Bibliografie tematiche / Tatar Artists

Letteratura scientifica selezionata sul tema "Tatar Artists"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 26 luglio 2024

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Articoli di riviste sul tema "Tatar Artists"

1

Ulemnova, Olga L. "The Kazan Avant-garde of 1910–1930s: Regional and National Specific Features". Koinon 3, n. 2 (2022): 147–72. http://dx.doi.org/10.15826/koinon.2022.03.2.021.

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Abstract (sommario):
The article highlights the regional version of the Russian avant-garde, which developed in such an important artistic center of Russia as Kazan, the capital of a vast region with a multi-confessional and multi-ethnic population. The article reveals the origins of the phenomenon and the main stages of its development, due to such historical events as the creation and reorganization of the Kazan Art School, the First World War and the Civil War, the revolution of 1917. The author positions the art of Kazan as part of the all-Russian artistic process. The new state cultural policy began to guide its development during the revolutionary years. Avant-garde artists elaborated and directed it towards the promotion and widespread propaganda of avant-garde art. The author reveals the development of the avant-garde through the activities of the art associations of Kazan — “Sunflower”, “Vsadnik (Rider)”, “TatLEF”, “SULF”, through the work of leading artists — K. Chebotarev, A. Platunova, I. Nikitin, S. Fedotov, I. Pleshchinsky, N. Shikalov, F. Tagirov, B. Urmanche and others. The author singles out the features of the Kazan avant-garde, determined by national and religious factors: the two main peoples of the region are Russians and Tatars, who profess Orthodoxy and Islam. This determined the predominance of Russian artists at the fi rst stage, their passion for various styles of the European avant-garde, which were carried out in different types of art. Their interest in the art of the peoples of their region became an important source for experiments. The formation of a galaxy of artists-Tatars was a characteristic feature of the Kazan avant-garde after the mid-1920s. The abolition of the religious restrictions of Islam which did not allow the development of the Tatar fi ne arts was adopted after the revolution and facilitated this process. An important role was played by the purposeful activity of B. Urmanche, who attracted the Tatar youth to art education. In this environment, mainly graphic art and theatrical and decorative arts were evolved, and the main stylistic direction of the Tatar avant-garde was Constructivism.
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2

Khudyakov, Yuliy S., e Alisa Yu Borisenko. "Images of Rulers and Warlords of Siberian Tatar Warriors on the “Brief Siberian Kungurian Chronicle” Miniatures". Vestnik NSU. Series: History and Philology 20, n. 3 (2021): 102–8. http://dx.doi.org/10.25205/1818-7919-2021-20-3-102-108.

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Abstract (sommario):
Purpose. The article presents research of the images of Siberian Tatars’ leaders who were restoration adherents of the Tatar Khanate of Sibir, reproduced on miniatures of the Brief Siberian Kungurian Chronicle. Despite the drawings having been created a few decades after those lands, which had been part of the Tatar Khanate of Sibir, were annexed by the Czardom of Russia, these images very clearly illustrate representations of contemporaries of the appearance of Siberian Tatar rulers and warlords during the historical period of struggle for conservation of the Western Siberian steppe and forest-steppe lands as part of the Siberian Tatars’ State. These drawings represent depictions of significant historical episodes of connections between restoration adherents of the Tatar Khanate of Sibir with the Russian Cossacks and several Turkic and Mongolian people, who inherited contiguous steppe territories of the Central Asian historical and cultural region. Results. Certain historical events, illustrating an armed confrontation of Siberian Tatars, who supported Kuchum Khan in the struggle for conservation of the Siberian Tatars’ State, against military troops of the Oirats and Nogais are considered and analyzed. The studied images can serve as an important informative pictorial source on history of accession of former possessions of the Tatar Khanate of Sibir to the Russian State. It is highly probable that several artists took part in creating this set of drawings, depicting the primary events of the Western Siberian military campaign of the Cossacks’ troop, led by ataman Yermak. This argument is supported by certain stylistic differences between several drawings, included in the Brief Siberian Kungurian Chronicle. For the last years these drawings have been repeatedly published, facilitating their focused scientific study. Results. Despite the considered drawings having been created much later than the events depicted on them, they serve as an important informative source on the history of the Western Siberian campaign of the Cossacks’ troop, led by ataman Yermak. Conclution. These drawings provide a clear overview of many historical events which took place during that period.
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3

Abdulkhakova, Aislu R. "From the History of the Tatar Soviet Children’s Book Art". Bibliotekovedenie [Library and Information Science (Russia)], n. 3 (24 maggio 2010): 56–60. http://dx.doi.org/10.25281/0869-608x-2010-0-3-56-60.

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Abstract (sommario):
In this article the national origins of Tatar children’s book art formation and the influence of Russian traditions of book design are considered. The history of Tatar children’s book design art development in the Soviet period covers the field briefly. The author succeeded in eliciting some facts in the field of children’s book design in the local archival and printed sources, and these facts are produced in the article. The names of some graphic artists are mentioned.
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4

Zamaletdinova, G. F., e A. R. Motigullina. "From the history of the Tatar children’s press". Tatarica 22, n. 1 (15 giugno 2024): 100–118. http://dx.doi.org/10.26907/2311-2042-2024-22-1-100-118.

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This research work is an anniversary type article. It systematizes materials on the history of the Tatar children's press, namely the 100th anniversary of the magazine “Yalkyn” (Flame) and the first publication of the newspaper “Yash Leninchy” (“The Young Leninist”). The article studies the role of these printed publications in the upbringing of children and in strengthening their civic identity. We prove that the activities of the young correspondents' school were effective, for it has given the Tatar people famous writers, journalists, artists, composers and other prominent cultural figures.
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5

Shevchenko, Elena N. "YOUNG DIRECTING ON THE KAZAN STAGE". Челябинский гуманитарий 66, n. 1 (3 maggio 2024): 77–84. http://dx.doi.org/10.47475/1999-5407-2024-66-1-77-84.

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The article is devoted to the young generation of directors working on the Kazan stage. These are those who have entered the profession over the past ten years. Among them there are already established masters such as Ilgiz Zainiev, Aidar Zabbarov, Timur Kulov, Ilsur Kazakbayev, a director from Bashkiria who is actively working in Tatarstan. There are also those who are at the very beginning of their career, but have already attracted attention with interesting productions and projects – Lilia Akhmetzyanova, Bulat Gataullin, Bulat Minkin and others. These young artists are successfully implemented in the multicultural environment of Tatarstan. Ilgiz Zainiev heads the Tatar Puppet Theater “Ekiyat”, working with both its Tatar and Russian troupes. His portfolio includes numerous productions in the Tatar drama theaters of Kazan and other cities of the republic: Almetyevsk, Atnya, Menzelinsk, Naberezhnye Chelny, performances in the Kazan Russian Youth Theater and the Naberezhnye Chelny Puppet Theater. Aidar Zabbarov is a director in demand by Russian theaters. In his native republic, he works mainly in the Tatar theaters of Kazan, Almetyevsk, Atnya, while simultaneously being the author of productions at several Russian theater venues. Timur Kulov also successfully cooperates with both Tatar and Russian theaters of the republic. Ilsur Kazakbayev works mainly in national theaters – Bashkir and Tatar. Lilia Akhmetzyanova is the director of the Kazan Russian Youth Theater and at the same time the author of productions at the Kazan Tatar Youth Theater named after G.Kariev and at the venues of the Living City Foundation for the Support of Contemporary Art. These and other directors largely determine the appearance of today’s theatrical Kazan. The purpose of this article is to identify the features of the author’s style of young directors who have especially vividly declared themselves on the Kazan stage, and through the individual try to consider something in common – the qualities inherent in the new generation of directing as such.
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6

KOCHERHA, Svitlana, e Oleksandra VISYCH. "CRIMEAN TRAVELOGUES BY LESYA UKRAINKA AND IVAN TRUSH: INTERMEDIAL PARALLELS". INNOVATIONS IN THE SCIENTIFIC, TECHNICAL AND SOCIAL ECOSYSTEMS 1, n. 7 (30 settembre 2023): 58–80. http://dx.doi.org/10.56378/skov20230909.

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The Purpose of the Study is to present the results of the research on the artistic approaches undertaken by painter Ivan Trush and writer Lesya Ukrainka in capturing the multidimensional essence of Crimea. Both artists are prominent representatives of the Ukrainian modernistic culture of the late 19th and early 20th centuries. They paid great attention to the representation of natural and cultural landscapes that inspired European artists. For the first time, the subject of analysis in the article is a comparison of the Crimean discourse by representatives of different art forms, which is the Novelty of the Study. The Мethodology. The topic is comprehended through intermedial interpretation, which involves examining how various artistic forms interact and influence one another. Additionally, the study employs elements of imagological analysis as a branch of comparative studies, delving into cultural images and stereotypes presented in the artists’ works. The Conclusions. The paper proves that Lesya Ukrainka and Ivan Trush expanded the palette of national art with traveling motifs. The Crimean trips played an important role in shaping the creative personality of both authors. In several of their works, mirror impressions are captured through different art forms. Both Trush and Lesya Ukrainka proved to be masters of marine landscapes and mountain views. Both poeticized the exotic vegetation of the Crimea in their travelogues. The poet and painter discovered Crimean Tatar culture, which is represented by images of religious buildings and ethnic peculiarities of local people’s clothing. With their Crimean texts, Lesya Ukrainka and Ivan Trush significantly enriched the traditional picture of the Ukrainian world. The results acquired can serve as a foundational platform for subsequent scholarly inquiries into the intricate cultural interplay between Ukrainian and Crimean Tatar heritages, grounded in the analysis of visual and literary artistic expressions
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7

Ilyasova, Razilya I. "NADIR ALMEEV AND “PROMETHEUS” DESIGN BUREAU: EXPERIENCE OF COOPERATION. ON THE EXAMPLE OF THE LIGHT-MUSICAL FILM “SMALL TRIPTYCH” (1975)". Scientific and analytical journal Burganov House. The space of culture 17, n. 3 (10 settembre 2021): 78–89. http://dx.doi.org/10.36340/2071-6818-2021-17-3-78-89.

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The article considers the little-studied pages of the development of light music in Kazan on the example of the cooperation of graphic artist Nadir Almeev with “Prometheus” Student Design Bureau under the guidance of physicist Bulat Galeev. The artist Nadir Almeev is a master of graphics, professionally proficient in various etching techniques: etching, aquatint, reserve, dry needle. In 1977-1990, he regularly studied at the Senezh Studio-the Central Educational and Experimental Studio of the Union of Artists of the USSR under Evgeniy Sidorkin and Sergey Zarovniy. The artist’s creative search was reflected in such series as “Icarus” (1969),” Memory of running “(1977),” Bullfight “(1980),” Per aspera” (1996),”Spleen” (1995) and others, combining the unrestrained imagination with strict organization. No matter what topics Nadir Almeev touches on, no matter what technique he works in, he surprisingly constructs an entire Universe at once from individual strokes and inconspicuous details. Since 1966 Nadir Almeev collaborated with the Tatar Book Publishing house, with the newspaper “YashLeninchy”, since 1975 with the Kazan newsreel studio: he participated in the creation of the films “Jalil, the Wanderer of Struggle” (1976), “Cosmic Sonata” (1982), illustrated books and booklets. He is member of the Union of Artists of the USSR since 1985. A bright, but little-studied stage of the artist’s work was the film “Small Triptych” (1975). The film appeared to be an attempt to combine several types of art together, while expressing deep, philosophical thoughts. So, the activity of the members of “Prometheus” Student Design Bureau was to create a new, independent art of light music, where sound, light and image will be equal components of a single design, a reflection of the real “polyphony” of the surrounding reality. This article for the first time reveals the features of the creative method and the innovative role of the artist Nadir Almeev in the development of the Kazan school of light-music on the example of the first in the Soviet Union rolling light-music film to the music of Grigoriy Sviridov “Small Triptych”. The original sketches created by the artist for the film in the author’s technique using hydrotype pigments on wet paper are analyzed. A series of abstract sketches, devoid of any illustrative content, are arranged according to the musical development of the work. The purpose of this article is to reveal the role and significance of Nadir Almeev in the activities of “Prometheus” Student Design Bureau. Key words: synthesis of arts, synthesis, light-music, graphics, hydrotype printing, Grigoriy Sviridov, Bulat Galeev, Nadir Almeev.
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8

Kornilova, Irina, Albert Nigamaev e Azat Rafikov. "Fate of Kazan art of the Soviet era." OOO "Zhurnal "Voprosy Istorii" 2022, n. 4-1 (1 aprile 2022): 124–32. http://dx.doi.org/10.31166/voprosyistorii202204statyi27.

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The article is devoted to the analysis of the series of works, published by Professor N.M. Valeev, Doctor of Philology and dedicated to the milestones of life and creative paths of the outstanding Soviet artists, graduates of the Kazan Art School K.K. Chebotarev and A.G. Platunova. The author of the research pays a great attention both to the unique flavor of the Soviet art of the 1910s-1970s and to some small events of Kazan life, history of the Tatar Republic, local history. While working on his articles and monographs N.M. Valeev used material from different sources: the archive of the Russian Museum, the State Archive of the Republic of Tatarstan, the Scientific Archive of the Institute of Language, Literature and Arts, named after G. Ibragimov, of the Academy of Sciences of the Republic of Tatarstan, the archive of the State Museum of Fine Arts of the Republic of Tatarstan, regional and All-Russian periodicals, catalogs of art exhibitions, theater posters. Autobiographical material is of great use in the research, it helps to reveal K.K. Chebotarev’s and A. G. Platunova’s vision of the artist’s mission in society.
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9

Vagapova, Firdaus G. "The Architecture of Kazan in Graphics of the Tatar Satirical Magazines “Yashen” and “Yalt-Yult”". Observatory of Culture 16, n. 3 (19 luglio 2019): 290–99. http://dx.doi.org/10.25281/2072-3156-2019-16-3-290-299.

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One of the positive phenomena of mo­dern culture is its tendency to study and preserve urban space, which is especially important for historical cities. The appeal of researchers to the study of urban landscapes, made by artists of pre­vious eras and left for descendants to see the views of large and small ci­ties, contributes to the process of lost monuments reconstruction. The importance of studying images of cities through visual sources is determined by the fact that cities are territories connected with lives of people, who are involved in creation of their architectural monuments. Ci­ties are the habitat of people that reflects their daily life. The article, for the first time, explores the features of the Kazan urban art of the early 20th century reflected in graphic works of the Tatar satirical magazines “Yashen” (“Lightning”) and “Yalt-Yult” (“Sparkle”), published in the early 20th century. The drawings presented in “Yashen” and “Yalt-Yult” are illustrations to articles and feuilletons.Most of the drawings are made in the genre of cartoons, which is predetermined by the studied ma­gazines’ subject matter. Mainly, architectural objects depicted in the cartoons of “Yashen” and “Yalt-Yult” magazines do not have an independent meaning, they are only “present” in picture’s composition in order to show an event from the city’s life more clearly. Another group of the Tatar satirical magazines’ drawings represents the ima­ges of the architectural structures that illustrate texts of advertisements. In this group’s graphics, depiction of architectural monuments is characte­rized by careful elaboration of details due to the reconstruction of the architectural structure’s image through visual memory. Because of the fact that at the beginning of the 20th century, the main part of the Tatar population of Kazan lived on the territory of the Old and New Tatar Slobodas, the authors of articles, feuilletons and cartoons in the magazines mainly reflected the life of those parts of the city.The research is based on the study of fundamental works and publications of Russian scientists and the analysis of the body of sources: articles and dra­wings from the magazines “Yashen” and “Yalt-Yult”, archival materials.
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10

Kovalchuk, Igor. "The development of the Ukrainian icon during the fourteenth and nineteenth centuries". Ukrainian Religious Studies, n. 76 (1 dicembre 2015): 91–108. http://dx.doi.org/10.32420/2015.76.600.

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There are very few monuments of icon art of the 13th-15th centuries, but they give a great opportunity to learn a lot about the state of the Ukrainian Church of that time, about the strengthening of faith, and also about the stylistic quest for Ukrainian artists. The development of the iconography of those centuries in Ukraine marked the Tatar-Mongol invasion. When a person or a whole nation falls into a difficult situation, faith in God grows, spirituality rises. Monuments of culture of the XIII-XV centuries record especially jealous hope in God, the strengthening of the religiosity of different sections of the people. From this time there is hardly any secular art: everything preserved is permeated with Christian religiosity. In these years, such great temples are not already built, as in the early centuries of Christianity in Russia, but small, but well-fortified churches throughout Ukraine are built. There are also various centers of icon-painting. Their masters focused mainly on the ancient art of Kiev, introduced in their samples many local elements. Icons painted in various spiritual centers, in particular in the monasteries, are striking by their monumentality and severity, which reflected that day (See: The History of Ukrainian Art, Vol. 6, vol., 1968).
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Tesi sul tema "Tatar Artists"

1

Ben, Abdallah Alaeddine. ""Énoncé de l'errance et errance de l'énonciation dans les romans de Tahar Ben Jelloun, Abdelkébir Khatibi, Ahmadou Kourouma et Pius Ngandu Nkashama"". Doctoral thesis, Université Laval, 2009. http://hdl.handle.net/20.500.11794/20835.

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À la lecture de certains romans de l'Afrique francophone, nous avons observé une prédilection pour la notion de l'errance comme tension vers un ailleurs géographique et surtout imaginaire qui caractérise l'hexis et l'éthos des protagonistes. Dans ce sens, notre corpus, constitué de La prière de l'absent et Partir de Tahar Ben Jelloun, Pèlerinage d'un artiste amoureux d'Abdelkébir Khatibi, Allah n'est pas obligé d'Ahmadou Kourouma, Les étoiles écrasées de Pius Ngandu Nkashama et un corpus secondaire des mêmes auteurs, nous paraît assez représentatif de cette errance. Le style d'écriture de ces romans semble se soumettre à la même esthétique, celle de l'éclatement diégétique et narratif. Tous ces romans illustrent pertinemment le déploiement discursif de l'errance. À travers les pérégrinations géographiques et les divagations se profile un tiraillement, une tension qui tenaille les protagonistes errants. Entre parcours chaotique et aspiration à un ailleurs meilleur, les personnages n'ont devant eux qu'une solution, errer. L'errance, telle qu'elle se donne à lire dans ces romans, dénote clairement le parcours chaotique du protagoniste et reflète son état d'esprit qui, dans son vagabondage et son perpétuel déplacement, se laisse aller à une imagination débridée. Cette errance contamine l'énonciation et introduit une déconstruction textuelle sur les plans narratif et énonciatif. Notre lecture du texte repose sur la sociologie institutionnelle, d'une part, et sur la théorie de l'énonciation, de l'autre. Cette démarche dévoile l'interaction entre le statut social des écrivains et les postures discursives investies dans l'énoncé de leurs textes. Il est ainsi facile de saisir les choix rhétoriques et les stratégies discursives de l'auteur où la notion de l' errance se décline sur les procédés poétiques, mais aussi sur un imaginaire éclaté.
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Libri sul tema "Tatar Artists"

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Cherkezova, Ė. I︠A︡. Krymskotatarskie khudozhniki: Biobibliograficheskiĭ slovarʹ. Simferopolʹ (Akʺmesdzhit): Doli︠a︡, 1999.

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Cherkezova, Ė. I︠A︡. Krymskotatarskie khudozhniki: Biobibliograficheskiĭ slovarʹ. Simferopolʹ (Akʺmesdzhit): Doli︠a︡, 1999.

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3

Khannanov, Vasilʹ. Strana Shurale: Alʹbom-katalog = Shu̇rale ile = The land of Shuraleh. Moskva: Fond podderzhki i razvitii︠a︡ nauchnykh i kulʹturnykh programm im. Sh. Mardzhani, 2012.

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4

Zaatov, I. A. Qırımtatar ressamları: XIX asırnıñ soñu--XXI asırnıñ başı : ressamlıq, grafika, heykelcilik. Simferopol: Qırımdevoquvpedneşir, 2008.

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V, Akhmetova F., e Tukaĭ Gabdulla, a cura di. Bakyĭ Urmanche ijatynda Gabdulla Tukaĭ: Gabdulla Tukaĭ v tvorchestve Baki Urmanche. Kazan: Tatarstan kitap năshrii͡aty, 2007.

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Stehlé, Barbara. Djamel Tatah. Paris: Paris-Musées, 2004.

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Everall, Gavin. 79.89.09: Slavs and Tatars. London: Book Works, 2011.

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Mark, Adams. Tatau: Samoan tattoo, New Zealand art, global culture. Wellington, N.Z: Te Papa Press, 2010.

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Slavs and Tatars (Group of artists). Kidnapping mountains. Santa Monica: Ram Publications, 2009.

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Finogeev, B. L. Krymskie tatary, nemt͡s︡y, greki, armi͡a︡ne, bolgary: Nat͡s︡ionalʹnoe masterstvo i ego vlii͡a︡nie na ėkonomicheskoe razvitie Kryma. Simferopolʹ: Tavrii͡a︡, 1997.

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Capitoli di libri sul tema "Tatar Artists"

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Tagirdzhanova, Almira N. "Tatars in the life of St. Petersburg and the history of St. Petersburg University (XVIII–XXI centuries)". In DIGEST OF WORLD POLITICS. ANNUAL REVIEW. VOLUME 10, 570–85. St. Petersburg State University, 2020. http://dx.doi.org/10.21638/11701/26868318.37.

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The article is devoted to the life of Tatars in Saint Petersburg. Along with the German and Finnish Tatar community is considered one of the oldest in St. Petersburg. In tsarist Russia, it was small, but in the Soviet period it increased. For centuries, the Tatars have served Russia faithfully. In peaceful life, they gave her many famous people-scientists, writers, artists. The essay tells about the contribution of Tatars to the life and culture of Saint Petersburg-Petrograd — Leningrad — Saint Petersburg.
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"5 Rituals: Artistic, Cultural, and Social Activity". In The Tatars of Crimea, 84–98. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822398691-007.

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Sibgatullina, Alfina T. "The Right to Creativity: Reflections on the First Tatar and Turkish Women Writers". In Literature of the Peoples of the Russian Federation and CIS: Spiritual Bases and Challenges of the Time, 378–95. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0736-6-378-395.

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The article analyzes the formation of women’s creativity that contributed to shaping the Tatar and Turkish literature. Although the socio-political conditions in which Tatar and Turkish women lived in the two empires differed, the patriarchal systems in both Muslim societies for a long time prevented women from engaging in artistic creativity. Even those Turkish writers from aristocratic families, who received a European education and could read Western novels in the original, such as Fatma Aliye, Fitnan Khanum, Shukufe Nihal, Khalide Edip, due to pressure from fathers or husbands and material dependence on them could not freely write and publish their works. The situation of the Tatar writers, such as Gaziza Samitova, Makhrui Muzaffaria, Zakhida Burnasheva, Galima Rakhmatullina, among others, who mostly lived in rural areas and studied only with an abystai (a mulla’s wive), was even worse. In the struggle for the right to creativity and emancipation in general, the first Tatar and Turkish writers were helped by such outstanding progressive thinkers as Namyk Kemal, Ahmed Midhat, Riza Fakhreddin and Ismail Gasprinsky. As a result, by the beginning of the 20th century, female writers had their own creative platforms, such as women’s magazines and separate columns in newspapers.
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Amineva, Venera R. "“Am I — a Pain, Hesitation, Fear of all Alien?” (Self-identification Ways of the Lyrical Subject in R. Buharaev’s Sonnets Cycle)". In Literature of the Peoples of the Russian Federation and CIS: Spiritual Bases and Challenges of the Time, 262–90. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0736-6-262-290.

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The poems of R. Buharaev (1951–2012), who wrote in the Russian, Tatar, English, Hungarian languages and at the same time involved in the Tatar literature and culture, have a specific artistic and aesthetic nature which requires scientifically based and adequate assessment. For the first time an attempt is made to analyze the features of fixed form of sonnet sequence in the poet’s works based on the material of four poetic cycles similar in range of problems, worldview of the lyrical hero and ways of artistic completion. It is stated that in R. Buharaev’s lyrics a sonnet cycle is no more a static form, the genre semantics of which is formed only by its compositional structure. An artistic value of this genre and stanzaic system is not in its “chaining” sequence construction connecting the end and the beginning of the whole cyclic context in general, but also in concentric principle of the main theme development, reflecting the interaction of “afferent” and “efferent” types of artistic thinking. It is concluded that subjective architectonics of Buharaev’s sonnet cycle reconstitutes various types of “border-line” identity. It is defined by the lyrical hero and supersubject’s attitude of a special type: vital and creative element of “Fatherland speech” (“Zhuk i Zhaba”), the Tatar speech (“Milostynja rodnogo jazyka”), Motherland and Venice (“Zov”); personified images of a foreign culture (“Venok dikorastushhih sonetov”). The “I” dialogue with this above outlook performs a structure-directing function, revealing self-consciousness and self-identification of the lyrical subject.
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Nagib, Lúcia. "Passages to Reality". In Realist Cinema as World Cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987517_ch07.

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Chapter 7 addresses the utilisation within film of artforms such as painting, theatre, poetry and music as a bridge or a ‘passage’ to political and social reality. Rather than focusing on individual artists and films, the chapter addresses a national phenomenon, more specifically, selected works by filmmakers from the states of São Paulo (Beto Brant and Tata Amaral) and Pernambuco (Cláudio Assis/Hilton Lacerda, Paulo Caldas/ Marcelo Luna), in Brazil, who over the years have bridged across their regions’ very different social history and geographic situation by means of a shared artistic and political platform. Their films commingle in the desire to reassess questions of national identity and social inequality through an enhanced commitment to realism at the point of production.
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"Tamar Wolf-Monzon, Bahir vegavohah kezemer: Ya’akov Orland: poetikah, historiyah, tarbut (Ya’acov Orland: Poetics, History, Culture). Sdeh Boker: The Ben-Gurion Research Institute for the Study of Israel and Zionism, 2016. 512 pp. + audio disc." In Textual Transmission in Contemporary Jewish Cultures, a cura di Avriel Bar-Levav, 339–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197516485.003.0051.

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Ya’acov Orland (1914–2002), a young contemporary of the Israeli poets Avraham Shlonsky, Nathan Alterman, and Leah Goldberg, was a prolific and versatile poet, playwright, and translator, one among the first generation of creative artists whose entire output was produced in Mandatory Palestine and later, the state of Israel. Many of Orland’s highly musical poems were popular with those composers who created the magnificent repertory of popular Hebrew songs known as ...
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Atti di convegni sul tema "Tatar Artists"

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Шарипов, Марат. "PERSONALITY OF TUKAY AS AN OBJECT OF ARTISTIC DEVELOPMENT IN THE TATAR DRAMA". In PHILOLOGICAL SCIENCES: STATE, PROSPECTS, NEW RESEARCH PARADIGMS. Baskir State University, 2022. http://dx.doi.org/10.33184/fnspnpi-2022-11-17.21.

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Amineva, V. "TRANCSULTURAL MODEL OF ARTISTIC DEVELOPMENT IN MODERN RUSSIAN LITERATURE: FEATURES OF THE ARTISTIC WOLRD". In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3731.rus_lit_20-21/217-220.

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The object of the research is the poetic and prose works of writers who are ethnic Tatars, write in Russian, and are related to their native literature and culture. It is stated that the probable, indefinite, and multiple models of the world, subject status, and fate derived from their works can be defined by the concepts that assert the notion of continuous fluidity, dynamism, and transformations of meaning. The authors come to the conclusion that transitive meanings in literature implementing the phenomenon of cultural boundaries are generated by the growing plasticity of the hero-subject, who is in constant process of recreating himself.
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Nuredin, Ibram. "Portraits of the Balchik tartars from the paintings of Nicolae Tonitza and Iosif Iser". In Latinitate, Romanitate, Românitate. Conferinţa ştiinţifică internaţională, Ediția a 7-a. Moldova State University, 2023. http://dx.doi.org/10.59295/lrr2023.15.

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The communication refers to the portraits of Tatars from the plastic creations of the masters Nicolae Tonitza (1886-1940) and Iosif Iser (1881-1958), painters who brought to Romanian plastic art a modern vision, a universal openness, a compo- sitional maturity supported by chromatic harmonies.Through multiple techniques – oil on canvas, gouache on cardboard, watercolour, drawing, charcoal or ink – Nicolae Tonitza and Iosif Iser reproduced the typologies of ethnic Tatars, captured in decorative backgrounds, in marine fragments or classical Dobrudjan architecture of interwar Balchik – houses, streets, gates, cafés, windows. The expressive, unique figures of Tatars are, most of the time, created with an economy of artistic means, in images full of compassion, love, brotherhood and humanism.
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Kamble, Rajat, Harshit Sharma, Sangeeta Pandit, Avinash Sahu e Bangaru Sai Prakash. "P-331 Occupational problem identification on artisans of Jodhpur wooden handicraft and design intervention". In 29th International Symposium on Epidemiology in Occupational Health (EPICOH 2023), Mumbai, India, Hosted by the Indian Association of Occupational Health, Mumbai Branch & Tata Memorial Centre. BMJ Publishing Group Ltd, 2023. http://dx.doi.org/10.1136/oem-2023-epicoh.138.

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Sahu, Avinash, Sangeeta Pandit, Rajat Kamble e Bangaru Sai Prakash. "P-252 Identification of work related musculoskeletal disorder among artisans of Dhokra bell metal handicraft industry of India". In 29th International Symposium on Epidemiology in Occupational Health (EPICOH 2023), Mumbai, India, Hosted by the Indian Association of Occupational Health, Mumbai Branch & Tata Memorial Centre. BMJ Publishing Group Ltd, 2023. http://dx.doi.org/10.1136/oem-2023-epicoh.120.

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Pandit, Sangeeta, Rajat Kamble e Avinash Sahu. "O-308 Comparative assessment of musculoskeletal pain among artisans of three handicraft sectors of India because of commercialization – a study on unorganized sector". In 29th International Symposium on Epidemiology in Occupational Health (EPICOH 2023), Mumbai, India, Hosted by the Indian Association of Occupational Health, Mumbai Branch & Tata Memorial Centre. BMJ Publishing Group Ltd, 2023. http://dx.doi.org/10.1136/oem-2023-epicoh.178.

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