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1
Broner-Bauer, Kaisa. "Architectural visions." Approaching Religion 11, no. 1 (March 20, 2021): 77–97. http://dx.doi.org/10.30664/ar.98060.
Повний текст джерелаАнотація:
In this article I examine the architecture and architectural thinking of Finnish Academician Reima Pietilä (1923–93) in relation to his design methodology. Pietilä was an architect with an original, creative, artistic personality, who set out early in his career to develop the form language, and theory of modern architecture, moving it towards an organic expressionism. Finnish nature mysticism was a source of inspiration for him, and ‘nature architecture’ one of his key concepts.
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Wohl, Hannah. "Creative visions: Presenting aesthetic trajectories in artistic careers." Poetics 76 (October 2019): 101358. http://dx.doi.org/10.1016/j.poetic.2019.03.003.
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Ismail, Dr Nawzad Shukur, and Assist Lect Abdullah Ibrahim Faqi Salih. "Sensory and Mental images in the poetry of Hakim Nadim AL-Daoudi." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 227, no. 1 (December 1, 2018): 275–300. http://dx.doi.org/10.36473/ujhss.v227i1.695.
Повний текст джерелаАнотація:
The theme of the sensory and mental image in their general sense is a starting point for poets to enrich their poetic experiences and draw their artistic paintings that reflect their intellectual visions, feelings and emotions, taking into account the reality of living and imagination. This research deals with the patterns of sensory and mental images of the Iraqi expatriate poet Hakim Nadim Al- Daoudi, and reflects his poetic experiences, which were filled with visions, ideas and feelings in a beautiful artistic style with profound connotation based on his cultural references and linguistic vocabulary, which we rarely find in other poets who write in a non- native language. This is what enriched his poetic texts in terms of his realistic vision of the problems of his society with his intellectual and political dimensions, which cast a shadow on the identification of the features of his sensory and mental image, and the fact that he employs them through what he sees, hears, smells, touches, and tastes, his poetic vision formed a spirtual, spiritual paintings that takes the recipient away to the poetic self- worlds to share his artistic experience.
The research plan is based on the descriptive analytical approch divided in to two chapters, one of which deals with sensory images of the visual , physical, auditory, tactile and tactile types. In the second chapters we discussed the mental images that included the avator and the abstract images, concluded with the main findings of the research.
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McLennan, Matthew R. "Book Review: Julia Kristeva, The Severed Head: Capital Visions." Journal of French and Francophone Philosophy 21, no. 1 (May 31, 2013): 193–95. http://dx.doi.org/10.5195/jffp.2013.556.
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Grene, Nicholas. "Pierse, Mary (ed.), George Moore: Artistic Visions and Literary Worlds." ABEI Journal 9 (June 17, 2007): 203. http://dx.doi.org/10.37389/abei.v9i0.3705.
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McBrinn, Joseph. "Harry Clarke and Artistic Visions of the New Irish State." Journal of Modern Craft 12, no. 2 (May 4, 2019): 191–95. http://dx.doi.org/10.1080/17496772.2019.1620443.
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Camus, Albert, Jorge Amado, Alain-Philippe Durand, and Ralph Schoolcraft. "Formative Literary Visions and Prewar Politics." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 918–23. http://dx.doi.org/10.1632/pmla.2009.124.3.918.
Повний текст джерелаАнотація:
During the launching of the university of São paulo, The 1930s added another distinguished chapter to the storied history of Franco-Brazilian intellectual and artistic collaborations. Starting in 1934 several promising French scholars began teaching at this new academic institution. Among the most prestigious were the cultural anthropologist Claude Lévi-Strauss, the historian Fernand Braudel, the geographer Pierre Monbeig, the classicist Michel Berveiller, and the Portuguese-literatures specialist Pierre Hourcade (Riedinger 443).
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Hess, Karolina Maria, and Małgorzata Alicja Dulska. "Rose Cross, Saturn’s Menagerie and the Coal Mines of Silesia." Nova Religio 19, no. 4 (May 1, 2016): 57–79. http://dx.doi.org/10.1525/nr.2016.19.4.57.
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This article analyzes the artistic visions of Teofil Ociepka, an overground mine worker known as one of the Polish Naïve Art painters. The artist, who was strongly influenced by aspects of Western Esotericism, was the initiator and most prominent member of a Silesian occultist circle of painters called the Janowska Group. He believed that his artistic talent was given to him as an esoteric gift to use as a practice for self-development. Very colorful and uncommon visions of this and other worlds brought his artistic works popularity. His insight into the miners’ subterranean work, which can be understood as a kind of alchemical process, in combination with his extraterrestrial and celestial images produced a unique and inspiring collection of paintings. The article traces the esoteric inspirations in Ociepka’s painting in various periods of his career.
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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.
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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.
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Schwartz, Oscar. "Competing Visions for AI." Digital Culture & Society 4, no. 1 (March 1, 2018): 87–106. http://dx.doi.org/10.14361/dcs-2018-0107.
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Abstract In this paper, I will investigate how two competing visions of machine intelligence put forward by Alan Turing and J. C. R Licklider - one that emphasized automation and another that emphasized augmentation - have informed experiments in computational creativity, from early attempts at computer-generated art and poetry in the 1960s, up to recent experiments that utilise Machine Learning to generate paintings and music. I argue that while our technological capacities have changed, the foundational conflict between Turing’s vision and Licklider’s vision plays itself out in generations of programmers and artists who explore the computer’s creative potential. Moreover, I will demonstrate that this conflict does not only inform technical/artistic practice, but speaks to a deeper philosophical and ideological divide concerning the narrative of a post-human future. While Turing’s conception of human-equivalent AI informs a transhumanist imaginary of super-intelligent, conscious, anthropomorphic machines, Licklider’s vision of symbiosis underpins formulations of the cyborg as human-machine hybrid, aligning more closely with a critical post-human imaginary in which boundaries between the human and technological become mutable and up for re-negotiation. In this article, I will explore how one of the functions of computational creativity is to highlight, emphasise and sometimes thematise these conflicting post-human imaginaries.
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Beardsworth, Sara. "Keeping it Intimate: A Meditation on the Power of Horror." Journal of French and Francophone Philosophy 21, no. 1 (May 31, 2013): 127–31. http://dx.doi.org/10.5195/jffp.2013.579.
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The paper is a reading of Julia Kristeva, The Severed Head. It first interprets a dual historical element in Kristeva's text on "capital visions," her selection of exemplars of the artistic representation of severed heads. On the one hand, there are the aesthetic trajectories themselves, from skull art to artistic modernism. On the other hand, there is an implicit history of "horror" in psychoanalysis in this text, going from Freud through Lacan to Kristeva. The paper then indicates the tone of possibility and invitation that inhabits Kristeva’s treatment of horror in capital visions, which suggests that she does not divide aesthetics off from ethics. Finally, I underline the note of humor that enters into the psychoanalytic and aesthetic treatment of horror, once Kristeva has linked it to the feminine.
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Černauskienė, Aušra. "Novelty of Artistic Forms in Contemporary Lithuanian Architecture." Architecture and Urban Planning 11, no. 1 (July 1, 2016): 6–13. http://dx.doi.org/10.1515/aup-2016-0001.
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Abstract The article presents an analysis of the concept of novelty of artistic forms and its visual expressions in contemporary Lithuanian architecture. It is stated that the novelty is virtually manifested through utopian visions of the new world and their metamorphoses, and is made relevant by the method of experiment. Based on examples of Western European architectural utopias and experiments, the article suggests the formulated indicators of novelty, which are reflected in artistic forms of contemporary Lithuanian architecture. The aim of the research is to reveal the concept of novelty linking it with transformation and utopia, and illustrating it with the objects of contemporary Lithuanian architecture.
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Gurianova, Nina. "Visions, Wars, and Utopias of the Russian Avant-Garde." Experiment 23, no. 1 (October 11, 2017): 203–14. http://dx.doi.org/10.1163/2211730x-12341311.
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Abstract While the aspiration to harmony, utopian in its essence, became a distinctive feature in the particular vein of modernist aesthetics, interested in constructive principles, which came to the fore after the October Revolution in the early 1920s, another line, which will interest me the most in this essay, had been predominant during 1912-17, and developed in quite a different direction, striving for dystopia, dissonance, and the absurd. The metaphor of war in the pre-revolutionary avant-garde was paradigmatic to the concept of innovation and directly linked to the rather symbolic “destruction” of previous achievements. A deeper understanding of avant-garde ideology—on social, political, and aesthetic levels—appears when contextualized in relation to World War i. Natalia Goncharova’s series of lithographs Misticheskie obrazy voiny [Mystical Images of War] (1914), Pavel Filonov’s artist book Propeven o prorosli mirovoi [Canticle of World Flowering] (1915), Olga Rozanova’s linocut portfolio Voina [War] (1916), and Aleksei Kruchenykh’s album of collages Vselenskaia voina [Universal War] (1916) were among the most profound artistic responses to the war. These unique works represent three different artistic explorations of the theme, as reflected in neoprimitivist, futurist, and suprematist aesthetics.
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Munteanu, Anca. "Visionary and artistic transformations in Blake’s Visions of the Daughters of Albion." Journal of European Studies 36, no. 1 (March 2006): 61–83. http://dx.doi.org/10.1177/0047244106062560.
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Kostrzyńska-Miłosz, Anna. "Exhibition of Arts and Crafts in Vilnius 1924: Tradition or Modernity?" Acta Academiae Artium Vilnensis, no. 98 (February 8, 2020): 262–78. http://dx.doi.org/10.37522/aaav.98.2020.30.
Повний текст джерелаАнотація:
The paper analyses the Exhibition of Arts and Crafts opened on 15 September 1924 at the Vilnius Apollo Cinema and presents the press reviews of artistic critics. Particular attention is paid to artistic craftsmanship which demonstrates the attitude of the exhibition’s organisers to tradition and modernity. Crafts constituted about two thirds of the exhibits. The sec- tion was essentially varied and ranged from the Azarewicz / Azarevich Po- ttery Workshop decorated, according to the journalist of Przegląd Wileński in the “native way”, to graphic layout proposals of the Lux Publishers. In addition to painting, sculpture, monument designs, and the artistic photography of Bułhak, Siemaszko, Wysocki, and Świętochowska were presented with the comment that they constituted the “prime section of Vilnius artistic activity”. Such a wide range of artistic visions allowed various trends in the development of 1920’s Vilnius art to be shown.
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Czwordon-Lis, Paulina. "„Na nagłej i niespodziewanej sprężynie!”, czyli "Makowskie bajki" jako pogranicze poezji dziecięcej i poetyckiego mitu dziecka." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 12, 2017): 224–39. http://dx.doi.org/10.24917/20811853.16.17.
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„Na nagłej i niespodziewanej sprężynie” – Makowskie bajki as a borderland of children poetry and the poetic myth of a child This paper reads Jerzy Ficowski’s Makowskie bajki, a poetry volume/series written under the influence of chosen Tadeusz Makowski’s paintings, as a separate work situated somewhere in the ‘borderland’ of children and adult literature, or as literature that does not clearly define its target. The main context for this interpretation of the cycle are mainly children poems by Ficowski. Some of his early poems from 1957–1974, especially the Zmierzch o świcie poem, are significant as sources of the artistic myth of a child, derived from the visions of Bruno Schulz and Witold Wojtkiewicz, visions troubling and extending beyond the children’s understanding. The paper examines the artistic consequences of the inspirations coming from both sides of this literary border.Key words: children literature; poetry for children; poetic myth; literary borderland; childhood; poetry series; Tadeusz Makowski;
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Szewczyk, Grażyna Barbara. "Word and Image. The Artistic Visions of Peter Weiss in His Early Prose." Rocznik Komparatystyczny 9 (2019): 49–60. http://dx.doi.org/10.18276/rk.2018.9-03.
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Maciel, David R. "Visions of Aztlán: The Chicano Documentary Film." Revista Canaria de Estudios Ingleses, no. 81 (2020): 113–31. http://dx.doi.org/10.25145/j.recaesin.2020.81.08.
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In the decade of the 1960s and 1970s, a trascendental social movement –which was known as the Chicano Movement for Civil Rights– took place in the United States. One of its major achievements was a cultural flowering that encompassed all the art forms and practices. Among them, one of single importance is the documentary film. This article presents an overview of the origins, first steps and current developments of the Chicana/o documentary cinema. Such films address a multitude of topics and combine highly artistic value with a definite political message. In addition, the Chicana/o documentary is an outstanding and highly informative mirror into Chicano experience. Since its inception to the present, over 100 documentaries have been produced and exhibited in the US, yet they have not been well-distributed in the Spanish-speaking world.
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Neimneh, Shadi S., and Motasim O. Almwajeh. "Memory and Artistic Dissent: An Analogical Reading of Woolf’s To the Lighthouse and Atwood’s Surfacing." Indian Journal of Gender Studies 27, no. 3 (August 23, 2020): 369–86. http://dx.doi.org/10.1177/0971521520938979.
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This article examines the intersections between memory and artistic vision in Virginia Woolf’s To the Lighthouse (1927) and Margaret Atwood’s Surfacing (1972), two novels resonating with feminist tensions and gender issues. Investigating two anxious female artists—Lily Briscoe in Woolf’s novel and the unnamed narrator of Atwood’s novel—the researchers argue that memory functions as a source of order and recuperation. Against patriarchal norms, memory allows for psychic healing, liberation and a fresh start. It engenders a space that can correct the wrongs of the past and help the female characters explore their imaginative abilities and enhance their self-esteem. Digging into the past, these artistic figures redeem their lives from the ravages of time, war and patriarchal oppressions. This approach allows for the liberation and the future growth of the artistic visions of the two painters. Each artist, however, reacts differently to the resurfacing of the painful past. For instance, in To the Lighthouse (a modernist text), Lily embraces art as a form of redemption and thus finishes her painting through her positive memory of Mrs Ramsay. However, the unnamed artist in Surfacing (a postmodern manifestation of art) renounces art and destroys her drawings in the process of coming to terms with her past. This article situates both texts within modernist and postmodernist notions on the value and function of art in order to explicate the essential junctions between memory and art and, therefore, demonstrate dissident artistic responses oscillating between (modernist) espousal and (postmodernist) repudiation.
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Barabanschikov, V. A., E. A. Lupenko, and A. S. Shunto. "Observer’s Vision of a personality of a Human, who is Depicted on an Artistic Portrait or a Photograph." Experimental Psychology (Russia) 12, no. 3 (2019): 5–18. http://dx.doi.org/10.17759/exppsy.2019120301.
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Different observers’ visions of the personality of one and the same human, depicted on an artistic portrait or a photograph, where investigated experimentally. The observers’ estimations obtained by a well known method of “Personality Difference”, were used as the analytic tool. The collected data witness, that different methods of presentation lead to different vision of one and the same personality. A considerable individual variability of significantly different scale estimations’ body and quantity depending on the estimated person was discovered. According to the factor analyses, the persons on photographs are generally perceived as being more active (sociable) then on portraits. The dependence between observers’ self-esteems and their estimations of personages’ individual psychological characteristics regardless to presentation method was also discovered.
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Gueydan-Turek, Alexandra. "Penser l’échange artistique franco-algérien: la bande dessinée Alger–Marseille: allers-retours de Nawel Louerrad et Benoît Guillaume, et le musée du MuCEM." Nottingham French Studies 57, no. 1 (March 2018): 92–111. http://dx.doi.org/10.3366/nfs.2018.0206.
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(English): In the bande dessinée Alger–Marseille: allers-retours, Algerian artist Nawel Louerrad and her French counterpart Benoît Guillaume recount their respective trips to Marseille and Algiers. Commissioned by Musée des civilisations de l'Europe et de la Méditerranée(MuCEM), their artistic project functions as a renewed museography aiming to foster a decentred gaze and improve Franco-Algerian relations. In this context, this article questions the nature of the exchanges generated by such a postcolonial museum project. Even if the two graphic contributions offer geo-poetic and artistic visions irreconcilable at first, I find that the album promotes an ethic of horizontality; it transforms itself into a space of cohabitation, of sharing even. The artists’ residencies across the Mediterranean, and the ensuing graphic production, promote a new artistic and cultural dynamic between Algeria and France.
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Mazurkiewicz, Adam. "Dziwność istnienia. O nurcie „bizarro fiction” w polskiej literaturze." Literatura i Kultura Popularna 22 (September 6, 2017): 61–74. http://dx.doi.org/10.19195/0867-7441.22.4.
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Strangeness of Being. On a Current of Bizarro Fiction in Polish LiteratureIn modern culture bizarro fiction is an individual current of horror fantasy. It is distinguished by intentionally iconoclastic character of its artistic visions. To the axiological glittering of bizarro fiction undoubtedly contributes placing of this phenomenon somewhere between the pop culture it is inspired by typical for the kind usage of props and the fiction schema, independent culture overcoming the cultural and social taboo and avant-garde from whom it takes the idea of artistic experiment. Because creators of this phenomenon often use the technique of artistic excess the viewer cannot be sure if — searching for latent sense — they are not the victim of provocation; on the other hand, scandal and buffoonery may constitute amask which enables touching culturally important problems.
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Kuznetsova, H. H. "True-to-life facts and artistic visions in V. Vynnychenko and J. Szaniawski’s plays." Science and Education a New Dimension VIII(226), no. 68 (April 25, 2020): 27–29. http://dx.doi.org/10.31174/send-ph2020-226viii68-06.
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Balsach Peig, Maria Josep. "Visions from the Desert. The Metamorphoses of Dorothea Tanning." Barcelona Investigación Arte Creación 7, no. 3 (October 3, 2019): 307. http://dx.doi.org/10.17583/brac.2019.4235.
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This paper offers an overview of the oeuvre of Dorothea Tanning (1910-2012) based on the iconography and hermeneutics of images relating to identity, trauma and violence. Tanning was not only a painter, but also a sculptor, writer, poet and outstanding chess player, who single-handedly pursued her artistic career through the best part of the twentieth century until her death. In addition, reference will be made to artists with links to Surrealism, such as Leonora Carrington, Dora Maar, Maya Deren and Louise Bourgeois, in order to frame the aspects discussed here in a wider context of female artists. Thus, Tanning will serve as a paradigmatic example of a sensitivity tending towards the mysterious, the occult and trauma in general.
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Arreola, José. "Heberto Padilla, Julio Cortázar y Mario Vargas Llosa: tres diferentes traducciones del desencanto." Latinoamérica. Revista de Estudios Latinoamericanos, no. 73 (September 13, 2021): 157. http://dx.doi.org/10.22201/cialc.24486914e.2021.73.57280.
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el artículo analiza la proyección de los debates con respecto al papel de los artistas e intelectuales tras el triunfo de la Revolución cubana y el caso Padilla en tres novelas: En mi jardín pastan los héroes, de Heberto Padilla; Libro de Manuel, de Julio Cortázar y La guerra del fin del mundo, de Mario Vargas Llosa. El objetivo es examinar las diferencias entre las visiones artísticas de los autores acerca del desencanto político e intelectual surgido en torno a la Cuba del quinquenio gris a través del diálogo entre la ficción narrativa y el contexto histórico del momento. A partir de dicho análisis, puede concluirse que el desencanto político es una apropiación creativa generadora de reflexiones artísticas e intelectuales abordadas por los autores en las tres obras mencionadas.Abstract: The article analyzes the projection of debates regarding the role of artists and intellectuals after the triumph of the Cuban Revolution and the Padilla case in three novels: En mi jardín pastan los héroes, by Padilla; El libro de Manuel, by Julio Cortázar and La guerra del fin del mundo, by Mario Vargas Llosa. The objective is to examine the differences between the authors artistic visions of the political and intellectual disenchantment that arose around Cuba in the gray quinquennium through the dialogue between narrative fiction and the historical contextof the moment. From this analysis, it can be concluded that political disenchantment is a creative appropriation generating artistic and intellectual reflections addressed by the authors in the three works mentioned.Keywords: Disenchantment; Cuban Revolution; Padilla Case.
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Tripp, Charles. "Art, Power and Knowledge: Claiming Public Space in Tunisia." Middle East Law and Governance 8, no. 2-3 (November 28, 2016): 250–74. http://dx.doi.org/10.1163/18763375-00802007.
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Charles Tripp argues that through artistic interventions – graffiti, visual street art, performances, demonstrations, banners, slogans – citizens have appropriated the public sphere. Despite the monitoring of political dissent through persuasion or coercion, an activist public has created highly visible public spaces, assisted and encouraged by citizen artists. They have generated debates and have helped to give substance to competing visions of the republic.
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Dolidze, Anna, and Tamar Sharabidze. "Psychosemiotics of the dream in Georgian artistic discourse (From realism to modernism)." Signo 47, no. 88 (January 3, 2022): 44–49. http://dx.doi.org/10.17058/signo.v47i88.17381.
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Abstract: The study of the dream phenomenon in Georgian artistic discourse is important because dreaming represents typological universality, although with ethno-national specificity in its performance, enabling us to understand Georgian mentality peculiarity in relation with Western tradition and also because a dream semantics (in its broadest sense), as a cultural concept, encompasses typologically similar events (prophecies, visions, dreams, prognoses, etc.), the function of which in Georgian texts demands special study, as it represents a provoking element of narrative structure. The research goal is to \ under various perspectives: exploring the dream phenomenon through uniting psychological and literary aspects; typological dreams classification and its variations in the creation by Georgian realist and modernist writers. The research main line involves three types of scientific methodology: The sociological-psychological research method of dream phenomenon; feature-based analysis of dreams and structural-contextual analysis of dreams, which presents paradigmatic variants of diverse literary processes during the 19th and 20th centuries. The Georgian realism considered that dreams adhered to their basic principles.Vazha-Pshavela, in contrast, has a dreamlike vision that is not only related to sleep but it is one of the ways of accessing the irrational world through the dreamer’s mystical-allegorical perception and myths. Vazha-Pshavela's next generation of Georgian writers, who are fond of European culture began to master and develop the themes typical to modernism, and also to it’s theoretical principles. Keywords: Dreams; psychosemiotics; Georgian artistic discourse; Modernism
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Bularga, Tatiana. "7. Innovative Visions over the Formation of the Teacher in the Arts." Review of Artistic Education 12, no. 2 (March 1, 2016): 263–67. http://dx.doi.org/10.1515/rae-2016-0031.
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Abstract The present article describes purposes, learning content and requirements of an educational academic and postgraduate (internships for teachers) process, focused on teacher training in respect of the most subtle and valuable framework for education, the achievement of the individual potential of each pupil, qualified as a unique personality. Therefore, it is proposed a synthesis on the formative program geared towards the assimilation of the future and current teachers of artistic disciplines (music, choreography, painting) of the action and behavioral models appropriate to the domain, to the effectively organization of individualized educational process.
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Paşca, Eugenia Maria. "History and Modernity in Artistic Education from Romania." Review of Artistic Education 18, no. 1 (March 1, 2019): 347–52. http://dx.doi.org/10.2478/rae-2019-0039.
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Abstract The issue of artistic education is not new, it is still concerned and concerned by many specialists. The newities emerged and imposed from time to time in the evolution of culture and education were and are determined by the scientific and artistic achievements, the enrichment of the possibilities of knowledge and valorization of the experiences and achievements, both from the field of artistic didactics, as well as from musical creation and interpretative art. The perspectives, especially in the last half century, aimed at increasing the knowledge of the child’s physical and mental peculiarities, his ability to form audiences, visions and chinestecs, and the fundamental aims pursued by specialists - teachers and researchers - have been and have continued to improve the contributions of music, literature and dance to the aesthetic and ethical education of children, to developing their sensitivity and intelligence, in other words, to the formation and harmonious development of the children’s personality. From the perspective of knowing and preserving the national identity, in the non-formal educational system existing in Romania, there are musical-literarychoreographic circles with folkloric specifics organized in the Children’s Clubs and Palaces. Also, through school curriculum (CDS), there are initiatives by music education teachers to capitalize on music-literary-choreographic folklore through new disciplines, giving pupils the knowledge of local, regional and national traditions.
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Wilbanks, Rebecca. "Real Vegan Cheese and the Artistic Critique of Biotechnology." Engaging Science, Technology, and Society 3 (April 2, 2017): 180. http://dx.doi.org/10.17351/ests2017.53.
Повний текст джерелаАнотація:
Drawing on the case study of Real Vegan Cheese (RVC), a synthetic biology project housed in a community lab or “biohackerspace,” I argue that biohacking performs an “artistic critique” of the bioeconomy. Following Boltanski and Chiapello’s use of the term, the “artistic critique” pits values of autonomy and creativity against a view of capitalist production as standardized and alienating, represented (in the case of biotechnology) by Monsanto’s monoculture GMOs. In this way, biohacking is depicted as liberating biotechnology from the constraints of corporate and academic institutions. Through the use of design fiction and a playful aesthetic, projects such as RVC demonstrate a more legitimate––with respect to the values of the artistic critique––mode of production for a new generation of biotechnology products, one that is portrayed as driven primarily by ethical and aesthetic values rather than the profit motive. This analysis highlights the role that aesthetic and affective strategies play in advancing particular sociotechnical visions, and the way that biohacking projects operate in symbiosis with incumbent institutions even as they define themselves in opposition to them. Finally, it suggests that biohacking has certain limitations when considered as a form of public engagement with science.
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Zapata, Gabriela C. "Lotería in the Age of COVID-19: A Social Semiotic Analysis of Two Artistic Visions." Hispania 104, no. 2 (2021): 271–96. http://dx.doi.org/10.1353/hpn.2021.0045.
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GANZHA, Anhelina. "RECEPTION OF THE HERITAGE OF M. T. RYLSKYI IN THE SCIENTIFIC COLLECTION “CULTURE OF THE WORD”." Culture of the Word, no. 92 (2020): 166–76. http://dx.doi.org/10.37919/0201-419x-2020.92.14.
Повний текст джерелаАнотація:
For many decades, Maxim Rylskyi’s artistic texts and scientific achievements have attracted linguistic researchers. This thesis is vividly illustrated by the more than half a century history of publications on the heritage of the poet-academician in the scientific collection “Culture of the word” of the Institute of Ukrainian Language of NASU. Since the foundation of the mentioned edition (1967), its readers are being able to constantly get acquainted with Rylskyi’s works of about history of Ukrainian literary language, lingual stylistics, practice of artistic translation, lexicography, and also with scientific research of linguists about the multifaceted idiostyle of the writer. The diachronic reception of publications about the scientist and poet in the collection “Culture of the Word” reveals a kind of creative and philosophical discussion by the scientific and artistic generations of the Soviet era, the post-Soviet era and the beginning of the 21st century. Although the immutable “classicism” (in the broadest sense) of M.T. Rylskyi’s legacy lifts it above time, yet the relentless evolution of scientific paradigms and artistic visions of the new era leads to new theoretical reflections on the writer’s works.
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Engholm, Ida, and Karen Lisa Salamon. "Design thinking between rationalism and romanticism—a historical overview of competing visions." Artifact 4, no. 1 (October 4, 2017): 1. http://dx.doi.org/10.14434/artifact.v4i1.20158.
Повний текст джерелаАнотація:
This article presents a longue durée history of design thinking with particular focus on recurrent ideological tug-of-war between two competing visions: Enlightenment ideals of logic, rationality and civic order against Romanticist ideals of artistic creativity and social change. Drawing on design history and cultural studies, the authors present a broad overview of more than 200 years of developments in European and North American design thinking, from the rise of design as a profession to the formation of a science of design. The article contributes to the history of design thinking by presenting the influence of specific, sociocultural configurations on design culture.
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Муратова, Елена Юрьевна. "ARTISTIC EXPRESSION OF PHILOLOGICAL THINKING IN POETIC TEXTS." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 1(110) (March 30, 2021): 62–69. http://dx.doi.org/10.37972/chgpu.2021.110.1.008.
Повний текст джерелаАнотація:
В статье анализируются стихи в модусе связи лингвистики и поэзии. Современную поэзию отличают не только новые темы и видение мира, но и во многом иной поэтический язык. Анализируются разные взгляды ученых на поэтический язык. Заметной особенностью современных поэтических текстов является употребление лингвистических терминов, названий частей речи, синтаксических конструкций и под. в качестве полноправных художественных элементов стихотворения. На материале стихов М. Цветаевой, А. Вознесенского, Б. Ахмадулиной, Д. Бураго и др. доказывается, что лингвистические термины могут выражать филологическое мышление поэта, становясь живой частью его стихотворений, и способны специфически отражать картину мира, мировоззрение и человеческие эмоции. Приводится подробный филологический анализ стихотворения А. Вознесенского «Плач по двум нерожденным поэмам». The article analyzes poems in the mode of communication between linguistics and poetry. Modern poetry is distinguished not only by new themes and visions of the world, but also by a largely different poetic language. The paper also analyzes different views of scientists on the poetic language. A notable feature of modern poetic texts is the use of linguistic terms, names of parts of speech, syntactic constructions as full artistic elements of the poem. Basing on the material of poems by M. Tsvetaeva, A. Voznesensky, B. Akhmadulina, D. Burago, etc. it is proved that linguistic terms can express the poet’s philological thinking, becoming a living part of his poems, and are able to specifically reflect the picture of the world, worldview and human emotions. Moreover, the article provides a detailed philological analysis of A. Voznesensky’s poem “Lament for Two Unborn Poems”.
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Ahrland, Åsa. "Landscape of visions: the Ekolsund manorial estate, Sweden." Ex Novo: Journal of Archaeology 4 (December 31, 2019): 53–72. http://dx.doi.org/10.32028/exnovo.v4i0.370.
Повний текст джерелаАнотація:
Parks and gardens are characterized by constant change and the need to be continuously managed and recreated. Over time, layers of history are built up, reflecting artistic and human ideals, socio-economic factors, technology and practices from different periods. Designed landscapes are archives and often have significant levels of biodiversity. One example is the Ekolsund manorial estate in Sweden, laid out in the seventeenth century in a large-scale project. Buildings, gardens and parks formed part of an overall architectural composition, where representation and display were key elements. With its audacity and grandeur, Ekolsund represents a new approach to landscape design in Sweden. The later development includes an early attempt by King Gustavus III to create landscape gardens and, during the era of capitalist owners, the planting of arboreta. Despite favourable conditions for a restoration of the seventeenth-century designed landscape, this paper argues for a holistic approach, where visions and actions of different agents - that together have shaped Ekolsund - are the foundation. Where cultural and natural values complement each other, requiring collaboration between research disciplines and the cultural heritage and nature conservation sectors.
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ZAIONTZ, KEREN. "Performing Visions of Governmentality: Care and Capital in 100% Vancouver." Theatre Research International 39, no. 2 (June 4, 2014): 101–19. http://dx.doi.org/10.1017/s0307883314000030.
Повний текст джерелаАнотація:
100% Vancouver was created by Rimini Protokoll and produced in 2011 by Theatre Replacement as part of the PuSh Festival. One hundred Vancouver residents performed a statistical portrait of the city based on Canada's 2006 mandatory long-form census. In this article, I set out to understand how a show that felt so local is part of a global project and a transposable dramaturgy that is designed to be tented anywhere. I explore this seeming paradox in 100% Vancouver because it self-consciously shared the stage with a corporate sponsor connected to the globalizing force of finance capitalism. I propose that this transparent redistribution of artistic capital to corporations that deal in finance capital is not a capitulation to the market. Rather, it is a social relationship with the market. 100% Vancouver demonstrates how contemporary citizen-led performance is a battleground for declining and dominant visions of governmentality that range from welfare government to finance capitalism.
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Myburgh, Brittany. "Here and Now: Indigenous Canadian Perspectives and New Media in Works by Ruben Komangapik, Kent Monkman and Adrian Duke." Leonardo 51, no. 4 (August 2018): 394–98. http://dx.doi.org/10.1162/leon_a_01649.
Повний текст джерелаАнотація:
Examining the use of new media in works by Ruben Komangapik, Kent Monkman and the Wikiup Indigenous Knowledge Network reveals the diverse ways in which technologies are used to disrupt linear time and Western visions of history. New media works challenge those misleading stories that have been told about Canada’s indigenous peoples and assert indigenous presence in both the digital and physical landscape. These artists employ QR codes, video and augmented reality to push artistic boundaries and create representations of the past and present.
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El Sibaei, Bachir. "Georges Henein." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 82–99. http://dx.doi.org/10.1215/10757163-9435695.
Повний текст джерелаАнотація:
Georges Henein was an important pioneer of modernism in Egypt, who played a critical role in the cultural and artistic movement of the country, despite critics who tried to distance him from contemporary Egyptian thought under the guise that he was a Francophone writer. This research presents Henein’s contribution to the historical, cultural, and national Egyptian trajectory, using some translated excerpts from his writings. The surrealist adventure Henein launched in Egypt was an important modernizing event in contemporary Egyptian culture. Although the influence of surrealist visions on Arabic literature was limited, the impact of these visions on the Francophone literature in Egypt was significant and evident in the work of poets such as Munīr Hāfez, Walid Munir, Horus Shenouda, Edmond Jabès, Mary Kavadia, and Joyce Mansour. In the field of fine arts, the impact of surrealism produced clear and essential modernist trends that have become characteristic of these arts.
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Kovaleva, Tatyana I. "From the Comments on the Typology of the Visions in Old Russian Hagiography (The Plot of the Beating a Demon by a Saint)." Studies in Theory of Literary Plot and Narratology 16, no. 2 (2021): 5–15. http://dx.doi.org/10.25205/2410-7883-2021-2-5-15.
Повний текст джерелаАнотація:
This article examines the plot of visions on the beating a demon by a saint is not typical for the original Old Russian writings. This plot is included in the typology proposed earlier. It represents one of the possible ways of organizing a vast, thematically diverse material of vi-sions. Most of the examples of our typology are plots in the composition of hagiographic nar-ratives of various types. The considered plot is one these cases. We have analyzed two examples of visions containing scenes of beating demons from literary compositions of different times. From the Byzantine Life of Andrew the Fool that one of the first in the 12th century in-troduced the Russian reader to this plot. Also from the Life of the Monk Epiphanius written at the end of the Old Russian tradition. Typologically similar features of visions are noted: the presence of a common structural scheme, participation in the formation of the event of two characters of the sacred and infernal worlds at once. The revealed specificity of the scene of beating demons is explained by tradition, the time of writings and their pragmatic orientation. Thus, an interesting, visual story on the beating the demon full of artistic details in the Byzan-tine Life characterizes the height of the spiritual feat of the saint. In the Life of Epiphany, a similar story reflects the worldview of an ascetic, also demonstrates the phenomenon of “lit-erary materialization of visions”. Examples of visions from the Lives of Andrew the Fool and the Monk Epiphanius demonstrate the evolution in the depiction of the scene of the beating demons in the literary process of medieval Russia, reflecting significant changes in the genre of visions in the transitional period of Russian literature.
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Capriotti, Giuseppe. "Visions, Mental Images, Real Pictures. The Mystical Experience and the Artistic Patronage of Sister Battista da Varano." IKON 6 (January 2013): 213–24. http://dx.doi.org/10.1484/j.ikon.5.102950.
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YÜCEIL, ZEYNEP GÜNSÜR. "An Obscure Performance in Life and Education." Theatre Research International 44, no. 3 (October 2019): 305–7. http://dx.doi.org/10.1017/s0307883319000361.
Повний текст джерелаАнотація:
After the military intervention of 1980, Turkey's intellectual and social democrats were devastated – imprisoned, escaped to exile, silenced, killed – in the hands of the coup d’état and all the prohibitions that came with it until the first half of the 1980s. Then the famous Turgut Özal government with its unprecedented liberal economic policies came into the picture. Towards the end of the 1980s, a new generation of theatre and performance artists started to stage their response to all this madness and became visible to older generations who had long lost hope and vitality in terms of artistic and humanitarian production. I had the chance to get involved in this artistic endeavour through some of the emerging initiatives, such as Green Grapes Dance Company, Bilsak Theatre Company, Şahika Tekand, Kumpanya, Dance Factory, DAGS (Interdisciplinary Young Artists Association), Hüseyin Katırcıoğlu and Assos Theatre Festival. The works were relentless and new. Bodies were in need of fresh air, and artistic expression in performance did not follow the traditional routes or accepted notions while fully embracing the possibility of not being seen. Actually, the emerging artists did not give a damn. Interestingly – or obviously – enough, most of them were outcasts coming from other fields such as sociology, literature, engineering, law and so on. In relation to this, the artistic and performative visions they put forward were truly interdisciplinary. The contemporary visual art scene and performing arts were in an honest conversation perhaps for the first time in Turkish art history.
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Vehviläinen, Anu, and Jussi Lehtonen. "Rakenteiden törmäys. Taiteellinen toimintatutkimus Teatterikorkeakoulun ja Sibelius-Akatemian yleisökontaktikurssista." Trio 10, no. 2 (December 31, 2021): 9–36. http://dx.doi.org/10.37453/trio.113280.
Повний текст джерелаАнотація:
Colliding structures: Artistic action research on audience contact course at the Sibelius and Theatre Academies. This article focuses on a period between 2018–2019 when students from the Sibelius Academy were invited to take part in an audience contact course offered by the Theatre Academy. The experiment was carried out as an artistic activity analysis. During the course, theatre and music students formed working groups which encountered people from different habitation units and organized art workshops for them. Based on their experiences, the groups prepared performances which they performed in the health care and social security units as well as in prisons. We focus especially on what we term ‘structural collisions’ taking place between different practices: firstly, we examine the collision between Uniarts students and reception center workers in organizing art workshops. Another structural collision we discuss rose from the collaboration between different academies. We consider how representatives of different art genres discuss the work concept of a collaboration-based performance and how different work concepts define the agency of the artists within a work-group-based artistic process. The aim is to offer visions on how the Theatre Academy and the Sibelius Academy might develop collaborative communal art education at the Uniarts Helsinki.
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Prickett, Stacey. "“Taking America's Story to the World”: Touring Jerome Robbins's Ballets: U.S.A. During the Cold War." Dance Research Journal 52, no. 2 (August 2020): 4–25. http://dx.doi.org/10.1017/s0149767720000145.
Повний текст джерелаАнотація:
Between 1958 and 1961, Jerome Robbins's Ballets: U.S.A. company toured to European arts festivals with a repertory of new and existing works, most of which remain in performance more than six decades later. Cold War political and artistic imperatives intersected in choreography that circulated visions of “American” innovation and youthful vitality, danced to an eclectic range of scores by a mixed-race cast. Archival documentation of the funding process reveals discussions about aesthetic priorities and the choreographer's responsibility to the US government. Analysis of press coverage of the performances also considers the extent to which diplomatic objectives were achieved.
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Damiani, Concetta. "Certification and preservation of artworks in digital environments." JLIS.it 13, no. 2 (May 5, 2022): 189–202. http://dx.doi.org/10.36253/jlis.it-467.
Повний текст джерелаАнотація:
Reflecting about the documentary heritage of artists requires the consideration of archival, legal, historical-artistic and museological factors. If the analogue productions of artifacts and the correlated documentation have been studied, transferring the creative perspective into a digital environment asks to face a reality in turmoil: the ways of expressing and representing contemporary art, in balance between digital and crypto art, require new visions in the production and management of works. In this redefinition of roles and relationships, which almost exclusively concern the documentary structure and the technological and digital components, document systems assume a primary role.
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Kravchenko, Marta. "Сучасна ікона: візії та рефлексії. Рецензія на збірник Слово стало тілом. ХІІ міжнародного іконописного пленеру в Новиці". Studia Ucrainica Varsoviensia, № 9 (17 грудня 2021): 205–9. http://dx.doi.org/10.31338/2299-7237suv.9.16.
Повний текст джерелаАнотація:
The album The Word Became the Body. XII International Icon Painting Plein Air in Nowica was published in Warsaw in 2020. It discusses works on the above topics. The texts of the Russian researcher of icon painting Irina Yazykova and Dr. Waldemar Linke present a broad context of the subject, both theological and artistic. The collection contains images of 50 modern iconographic works. The text is presented in four languages: Polish, Russian, Belarusian and Ukrainian.
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El Maarouf, Farouk, and Moulay Driss El Maarouf. "City as Canvas." Matatu 51, no. 1 (June 18, 2020): 23–42. http://dx.doi.org/10.1163/18757421-05101009.
Повний текст джерелаАнотація:
Abstract The city reflects a politics of possession, upon which pieces of land ultimately get encircled by walls for exploitation. Walls—the entities that frame up the city—are territory ma(r)kers, yet this architectural gesture, far from being innocent, symbolizes a lurking desire at owning territories in the ma(r)king. This paper brings this idea home by examining the other meanings of the wall in contemporary Morocco, by closely studying the poetics and politics of the wall in the context of the Jidar street art festival of Rabat, situated, as it were, in the intersection of concepts (such as festival, paint, street art, wall, patronage, cooptation, resistance, local and global). We argue that the JSAF presents, among other things, a venue for local artists to perform and translate their thoughts and artistic visions into murals of a grand scale. Yet under the gaze of power, their performances accentuate the existentialist yet ambivalent position of city walls not only as embodiments of visual escape, but also as terrains of artistic/economic opportunities, incompatible social emotions, and contentious politics.
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HAMBERLIN, LARRY. "Visions of Salome: The Femme Fatale in American Popular Songs before 1920." Journal of the American Musicological Society 59, no. 3 (2006): 631–96. http://dx.doi.org/10.1525/jams.2006.59.3.631.
Повний текст джерелаАнотація:
Abstract This article documents representations of Salome, an archetypal exotic femme fatale, in American popular songs of the early twentieth century. The production of Salome songs began shortly after the sensational 1907 U.S. premiere of Richard Strauss's Salome at New York's Metropolitan Opera. Vaudeville performers, beginning with the Met's own prima ballerina, capitalized on the ensuing fad for Salome dances, which the New York Times called “Salomania.” Relevant songs and dances figured in musical comedies and revues until some time after the return of Strauss's opera to the New York stage, in the 1909 Manhattan Opera Company production with Mary Garden in the title role. Through the next decade, musical, lyrical, and illustrative tropes that originated in the Salome songs became disassociated from the figure of Salome, gradually merging into “oriental fox-trots” and exotic romance songs. The topical humor of the Salome songs suggests that American audiences were skeptical of the allure of orientalist fantasy, then at its height in Europe, and that an unwillingness to grant artistic legitimacy to Salome's religious-themed eroticism is an important marker of the American reception of works such as Strauss's.
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Wiedemann, Thomas. "Preface." Novos Olhares 9, no. 1 (July 10, 2020): 9–12. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.171983.
Повний текст джерелаАнотація:
The Dossier entitled “(Audio)Visions: photography, cinema and memory” is edited by Thomas Wiedemann on behalf of the Visual Culture Working Group (VIC) of the International Association for Media and Communication Research (IAMCR). Within IAMCR, VIC focuses on artistic, cultural, socio-cultural and technological studies in visual media and communication—pictures and photography, respectively, but also cinema, audiovisuals and arts—from a critical view point that might enhance the international field of communication studies. In this spirit, after the IAMCR Conference 2019 held in Madrid, Spain, the idea arose to publish some of the research papers by members of the working group that dealt with the themes of the dossier.
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Polanowska, Patrycja. "Bolesław Leśmian in Italy: Milo De Angelis and his heavenly journey." Tekstualia 1, no. 7 (December 31, 2021): 63–72. http://dx.doi.org/10.5604/01.3001.0015.6683.
Повний текст джерелаАнотація:
The artistic creativity of Bolesław Leśmian – remarkably colourful, musical, and philosophically versatile – has endeared him to readers worldwide over the course of a century. In spite of many socio-political barriers, Leśmian’s poetry become a point of reference, as was the case in Italy in the 1970s. At this time a fi rst encounter with the works of the Polish artist became a crucial moment for a young poet – Milo De Angelis. After a stay in Warsaw, De Angelis founded a literary magazine called “Niebo”, number 11 of which was entirely dedicated to Leśmian, whose visions profoundly infl uenced the poetics of the Italian author, even in later years.
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Gerevich, József. "A traumatikus élmények facilitáló szerepe a művészetben." Orvosi Hetilap 158, no. 17 (April 2017): 668–77. http://dx.doi.org/10.1556/650.2017.30748.
Повний текст джерелаАнотація:
Abstract: Traumatic experiences can not only have unfavourable consequences, they can also contribute, with a kind of creative twist, to the development of the person affected by the trauma. The artistic responses to traumas can be examined on the basis of the different types of trauma. This study reports on an investigation focusing on six types of trauma: emotional deprivation/neglect; near-death experience; becoming the victim of violence; war; accident/sickness and emotional frustration. Examples taken from the history of art indicate that works of art can draw attention to the traumatic experiences of the artists with frequently repeated motifs and portrayal techniques (sun, mother image, objects referring to the person lost, motifs of violence or symbols of violence, artistic manifestations of an exaggerated self-image, surreal visions, dry irony, substituting other objects for the beloved person), or a sudden change of style and subject that can express a heightened interest in human suffering (Lovis Corinth). An emphasis placed on self-portrayal can indicate the artist’s increased self-examination, in cases of sickness, or continuous monitoring of the state of mind (Frida Kahlo, Otto Dix, Lovis Corinth, Edvard Munch). In some cases artistic activity can help to work through the trauma (Hans Bellmer, Oskar Kokoschka, Max Ernst, René Magritte), in other cases it is not able to prevent the development of psychological/psychiatric consequences of the trauma (Artemisia Gentileschi, Edvard Munch, Lajos Gulácsy). Traumas can be the sources of motivation and provide themes for works of art; and, although not in all cases, artistic creativity can contribute to effectively working through traumatic experiences. Orv Hetil. 2017; 158(17): 668–677.