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Journal articles on the topic 'Art in times of war'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Koerner, Stephanie, and Edward Wouk. "Art in Times of War." Art History 44, no. 2 (2021): 429–35. http://dx.doi.org/10.1111/1467-8365.12562.

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TANAY, EMIL ROBERT. "Croatian and Bosnian Children's Art in Times of War." Journal of Art & Design Education 13, no. 3 (1994): 235–40. http://dx.doi.org/10.1111/j.1476-8070.1994.tb00718.x.

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3

Rinehart, Robert E., and Jayne Caudwell. "Sport–war cartoon art." Media, War & Conflict 11, no. 2 (2017): 223–43. http://dx.doi.org/10.1177/1750635217696435.

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In this article, We explore the extent to which political cartoons and comic strips – as mediated public and political visual art, the ‘ninth art’ according to Groensteen’s The System of Comics (2007[1999] – subvert/confirm institutional values of so-called Western democracies during times of war. Our concern, as sociologists of sport, is with the ways dominant sporting sensibilities are (re)presented in cartoon art, and how sport itself is conflated with patriotic ideologies of war as a vehicle for propaganda. In particular, We interrogate how competitive-sporting ideals are aligned with war

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Afshar, Vafa, and Candan Terwiel. "Art for peace." Global Journal of Arts Education 9, no. 2 (2019): 63–74. http://dx.doi.org/10.18844/gjae.v9i2.4417.

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In this our modern times, many people, although not in every geography, had to live with wars and conflicts. Peace has always been the object of purchase, even if art cannot afford to prevent the war. Violence and war have become commonplace for everyone, especially for children. Exile, immigration, refugee, human trafficking issues, which have become a problem of the world as a result of war and violence, await solutions. Institutions, states and global organisations are trying to take big economic and social measures towards these problems; however the unresolved problems of the endless wars

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5

Abrams, Joshua. "Performing Remains: Art and War in Times of Theatrical Reenactment." Contemporary Theatre Review 23, no. 3 (2013): 443–45. http://dx.doi.org/10.1080/10486801.2013.807991.

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6

Шевчук, Катерина. "WAR AS EXPERIENCE: UKRAINIAN ART AND THE AETHETICAL EXPERIENCE IN TIMES OF RUSSIAN-UKRAINIAN WAR." Scientific notes of the National University "Ostroh Academy". Series: Philosophy 1, no. 25 (2023): 3–8. http://dx.doi.org/10.25264/2312-7112-2023-25-3-8.

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The creativity of Ukrainian artists since the beginning of the full-scale Russian-Ukrainian war is primarily directed towards the artistic representation of the initial reaction to events that have become a tremendous challenge and shock to society. Their works serve an important purpose in comprehending the experienced and familiar experience for all Ukrainians. Additionally, they contribute to the documentation of this experience in an artistic form. This article will focus on the analysis of the aesthetic subject and the role of aesthetic values in the creativity of Ukrainian artists during

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Fernandez, Juan Antonio. "Management in Times of Change Lessons from The Art of War." Business Strategy Review 15, no. 1 (2004): 51–58. http://dx.doi.org/10.1111/j.0955-6419.2004.00300.x.

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Wang, Yuang. "Analyzing the Circumstances under Which Art Was Born from Italian Neorealism - The Suffering of the Times and the Rise of Art." Lecture Notes in Education Psychology and Public Media 67, no. 1 (2024): 37–43. http://dx.doi.org/10.54254/2753-7048/67/20250999.

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Abstract: This essay is a unified study of the formation and development of Italian Neorealist cinema in Italy from the pre-World War I period to the post-World War II period as the time of study. Taking Italian Neorealism as an example, it explores the relationship between the suffering of the times and the rise of art. In addition to how Italian Neorealism was born against the backdrop of war and social upheaval, it influenced the subsequent French New Wave cinema and global cinema, and in particular generated far-reaching references in Third World cinema. By analyzing the gradual decline of

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Fisina, Nadiy. "PSYCHOCORRECTION IN PRESCHOOL CHILDREN WITH PRENEUROTIC SYMPTOMS DURING TIMES OF WAR: A COMPREHENSIVE ANALYSIS." PSYCHOLOGICAL JOURNAL 9, no. 2 (2023): 33–42. http://dx.doi.org/10.31108/1.2023.9.2.4.

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This scientific abstract explores the features of psychocorrection in preschool children exhibiting preneurotic symptoms in the context of war. By analyzing modern scientific trends and research conducted during times of acute stress and distress caused by war in Ukraine, the practical aspects of psychological and corrective work with preschool-aged children are considered and analyzed. Due to the ongoing war, both adults and children face daily life-and-death situations, which disrupt their psychological balance and subject them to cruel uncertainty. As a result, the psychological well-being

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10

Barbas, Valeria. "ART THERAPY AS A PRACTICE IN TIMES OF WAR AND TRAUMA INTERVENTION: THE ROLE OF CREATIVE EXPRESSION FOR CHILDREN IN UKRAINIAN REFUGEE CAMPS IN THE REPUBLIC OF MOLDOVA." Review of Artistic Education 30 (May 30, 2025): 249–54. https://doi.org/10.35218/rae-2025-0034.

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Abstract: The recent war in Ukraine has brought physical and psychological damage widespreading trauma that can last for generations leaving indelible marks. Art therapy as a practice within war zones aids community cohesion and trauma processing during times of crisis. Unlike talk therapies, a non-verbal, accessible art practice has become a necessity, especially for children. In seven refugee camps in Republic of Moldova, a series of art workshops “My home” were conducted by Valeria Barbas for over 150 displaced Ukrainian children (in 2022). The independent initiative, which addresses the fr

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11

Gavryliuk, Borys, Anastasiia Kovalovа, Anastasiia Bado, and Sofiia Lemishko. "CONTEMPORARY UKRAINIAN ART DURING THE FULL-SCALE INVASION OF UKRAINE." Grail of Science, no. 51 (April 18, 2025): 976–81. https://doi.org/10.36074/grail-of-science.18.04.2025.132.

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The article examines the transformation of Ukrainian contemporary art under the influence of the full-scale war of 2022. It explores key directions of artists' responses to tragic events through various artistic forms. Particular attention is given to modes of artistic expression, strategies of resistance, and practices of documenting the war. The study finds that, in times of war, art not only helps consolidate society, but also becomes a powerful means of solidarity, resistance, and contributes to the formation of national identity.

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Demyanchuk, Yu I. "War linguistics as a new lingosynergetic field: responding to the challenges of our times." MESSENGER of Kyiv National Linguistic University. Series Philology 27, no. 1 (2024): 82–89. http://dx.doi.org/10.32589/2311-0821.1.2024.309607.

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This study explores war linguistics as a new field in applied linguistics, reflecting the unique characteristics of linguistic representation of military art through mass media. The paper identifies potential approaches that define the substantive and informative aspects of military linguistics, converging withmilitary discourse in an existential challenge addressed by science. Accordingly, the subject of military linguistics research includes linguistic tools of operational art theory (operations and combat actions), tactical theory (preparation and conduct of battle), and strategic theory (m

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13

Pena Iguaran, Alina. "Residual Lives: Art in Times of War. Las tierras arrasadas by Emiliano Monge." Mitologías hoy 17 (June 15, 2018): 135. http://dx.doi.org/10.5565/rev/mitologias.544.

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14

Cesare, T. Nikki. "Performing Remains: Art and War in Times of Theatrical Reenactment (review)." Modern Drama 55, no. 2 (2012): 283–85. http://dx.doi.org/10.1353/mdr.2012.0031.

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15

Fawcett, Julia. "Performing Remains: Art and War in Times of Theatrical Reenactment by Rebecca Schneider." Theatre History Studies 34, no. 1 (2015): 115–18. http://dx.doi.org/10.1353/ths.2015.0012.

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Brady, Sara. "Performing Remains: Art and War in Times of Theatrical Reenactment (review)." Journal of Dramatic Theory and Criticism 26, no. 2 (2012): 223–25. http://dx.doi.org/10.1353/dtc.2012.0006.

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17

Roos, Henriette. "Art and/as Anarchy: Portraying the Artist during Times of Turmoil and War." Journal of Literary Studies 26, no. 4 (2010): 36–56. http://dx.doi.org/10.1080/02564718.2010.529306.

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18

Schultz, Marianne. "Moving with the Times: The Wellington New Dance Group." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 179–85. http://dx.doi.org/10.1017/s2049125500000303.

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This paper explores the founding of the New Dance Group in Wellington, New Zealand, in 1945. The New Dance Group introduced radical ideas about dance, art, music, politics, and physical education to New Zealand. This paper examines the influence that American and European dance and physical education had on New Zealand's physical and artistic expression and places the introduction of modern dance within the social and cultural landscape of immediate the post—World War II period in New Zealand.

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Borodina, Nataliia. "Reception of War Trauma in Art: Measures of Permissible Cruelty of Reflection." Culture and Arts in the Modern World, no. 25 (October 4, 2024): 59–69. http://dx.doi.org/10.31866/2410-1915.25.2024.312599.

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The aim of the article is to study the reflection of percepting the war trauma in art in the context of the cruelty problem. Results. Ways of reception of the war topic issue in art are viewed, as well as conflict, struggle and manifestation are indicated. After conducting interviews and questionnaires, two paradigms are determined in grounding the war reception: 1) “two paradigms, possible solutions aimed at overcoming this conflict are determined. Scientific novelty. The ways of reception of the war trauma in art through reflection and adaptation are separated and analysed. Art is a safe ref

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20

Palagia, Olga. "Unity and Diversity in Greek Art." Classica et Mediaevalia, no. 1 (May 23, 2024): 281–308. http://dx.doi.org/10.7146/classicaetmediaevalia.vi1.145255.

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Athenian art was more or less dominant in the visual culture of the Greek world in the classical period but not in all areas. We explore here the influence of Athens on the art and architecture of regions that had developed their own local traditions. Thishappened in times of crisis, political as well as social. Such crises can be detected in the last decades of both the fifth and the fourth centuries BCE. We will begin by examining the impact of the Peloponnesian War on the artistic development of Arcadia and Laconiaand conclude with the aftermath of the Macedonian conquest of Athens after th

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Starshova, Oksana, and Polina myronenko. "The Role of Popular Culture in Times of Disaster: A Case Study of the War Morale Songs in the Russo-Ukrainian War." East-West Cultural Passage 24, no. 1 (2024): 110–32. https://doi.org/10.2478/ewcp-2024-0007.

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Abstract The whole-scale Russian invasion of Ukraine has produced a massive response in various media and art forms. Memes, cartoons, graphic novels, street art create an interesting war imagery and portray the effect of the war on society and the individual. Our project focuses on the popular songs created during this war, especially those included in music videos. The songs perform various functions; they express emotions ‒ of pain, sorrow, hope; they might be propagandistic calling for action; they might display deeply personal feelings about the lost world of peace; they may help one survi

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22

Lee, Soon-Wook. "Trends of art society in Busan during the Korean War－ Focused on the undiscovered magazine The Art Times." HANGDO BUSAN 45 (February 28, 2023): 277–312. http://dx.doi.org/10.19169/hd.2023.2.45.277.

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23

Jankevičiūtė, Giedrė. "Dark Times: Art and Artists of Vilnius in 1939–1941." Acta Academiae Artium Vilnensis, no. 98 (April 6, 2020): 326–61. http://dx.doi.org/10.37522/aaav.98.2020.33.

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   The aim of this paper is to discuss and reconstruct in general features the reality of the Vilnius artistic community from late autumn 1939 to June 1941. This period of less than two years significantly changed the configuration of the artistic community of the city, the system of institutions shaping the art scene as well as the artistic goals. It also brought forth new names and inspired new images. These changes were above all determined by political circumstances: the war that broke out in Poland on 1 September 1939; the ceding of Vilnius and the Vilnius region to Lith

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24

Skoropadskaya, Anna. "Strepitu belli propelluntur artes: Dostoevsky’s Latin Aphorism." Неизвестный Достоевский 7, no. 4 (2020): 208–21. http://dx.doi.org/10.15393/j10.art.2020.5001.

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The article examines the Latin aphorism Strepitu belli propelluntur artes, which is found twice in Dostoevsky’s notebooks. The spelling and translation of the aphorism, its grammatical and stylistic structure, as well as the possible sources of the Latin quotation are elucidated. The expression in question is contextually unrelated to the Russian text and functions as an independent statement. The semantic connection of the aphorism with the content of the pages where it is found is revealed. The Latin expression marks the theme of war. The juxtaposition of war and art inherent in the aphorism

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25

Uribe, M. V. "Memory in Times of War." Public Culture 21, no. 1 (2009): 3–7. http://dx.doi.org/10.1215/08992363-2008-017.

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26

Pinto dos Santos, Mariana. "On Belatedness. The Shaping of Portuguese Art History in Modern Times." Artium Quaestiones, no. 30 (December 15, 2019): 37–64. http://dx.doi.org/10.14746/aq.2019.30.29.

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Portuguese art history experienced remarkable development after World War II, especially with the work of José-Augusto França, who was responsible for establishing a historiographic canon for nineteenth- and twentieth-century Portuguese art that still endures. José-Augusto França developed a narrative that held Paris up as an artistic and cultural role model in relation to which he diagnosed a permanent delay in Portuguese art. This essay analyses França’s idea of belatedness in the context of Portuguese art historiography and political history and how it is part of a genealogy of intellectual

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Majoul, Bootheina. ""اين نيز می کذرد" Narrative Plasticity in Rahimi's War Chronicles". Critical South Asian Studies 3, № 1 (2025): 41–51. https://doi.org/10.33182/csas.v3i1.3497.

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This paper examines Atiq Rahimi’s war chronicles through the lens of Catherine Malabou’s theory of plasticity. It aims to deconstruct his war trauma and understand his conflicted relationship with his motherland: he sometimes mourns it and longs for it, while at other times he stares at it and hopelessly portrays its regretful annihilation. Through novels, films, letters, and photographs, he attempts to sustain a bond with his homeland. The plasticity of his works allows history to be preserved. Malabou’s notion of plasticity will be used to demonstrate the precariousness of memory and the fra

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Leighten, Patricia. "Response: Artists in Times of War." Art Bulletin 91, no. 1 (2009): 35–44. http://dx.doi.org/10.1080/00043079.2009.10786171.

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29

Soloshenko, Victoria. "Looted or lost art: the new dimensions of problem solution in Germany." European Historical Studies, no. 5 (2016): 112–23. http://dx.doi.org/10.17721/2524-048x.2016.05.112-123.

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Depredations committed by the National Socialists, the alienated art, trophies of war – all these are the components which keep stirring up the society, historians, art experts and museographers, as well as politicians and diplomats even today. In this context, the key issue is the restoration of property rights on pieces of art and antiques which have been lost at different times and under different circumstances. The article raises the important issue of a still unresolved problem of the trophy arts or lost cultural values.

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KARAMIAN, Gholamreza. "Historical Metal works named Warsaw in Iran." Historia i Świat, no. 9 (September 23, 2020): 205–18. http://dx.doi.org/10.34739/his.2020.09.15.

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Since long times ago, the artists of Lorestan, have been earning their livelihood through making various types of handicraft a valuable art piece deeply rooted in the province’s history called nickel silver crafts. In Farsi, varsho is actually the word ‘War-saw’. What is the reason for such labeling of these works of art in the Qajar and Pahlavi periods in Iran? Lorestan artists in Borujerd town created such magnificent art at that time. We still don’t know the reason for this naming, but one thing is clear, such metalwork is part of the history of art in both Poland and Iran.

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Tang Kristensen, Jens. "Middelalderen som politisk middel i den spontan-abstrakte danske kunst." Slagmark - Tidsskrift for idéhistorie, no. 79 (June 25, 2019): 117–33. http://dx.doi.org/10.7146/slagmark.vi79.130732.

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With particular focus on Danish artists Henry Heerup (1907-1993), Carl-Henning Pedersen (1913-2007) and Asger Jorn (1914-1973), this article illustrates how spontaneous-abstract artists in World War II-era Denmark helped to perpetuate an idealized image of the Middle Ages as a homogeneous and unspoiled social order. It is argued that these artists took medieval culture to represent an uninhibited, irrational art, which they believed had somehow remained unsullied and beyond the exploitation of modern society’s political and capitalist powers. It is further demonstrated that these artists’ idea

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Franchuk, Tetiana, Iryna Martsinovska, and Tetiana Valko. "Project “Educational and Rehabilitation Hub” in the Conditions of War and Post-War Times: the Alternative Model." Pedagogika-Pedagogy 96, no. 2 (2024): 206–15. http://dx.doi.org/10.53656/ped2024-2.05.

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The article offers the basics of creating an educational hub with rehabilitation potential. Approaches to the peculiarities of the organization of this type of activity, including in extreme conditions, were analyzed and systematized. The peculiarities and experience of the organization of educational hubs, relevant during the war and in the post-war period, were analyzed from the point of view of the effectiveness of educational and rehabilitation processes and their compliance with modern educational standards. The authors also propose their vision of an alternative educational hub. Its main

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Blazy, Rafał, Hanna Hrehorowicz-Gaber, and Alicja Hrehorowicz-Nowak. "The Uncertainty of Tomorrow in Art on the “Eve” of War." Arts 14, no. 1 (2025): 14. https://doi.org/10.3390/arts14010014.

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Intuitive reasoning is a fundamental aspect of both the creation and interpretation of art. It allows artists to express their deepest emotions and subconscious thoughts, leading to works that can evoke strong reactions in viewers. For those who interpret art, intuition enables a direct and holistic understanding that goes beyond analytical fragmentation, allowing for a more personal and profound engagement with the work of art. Academic research conducted on the works of Polish and Ukrainian students has shown that art in times of unrest reflects deeply hidden emotions. The works of students

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Візнюк, Інесса, Сергій Долинний, Анна Долинна та Катерина Волохата. "ТВОРЧІСТЬ ЯК ШЛЯХ ДО ВІДНОВЛЕННЯ: АРТ-ТЕРАПІЯ ПІД ЧАС ВІЙНИ". Мистецтво в культурі сучасності: теорія та практика навчання 1, № 5 (2025): 115–22. https://doi.org/10.31652/3041-1017-2025(5-1)-14.

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The article discusses the role of art therapy as an effective method of supporting the psycho-emotional state in war, in particular in the context of children, military and rescuers. The author describes how creativity, through various art therapy techniques (drawing, modeling, theater therapy, music, dance), allows people to release and experience their emotions, reduce stress and anxiety. Art therapy acts as a tool for restoring psychological balance, helping to overcome the effects of trauma and providing resources for recovery. Attention is focused on the importance of timely psychological

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Petasyuk, Olena. "The Phenomenon of War in the Reimagining of World Art: Current Accents." Ethnic History of European Nations, no. 74 (2024): 222–27. http://dx.doi.org/10.17721/2518-1270.2024.74.23.

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The article studies the interpretations of war in the artistic space, where they demonstrate humanistic positions and the presence of moral principles. The author analyzes the most notable examples of the phenomenon of war in the refraction of world art in the historical context and reveals what messages permeate the canvases, where the theme of deaths due to wars is emphasized. Such works serve as one of the most powerful condemnations of the war through the power of art. Article shows which key features in the experience of understanding past wars with the help of art coincide with the time

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Fesenko, О. D. "SHEVCHENKO’S HERITAGE IN TIMES OF INFORMATION CHALLENGES." Shevchenko Studies, no. 1(24) (2021): 121–29. http://dx.doi.org/10.17721/2410-4094.2021.1(24).121-129.

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The article deals with the topical problem of using Shevchenko’s heritage in the context of novel hybrid war challenges during studying of the Ukrainian language and literature at Bohun Kyiv military lyceum. The innovative research includes the hottest educational problems of the given target audience, including humanistic and cultural consciousness of teenagers. Unveiling the potential of an inherited language program based on Shevchenko’s heritage gives the novel possibility to form and learn patriotic citizens. It is shown that forming of lyceum student’s thinking is tightly connected with

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Aulich, Jim, and Mary Ikoniadou. "Ghost Stories for Grown-Ups: Pictorial Matters in Times of War and Conflict." Humanities 9, no. 2 (2020): 44. http://dx.doi.org/10.3390/h9020044.

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This introduction takes as its central armature Karen Barad’s agential realism to provide a framework for understanding the essays brought together in this Special Issue under the rubric of pictures of conflict. The intention is to move the discussion with regard to picture making forward to more fully embrace the pictorial and the physical, the historical and institutional processes within apparatuses of picture-making. The attempt in ‘Ghost stories’ through the concept of a visual apparatus, is to shed new light and thinking on pictures as material objects; how they act and feed into our sub

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Petrynka, Khrystyna. "CONTEMPORARY BANDURA ART AS AN EMBODIMENT OF THE CULTURAL CODE OF UKRAINIANS." Baltic Journal of Legal and Social Sciences, no. 1 (April 5, 2023): 136–51. http://dx.doi.org/10.30525/2592-8813-2023-1-18.

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For many centuries, the activity of representatives of bandura art supported the morale of Ukrainians in difficult war times and periods of repression. In the course of the research, we can observe how the bandura repertoire reflected the desire of people to fight for freedom and carried history through the ages. With the start of a full-scale war in Ukraine in 2022, a young generation of contemporary bandurists began to actively support the Ukrainian people. Accordingly, linearly continuing the centuries-old musical tradition and demonstrating the mission of bandura art in particular. So, we

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Wardrop, Daneen. "Body, Comity, and the Civil War Band: Thoughts on Music and Poetry." 19th-Century Music 40, no. 1 (2016): 47–55. http://dx.doi.org/10.1525/ncm.2016.40.1.47.

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Civil War bands, indispensable to both Union and Confederate troops, were employed by officers to keep morale high during times of rest and relaxation, and to instill regional pride during times of battle. I engage in an inquiry into the functions of the Civil War band in order to highlight the nature of music as it offers at one moment the emotional integration of camaraderie and at another moment the impetus to spur soldiers to combat. As a means of investigating such cases, I start with the poem “Union Camp Music,” included in my recent book of poems, Cyclorama, and conclude with a discussi

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40

Birringer, Johannes. "Joe Annie Street." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (2014): 84. http://dx.doi.org/10.21992/t92k7d.

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A short critical fiction, derived from my experience of the demolition of my studio & home on Joe Annie Street, Houston, TX, placed in the context of a political/philosophical reflection on the "destructive character" (Benjamin) and the performative illusions or self delusions of street protest and street art in times of war.

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Dimovski, Vlado, Miha Marič, Miha Uhan, Nina Đurica, and Marko Ferjan. "Sun Tzu's "The Art of War" and Implications for Leadership: Theoretical Discussion." Organizacija 45, no. 4 (2012): 151–58. http://dx.doi.org/10.2478/v10051-012-0017-1.

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Sun Tzu's "The Art of War" and Implications for Leadership: Theoretical DiscussionWe present a study of the Art of War from a leadership perspective, one in which we make a closer connection to the context of general organization and management. The Art of War written by Sun Tzu is one of those books that could be classified in the genre of pop-culture. Although its content used to be considered as a carefully protected state secret in the past, it is now available to everyone. Its use has in the past century of moved from warfare also to other areas of human activity. Strategic advices that i

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Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, G

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Strechie, Mădălina. "The Dacians, The Wolf Warriors." International conference KNOWLEDGE-BASED ORGANIZATION 23, no. 2 (2017): 367–73. http://dx.doi.org/10.1515/kbo-2017-0144.

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Abstract The Dacians, a very important Indo-European people of the ancient world, were, like all Indo-European peoples, highly trained in the art of war. The legends of the ancient world placed the worship of Ares/Mars, the god of war, in the world of the Thracians, the Dacians being the most important of the Thracians, by the creation of a state and by their remarkable civilization, where war generated rank. The Dacian leaders, military aristocrats, Tarabostes are similar to the Bharathi of the Aryans, therefore the accounts of Herodotus, the father of history, who called the Thracians (inclu

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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.

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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and th

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Xu, Li, and Shang-Chia Chiou. "An Exploration of the Cultural Landscape Model of Zhuge Village." Sustainability 10, no. 9 (2018): 3172. http://dx.doi.org/10.3390/su10093172.

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Since ancient times, China has adhered to designing human settlement based on the concept of “defending the emperor and safeguarding the ordinary”. With its spatial structure in accordance with the Chinese ancient strategist Zhuge Liang’s art of war “the Diagram of the Eight-Sided Battle Formation” and in line with the terrain of natural landscape, Zhuge Village, the settlement of Zhuge Liang’s descendants in middle Zhejiang Province, has formed a landscape model featuring cultural characteristics. Using literature research, field research, schema cognition and analysis method, this paper inve

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Ince, Bernard. "The Neglected Art: Trends and Transformations in British Concert Party Entertainment, 1850–1950." New Theatre Quarterly 31, no. 1 (2015): 3–16. http://dx.doi.org/10.1017/s0266464x15000019.

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The genre commonly referred to as the ‘concert party’ remains largely neglected by scholars of popular entertainment. In this article Bernard Ince presents a new reading of this most distinctive and underrated branch of theatrical activity. The period before the First World War saw the growth of an ‘industry’ which provided seaside amusement during the summer months. During the inter-war years, however, a more sophisticated form developed whose performative characteristics drew increasingly on revue and cabaret. The period after the Second World War saw further adaptations that gave rise to th

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Levytska, Oksana. "Artist and Art in the Age of Historical Cataclysms: Kateryna Lebedieva’s novel «22. A Mystic Case at Voznesenskyi Descent in Kyiv»." LITERARY PROCESS: methodology, names, trends, no. 21 (2023): 72–79. http://dx.doi.org/10.28925/2412-2475.2023.21.8.

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The paper is dedicated to studying the problems of artists and art during climactic events in Ukrainian history. Kateryna Lebedieva’s novel “22. A Mystic Case at Voznesenskyi Descent in Kyiv” has been used to analyse the artistic context of the revolutionary and war events of 1917–1922 in Ukraine, singling out the challenges for art during breaking moments in the history of the country. The research aims to analyse authorial strategies of depicting the response of different artistic environments to global changes happening in the artistic community during turbulent times. The novel’s material

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Giroux, Henry A. "Neoliberalism’s War Against Teachers in Dark Times." Cultural Studies ↔ Critical Methodologies 13, no. 6 (2013): 458–68. http://dx.doi.org/10.1177/1532708613503769.

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Speiser, Vivien, and Phillip Speiser. "Art Encircles Life: Journeying With, In, and Through the Expressive Arts." Creative Arts in Education and Therapy 10, no. 1 (2024): 156–74. http://dx.doi.org/10.15212/caet/2024/10/8.

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This article presents the work of two expressive arts therapists who traveled and taught around the world between February and April 2024. Our journey actually started on October 7, 2023, when we were supposed to start teaching in Israel, and instead found ourselves waking up into the barbaric outbreak of this new Israeli–Hamas war. Since that time and in the aftermath of a world forever marked by this tragedy and its aftermath, we have been searching for ways of being of service and engaging in and amplifying our understanding of the ways in which the arts contribute toward healing and the bu

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Trussler, Simon. "Of Memory, Mortality, and Interesting Times." New Theatre Quarterly 10, no. 40 (1994): 305–6. http://dx.doi.org/10.1017/s0266464x00000816.

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IN THE BACKS of my mother's wartime diaries are long lists of the dates of letters written to and received from my reluctant soldier father, all neatly numbered to accord with some arcane requirement of the military mail. The letters have not survived: but the diaries, though little more than appointments books, were gathered into decennial sets and secured by long-perished rubber- bands. Trying to reconstruct a little of my early childhood from the names and places of those barebones jottings, I have often wondered why the diaries were felt to be so sacrosanct, while letters which exchanged e

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