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Artykuły w czasopismach na temat "Western art canon"
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Citron, Marcia J. "Women and the Western Art Canon: Where Are We Now?" Notes 64, nr 2 (2007): 209–15. http://dx.doi.org/10.1353/not.2007.0167.
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Мельничук, М. С. "РЕЛІГІЄЗНАВЧО-ФІЛОСОФСЬКА ТРАНСКРИПЦІЯ СИМВОЛУ ТА КАНОНУ В КОНТЕКСТІ РЕЛІГІЙНОГО МИСТЕЦТВА". Humanities journal, nr 3 (22.12.2018): 72–77. http://dx.doi.org/10.32620/gch.2018.3.07.
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The article makes an attempt to reveal the peculiarities of influence of such components of religious art as symbol and canon, in the context of the impact on man as a whole. The researcher is interested in the process of their functioning in religious art, both from the side of religious-philosophical analysis and from the point of view of art studies.The symbol, as an integral part of religion, serving both a liturgical and ritualistic function, is the embodiment of the existential meaning of the divine world, immutable and eternal. The symbols clearly demonstrate the presence in the earthly reality of the very beginning of the transcendent, formulating the original position of the connection of the world sinful and sacred. This is their main purpose. Hence, the saturation of religious-cultural symbols with a variety of historical, social, moral-ethical, aesthetic, modern, mystical-esoteric, and other meanings syncretically link in one indissoluble sense, which is involved in the transcendental mystery of being. Hence, the exceptional generalization of religious symbols, due to its abstract nature, maintains its cultural content within the enormous time and space dimensions of epochs, supranational and transgovernmental communities in world religions. Symbolism in religious art allows us to relate the experiences of millions of people to some kind of integrality, different in their ethnic origins and cultural traditions; to act as a form-forming and system-forming factor of separate cultures and whole civilizations.The Canon as a certain law, which is a typical example for imitation, may be not only religious, but also artistic. The canons of artistic and religious origins are born as an integrity that is difficult to divide, but each of them has its own specifics. The canon is often considered only as a factor limiting the artist, but it also has the other side. Compliance with the canon allowed the artist - even a mediocre one - to reach a high level of artistic creativity. Thus, the average level of mass art production, for example, the ancient Russian icons due to the hard canon is very high. The true artist, working on nuances of artistic form, could show his personality and creative genius.The symbolic and canonical components of religious art were unable to completely determine peculiarity or uniqueness of artistic thinking. Only in certain historical frameworks they were able to organize the stability of artistic integrity at a specific content-formal level. Moreover, the canon emphasized the talent and originality of the artist who created within its framework, as in order to create a significant work of art within the framework of the canon, it is necessary to have a great creative potential, the ability to overcome existing stereotypes. Thus, for example, Andrei Rublev’s works were carried out within the limits of the Orthodox, Christian canons, but at the same time it went beyond its formal boundaries, becoming a peculiar and unique phenomenon of the Eastern Slavic culture. The same were the works of other world artists who represented religious and sacred art of the Western Church - each of their geniuses went beyond the narrow limits of theological prescriptions, which is due to the unsurpassed perfection of their artistic creativity, and as a result, the world’s artistic heritage.
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ZASLAW, NEAL. "THE NON-CANONIC STATUS OF MOZART’S CANONS". Eighteenth Century Music 3, nr 1 (marzec 2006): 109–23. http://dx.doi.org/10.1017/s1478570606000510.
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Mozart's canons are rather inadequately represented in the Köchel catalogue and the Neue Mozart Ausgabe. The same may be said about other music for his immediate circle of friends, colleagues and patrons, as well as his dance music and his contributions to pasticcios. Neglect of these ‘minor’ genres perhaps arises at least in part from anachronistic paradigms, for instance ‘masterpieces for posterity’. And the canons suffer additionally from the peculiar nature of their sources and transmission, from uncertainty about the position of canons in the ‘canon’ of Western art music and probably also from embarrassment over some of Mozart’s texts. Mozart’s canons have been studied not only less often than his operatic, church, chamber and orchestral music, but also less well.
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Barak, Noa Avron. "The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art". Arts 9, nr 2 (26.03.2020): 42. http://dx.doi.org/10.3390/arts9020042.
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This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Artists Society. Examining texts and artworks associated with these institutions through the prism of migratory aesthetics, I claim that the art made by Jerusalem’s artists was rooted in their diasporic identities as East or Central European Jews, some German-born, others having settled in Germany as children or young adults. These diasporic identities were formed through their everyday lives as members of a Jewish diaspora in a host country—whether that be the Russian Empire, Poland, or Germany. Under their arrival in Palestine, however, the diasporic Jewish identities of these immigrants (many of whom were not initially Zionists) clashed with the Zionist–Jewish identity that was hegemonic in the nascent field of Israeli art. Ultimately, this friction would exclude the immigrants’ art from being inducted into the national art canon. This is misrepresentative, for, in reality, these artists greatly influenced the Zionist nation-building project. Despite participating in a number of key Zionist endeavours—whether that of establishing practical professions or cementing the young nation’s collective consciousness through graphic propaganda—they were marginalized in the artistic field. This exclusion, I claim, is rooted in the dynamics of canon formation in modern Western art, the canon of Israeli national art being one instance of these wider trends. Diasporic imagery could not be admitted into the Israeli canon because that canon was intrinsically connected with modern nationalism.
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Schefold, Reimar. "Stylistic canon, imitation and faking: Authenticity in Mentawai art in Western Indonesia". Anthropology Today 18, nr 2 (kwiecień 2002): 10–14. http://dx.doi.org/10.1111/1467-8322.00109.
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Lahoda, Vojtech. "Cubism Translated? The Western Canon of Modernism and Central/Eastern European Art History". Art in Translation 2, nr 2 (czerwiec 2010): 223–38. http://dx.doi.org/10.2752/175613110x12706508989532.
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Bauduin, Tessel M., i Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)". Journal of European Periodical Studies 4, nr 1 (30.06.2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.
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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art from a wide variety of periods and geographic locations, and in very differing media, including jewelry and vessels, murals, bronze church doors, and manuscript illuminations. The glossy art review Minotaure, which came with coloured inserts, was more conventional in its selection, reproducing primarily late-medieval and renaissance art works, mainly (panel) paintings. However, the intention is just as contrary, as late-medieval and renaissance art in Minotaure is framed in terms of surrealist aesthetics in a manner undermining the conventional canon. In Documents medieval art primarily serves to makes points about style and iconography, which is often posited as primitive or exotic. In Minotaure, medieval art serves to make points about Surrealism, about the oneiric qualities of form or iconography. Both periodicals offered an interesting array of medieval and renaissance art and introduced this art into the surrealist discours.
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D'Souza, Aruna. "In the Wake of “In the Wake of the Global Turn”". ARTMargins 1, nr 2–3 (czerwiec 2012): 176–85. http://dx.doi.org/10.1162/artm_r_00027.
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This article looks back on the consequence, for a scholar of the art of the western canon, of a two-day conference held at the Clark Art Institute titled “In the Wake of the Global Turn: Propositions for an Exploded Art History Without Borders.” The author reflects on the pedagogical challenges of the ethical and political project of reimagining the limits of the discipline in both geographic and theoretical terms in order to accommodate issues of the untranslatable, incommensurable, and irresolvable when it comes to visual cultures from around the world. As well, the article touches on the ways in which attempts to “expand” the discipline through efforts at writing a global art history have merely reentrenched outmoded ideas about cultural power rather than dislocated the most limiting terms of art historical analysis.
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Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)". British Journal of Music Education 37, nr 1 (16.11.2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.
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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on canonic knowledge rather than skills-based learning. In musical terms, this has reinforced the value of ‘prescribed works’ in A-level music specifications.Thus far, little attention has been paid to the extent to which a kind of scholastic canon is maintained in the Western European Art Music section of the listening and appraising units in current A-level music specifications. Though directed in part by guidance from Ofqual (Office of Qualifications and Examinations Regulation, the regulatory body for qualifications in England), there is evidence of a broader cultural trend at work. The present article seeks to compare the historical evidence presented in Robert Legg's 2012 article with current A-level specifications. Such a comparison establishes points of change and similarity in the canon of composers selected for close study in current A-levels, raising questions about the purpose and function of such qualifications.
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West, Julia Maurine. "Canonized repertoire as conduit to creativity". International Journal of Music Education 37, nr 3 (17.04.2019): 407–24. http://dx.doi.org/10.1177/0255761419842417.
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Evidence found throughout the history of Western European art music reveals traditions that encompassed improvisation. This furthers the idea that without improvisation, music education based on canonized works of Western European art music is incomplete. When the goal of music education is to preserve works exactly as notated, improvisation occupies a marginal role in representations and practices commonly associated with the canon. Drawing upon participant observation and semi-structured interviews, this ethnographic case study investigates narratives of experience and pedagogical strategies of two Dalcroze music teacher-participants who treat canonized repertoire as an impetus to creative thought. Field sites included a kindergarten and an adult music class. Several themes emerged from the data analysis, providing a basis for understanding how previous experiences influence classroom practices and pedagogical strategies for opening creative processes in interaction with canonical repertoire. Findings show that the teacher-participants consider improvisation as inextricably linked to other musical processes and conceive of teaching itself as improvisation, treating features of repertoire as material for creative development. By revealing pedagogical practices that offer exceptions to an established model, this study illuminates patterns of interaction that challenge a widespread view of music education based on Western European art music as enacting static preservation.
Rozprawy doktorskie na temat "Western art canon"
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Batorowicz, Beata Agnieszka, i n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship". Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.
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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art historys patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
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Batorowicz, Beata Agnieszka. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367273.
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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history's patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Bell, Robyn Lee. "Western art canon versus Rock 'n' Roll: a comparative case study of two high school general music classes". Thesis, 2015. https://hdl.handle.net/2144/16076.
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High school general music classes often primarily consist of lectures about the Western art canon, despite repeated calls for a popular music focus (Deal, 1984; Miceli, 1998; Snell, 2007; Thompson, 1979; Woody, 2007). It is argued that the latter approach can alleviate student apathy toward class content and boredom, provide more meaningful learning experiences for the students, and create a more positive experience for the teacher.
The purpose of this study is to examine the experiences of students and teachers in both a traditional general music class and a popular music-focused general music class. In this qualitative comparative study, I studied two high school general music classes in Tennessee and investigated the experiences of the students and teachers with respect to subject matter, teaching techniques, and meaningful learning. My data sources were interviews with teachers and students, classroom observations, and classroom archival documents. I analyzed the data using interpretive coding guided by a constant comparative approach.
Cross-case emergent themes involving meaningful learning included students' preference for music studied at the end of the semester and a high level of student-teacher interaction and engagement when studying popular styles of music. Regarding curricula and teaching methods, cross-case themes showed similar attitudes and frustrations for teachers and students in both classes. Within-case themes in the Music for Listeners class included an expressed student desire to learn popular music, student lack of understanding of the Western art canon, and student ability to connect class topics to outside of school activities. Within-case themes in the Development of Rock 'n' Roll class illustrated the importance of delivery style and technology in the general music classroom.
I concluded that a combination of curriculum and teaching style produced differing experiences for the students and teachers. Based on the results of this study, suggestions for education profession include employing a genre of music that is meaningful to the students in their daily lives; engaging students in conversations about the music they enjoy; avoiding "busy work" and ensuring that assignments are relevant; and providing ample music listening opportunities.
Książki na temat "Western art canon"
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The ambassadors of death: The sister arts, western canon and the silent lines of a Hebrew survivor. Brighton: Sussex Academic Press, 2011.
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The hongs of Canton: Western merchants in south China 1700-1900, as seen in Chinese export paintings. London: English Art Books, 2009.
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Conner, Patrick. The hongs of Canton: Western merchants in south China 1700-1900, as seen in Chinese export paintings. London: English Art Books, 2009.
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Conner, Patrick. The hongs of Canton: Western merchants in south China 1700-1900, as seen in Chinese export paintings. London: English Art Books, 2009.
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Rogers, Hiromi T. Anjin - The Life and Times of Samurai William Adams, 1564-1620. GB Folkestone: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9781898823858.
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The year is 1600. It is April and Japan’s iconic cherry trees are in full flower. A battered ship drifts on the tide into Usuki Bay in southern Japan. On board, barely able to stand, are twenty-three Dutchmen and one Englishman, the remnants of a fleet of five ships and 500 men that had set out from Rotterdam in 1598. The Englishman was William Adams, later to be known as Anjin Miura by the Japanese, whose subsequent transformation from wretched prisoner to one of the Shogun’s closest advisers is the centrepiece of this book. As a native of Japan, and a scholar of seventeenth-century Japanese history, the author delves deep into the cultural context facing Adams in what is one of the great examples of assimilation into the highest reaches of a foreign culture. Her access to Japanese sources, including contemporary accounts – some not previously seen by Western scholars researching the subject – offers us a fuller understanding of the life lived by William Adams as a high-ranking samurai and his grandstand view of the collision of cultures that led to Japan’s self-imposed isolation, lasting over two centuries. This is a highly readable account of Adams’ voyage to and twenty years in Japan and that is supported by detailed observations of Japanese culture and society at this time. New light is shed on Adams’ relations with the Dutch and his countrymen, including the disastrous relationship with Captain John Saris, the key role likely to have been played by the munitions, including cannon, removed from Adams’ ship De Liefde in the great battle of Sekigahara (September 1600), the shipbuilding skills that enabled Japan to advance its international maritime ambitions, as well as the scientific and technical support Adams was able to provide in the refining process of Japan’s gold and silver.
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Balbierz, Jan, red. Strindberg and the Western Canon. Wydawnictwo Uniwersytetu Jagiellońskiego, 2020. http://dx.doi.org/10.4467/k7068.245/19.19.15526.
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During the whole of his writing career August Strindberg was a restless canon-maker. In his capacity as writer, librarian, cultural scholar, polemicist and amateur researcher he constantly quoted sources, both historical and contemporary, included and excluded certain authors in his own work, as well as re-evaluated the boundaries of aesthetics and culture around the turn of the twentieth century. At the same time, he was a very active author in his own right, living in self-imposed exile but in close contact with cosmopolitan intellectual circles. All of this raises questions about his relationship with the literary and cultural canon. The dynamics between local and global culture define the whole of his oeuvre and make him one of those European authors who are readily interpreted in the context of Weltlitemtur. Strindberg was a multilingual cosmopolitan, an emigrant, theosophist, and reporter. In his capacity as a writer, with his gaze trained upon both East and West, he absorbed impressions from the universalist tendencies of the J7W de siecle. His ambition to join the global "Republic of Letters" led him to study French, Hebrew, the Chinese system of logograms, Russian literature, and the history of the Middle East. This volume, edited by Jan Balbierz, gathers contributions from renowned Strindberg scholars and discusses questions, such as: How did Strindberg construct his predecessors and which traditions did he associate himself with? How is a Strindbergian text altered in performative practice in theatre and film? How did Strindberg, whose writings are deeply rooted in Swedish folklore and landscape, relate to foreign cultural.
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Kivy, Peter. The Dilemma of Emma. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689414.003.0009.
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In the Penguin Classics edition of Jane Austen’s Emma, the editor of the volume, Fiona Stafford, writes: “From its first appearance, late in December 1815, Emma has been criticized for its lack of action. . . .” These are harsh words for a novel, suggesting deficiency in story. Is Emma then a failed novel? Yet the novel is published in a series called Penguin Classics. In other words, Emma belongs to the Western literary canon. That hardly spells “failure.” It appears that Emma presents a kind of informal paradox or dilemma for the philosophy of art. Emma, although it is agreed on all hands to belong to the canon, far from telling a whopping good story, is agreed on all hands to be sadly deficient in the storytelling department. It is this dilemma or paradox that is the subject of this chapter.
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Merchant, Tanya. Like Tereshkova in the Cosmos. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0004.
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This chapter examines how women perform post-Soviet nationalism using the canon of European classical music by focusing on a project designed to produce Uzbek Western art music, one that retains prominence in independent Uzbekistan. The project has involved getting composers engaged in the creation of a sense of Uzbek style in composition. In Uzbekistan, from remarkably early in the Soviet period, women have been important figures in the performance and promulgation of Uzbek compositions. The chapter first provides a historical overview of Western art music in Soviet Uzbekistan and compares it with Western art music in independent Uzbekistan. It then considers how women's performances support a construction of national identity that began in the Soviet era and continues today. The chapter features interviews with Dilbara Abdurahmanova, the first female director of the Alisher Navoiy State Opera, and prominent pianist and former conservatory director Ofeliya Yusupova. By far the most pervasive musical style heard in Tashkent, popular music, known as estrada, provides audiences with a glamorous construction of Uzbek femininity.
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Voloshchuk, Yevgeniya, i Boris Bigun. The Era of “isms”: Modernism and Avantgarde in Western European Literature of the First Half of the XX Century. PH “Akademperiodyka”, 2014. http://dx.doi.org/10.15407/akademperiodyka.275.324.
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The book by Ye.V. Voloshchuk and B.Ya. Bigun “The Era of “isms”: Modernism and Avantgarde in Western European Literature of the First Half of the XX Century” highlights the basic theoretical and historical-literary issues of contemporary modernism studies, as well as a number of literary portraits of classics of modernism and avantgarde. Reviews of artistic practice of artists are supplemented by the analysis of some of their works, which are included in the literary canon of the XX century. The publication is intended for students of philological faculties, masters, graduate students, teachers, as well as anyone interested in world literature of the XX century.
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El-Rouayheb, Khaled, i Sabine Schmidtke. Introduction. Redaktorzy Khaled El-Rouayheb i Sabine Schmidtke. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199917389.013.40.
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The study of Islamic philosophy has recently entered a new and exciting phase. Both the received canon of Islamic philosophers and the grand narrative of the course of Islamic philosophy are in the process of being radically questioned and revised. The bulk of twentieth-century Western scholarship on Arabic or Islamic philosophy focused on the period from the ninth century to the twelfth. It is a measure of the transformation that is currently underway in the field that the present Handbook gives roughly equal weight to every century from the ninth to the twentieth. Moreover, its entries are work-centered rather than person- or theme-centered.
Części książek na temat "Western art canon"
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Carrico, Alexandria, i Katherine Grennell. "Case Studies of Disabled Composers and Musicians in the Western Art Music Canon". W Disability and Accessibility in the Music Classroom, 45–85. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003222224-4.
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Ford, Biranda. "From a Different Place to a Third Space: Rethinking International Student Pedagogy in the Western Conservatoire". W The Politics of Diversity in Music Education, 177–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_13.
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AbstractConservatoires in the West are now made up of a significant body of international students who come to study the Western canon of classical music. With the canon arising in the same milieu as Enlightenment notions of shared humanity, historically, many have argued that this music has a wide, cross-cultural appeal. Though such tropes of classical music still exist, they also have the potential today to act as awkward anachronisms, markers of elitism, whiteness and cultural hegemony. This chapter starts from the perspective that the considerable economic contribution of international students to host institutions risks reproducing colonial relations if their pedagogical experiences are not thought through carefully. Looking to postcolonial theory to make sense of the dynamics at play, key concepts from Homi Bhabha are used as a lens to view the conservatoire. It is argued that international students are marginalized through stereotyping and positioned ‘in need’ of a Western education, even with attempts to bring their cultural experience of learning into account. I advocate that the conservatoire must move beyond its attempts to contain the effects of cultural diversity and instead harness the potential for self-renewal that comes from embracing cultural difference in a third space.
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Kozinchuk, Vitalii. "PRESERVATION OF THE ICONOGRAPHIC CANON AMONG UKRAINIAN DIASPORA". W Art Spiritual Dimensions of Ukrainian Diaspora, 70–84. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-4.
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Iconography of the Ukrainian diaspora is an important component of Ukrainian (Western Ukrainian) canonical sacred art. Genetically, the iconography of the Ukrainian diaspora is based on the principles of Byzantine iconography, which included the color canon, the compositional canon and the canon of proportions, which performed important functions in Byzantine art. Ukrainian artists of the diaspora, adhering to the Byzantine iconographic canon, believed that it brings to the art information of utilitarian, historical and narrative plan. Scientific intelligence is devoted to these issues. The purpose of the section is to analyze the preservation of the iconographic canon in the sacred art of artists of the Ukrainian diaspora in the United States, Canada and Western Europe. It is necessary to consider the Byzantine iconographic rules, which serve as an artistic scheme for the creation of Christological, Mariological and festive themes in the iconography presented in the temples of ethnic minorities. Using the principles of Byzantine aesthetics, the diaspora artists of Ukrainian origin (Petro Kholodny Jr, Sviatoslav Hordynsky, Juvenal Mokrytsky and Khrystyna Dokhvat) managed to preserve the ancient Eastern Christian tradition of cult painting. The art of the above-mentioned artists is based on strict artistic rules recognized by the official Church after the Trullian Council (691-692), the Seventh Ecumenical Council (787) and the «Triumph of Orthodoxy», associated with decisions to introduce the dogma of icon worship in Constantinople Council (843). Preservation of the iconographic canon in the Ukrainian diaspora is a manifestation of the ancient Christian artistic spirit, which determined the types of major saints. The principles of the iconographic canon used in the painting of the Ukrainian diaspora also substantiated the location of the main gospel scenes in certain places on the walls of Christian religious buildings.
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Collins, Paul. "Museums as Vehicles for Defining Artistic Canons". W Testing the Canon of Ancient Near Eastern Art and Archaeology, 232–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190673161.003.0011.
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The modern Western encounter with the ancient Near Eastern canon has been mediated largely by museums. Indeed, for the vast majority of specialists and nonspecialists alike the material remains of the ancient Near East are accessible firsthand only through museums. This point is significant because it is now recognized that museum exhibitions and displays have an important role in the formation of disciplinary knowledge. This chapter considers the ways in which the British Museum in London has historically presented and thereby potentially shaped and reiterated canons of ancient Near Eastern art and archaeology, and how it was received and shaped in turn by the nonspecialist visitor. The British Museum has been selected because of its significant collections but also for its long institutional history that reflects changing approaches to display and interpretation.
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Dunbar, Julie C. "Medieval Liturgical Roots and the Documentation of the Western Art Music Canon". W Women, Music, Culture, 24–42. Routledge, 2020. http://dx.doi.org/10.4324/9780429028694-3.
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Arnold, Dana. "3. A global art history?" W Art History: A Very Short Introduction, 48–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198831808.003.0003.
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Are the practices of Western art history appropriate for the study of art from cultures outside its geographical boundaries and conventional timeframe? The bias in this interpretation of the subject opens up the questions of the importance of the canon in art history and how we view non-figurative, primitive, and naive art. ‘A global art history?’ considers a range of different examples of artistic practice from around the world, including the sculpture of the Dogon people of Mali and the calligraphy of Wu Zhen, who was active during the Yuan Dynasty (1271–1368). It also discusses what is meant by the ‘primitive’ arts of Oceania, Africa, and North and South America.
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Redaelli, Maria. "Timur Novikov. L’attualità del passato". W Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/016.
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This contribution focuses on the activity of Timur Novikov (1958-2002) and his dynamic approach to Western or national patterns, to classicism or avant-gardism. His artistic activity stands as the perfect case study when discussing appropriations and negations in the development of an artistic canon. The focal point for interpreting Novikov’s dynamical activity is his trademark parodic approach to his work, through the use of the so-called stiob, and in the text this aspect will be analysed on the basis of Linda Hutcheon’s theory of parody ([1985] 2000). Examining Novikov’s career, taking and denying different aesthetic canons, is essential to understand the development of Russian contemporary art.
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Palis, Eleni. "Quoting Genre and Creating Canon". W Classical Projections, 16–32. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197558171.003.0002.
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Chapter 1 interrogates the (incorrect) popular and scholarly assumption that both allusion in general and film quotation in particular is unique to or revolutionized by the “film generation,” the first major cohort of film school–educated filmmakers. Peter Bogdanovich’s Targets (1968) and Martin Scorsese’s Mean Streets (1973) both reflect the ongoing transition between classical and post-classical industry and style; therein film quotation provides strategic authorial and authenticating presences, through which Bogdanovich and Scorsese assemble and then insert themselves into a classical “canon.” Bogdanovich and Scorsese’s strategic, selective film quotational practice positions classical Hollywood as their patrilineal “inheritance,” as young white, straight men breaking into a historically white, straight, male-dominated industry. These demographic claims to a “classical” art-historical and industrial inheritance appear in their classical Hollywood quotations, which emphasize male spectacle, especially in the Western and film noir genres, to validate masculine genealogy, ownership, and power during Hollywood’s post-classical period.
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Altman, Andrew. "The MacKinnon-Dworkin Ordinance". W Debating Pornography, 114–23. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199358700.003.0005.
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Several decades ago, Catharine MacKinnon and Andrea Dworkin formulated and advocated for legislation to restrict pornography. Repudiating the obscenity approach, the legislation was shaped as addressing the equal civil rights of women. This chapter explores their ordinance and criticizes important aspects of it. Even though many critics of the ordinance exaggerate the legal restrictions that it imposes, MacKinnon’s claim that the law has nothing in common with censorship is rejected. And the ordinance would arguably make actionable the display of works belonging to the canon of great Western art, notwithstanding MacKinnon’s contention to the contrary.
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"Silence in the Western Canon". W Decolonizing Arts-Based Methodologies, 1–16. Brill | Sense, 2020. http://dx.doi.org/10.1163/9789004446120_001.
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Лещенко, С., S. Leschenko, А. Катлине Коблев i A. Katline Koblev. "ANALYSIS OF BANK PROTECTION MEASURES CANYON IN THE COAST OF NEW IMERETI VALLEY IN THE ADLER DISTRICT OF SOCHI". W Sea Coasts – Evolution ecology, economy. Academus Publishing, 2018. http://dx.doi.org/10.31519/conferencearticle_5b5ce3d0199488.77738502.
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The Imeretinsky lowland – the central fragment of a large Black Sea terrace of the Caucasian coast of Russia, is located in interfluve the rivers Mzymty and Psou. In its central and western part large sports complexes of the winter Olympic Games "Sochi-2014" and the Olympic village are under construction. It has led to necessity of engineering protection of coast from the constructed port Imeretinsky to east board of cape of Konstantinovsky.
In the report the site located from the Southern pier of port to the western board of cape of Konstantinovsky is considered. On a site the underwater canyon Novuy is located. To provide stability of a shore, the project of coastal protection now is realized. This project provides building in a surface part of a beach ferroconcrete grille on piles and a slope from concrete cubes. Before should be fill an artificial pebble beach in width not less than 50 m.
As has shown inspection of coastal protection constructions, rates a beach lag behind rates of its washout. The width of a surface beach makes now no more than 13 m. For scoping executed embankments sandy a material comparison bathymetric shootings before port building (2007) has been made and April, 2012. By comparison is established that slept pebble the material is at the bottom and doesn't move waves on coast.
Thus, massed filling the pebble material, coasts of Imeretinsky lowland spent recently on a considered site, haven't led to formation of a steady surface beach in design width of 50 m.
On this site, and also on a site around Konstantinovsky's canyon updating of design decisions is required.
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Gueveneux, Hervé, i Philippe Le Buhan. "Hybrid Riser Tower Design: Evolution, Operational Efficiency and Compliance to Ultra Deep Offshore Challenge". W ASME 2014 33rd International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/omae2014-23882.
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The riser system selection and sizing is one of the most challenging design issues of the subsea world specifically for deepwater applications. Bundle riser towers have been used for few deep water developments since the late 1990s and have demonstrated their capacity to meet the operational constraints in terms of field layout congestion, flow assurance, mechanical design, fabrication and installation etc. From the pioneer application in the Gulf Of Mexico (Green Canyon 29 – 1988) to the 2nd generation systems in Western Africa (GIRASSOL to Rosa or CLOV), the design of Hybrid Riser Towers has evolved to improve mechanical robustness, installation efficiency and operability. This article reviews the past evolutions and gives an overall view of the performance achieved so far, mainly in West African sectors. The move of the offshore industry towards ultra-deep (WD > 1800m) and/or marginal fields may trigger some additional design evolutions which are highlighted in the article, with a focus on the water depth increase considering environmental conditions met on previous projects. The feasibility in harsher conditions is not addressed in this document. In addition, the challenges raised by the engineering of such deepwater Hybrid Riser Tower concepts are discussed: • Structural models of different scales shall be used to properly account for potential couplings between the global behavior of the whole tower with the local responses of each individual component; • Top and bottom assemblies as well as the rigid or flexible spools, the piping and connectors shall be introduced into the FE models to define correct boundary conditions to the HRT; • Slug or severe internal flows shall be considered for fatigue issues requiring complex models which combine CFD and structural calculations; • Risks of hydrodynamic instabilities shall be assessed like plunge and torsion galloping for non-cylindrical sections and VIV for bare peripherals; • A specific attention shall be paid to the fatigue budget spent from towing and Installation to the In-place configuration.
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Acheampong, Samuel, William Ampomah, Jiawei Tu, Robert Balch, Matt Eales, Robert Trentham, Richard Esser, Candace Cady, Martha Cather i El-Kaseeh George. "Development of Site Characterization and Numerical Modeling Workflow of Acid Gas Injection for MRV-45Q Application". W SPE Improved Oil Recovery Conference. SPE, 2022. http://dx.doi.org/10.2118/209416-ms.
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Abstract As part of the project funded under the Carbon Utilization and Storage Partnership (CUSP) of the Western United States, this paper demonstrates a workflow including site characterization and numerical simulation efforts of proposing a Monitoring, Reporting, and Verification (MRV) plan to the U.S. Environmental Protection Agency (EPA) for approval according to 40 CFR 98.440 (c)(1), Subpart RR of the Greenhouse Gas Reporting Program (GHGRP) to qualify for the tax credit in section 45Q of the federal Internal Revenue Services (IRS) Code. In this project, the injectors and treated acid gas (TAG) plant are located at the northern margin of the Delaware Basin, a highly productive hydrocarbon basin in southeastern New Mexico. The target injection zones are the Permian-aged Cherry Canyon Formation for the acid gas injection (AGI) #1 well and Siluro-Devonian formations for the AGI #2 well, storage zones above and beneath active hydrocarbon pay zones respectively. The storage zones and caprocks are characterized through well log examinations, formation fluid chemistry evaluation, faults identification and interpretation. Reservoir models were constructed and simulation performed to predict the extent of the TAG plume after 30 years of injection with 5 years of post-injection site care monitoring. The reservoir mapping and cross sections interpreted from well logs indicate that the area around AGI #1 does not contain visible faulting or offsets that might influence fluid migration, suggesting that injected fluid would spread radially from the point of injection with a small elliptical component to the south. In the Siluro-Devonian formation, where AGI #2 is planned to be completed. The induced-seismicity risk assessment shows that the operation of the proposed injection combined with the historic volume contributions of the regional saltwater disposal (SWD) wells is not anticipated to contribute significantly to injection-induced fault slip. This result demonstrates that acid gas can be injected as proposed while maintaining the minimal risk of induced seismicity. The water sample collected from a nearby well indicates that the formation waters are highly saline (180,000 ppm NaCl) and compatible with the proposed injection. The reservoir simulation results indicate that the TAG plume is predicted to extend a maximum of 1.2 km from the injector wellbore when the identified faults are treated as non-transmissive and 0.90 km when they are treated as transmissive. The pressure profiles demonstrate the strong potential for safe injection into both target formations. In December 2021, the United States Environmental Protection Agency (EPA) approved the Monitoring, Reporting, and Verification (MRV) plan, permitting Lucid Energy to sequester acid gas from its Red Hills gas processing complex in Lea County, New Mexico. This paper provides the industry with a critical roadmap for converting existing injectors into CO2 or TAG sequestration wells that may qualify for 45Q tax certification to comply with the current administrative regulations. As part of the project funded by Carbon Utilization and Storage Partnership (CUSP) of the Western United States, published data from this project is invaluable.
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Rudnicka-Bogusz, Marta. "Standardization and innovation in military housing, leisure homes and public buildings in the interwar period Poland." W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002340.
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When after WWI Poland regained its independence, in the need to repair war damage the young state saw an opportunity to modernize and visually unify the country after a century of tripartite partitions. The difficult housing conditions severely affected the officers and non-commissioned officers (NCO’s), as the garrisons were established anew and the personnel did not have lodgings from the pre-war times and did not have the funds to purchase them. In 1925, an act was passed establishing the Military Housing Fund with a budget of 140 million polish zotych. In the years 1927-1934, the Fund built 542 houses. One of the mottos of the organization was: to provide sunlight, water supply, sewage systems and bathrooms in all apartments. This guiding principle about hygienic living and the strict economic requirements naturally put military construction on the path of modernism. Modernism was also deprived of any historic connotations and internationally popular, making it the ultimate tool of Europeanization - reducing the difference between Poland and Western Europe.Due to the rank of the institution and the propagandist significance of its investments, the Ministry of Military Affairs often had prestigious locations at its disposal. Many of the designs for these plots were selected through open competitions, leading to the selection of top-class solutions, thanks to the participation of the most important polish modernist architects of the interwar period: R. Gutt, J. Szanajca and B. Lachert. The campaign of housing construction was concentrated mainly in Warsaw, where the percentage of officers and NCO’s in the garrison was high - due to the tasks performed in the Ministry. Guided by the principle of economics of house construction and space ergonomics in the arrangement of apartments, in Warsaw the Fund built mainly multi-family buildings bearing fruit in the form of solutions that have ever since been cited as the canon of Polish modernism. Adhering to these standards typical layouts were worked out for swift and healthy construction and repeated throughout the country. This way, the best cosmopolitan patterns in the second half of the 1930s, when the construction was booming, were also transferred to smaller garrisons, contributing to the modernization of the deep provinces.Apart from the lack of housing, the military and their families suffered from pulmonary diseases and rickets resulting from poor living conditions. In order to remedy these problems, the Fund also dealt with the construction of sanatoriums, hospitals, physical education centers, as well as holiday homes for military personnel.The emerging democratic structures of the reviving state also wanted to be perceived as forward thinking, ordering designs from the Fund. Modernism was well suited for the design of the remaining garrison and state buildings, as they also needed to be functional, affordable to build, easy in maintenance and ergonomic. The influential period journal “Architecture and Construction” mentions such investments as airports, ministry offices, barracks, commanders' villas, etc. all adding up to an image of army as a forward thinking engine of progress.
Raporty organizacyjne na temat "Western art canon"
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Lane, L. S., i M. P. Cecile. Bedrock geology, Mount Hare, Yukon, NTS 116-I/9. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/290067.
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The Mount Hare map area extends across the western limb of the Richardson anticlinorium in the southern Richardson Mountains, northern Yukon. It is underlain by four Paleozoic sedimentary successions: middle Cambrian Slats Creek Formation, middle Cambrian to Early Devonian Road River Group, Devonian Canol Formation, and Late Devonian to Carboniferous Imperial and Tuttle formations. The Richardson trough depositional setting of the first three successions is succeeded by a deep-marine, turbiditic Ellesmerian orogenic foredeep setting for the Imperial-Tuttle succession. The carbonate-dominated Road River Group defines a west-dipping homocline which is transected by oblique transverse faults in its upper part. In the overlying Imperial-Tuttle succession, map-scale folds can be defined where shales are interbedded with thick persistent sandstone units. The structural geometry reflects Cretaceous-Cenozoic regional Cordilleran tectonism.
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Lane, L. S. Bedrock geology, Mount Raymond, Yukon, NTS 116-I/8. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329963.
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The Mount Raymond map area incorporates the western limb of the Richardson anticlinorium, southern Richardson Mountains, northern Yukon. It is underlain by four Paleozoic sedimentary successions: middle Cambrian Slats Creek Formation, Cambrian to Early Devonian Road River Group, Devonian Canol Formation, and Late Devonian to Carboniferous Imperial and Tuttle formations. The Richardson trough depositional setting of the first three successions is succeeded by a deep-marine, turbiditic, Ellesmerian, orogenic foredeep setting for the Imperial-Tuttle succession. Several major thrust faults and related folds transect the map area from north to south. The carbonate-dominated Road River Group defines a west-dipping homocline, modified by the Mount Raymond thrust fault together with minor folds in its footwall. In the overlying Imperial-Tuttle succession, map-scale folds are defined where shales are interbedded with persistent sandstones. Steep reverse faults in the east may have reactivated Cambrian rift faults. The structural geometry reflects Late Cretaceous-Cenozoic regional Cordilleran tectonism.
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Cecile, M. P., B. S. Norford, G. S. Nowlan i T. T. Uyeno. Lower Paleozoic stratigraphy and geology, Richardson Mountains, Yukon (with stratigraphic and paleontological appendices). Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329454.
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The Richardson Trough was a rift basin on the southern margin of an ancestral Iapetus Ocean. It was part of a complex paleogeography that included at least two major rift basins on western Franklinian and northern Cordilleran continental shelves. This paleogeography included the Ogilvie Arch, Porcupine Platform, Blackstone 'supra-basin', Babbage Basin, Husky Lakes Arch, Richardson Trough, Mackenzie Arch, Lac des Bois Platform, and the White Mountains and Campbell uplifts. The Richardson Trough was the failed arm of a triple rift system that formed when an early Paleozoic Iapetus Ocean developed north of the trough. The Richardson Trough displays a classic 'steer's head' profile with two rift fill cycles. The first features late early to middle late Cambrian rifting and late late Cambrian to late Early Ordovician post-rift subsidence; the second, late Early Ordovician to early Silurian rifting and late early Silurian to early Middle Devonian post-rift subsidence. Lower Paleozoic strata exposed in the Richardson Trough range in age from middle Cambrian to early Middle Devonian and are similar to strata in their sister rift, the Misty Creek Embayment. Before this study, the stratigraphic units defined for the Richardson Trough were the Slats Creek Formation and the Road River Formation. Here, the Slats Creek Formation and a new Road River Group are recognized. In order, this group consists of the middle and/or late Cambrian to Early Ordovician Cronin Formation; the early Early Ordovician to latest early Silurian Mount Hare Formation; the early Silurian to late Silurian Tetlit Formation; and the late Silurian to early Middle Devonian Vittrekwa Formation. These Road River Group strata are unconformably overlain by the late Middle to Late Devonian Canol Formation (outcrop) and by the Early Devonian Tatsieta Formation (subsurface).