrie. "Other Solutions." Art Journal 63, no. 3 (2004): 48. http://dx.doi.org/10.2307/4134490.

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24

Overy, Paul. "Other Stories." Art History 20, no. 3 (September 1997): 493–501. http://dx.doi.org/10.1111/1467-8365.00075.

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25

Küng, Chantal. "other classrooms." Performance Research 21, no. 6 (November 2016): 103–5. http://dx.doi.org/10.1080/13528165.2016.1239904.

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26

Lambert, Carrie. "Other Solutions." Art Journal 63, no. 3 (September 2004): 48–61. http://dx.doi.org/10.1080/00043249.2004.10791134.

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27

Tromans, Nicholas. "Other Odalisques." Art History 33, no. 3 (June 2010): 544–46. http://dx.doi.org/10.1111/j.1467-8365.2010.00760.x.

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28

Lobel, Michael, and Fatimah Tobing Rony. "Other Voices." Art Journal 56, no. 3 (1997): 96. http://dx.doi.org/10.2307/777847.

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29

Sawelson-Gorse, Naomi. "Whose Other?" Art Journal 58, no. 2 (1999): 5. http://dx.doi.org/10.2307/777943.

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30

Dykins Callahan, Sara. "Popping-a-Squat and Other Bits of Ephemera." Departures in Critical Qualitative Research 7, no. 1 (2018): 4–31. http://dx.doi.org/10.1525/dcqr.2018.7.1.4.

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This project posits the practice of scrapbooking as an arts-based, performative autoethnographic method of inquiry that allows me to interrogate my experiences teaching a tourism course grounded in critical performative pedagogy. Teaching American Expedition was sublime and, in its sublimity, it resists linear, dispassionate analysis. Choosing an arts-based method of inquiry, such as scrapbooking, opens up possibilities of thinking and understanding beyond the limitations of language, of honoring bodied experiences that are not easily or necessarily speakable, and of exploring how care is enacted in and through the practice of my pedagogy.

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31

Estad, Tom, Stefano Harney, and Howard Thomas. "Implementing liberal management education through the lens of the other." Journal of Management Development 33, no. 5 (May 6, 2014): 456–69. http://dx.doi.org/10.1108/jmd-02-2014-0015.

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Purpose – The purpose of this paper is to explore the prerequisite conditions for implementing a liberal management education and for fostering ethical students using examples from the core curriculum at Singapore Management University (SMU). Design/methodology/approach – Beginning with a reading of the Carnegie Foundation's Rethinking Undergraduate Business Education: liberal learning for the professions (2011), the paper examines the contribution and limits of the findings and recommendations before discussing the place of the liberal arts in the modern university and describing a case study of liberal management education in process at SMU. It concludes with a reading of the work of Emmanuel Levinas and Asian philosophy as the basis for an ethical management education. Findings – The paper uncovers a central shortcoming in an otherwise important Carnegie study: that business education is unlike other professional education because it lacks an autonomous discipline that studies business knowledge production as an object. Consequently, applying the liberal arts to business education risks neglecting the critical side of the liberal arts. With only the reflective side of the liberal arts in operation, management education cannot be grasped as a specific sphere of values within the pluralism of spheres advocated by the Carnegie report. Only by recreating the function of an autonomous discipline with an objective lens on business knowledge within the core curriculum at SMU can that university attempt to incorporate both the critical and reflective side of the liberal arts in management education. This kind of liberal management education can indeed lead to respect for the values of the others in the way that ethical philosopher Emmanuel Levinas envisioned. Research limitations/implications – Further development of the SMU core curriculum is necessary in order to confirm the hypothesis that the liberal arts can be brought together with management education to produce more mature, ethical students. Practical implications – Liberal management education curriculum must incorporate the critical function of the liberal arts when faced with business knowledge production in order to promote a pluralist ethics. If SMU is successful, it can become a model for other global business schools in Asia and beyond. Social implications – Asian higher education is ongoing a rapid transformation in values. The shift is towards understanding the wider relationship between universities and society and the role of an education citizenry. Liberal management education can be a bridge to this new world of higher education in Asia, and beyond. Originality/value – This discussion provides a fuller understanding of the two-sided nature of the liberal arts and the importance of both sides for building a liberal management education and creating ethically mature students.

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32

Pascoe, Robin. "Stretching the Envelope for Arts Literacy: Arguing for Multiple Literacies through Drama and the Other Arts." Melbourne Studies in Education 43, no. 2 (November 2002): 64–76. http://dx.doi.org/10.1080/17508480209556403.

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33

Webb Keane. "Others, Other Minds, and Others' Theories of Other Minds: An Afterword on the Psychology and Politics of Opacity Claims." Anthropological Quarterly 81, no. 2 (2008): 473–82. http://dx.doi.org/10.1353/anq.0.0000.

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34

Taşkın, Zehra, and Güleda Doğan. "Arts and Humanities and the others: Why can’t we measure arts and humanities." ITM Web of Conferences 33 (2020): 02003. http://dx.doi.org/10.1051/itmconf/20203302003.

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The use of numbers (publications and citations) to evaluate research/er performances are widespread since ease of use. However, disciplinary differences must be considered to evaluate research/ers accurately without misjudgments in tenures and incentives. The most different filed from others in terms of publications and citation patterns is Arts & Humanities. The main aim of this study is to reveal the main differences between Arts & Humanities and the other fields by considering publications, citations, and collaboration. For this aim, the main statistics for 59,728,700 papers published between 1980-2018 are gathered from InCites in terms of the 251 Web of Science subject categories. The data confirmed that Arts & Humanities is considerably different from other fields. We showed the degree of these differences using statistical measures. The huge difference found out that underline the indispensability for evaluating Arts & Humanities separately from the others.

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35

Cynarski, Wojciech J. "Social Stratification in Japanese and Some Other Martial Arts: A Comparison and Discussion of Changes." Physical Culture and Sport. Studies and Research 59, no. 1 (October 1, 2013): 49–59. http://dx.doi.org/10.2478/pcssr-2013-0024.

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Abstract Using the humanistic theory of martial arts and martial arts sociology, the author attempts to describe and explain the relationship between social stratification and martial arts. He asks whether a person’s position in the martial arts environment is, today, dependent on social background. He asks: Who could practice with weapons, and which weapons, a hundred years ago? Who can study in the ancient fencing schools today? The analysis includes martial arts in ancient Japan, Europe and Brazil as well as today. He finds that positions originally went to those in the privileged classes or social strata. Today, this does not matter. It can be concluded that there is simply a generational transmission of interest within families. Position in the martial arts, as in many other areas, is part of a person’s long-term effort to determine their own position in society, or “position developed independently”. Martial arts are part of the farreaching democratization and leveling of society. Positions inherited from father to son arise only very rarely. This mainly now happens only in the ancient ancestral schools.

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36

Krist, Gary, Connie Porter, Paule Marshall, Kate Saunders, Virgil Suarez, Nadine Gordimer, and William Trevor. "Other Voices, Other Rooms." Hudson Review 45, no. 1 (1992): 141. http://dx.doi.org/10.2307/3852110.

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37

Harvey, Robert. "Other Obamas." Journal of Visual Culture 8, no. 2 (August 2009): 211–19. http://dx.doi.org/10.1177/14704129090080020403.

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38

Munton, Alan, and Daniel Albright. "Untwisting the Serpent: Modernism in Music, Literature and Other Arts." Modern Language Review 97, no. 3 (July 2002): 691. http://dx.doi.org/10.2307/3737517.

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39

Jacobs, Jason, and Steven Peacock. "Editorial: ‘The Liveliest Medium’: Television's Aesthetic Relationships with other Arts." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 1–5. http://dx.doi.org/10.7227/cst.9.3.1.

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40

Bresler, Liora. "Introduction to the Symposium on Arts Education in Other Cultures." Arts Education Policy Review 97, no. 4 (April 1996): 10–11. http://dx.doi.org/10.1080/10632913.1996.9935065.

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41

Leonard, Keith D. "Love in the Black Arts Movement: The Other American Exceptionalism." Callaloo 36, no. 3 (2013): 618–24. http://dx.doi.org/10.1353/cal.2013.0178.

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42

Reed, B. M. "Untwisting the Serpent: Modernism in Music, Literature, and Other Arts." Modern Language Quarterly 63, no. 1 (March 1, 2002): 130–33. http://dx.doi.org/10.1215/00267929-63-1-130.

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43

Gantt, L. "Assessments in the Creative Arts Therapies: Learning From Each Other." Music Therapy Perspectives 18, no. 1 (January 1, 2000): 41–46. http://dx.doi.org/10.1093/mtp/18.1.41.

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44

Linder, Jean, Ronald Linder, and Miriam Piercy. "Join With Other Centers To Produce... A creative arts festival." Day Care & Early Education 12, no. 3 (March 1985): 6–9. http://dx.doi.org/10.1007/bf01620048.

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45

Yau, Lynn Foon Chi. "The Arts in a Knowledge Economy: Creation of Other Knowledges." Journal of the Knowledge Economy 3, no. 1 (July 9, 2011): 68–87. http://dx.doi.org/10.1007/s13132-011-0054-7.

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46

Byrdal Jørgensen, Tine. "Staging the Other." Nordic Theatre Studies 25, no. 1 (November 15, 2018): 72–83. http://dx.doi.org/10.7146/nts.v25i1.110899.

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Through an analysis of the performance of Third Generation, this article discusses the ethical claim activated in documentary theatre and has the encounter with the Other as its leitmotif. Third Generation puts a Gordian knot between Germany, Israel and Palestine into relief by bringing actors from these three countries – each with their own individual family history of violence – onto the stage. The article identifies the critical potential of the staging by exploring how the performance offers the audience two contrasting modes of perception. One of which is trying to create and maintain the illusion of authenticity that is produced by the biographical elements. The other challenges this illusion. In dialogue with Erika Fischer-Lichte’s The Transformative Power of Performance, the author points out how the interplay between the two modes of perception creates an increased awareness of the act of perceiving the Other. Via Derrida and Butler, this perceiving act is then set in relation to Lévinas’ ethical concept of the subject as a host(age) – the subject as held captive by the Other and as a hospitable host for the Other. Offering this ethical frame for the analysis, the article traces how and by which means documentary theatre rearticulates a complex ethical relation between the Other on Stage and the eye (I) of the spectator. In conclusion, this potential is discussed in relation to critical citizenship.

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47

Cunningham, Nijah. "With Each Other." Art Journal 80, no. 3 (July 3, 2021): 122–25. http://dx.doi.org/10.1080/00043249.2021.1960087.

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48

Kampen, Natalie Boymel. "The Muted Other." Art Journal 47, no. 1 (1988): 15. http://dx.doi.org/10.2307/776900.

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49

Byrdal Jørgensen, Tine. "Staging the Other." Nordic Theatre Studies 25, no. 1 (November 15, 2018): 72–83. http://dx.doi.org/10.7146/nts.v25i1.110899.

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Through an analysis of the performance of Third Generation, this article discusses the ethical claim activated in documentary theatre and has the encounter with the Other as its leitmotif. Third Generation puts a Gordian knot between Germany, Israel and Palestine into relief by bringing actors from these three countries – each with their own individual family history of violence – onto the stage. The article identifies the critical potential of the staging by exploring how the performance offers the audience two contrasting modes of perception. One of which is trying to create and maintain the illusion of authenticity that is produced by the biographical elements. The other challenges this illusion. In dialogue with Erika Fischer-Lichte’s The Transformative Power of Performance, the author points out how the interplay between the two modes of perception creates an increased awareness of the act of perceiving the Other. Via Derrida and Butler, this perceiving act is then set in relation to Lévinas’ ethical concept of the subject as a host(age) – the subject as held captive by the Other and as a hospitable host for the Other. Offering this ethical frame for the analysis, the article traces how and by which means documentary theatre rearticulates a complex ethical relation between the Other on Stage and the eye (I) of the spectator. In conclusion, this potential is discussed in relation to critical citizenship.

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50

Gronberg, Tag. "DÉCORATION: MODERNISM'S ‘OTHER’." Art History 15, no. 4 (December 1992): 547–52. http://dx.doi.org/10.1111/j.1467-8365.1992.tb00508.x.

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