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Artykuły w czasopismach na temat "Professional artistry"
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KENNERLEY, DAVID. "DEBATING FEMALE MUSICAL PROFESSIONALISM AND ARTISTRY IN THE BRITISH PRESS, c. 1820–1850". Historical Journal 58, nr 4 (29.10.2015): 987–1008. http://dx.doi.org/10.1017/s0018246x14000740.
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AbstractThe entrance of women into the male-dominated spheres of the professions and the arts has been a major theme of women's and gender history in nineteenth-century Britain. In general, historians have located this development primarily in the second half of the century and depicted it as an important corollary to the political aims of the wider women's movement. In contrast, this article contends that an overlooked earlier context for the formation and emergence of ideas of female professionalism and artistry were the debates surrounding female singers in the press between c. 1820 and 1850. In this era, writers in newly emerging specialist music periodicals increasingly advocated a view of female singers as both professionals and artists. Such views did not dominate discourse, however. There remained a great deal of ambivalence even in specialist publications about just how far female singers should pursue the lifestyle of the professional artist, while in the mainstream press very different attitudes towards female singers prevailed. Although female musical professionalism and artistry therefore remained contested concepts, this article highlights the significance of these debates about female singers as an important source for the new ideas about women's professional and artistic work emerging in nineteenth-century British society.
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Brockett, Ralph G. "Professional development, artistry, and style". New Directions for Adult and Continuing Education 1991, nr 51 (1991): 5–13. http://dx.doi.org/10.1002/ace.36719915103.
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Zhdanova, Natalya, Olga Mukhlynina, Natalya Bastrakova, Irina Kondyurina, Tatyana Simakova i Ekaterina Volozhanina. "Pedagogical Artistry as a Professional Feature". Eurasian Journal of Analytical Chemistry 12, nr 7b (1.10.2017): 1275–81. http://dx.doi.org/10.12973/ejac.2017.00253a.
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Yusupova, A. A., i N. A. Kargapolceva. "INTERPRETATION OF A MUSICAL WORK AS A MEANS OF DEVELOPING ARTISTRY IN THE PROCESS OF MUSICAL AND ARTISTIC EDUCATION OF FUTURE MUSIC TEACHERS". Vestnik Orenburgskogo gosudarstvennogo universiteta 230 (2021): 53–57. http://dx.doi.org/10.25198/1814-6457-230-53.
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Artistry plays an important role in the pedagogical activity of any teacher, but it is of particular importance in the activity of a music teacher, since it is the most important professional quality of the personality of a teacher-musician. Pedagogical artistry, as is well known, consists of an external factor (intonation, diction, expressiveness, musicality, gestures, plasticity, etc.), which is developed through vocal art, and an internal one (spirituality, creative and musical-pedagogical thinking, imagination, etc.), associated with performing skills. Work on the interpretation of the work — improving the vocal technique, competent reading of the musical text, compliance with all the author's remarks, creating a musical and artistic image as a whole, is one of the main components of the formation of artistry. The teacher's artistry presupposes his creativity, creativity, and the ability to navigate in any situation, so the actual pedagogical task is the formation of artistic singing skills in the process of musical and artistic education of future music teachers.
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Kerchner, Jody L. "Keeping the Artistry: Modeling the Professional Life". Journal of Music Teacher Education 11, nr 2 (styczeń 2002): 14–21. http://dx.doi.org/10.1177/105708370201100204.
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Ström Lehander, Karin. "Tyra Kleen". Approaching Religion 11, nr 1 (21.03.2021): 174–83. http://dx.doi.org/10.30664/ar.100479.
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The Swedish artist and writer Tyra Kleen (1874–1951) was a professional artist and a constant traveller who had a great interest in different religious questions. This article describes her Symbolist artistry, her interest in Theosophy and her journeys to India and Asia.
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Dementieva, T. "Artistry as a necessary component of a teacher's pedagogical professionalism". New Collegium 3, nr 108 (2.09.2022): 66–69. http://dx.doi.org/10.30837/nc.2022.3.66.
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The article considers the essence of the concept of "pedagogical artistry" as an important component of a teacher's pedagogical skill. That is why the training of pedagogical personnel is so important, as a result of which they must master a high level of professional competence, methodological thinking, general and professional culture, professionally significant personality qualities, and a creative approach to teaching and education.
Integrating, these qualities form the teacher's pedagogical skill, which ensures a high level of his professional and pedagogical activity on a reflective basis. The fulfillment of this historic mission in the training of pedagogical personnel, so that students mastered the special art of teaching and educating others and self-learning throughout life, was directed by an outstanding scientist, a well-known specialist in the field of new pedagogical technologies of learning and education, economic theory, philosophy of education, the rector of the Kharkiv National Pedagogical University named after G. S. Skovorody from 1980 to 2020 Ivan Fedorovich Prokopenko. He believed that every teacher should possess a set of personal qualities that ensure a high level of self-organization of a teacher's professional activity. Among these qualities, artistry occupies a special place as one of the important professional components.
Summarizing the views of the authors on the definition of this phenomenon, it was concluded that the teacher's pedagogical artistry is a high level of pedagogical activity, which is manifested in the teacher's ability to vividly, emotionally, uniquely convey the educational material, using all his experience, competence and pedagogical technologies.
The professional activity of a teacher should include not only friendly communication, harmony of mind and feelings, but also pedagogical mastery at the level of art, which is ensured by a high degree of development of professionally necessary qualities, abilities, skills and, in particular, pedagogical artistry. Therefore, the formation of pedagogical artistry is one of the tasks of training. The result of artistic teaching is the formation of students' motivational and valuable attitude to the content of education. Emotional perception of the material contributes to maintaining sustained attention and interest, deepening the motives of educational cognition, in response to the desire to open up.
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Perepelitsa, Vita V. "Artistry as a Professional and Personal Characteristics of a Librarian". Bibliotekovedenie [Library and Information Science (Russia)], nr 3 (7.06.2011): 121–26. http://dx.doi.org/10.25281/0869-608x-2011-0-3-121-126.
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A first attempt to justify virtuosity as a necessary professional and personal quality of a librarian. Artistry is regarded as a professionalism of librarian’s activity and as a way of creative abilities’ using. The author characterizes such features of a librarian’s artistry like emotionality, openness, spontaneity, etc.
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Sadler-Smith, Eugene, i Peter J. Smith. "Technical rationality and professional artistry in HRD practice". Human Resource Development International 9, nr 2 (czerwiec 2006): 271–81. http://dx.doi.org/10.1080/13678860600616248.
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Okhotnikov, Vladimir E. "About the Development of Artistry in Elementary School Pupils in a Guitar Class". ICONI, nr 3 (2021): 173–81. http://dx.doi.org/10.33779/2658-4824.2021.3.173-181.
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The article dwells upon the necessity of forming artistic qualities in elementary school pupils during the process of teaching performance mastery. The preparation of future performing musicians must be carried out in the context of a theatrical rendition of the performing profession, with the inclusion of elements of vocational psychology. The artistry of the pupils of children’s music schools must be developed inseparably from the process itself of development of performance skills and the skills of reading the musical text and performance technique, otherwise the development artistry acquires an accidental character and is subordinated, albeit, being an inseparable part of a successful concert performance. An analysis of performance working programs in children’s music schools for pupils with a professional inclination shows a lack of a goal-directed systematic work with the pupil in forming artistry as a professionally significant quality, whereas the brightest indicator of creative development is particularly artistry. The discipline of pedagogy recognizes this necessity, but the latter is not realized in the conditions of teaching practice. The overcoming of this contradiction is possible by means of the pupils’ familiarization with artistic techniques and stage organization. The article proposes examples of special exercises directed at the development of artistry and creative imagination of elementary level guitarists.
Rozprawy doktorskie na temat "Professional artistry"
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Grainger, Sheila, i n/a. "Accessing the Professional Artistry of Teaching". Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031114.084528.
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This study accesses the professional artistry of teaching which I argue is being eroded by the representation of teaching in a discourse of technical rationality (Fish, 1991, 1995). Accessing professional artistry is the first step towards identifying how it figures in teaching practice and how it can be (mis)represented in theory, policy and teachers' own talk about their practice. The research method involved: analysing the official New Zealand documents pertaining to teacher performance management to demonstrate how the dominant or hegemonic discourse of technical rationality marginalises the contesting discourse of professional artistry (Schon, 1983, 1987, 1995) and impacts negatively on the profession; collecting interview data through a process of video stimulated recall with student teachers to allow them to reflect on their own professional artistry; exposing the complexity of the student teachers' decision making in action through analysing the video stimulated recall data using the membership categorisation tools (Sacks, 1996; Baker, 1982, 1997, 2000) available in discourse analysis; using Fairclough's (2001) framework for Critical Discourse Analysis to explore the discursive and semiotic aspects of an identified social problem, namely teachers' disillusionment with the teaching profession and their alienation from their professional artistry, 'to produce knowledge which can lead to emancipatory change' (Fairclough, 2001, p.30). I argue that the identified problem is so deeply embedded in the discursive and semiotic aspects of the networked practices in which teaching is carried out, that a common sense interpretation of teaching is inadequate to expose the complexity of teachers' work and therefore inadequate to allow the professional artistry of teaching to be accessed and appreciated. A growing rhetoric/reality gap between teaching theory/educational policy and teaching practice serves to entrench the problem in the New Zealand Education System, positioning teachers in a disempowering discourse of technical rationality in which they are 'not to be trusted with more than the technical aspects of the job' (Fish, 1991, p.31). I argue that the contesting discourse of professional artistry valorises teachers' agency in interpreting and framing the problems of practice, crafting individual solutions to them and wanting to do a good job from a personal and professional commitment to their work and that this is the discourse in which teaching is represented at the local level by teachers themselves. This discursive positioning of teachers, contrasted with their positioning in the official discourse of educational policy offers an enlarged view of all aspects of professional practice as having the potential to inform theory as well as be informed by it, and therefore to generate new knowledge about teaching possibly leading to emancipatory change.
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Grainger, Sheila. "Accessing the Professional Artistry of Teaching". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/366178.
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This study accesses the professional artistry of teaching which I argue is being eroded by the representation of teaching in a discourse of technical rationality (Fish, 1991, 1995). Accessing professional artistry is the first step towards identifying how it figures in teaching practice and how it can be (mis)represented in theory, policy and teachers' own talk about their practice. The research method involved: analysing the official New Zealand documents pertaining to teacher performance management to demonstrate how the dominant or hegemonic discourse of technical rationality marginalises the contesting discourse of professional artistry (Schon, 1983, 1987, 1995) and impacts negatively on the profession; collecting interview data through a process of video stimulated recall with student teachers to allow them to reflect on their own professional artistry; exposing the complexity of the student teachers' decision making in action through analysing the video stimulated recall data using the membership categorisation tools (Sacks, 1996; Baker, 1982, 1997, 2000) available in discourse analysis; using Fairclough's (2001) framework for Critical Discourse Analysis to explore the discursive and semiotic aspects of an identified social problem, namely teachers' disillusionment with the teaching profession and their alienation from their professional artistry, 'to produce knowledge which can lead to emancipatory change' (Fairclough, 2001, p.30). I argue that the identified problem is so deeply embedded in the discursive and semiotic aspects of the networked practices in which teaching is carried out, that a common sense interpretation of teaching is inadequate to expose the complexity of teachers' work and therefore inadequate to allow the professional artistry of teaching to be accessed and appreciated. A growing rhetoric/reality gap between teaching theory/educational policy and teaching practice serves to entrench the problem in the New Zealand Education System, positioning teachers in a disempowering discourse of technical rationality in which they are 'not to be trusted with more than the technical aspects of the job' (Fish, 1991, p.31). I argue that the contesting discourse of professional artistry valorises teachers' agency in interpreting and framing the problems of practice, crafting individual solutions to them and wanting to do a good job from a personal and professional commitment to their work and that this is the discourse in which teaching is represented at the local level by teachers themselves. This discursive positioning of teachers, contrasted with their positioning in the official discourse of educational policy offers an enlarged view of all aspects of professional practice as having the potential to inform theory as well as be informed by it, and therefore to generate new knowledge about teaching possibly leading to emancipatory change.Thesis (Professional Doctorate)
Doctor of Education (EdD)
School of Cognition, Language and Special Education
Faculty of Education
Full Text
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Loads, Daphne Jane. "Surprising spaces : artistry in university lecturers' professional development". Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551605.
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In this qualitative study I investigated an aspect of my own practice as an academic developer. My research question was: How do I understand and theorise what happens in art workshops that contribute to university lecturers' professional development? Taking a self-study approach (McNiff and Whitehead, 2006) in which theory is understood as generated by close and intense engagement with individual practice, I invited university lecturers to create, interpret and discuss collages in relation to what teaching meant to them. I interviewed the participants and the co-facilitator shortly after the workshops and again at the end of the study. Bringing together understandings from academic development, adult education and therapy, I claim that these workshops can be understood as restorative spaces where lecturers undertake and explore troubling experiences, leading to surprising insights and opening up the possibility for transformative learning (Mezirow, 1997). Drawing on Eisner's (2003) concept of artistry, I introduce the notion of the apercu: The noticing of a surprising detail that troubles settled ways of thinking and feeling. I explore the relevance of stochastic processes that combine random and non-random elements. I suggest that physical engagement with art-making balances the disembodied nature of much academic work; dialogue with colleagues, including expression of feelings, develops intimacy and safety that are often absent from professional encounters; and metaphor work opens up fresh and surprising ways of making meanings. I recommend that academic development practitioners should consider integrating an element of artful practice into development programmes as a necessary counterpoint to those activities that are narrowly instrumental and concerned with performative values. In order to avoid inappropriate personalisation of structural issues and unthinking perpetuation of the status quo, I argue that it is important that activities focusing on artistry should be complemented by strategies that draw on scholarship and address social and institutional change.
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Wellman, Jessica-Anne. "Drama, education, artistry: Australian practitioners fostering connections across cultures and disciplines in China". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2546.
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This study examines the experience of Australian drama educators working as professional development facilitators in China between 2017-2019. Limited literature exists that highlights the perspectives of professional development facilitators in this field. This thesis highlights the impact of engaging in this role on the practice of drama educators. Using an autoethnographic approach, data were collected from five individuals through semi-structured interviews. Interpretative Phenomenological Analysis (Smith, 2004) highlighted that the participants' experiences acted as critical moments that led to positive personal and professional outcomes. Three key supporting factors for positive outcomes were identified: 1) critically reflective practice; 2) knowledge and experience in theatre practices and drama pedagogies; and 3) collaborative approaches to delivering professional development.
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Daoud, Janet Barbara. "Recognising and appreciating the artistry in professional practice : a means to researching and developing practice through insider practitioner research". Thesis, Bournemouth University, 2004. http://eprints.bournemouth.ac.uk/385/.
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This study explores professional practice and examines an approach to research that could be useful for the practitioner in developing and extending their practice. The existence of artistry is recognised within professional practice (Schon 1983), and is important in making professional judgements (Fish and Coles 1998, pp. 28-53, de Cossart and Fish 2005). Therefore, as in the methodology proposed by Fish (1998), the artistic/holistic paradigm was adopted because this specifically enables the exploration of professional artistry and is suited to insider practitioner research. The study critically appraised the use of the proposed artistic/holistic paradigm. A case study approach was used in which the researcher was the case. A portrait of an episode in clinical practice was produced, followed by a critical appraisal of this portrait. These then became the portrait of research practice, which was equally appraised. This mirrors the process seen within the arts in which critical appreciation is a reflective process, deriving its rigour from the discipline and connoisseurship of the critic. The results demonstrate that the artistic/holistic paradigm is well suited to continuing professional development, both individually and corporately. The proposed paradigm does enable the recognition and exploration of professional artistry, both within clinical and research practice. Professional practice has a moral foundation and it was shown that this must be openly recognised if meaningful professional development is to occur. Evidencebased medicine, which is founded on the technical-rational view of practice, was shown to be insufficient for the professional's ongoing development. This, and similar work, will impact and contribute to the ongoing evolution of the traditions of the profession.
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Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
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Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
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Kerch, Aline Louise. "O desenvolvimento dos "talentos artísticos profissionais" de estudantes de administração nas atividades de empresas juniores". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/77749.
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A pesquisa que foi desenvolvida nessa dissertação buscou compreender como os estudantes de Administração desenvolvem seus “talentos artísticos profissionais” no âmbito das atividades de Empresas Juniores. Com o intuito de unir saberes que propiciassem um melhor entendimento acerca do objeto desse estudo, diferentes assuntos necessitaram ser previamente investigados. Para construir sua base teórica, a autora considerou três tópicos centrais: a Educação Superior em Administração no Brasil, as Empresas Juniores e os “talentos artísticos profissionais”. A respeito da Educação Superior em Administração no Brasil, foram ponderados aspectos acerca dos cursos, da formação de Administradores e do currículo que é oferecido pelas instituições de ensino. Em relação às Empresas Júniores (EJ’s) elencaram-se alguns episódios sobre o seu surgimento, no Brasil e no mundo, bem como suas principais características e o papel e a importância dos estudantes nessas organizações. Na investigação realizada sobre as conceituações de Donald Schön, na intenção de compreender, nos pormenores, o que é o “talento artístico profissional” (termo criado por ele e utilizado nessa pesquisa), traçaram-se considerações sobre sua vida e sua obra – sobretudo por ser ele, ainda hoje, um autor pouco conhecido no Brasil. Ao conceituar os “talentos artísticos profissionais”, Donald Schön (1983) afirma que eles podem ser entendidos como sendo aquelas competências e habilidades através das quais os profissionais, realmente, dão conta de zonas indeterminadas da prática profissional e, que os estudantes só conseguem adquirir ou desenvolver seus “talentos artísticos profissionais” através da realização de atividades da prática profissional – porque, somente nelas, as zonas indeterminadas se apresentam e podem a ser vivenciadas. Portanto, considerando que, para Donald Schön (2000, p. 38), o “talento artístico profissional” só pode ser desenvolvido na prática – quando o estudante experencia “zonas indeterminadas”– e dado que, no Brasil, as atividades realizadas dentro das Empresas Juniores são, para um grande número de estudantes de Administração, uma das poucas oportunidades onde eles podem realizar atividades voltadas a sua prática profissional, enquanto ainda estão em formação acadêmica, surgiu a seguinte questão de pesquisa: como os estudantes de Administração desenvolvem seus “talentos artísticos profissionais” no âmbito das atividades de Empresas Juniores? Para tentar responder a esse questionamento, optou-se por procedimentos metodológicos voltados a uma abordagem qualitativa, num nível exploratório, onde a entrevista semiestruturada e sua posterior análise de conteúdo foram empregadas como técnica de pesquisa e procedimento de análise, respectivamente. O corpus encontrado em campo possibilitou compreender que os estudantes de Administração adquirirem e desenvolvem seus “talentos artísticos profissionais” durante a realização de inúmeras atividades nas Empresas Juniores, onde os processos de conhecer-na-ação, reflexãona- ação e reflexão sobre a reflexão-na-ação acontecem. Apesar de algumas críticas que foram tecidas sobre as EJ’s, conclui-se que essas organizações constituem-se num local propício para os estudantes de Administração adquirirem e desenvolverem seus “talentos artísticos profissionais” e, também, que o “talento artístico profissional” só poderá ser desenvolvido através da vivência da prática profissional onde situações de incertezas possibilitarão ao estudante uma atuação voltada à prática reflexiva.Therefore, considering that, for Donald Schön (2000, p. 38), the “professional artistry” can only be developed in practice – when the student live “unspecified zones” – and that, in Brazil, the activities conducted within the Junior Enterprises are, for a lot students of Administration, one of the few opportunities where they can perform activities related to their professional practice, while still in academic formation, emerged the following research question: how students of Administration develop their “professionals artistry” within the framework of Junior Enterprises activities? To try to answer this question, been chosen the methodological procedures aimed at a qualitative approach, in exploratory level, where the semi-structured interview and its later analysis of the content were employed as a research technique and analysis procedure, respectively. The corpus found under field enabled us to understand that students of Administration to acquire and develop their “professionals artistry” while carrying out many activities in the Junior Enterprises, where the processes of knowing-in-action, reflection-in-action and reflection on the reflection-in-action happen. Although some criticisms that had been woven about JE's, it was concluded that these organizations constitute in a favorable place for students of Administration to acquire and to develop their “professionals artistry” and, as well, the “professional artistry” can only be developed through the experience of the professional practice which situations of uncertainties will enable the student to a performance focused on reflective practice.
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Kerr, Cheryl. "Re-generating the praxis of academic staff development". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/40897/1/Cheryl_Kerr_Thesis.pdf.
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Effective academic workforce staff development remains a challenge in higher education. This thesis-by-publication examined the importance of alternative paradigms for academic staff development, focusing specifically on arts-based learning as a non-traditional approach to transformative learning for management and self-development within the business of higher education. The research question asked was whether or not the facilitation of staff development through the practice of arts-based transformational learning supported academic aims in higher education, based on data obtained with the participants of the academic staff development program at one Australian university over a three year period. Over that three year period, eighty academics participated in one large metropolitan Australian university’s arts-based academic development program. The research approach required analysis of the transcribed one-on-one hermeneutic-based conversations with fifteen self-selected academics, five from each year, and with a focus group of twenty other self-selected academics from all three years. The study’s findings provided evidence that supported the need for academic staff development that prepared academics to be engaged and creative and therefore more likely to be responsive to emerging issues and to be innovative in the presence of constraints, including organisational constraints. The qualitative participative conversation transcription data found that arts-based lifelong learning processes provided participant perception of enhanced capabilities for self-creation and clarity of transformational action in academic career management. The study presented a new and innovative Artful Learning Wave Trajectory learning model to engender academic professional artistry. The findings provided developers with support for using a non-traditional strategy of transformational learning.
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Letailleur, Erica. "La voie poétique de l'acteur et les mirages du théâtre professionnel : Étude de la formation des artistes du spectacle vivant du centre franco-turc Ayn Seyir (2006-2013)". Thesis, Nice, 2016. http://www.theses.fr/2016NICE2016/document.
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En prenant appui sur une enquête que nous avons menée entre 2006 et 2013 auprès de groupes d’acteurs ayant participé à une formation professionnelle intitulée « Autonomie de l’Acteur » et conduite par le centre Ayn Seyir, nous avons tâché de décrire la discipline théâtrale européenne contemporaine dans sa complexité, à travers un filtre analytique métadisciplinaire. Par le regard de ces artistes déplacés entre France et Turquie, nous voyons se dessiner l’esprit d’une culture des acteurs professionnels de théâtre, à deux niveaux : interne et externe. L’on remarque ainsi, au niveau interne, une faille entre pensée et pratique, qui semblerait vouée, d’une certaine manière, à sa propre insolvabilité. Lorsqu’on envisage la discipline en ses aspects externes, l’on note que celle-ci semble prise dans un vertige entre phénomènes de singularisation et de globalisation. Et si tout cela n’était que la marque d’un fait culturel en train de se réinventer par ses hiatus, pour ne (re)devenir que la paraphrase de ce qu’il était déjà ? Le théâtre ne semblerait plus être alors pour ces acteurs qu’un art au fonctionnement aporétique, conduisant à l’anomie. Mais ce métier ainsi éprouvé, s’oppose à la somme des idéaux que ces artistes évoquent et qui semblerait faire sens vers un désir de réalisation quasi-anagogique : une voie poétique. Entrer dans cette voie supposerait, en premier lieu, un abandon des illusions présidant à leur approche factuelle de la discipline : la démarche raisonnée d’un tamisage, pour peut-être tenter de résoudre certains des aspects du défi posé par la complexité du théâtre en tant que fait culturel en permanente mutationBy leading a field investigation between 2006 and 2013 with groups of actors who participated to an unique professional training called « Autonomy of the Actor » with Ayn Seyir Center, we tried to describe the theatrical fact in its complexity, as these actors are practicing and perceiving it, through the analytical filter of metadisciplinarity. By the look of these artists moved from their cultural area, between France and Turkey, we see a theater culture taking shape at two levels for these actors: internal and external. Thus, we notice at an internal level, a flaw between thought and practics, which seems to be consigned, in a certain way, to insolvency. And when we considerate the discipline in its external aspects, we notice that it is taken in a vertigo between super-individualization and globalization phenomenons. What if all of this was the mark of a cultural fact being reinvented by its hiatus, to only become again the paraphrase of what it was before? Then, theater would seem only be for these actors the illusion of an illusion : an art with an aporetic functionning, leading to lawlessness. But this art in this perception, is opposed to the sum of consensual ideals endlessly evoqued by these artists, who are all heading for a quasi-anagogic realization: a poetics path. To enter in this path presupposes at first abandoning their factual approach of theatre: a reasoned approach of a sifting, which may allow us to resolve certain aspects of the challenge of theatre’s complexity, considered as a cultural fact in crisis
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Gallay, Lillian Hemingway. "Understanding and Treating Creative Block in Professional Artists". Thesis, Alliant International University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3567547.
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This project provides a broad exploration of factors that can enhance or inhibit creative performance in professional artists, including writers, visual artists, and musicians. Potential causes of the difficulties creative clients contend with are surveyed, as well as a range of interventions to address them. The first section reviews six major factors that can impact artistic creativity (also called Big C or eminent creativity) both positively and negatively, including the relatively stable and enduring factors of artists’ personality traits, cognitive makeup, and psychopathology. This section also reviews more malleable elements of creativity that the therapist may be able to affect directly, namely, motivational orientation, mood, and environmental influences. The second section is an investigation of creative block: its antecedents, phenomenology, and proposed classifications of different types of block. The final section focuses on interventions to facilitate creative performance in artists, both those who are suffering from artist block and those who are seeking to boost their creative achievement more generally. Interventions reviewed include cognitive-behavioral, Gestalt, psychodynamic, meditative, and compassion-focused approaches. In addition, field interviews conducted with psychologists with expertise in the clinical treatment of professional artists are summarized. The project concludes with a discussion of possible reasons for the scarcity of empirical literature on the subject of creative block and potential avenues of exploration for future research.
Keywords: Arts, artists, musicians, writers, creativity, psychotherapy, self-compassion, perfectionism, self criticism.
Książki na temat "Professional artistry"
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Sauriol, Mary. Learning the artistry of professional practice. Ottawa: National Library of Canada = Bibliothèque nationale du Canada, 1993.
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George, Henderson James, red. Reflective teaching: Professional artistry through inquiry. Wyd. 3. Upper Saddle River, N.J: Merrill/Prentice Hall, 2001.
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The teacher/practitioner in professional education: Blending science and artistry. Chicago, Ill: Lyceum Books, 2011.
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Künstler und Sportler im nationalen und internationalen Steuerrecht: Einkommensteuer, Umsatzsteuer, Sozialversicherung. Wyd. 2. Wien: Linde, 2006.
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For professional purposes: An artistic journey. [Mt. Lebanon, Pa.]: S.R. Barasch, 2010.
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Melinda, Takeuchi, red. The artist as professional in Japan. Stanford, Calif: Stanford University Press, 2004.
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Kick-ass creativity: An energy makeover for artists, explorers, and creative professionals. Charlottesville, VA: Hampton Roads Publishing Co., 2010.
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Leong, Sonia. 101 top tips from professional manga artists. Hauppauge, N.Y: Barron's, 2013.
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Davis, Don D. Professors as con artists. Amarillo, Tex: Prytaneum Press, 2007.
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Acrylics masterclass: Learning from professional artists at work. London: HarperCollins, 1994.
Znajdź pełny tekst źródłaCzęści książek na temat "Professional artistry"
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Titchen, Angie, i Joy Higgs. "Towards Professional Artistry and Creativity in Practice". W Professional Practice in Health, Education and the Creative Arts, 273–90. Oxford, UK: Blackwell Science Ltd, 2008. http://dx.doi.org/10.1002/9780470690659.ch22.
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Andresen, Lee, i Ian Fredericks. "Finding the Fifth Player: Artistry in Professional Practice". W Professional Practice in Health, Education and the Creative Arts, 72–89. Oxford, UK: Blackwell Science Ltd, 2008. http://dx.doi.org/10.1002/9780470690659.ch6.
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Chua, Siew Ling, i Ai Wee Seow. "Enhancing Professional Knowledge and Professional Artistry of Art and Music Teachers Through Teacher Inquiry". W Artistic Thinking in the Schools, 61–84. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8993-1_4.
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Trelfa, Jo. "‘Getting to the Soul’: Radical Facilitation of ‘Real World’ Learning in Higher Education Programmes Through Reflective Practice". W Applied Pedagogies for Higher Education, 299–322. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46951-1_13.
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Abstract This chapter foregrounds reflective practice as integral to ‘real world’ learning in higher education. Concerning the development of professional ‘artistry’ of and for post-degree life, literature focuses on the nature and form of reflective activities to foster student scrutiny therefore control of self and situation whilst engaged in real world learning. Yet, Trelfa’s doctoral research suggests the only real ‘learning’ is correct performance to pass their course. Reflective practice, and real world learning, has ‘lost its soul’. Drawing on Lefebvre’s (Rhythmanalysis: Space, time and everyday life. London: Continuum, 1992/2004) concept of ‘breaking-in’ to understand this soul-less situation (illustrated in case study one), Trelfa calls for it to be radically different: if real world learning is to live up to its name then its reflective practice needs to be authentic (illustrated in case study 2).
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Etherington-Wright, Christine. "Artists and Practitioners". W Gender, Professions and Discourse, 70–85. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230595026_5.
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Gonithellis, Olga E. "Personal and Professional Relationships". W Counseling for Artists, Performers, and Other Creative Individuals, 57–74. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315173566-5.
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Wesner, Simone. "Conclusion: Artists, Policy and the Future of the Professional Class". W Artists’ Voices in Cultural Policy, 177–84. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76057-5_7.
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Lehikoinen, Kai, Anne Pässilä i Allan Owens. "Conflicting professional identities for artists in transprofessional contexts". W Expanding Professionalism in Music and Higher Music Education, 74–88. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003108337-7.
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Fung, Adrian. "Ethical Considerations for the Presenter and Performing Artist Dynamic". W Encyclopedia of Business and Professional Ethics, 1–4. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-23514-1_353-1.
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"STRATEGY AND ARTISTRY". W College Organization and Professional Development, 149–75. Routledge, 2009. http://dx.doi.org/10.4324/9780203881668-15.
Pełny tekst źródłaStreszczenia konferencji na temat "Professional artistry"
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Singeisen, Scott. "Disorienting Dilemmas: A Studio Model for Teaching Meaning-Making and Reflection in Action". W 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.24.
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The term meaning-making has been used in constructivist educational psychology to refer to the personal epistemology that persons create to help them to make sense of the influences, relationships and sources of knowledge in their world.1 According to the transformative learning theory of sociologist and educator Jack Mezirow, adults interpret the meaning of their experiences through a lens of deeply held assumptions.2 When students experience something that contradicts or challenges their way of negotiating the world they have to go through the transformative process of evaluating their assumptions and processes of making meaning. Mezirow called these experiences that force individuals to engage in this critical self-reflection “disorienting dilemmas”.3In ‘Educating the Reflective Practitioner’, Prof. Donald Schön suggests that artistry is necessary for the solution of problems in professional practice that occupy the indeterminate zones of uncertainty, uniqueness, and conflict. The two traditional approaches to the teaching of artistry, however, are problematic. The first, its elimination from a curriculum based on technical rationality, is predicated on the belief that artistry is mystical and essentially unteachable. The second, its reduction to a set of procedures, has proven not to work with indeterminate phenomena that are inherently unmanageable. Schön proposes a third strategy: reflection in action, based on his observations that considerable tacit knowledge is already built into practice. By entering the condition of action and reflecting on what has been done, one can resolve “indeterminate” problems in situ by d oing.4It is the view of this paper that by first positioning students in a disorienting dilemma, and by second, providing a framework for ‘reflection in action’ for students to identify and use analogous architectural research elements, students develop a personal methodology and their own contextual position relative to the history of architecture.
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Adascalița-Crigan, Lucia. "Nicolae Macarenco - representative artist of satirical graphics". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.01.
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A prominent figure in the field of satirical graphics in the Republic of Moldova, Nicolae Macarenco, throughout his artistic career, conceived with great skill and dedication book illustrations for literary works signed by Aureliu Busuioc, Evgeniy Kopylov, Iosif Gherasimov, Alla Grekul, posters and aesthetically expressive and semantically valuable caricatures. Prodigious, talented, persevering and devoted to his profession, the protagonist is one of the established artists who, through his vocation and talent, marked an entire era in the satirical art of the Republic. Working successfully, especially in the genres of satirical-humorous graphics, the graphic designer gave birth to works that were frequently published in important periodicals such as the satire and humor magazine Chipăruş, the magazine Femeia Moldovei, the newspaper Tinerimea Moldovei and others. The study highlights both the thematic aspects of the artist’s creation and the determined, systematized, mirrored artistic options of the protagonist. Having examined the artist’s works, the author pays increased attention to problems of compositional image, the particularities of plastic representation through shape, line, tone of human characters, psychological states of anthropomorphic and zoomorphic characters. At the same time, the analytical approach is supported by highlighting the role of color in the process of amplifying expressions and messages generated by satirical works created by the graphic artist.
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Niemtsova, Liliya. "A Combination of Professional and Personal Qualities in the Choir Conductor". W ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/21.
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The article outlines the problem of combining professional and personal qualities in the choir conductor. Research gaps in the profession of choir conductor are outlined. We established that the art of conducting, and choral performance as its component, currently requires professionally trained personnel, who have an active life position and are able to provide a creative approach to choral singing. It was found that conducting should be interpreted as a creative process characterized by a step-by-step structure and a combination of analysis and comprehension of the choral score, its artistic interpretation, which allows embodying the formed musical image in the real choral sound. It was found that the conductor’s professional qualities are based on the conductor’s individual style or his “creative method”. It is established that the emotional sphere of the conductor is the result of a combination of qualities that will allow the conductor and the choir to demonstrate a bright and convincing revelation of the originality of texture, expressive timbre colors of numerous choral scores, and a rich palette of nuances.
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Maslennikova, Svetlana Fedorovna. "FORMATION OF PROFESSIONAL COMPETENCIES FOR FUTURE BACHELORS OF TOURISM IN THE PROCESS OF TRAINING". W All-Russian scientific and practical conference with international participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-97839.
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The article reveals some aspects of mastering professional competencies by students studying in the direction of training 43.03.02. Tourism, in the process of studying the course "World culture and art". On the example of the work of the French impressionist artist E. Manet, the originality of the artistic direction "impressionism" and its characteristic features are shown.
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Kolchanova, Elena Avgustovna. "Innovations in professional artistic education". W VIII International applied research conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-112004.
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Bataveljić, Dragan. "PRUŽANjE USLUGA OD STRANE UDRUŽENjA ESTRADNIH UMETNIKA I IZVOĐAČA". W 14 Majsko savetovanje. University of Kragujevac, Faculty of Law, 2018. http://dx.doi.org/10.46793/xivmajsko.491b.
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In this paper the author analyzes a specific type of services provided by associations of musical artists and performers. Since this is a rather unexplored field and these services were not often discussed in professional literature, they remained insufficiently investigated and regulated. Therefore, in this paper the author insists on establishing of associations of musical artists and performers throught Serbia, in places where they have not existed before and on strengthening the Alliance of musical artists of Serbia. Beside describing the origin and historical background of these associations, the author particularly elaborates on the establishment of the Alliance of musical artists of Serbia, as a representative artistic association in culture, its work and organization. He underlines the need for the harmonization of its work with existing regulations, especially with the current Law on associations from 2011. What is important to say about SEMUS (Alliance of musical artists of Serbia) is that it provides various services related to obtaining the membership in this Alliance and protecting the rights of its members. What is new in the work of these association is the need to operate in line with a special collective agreement that the artists, performers and entertainers need to sign prior to using the services of this Alliance. The basic purpose of passing new regulations and respecting the mentioned collective agreement is the harmonization of rights and obligations in the process of their hiring and contracting, and providing more efficient protection of their rights - all contributing to preventing grey economy and raising the quality of services in this field
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Silva, Mariana O., i Mirella M. Moro. "Collaboration-Aware Hit Song Analysis and Prediction". W Anais Estendidos do Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/webmedia_estendido.2021.17603.
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We propose tackling the Hit Song Prediction problem through a multimodal form with songs’ features fused together. Specifically, we describe songs from three feature modalities: music, artist and album. Initially, we identify collaboration profiles in a success-based musical network, unveiling how professional connections can significantly impact their success. Then, we use time series and the Granger Causality test for assessing whether there is a causal relationship between collaboration profiles and artists’ popularity. Finally, we model the Hit Song Prediction problem as two distinct tasks: classification and placement. The former is a classical binary classification model and directly applies our fusion strategies. The latter is a modeling approach that ranks a song relative to a given chart, predicts hit songs, and provides comparative popularity information of a set of songs. Furthermore, we emphasize collaboration artists’ profiles as important features when describing their songs. Overall, our empirical studies confirm the effectiveness of our method that fuses heterogeneous data for both tasks.
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Lobo, Theresa. "Design and Art: An Important Contribution for the Design Studies". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002039.
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This paper explores the boundaries between disciplines and professional practices: between Design and Art. The collaboration between Artist and the Designer can introduce innovation and development for new design products. Associations with fine arts can be beneficial for the emerging design product. This approach implies a revision of the field of design study and a redefinition of goals, introducing the study of art, a concept that better describes the daily environment of students and which reoriented design practice towards social and cultural awareness. Within design studies, fine arts continueto be one of the least-examined areas that deserve serious attention, and the research methods and interpretive techniques used by design studies can serve as appropriate models. This paper proposes a model of design research used to structure projects in design education, exploring the boundaries between disciplines and professional practices, with relevant connections between design practice and the fine arts. This paper will utilize examples from a university design program to illustrate a model of design research, with an emphasis on artistic methods. The model will be critiqued as a structure for projects in design education and practice, where the fine arts have an important contribution.
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Golosay, A. V. "IMPROVEMENT OF STUDENTS PROFESSIONAL COMPETENCIES IN EDUCATIONAL AND CREATIVE ACTIVITIES". W Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/87.
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The article raises the problem of the formation of students' general professional and professional competencies in educational and creative activities of artistic and pedagogical orientation in teaching. The definitions and concepts of the basic didactic terms necessary for the development of scientific and practical content of academic and artistic-creative forms of work in a higher education institution are given. The solution to this problem lies in the analysis of pedagogical research in the field of art academic disciplines, the formulation of possible methods for improving academic art, and the creative training of students of the Faculty of Arts and Design.
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Kerer, Kseniya. "Verbalization Of The Image Of Professional In Russian Artistic Occupational Discourse". W WUT 2018 - IX International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.04.02.27.
Pełny tekst źródłaRaporty organizacyjne na temat "Professional artistry"
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Greer, Stephen, i Bryony White. Live Art Scotland Practitioner Directory. University of Glasgow, styczeń 2022. http://dx.doi.org/10.36399/gla.pubs.265874.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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Dmytrovskyi, Zenon. THE TEXTBOOK, THAT TEACHES AND BRINGS UP. Ivan Franko National University of Lviv, luty 2022. http://dx.doi.org/10.30970/vjo.2022.51.11414.
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The review is about textbook on television and radio communication for students, teachers of faculties and departments of journalism, as well as journalists-practitioners, prepared by the author’s team edited by Vasyl Lyzanchuk. Textbok absorbed some considerations and conclusions from previous theoretical developments, which found a new meaning here, deeper argumentation, supplemented by many interesting observations that correspond to the spirit of the time, the innovations that have appeared in recent years in the media space of Ukraine. The textbook has ten sections, each of which is designed to enrich the student with knowledge of television and radio communications, teach him or her all that a media professional should know and be able to apply it in practice. The titles of the sections indicate their practical orientation: «Basic methodical measures of functioning of information radio and television genres», «How we analyze, interpret, explain facts, events, phenomena», «Features of the creation of artistic programs on radio and television» and others. All sections of the textbook are meaningfully connected and constructed in such a way as to provide students with the opportunity to gradually, step by step to deepen their theoretical and practical knowledge of television and radio communications. This is undoubtedly the merit of the authors of the edition. The student will benefit from the numerous examples of television and radio materials prepared by the students themselves. Their creative work should convince that this work can serve as a stimulus for creative work for future journalists during their years of study. In addition to professional competence, as rightly emphasized in the textbook by Professor Vasyl Lyzanchuk, “It is very important to form in students, future journalists, socio-national competence, deep understanding of the essence of freedom of speech and responsibility for the content of the spoken word and image, to develop the belief that they are active participants in the Ukrainian state-building processes, and not intermediaries or repeaters of information”. It should be noted that the educational element is present throughout the textbook starting with the first chapter, historical (author Professor Ivan Krupskyi). While studying this textbook, students should realize that from the honor of journalists, their dignity, patriotism depends on the honor, authority, bright name of Ukraine, its future; that their assertion of Ukrainian national identity is the key to further prosperity of our state.
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, marzec 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.
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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena i Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, grudzień 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.