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Journal articles on the topic 'Arts and Cultural Complex'
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Abramovitch, Henry. "The Cultural Complex." Jung Journal 1, no. 1 (January 2007): 49–52. http://dx.doi.org/10.1525/jung.2007.1.1.49.
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Singerman, Howard. "The Educational Complex: Mike Kelley's Cultural Studies." October 126 (October 2008): 44–68. http://dx.doi.org/10.1162/octo.2008.126.1.44.
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ICHIM, Traian. "Innovative marketing in the performing arts." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 123–30. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.13.
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Marketing in the cultural sphere has its own characteristics due to certain market requirements in this field of activity. It is distinguished by a special approach to traditional categories of marketing activities, thus defining the content of its functions. The key point of the management process in the cultural field is the study and evaluation of the marketing environment of a cultural institution. The marketing environment consists of macro and micro factors, which influence the activities of the institution. Research in the field of cultural marketing will be the concrete and realistic basis of future cultural projects. At the same time, the results of research will account for several political decision-makers. The use by cultural institutions of the whole complex of marketing technologies will not only improve the quality of services provided by a given institution in a certain market segment, but will also give the opportunity to move to a new stage of evolution of the whole market of sociocultural services, which corresponds to the requirements (needs) of consumers to a greater extent.
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Hudson, Martyn, and Hazel Donkin. "TESTT Space: groundwork and experiment in a complex arts organisation." Arts and the Market 9, no. 2 (December 9, 2019): 188–201. http://dx.doi.org/10.1108/aam-05-2019-0016.
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Purpose The purpose of this paper is to document and describe an omni-disciplinary ethnography of a complex arts and cultural regeneration organisation in Durham (TESTT Space). The organization and its art spaces are hybrid combination tools explicitly designed to test and experiment with ideas, social forms, human interactions and arts practice. Its ground or practice is a repurposed meanwhile space in a city centre embedded in a unique cultural landscape of local communities, a University and a World Heritage Site. The research attempted to understand its groundwork, its interactions and its civic mission and aspirations in a time of radical change and rupture. Design/methodology/approach The authors assumed an ethnographic approach, working with and within this organisation for a year, thinking of the research as embedded, intimate research and committed to social change. It was a work of co-production – working with studio-holders, curators, artists and facilitators using a range of triangulated qualitative research methods. These include structured interviews, auto-ethnography, ethnography of spaces, arts-led research, art as research and research as art. Findings TESTT Space has allowed both the retention of artists in the city and the propulsion of artists into the world. It has offered different ways of engaging in the complex lives of artists and curators, allowing them to test aesthetics and try out new social models. It has thought up its own network as a thinking practice, has developed its own politics, civics and imagined a set of new futures. Originality/value The paper documents interactions and aspirations, describing the lived phenomenological experience of being in this experimental space.
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Pohio, Lesley Margaret. "Landscapes of Identity: Young children and the visual arts | Paysages identitaires : jeunes enfants et arts visuels." Canadian Review of Art Education / Revue canadienne d’éducation artistique 44, no. 1 (December 12, 2017): 4–19. http://dx.doi.org/10.26443/crae.v44i1.41.
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Abstract: This research investigated how early childhood teachers responded to young children’s cultural and ethnic diversity through the visual arts. The visual arts are a critical means through which children’s cultural ways of knowing can be communicated and made visible. This was a key discovery from a research project underpinned by the New Zealand early childhood curriculum, Te Whāriki, which cites cultural diversity as a central principle, and motivated by statistics in the 2013 New Zealand Census that showed a strong demographic contrast between the ethnicities of the youthful and adult populations. The research findings presented the teacher participants’ understandings of culture and ethnicity and their interpretation of the multi-faceted and complex ways children’s visual artwork expresses children’s cultural and ethnic identities. Fragments of the artworks were interwoven within a tapestry to visualise these complex and multi-faceted findings.Keywords: Early Childhood Education; Visual Arts; Cultural and Ethnic diversity Résumé : Cette recherche tente d’identifier de quelle façon les éducateurs de la petite enfance réagissent face à la diversité culturelle et ethnique des enfants par le biais des arts visuels. Les arts visuels sont un medium essentiel pour transmettre et rendre tangibles les voies culturelles du savoir chez les enfants. Il s’agit d’une découverte importante faite dans le cadre d’un projet de recherche soutenu par le programme d’étude TeWhāriki de la petite enfance en Nouvelle-Zélande, qui fait de la diversité culturelle un principe fondamental, sur la base de statistiques issues du Recensement néozélandais de 2013 qui met en évidence un contraste démographique important entre les populations de jeunes enfants et d’adultes. Les résultats de cette recherche illustrent les perceptions culturelles et ethniques des enseignants participants et leur interprétation des voies complexes et à multiples facettes utilisées par les jeunes enfants pour exprimer leur identité culturelle et ethnique à travers leurs œuvres artistiques. Des fragments de ces œuvres ont été regroupés dans une tapisserie pour mieux illustrer ces résultats complexes et à multiples facettes (Figure 1).Mots-clés : éducation de la petite enfance ; arts visuels ; diversité ethnique
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Mawby, Anthea. "Australia: Shadow and Cultural Complex in the Antipodes." Jung Journal 13, no. 1 (January 2, 2019): 49–68. http://dx.doi.org/10.1080/19342039.2018.1560797.
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Binder, Marni J. "Bringing the Arts to the Everyday Lived Experiences of Young Children." Art/Research International: A Transdisciplinary Journal 3, no. 2 (September 15, 2018): 262–95. http://dx.doi.org/10.18432/ari29384.
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The purpose of this arts-based education research was to explore the complex art forms in Bali, Indonesia, for a cross-cultural understanding of the everyday importance of the arts in the teaching and learning of young children. Five Balinese artists and one Javanese artist were interviewed to discuss their journeys as artists from a young age, their practicing art forms, and perceptions of the importance of the arts in their communities, cultural identity, and in the everyday lived experiences of children. While there is literature on the historical and complex art forms of Bali, giving context to the importance of time and place and hierarchies of the culture, little is documented on the interconnection between the arts as a paradigm that shapes culture and informs an understanding of the arts as important to teaching and learning. This research experience aimed to deepen the researcher’s understanding of how the arts are embodied and woven together in Balinese culture, and how this knowledge can be connected to the teaching and learning of children in the Canadian context.
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Djokic, Vladan, Ana Radivojevic, and Mirjana Roter-Blagojevic. "Promotion of the cultural heritage of Mediterranean city in the scope of upgrading cultural tourism." Spatium, no. 17-18 (2008): 84–91. http://dx.doi.org/10.2298/spat0818084d.
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World and especially European trends of tourist economy are mainly focused on development of diversity in cultural tourism. Cultural tourism is a complex of numerous activities that enables not only the affirmation of cultural-historic motives, but also provides important resources for renewal of cultural-historic monuments, tangible and intangible heritage and resources. Today, there is no serious and ambitious country that does not prefer development of tourism in its development strategies as a planetary phenomenon and development sector. This specially refers to cultural tourism, as a competitive segment, based on local authenticity, unique areas, urban entities and ambiance, different historic layers and monuments, local tradition, myths and customs, affirmative mentality of population, geographic and ecological resources, in brief - complex and original identity of its area and its population. Cultural tourism in Montenegro has a modest tradition and only recently through valuable but sporadic initiatives and encouragements from Europe, attempts to valorize its own potentials, making them competitive through creative projects and programs. It is most certainly that the Montenegrin coast is a deeply settled part of complex Mediterranean cultural sphere that possesses certain characteristics which marks it as a unique cultural space in which different historical, geographic, confessional and other influences from surroundings intersect, predefining it for development of cultural tourism. This paper represents an effort to create a professional study report, although limited to single destination - city of Budva that treats cultural tourism in correlation with evaluation of renewal and use of cultural-historic and built heritage. From the mentioned reasons and within described context, this paper tends to be a small, but precisely created contribution to the future actions of creating complex tourist offer at Montenegrin coast, especially in Budva as its 'capital', as it is often emphasized with reasonable expectations in public. .
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Koprivšek, Nevenka, and Rok Vevar. "The problematics of spaces for performing arts in Slovenia." Maska 36, no. 201 (June 1, 2021): 88–101. http://dx.doi.org/10.1386/maska_00060_1.
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Nevenka Koprivšek wrote about the state, needs and vision of the presentation and rehearsal spaces in the field of performing arts more than twenty years ago, even before Bunker institute took over the management of the Old Power Station. Despite some newly acquired spaces described by Rok Vevar in his article “The Problem of Public Cultural Spaces from the Perspective of Public Time”, there is still a lack of understanding regarding the complex needs of art production, which includes appropriate and sufficient studio conditions. Art is not a done cultural product.
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Ren, Shuang, and Ying Zhu. "Candle in the wind." Journal of General Management 42, no. 4 (July 2017): 80–89. http://dx.doi.org/10.1177/0306307017702999.
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This study contributes to the leadership literature by applying the complexity leadership paradigm within China’s fringe arts businesses. China’s societal transformation provides a rich site that is far more complex than the one in established economies. Concerned with the evolving role of arts and cultural leadership within such context, this study explores the emergent, interactive dynamism between leaders, leadership and multiple contexts organized at different levels. Using an evidence-based approach, this study draws from in-depth case studies of two fringe arts businesses in Beijing. The findings not only enrich the model that describes the strategic goals of arts and cultural businesses, but also reveals leader behaviours and approaches used to achieve adaptive outcomes of complexity leadership. Overall, the study provides insights into the practice of arts and cultural leadership socially constructed within a context of drastic change and uncertainty.
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Cadée, Franka M., Marianne J. Nieuwenhuijze, Antoine L. M. Lagro-Janssen, and Raymond de Vries. "Embrace the Complex Dynamics of Twinning!" SAGE Open 11, no. 1 (January 2021): 215824402199869. http://dx.doi.org/10.1177/2158244021998695.
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The professional growth of midwives, essential for optimizing midwifery leadership globally, can be enhanced through twinning collaborations. How twinning promotes growth is unclear. This case study explores how professional growth is affected by cultural differences between twins. We used a longitudinal qualitative design including data from open-ended questionnaires and focus groups. These data were analyzed using a content analysis. Our findings show that cultural differences were capable of both hindering and facilitating professional growth. Within the complex dynamics of twinning, professional growth was facilitated by twins’ preparedness to bridge cultural differences. Common goals positively influenced this process. Friction was more likely, and professional growth was hindered, when midwives were unprepared to bridge cultural differences. To optimize professional growth through twinning, we recommend a clear focus on common goals and consideration of the interaction between the length of a project and the extent of the cultural differences between twins.
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Skerrett, Allison. "A Case of Generativity in a Culturally and Linguistically Complex English Language Arts Classroom." Changing English 18, no. 1 (March 2011): 85–97. http://dx.doi.org/10.1080/1358684x.2011.543515.
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LEWTHWAITE, STEPHANIE. "Art across Frontiers: Cross-cultural Encounters in America. Introduction." Journal of American Studies 47, no. 2 (April 17, 2013): 301–11. http://dx.doi.org/10.1017/s0021875813000108.
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This short introduction provides a brief overview of the special issue, by addressing the main historiographical and theoretical concerns that unite the individual contributions and by placing the essays in comparative, inter-American and interdisciplinary perspective. What do comparative analyses tell us about patterns of cross-cultural exchange in the visual arts? More specifically, what do these analyses tell us about the role of ethnic agency and audience, and the complex relationship between artistic practice and the “mainstream,” the local and the global?
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Morgner, Christian, Spencer Hazel, Justine Schneider, and Victoria Tischler. "Conduct in Dementia: Video Analysis of Arts Interventions." Sociological Research Online 24, no. 4 (April 10, 2019): 514–40. http://dx.doi.org/10.1177/1360780419835564.
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This study applies video analysis to an investigation of interactions among people with dementia in a cultural context, specifically a visual art exhibition in a gallery. The study adopts a sociologically informed approach to explore the role of artworks and how these may be beneficial to dementia care, by focusing on meaning-making conversational practices among people living with dementia. The interactions of different individuals with various forms of dementia were recorded during three gallery visits, including their engagement with gallery attendants and artworks. The findings reveal the socially empowering impact of interactions related to artwork, with complex patterns in bodily behaviour and facial expressions meaning that orientation to dementia became negligible. The article makes a contribution to the growing field of sociology of ageing and well-being from an interaction analytic perspective, indicating that cultural values can play a greater role in the care of people living with dementia.
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Pramudya, Arthur. "ADAPTATION AND CONSERVATION OF THE FINE ARTS MUSEUM IN THE KASATRIYAN COMPLEX AT THE KERATON OF YOGYAKARTA." Riset Arsitektur (RISA) 1, no. 1 (July 17, 2017): 54–76. http://dx.doi.org/10.26593/risa.v1i1.2281.54-76.
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Abstract- At present, the Fine Arts Museum at the Keraton of Yogyakarta is still intact, though it has seen slight change and is less than comfortably equipped for certain activities. This research study aims to reveal the cultural significance of the objects and the architectural elements that have shaped them, followed by a description of preservation measures. The research method is qualitative-interpretative, along with the Architectural Approach (function-form-meaning), Architectural Typology, and the Conservational Approach. The cultural significance of the formal aspects falls under architectural values and skills, whereas the functional aspect takes on the form of purpose-based values and history-related values.The building with its massive shape has been adapted to its environment or immediate surroundings, in addition to having been ornamented. The spatial arrangement shows a symmetrical pattern. The thick walls protect it against the local tropical climate. The function of the building has changed drastically, namely from being a school to a residence for the Crown Prince, to its final transformation into a museum. The ornaments on the ceiling, railings, walls, gable and columns reveal a decidedly mixed style consisting of Art Nouveau, the typical Indies style, and local Javanese architecture. The skill-related values reveal the technology behind the shaping elements of the structural and architectural construction. The current purpose-based values refer to its present use as a Fine Arts Museum.The period spanning 1921-1934 forms the reference point for conservation. The condition of the building is still intact and solid, but there is some ambiguity in terms of temporal context (era) discernible, and there is minor damage, as well as less than satisfactory suitability for its current purpose. Conservation measures include adaptation of the building in accordance with its current function and preservation in the shape of routine maintenance.Keywords: Fine Arts Museum, cultural meaning, adaptation, conservation
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Carnegie, Elizabeth, and Andreana Drencheva. "Mission-driven arts organisations and initiatives." Arts and the Market 9, no. 2 (December 9, 2019): 178–87. http://dx.doi.org/10.1108/aam-10-2019-0031.
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Purpose The purpose of this paper is to examine how mission-driven arts organisations respond to the complex set of economic and social conditions that the authors here term as a significant point of rupture. Drawing on the papers that form a part of the special section of this issue, the authors critically examine how the intersection of globalisation and neoliberalism creates multidimensional uncertainty that shapes the opportunities, responsibilities, work arrangements, and lived experiences of artists and artist-led initiatives and organisations. Design/methodology/approach In this introduction to the symposium on mission-driven arts organisations and initiatives, the authors explore how the included articles question and introduce key concerns that govern, limit and support mission-driven arts organisations. Findings Drawing on the papers in this set, the authors note that mission-driven arts organisations are diverse and employ numerous organising forms. However, at their core is the pursuit of social objectives, which also requires the management of often conflicting artistic, economic, cultural and social demands. The authors explicate how mission-driven arts organisations respond to local agendas and work best at the community level. As such, they may not play a key role in tourism or large-scale cultural regeneration of spaces, but rather seek to make creative use of sunken and redundant, often inner city spaces to address local needs. Yet, the uncertainty that these organisations face shapes temporary solutions that may enhance the precariaty and pressures for artists and creative producers with likely impact on wellbeing. Originality/value This paper brings together original insights into how mission-drive organisations seek to overcome and indeed flourish in a time of rupture. It moves beyond the notion of cultural regeneration as an instrument of tourism, and tourism as a focus of regeneration, to consider the value such organisations bring to localities evidenced in both creative practices and as local cultural engagement beyond economic impact. In doing so, mission-driven arts organisations play a vital role in a time of rapid change.
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Khan, Aisha. "Dark Arts and Diaspora." Diaspora: A Journal of Transnational Studies 17, no. 1 (June 2013): 40–63. http://dx.doi.org/10.3138/diaspora.17.1.40.
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Exploring the relationship between diaspora and creolization, this article analyzes their shared theoretical foundation in the concept of community. With the premise that empirical evidence of social behavior is both a problematic and a necessity in understanding processes of diaspora and creolization, the article takes as its case in point a cultural phenomenon commonly known in the Atlantic World as obeah: magical practices using supernatural powers. Deriving largely from West and Central African religious traditions, but also from European and South Asian sources, obeah is consummately creole. It is found in various forms in virtually all Caribbean diasporas in North America and in other diaspora destinations such as the United Kingdom. Obeah’s fraught and complex four centuries of colonial history has rendered it as bane and succor at the same time, both embraced and denied by dominant as well as subaltern peoples. These qualities of ambivalence and ambiguity raise probing questions about the creation and role of “community” in producing diasporic identities and the transformational, creolized cultures they carry. The article will discuss obeah’s Caribbean slave plantation past and its diasporic present, asking how obeah, a creolelized, simultaneously inclusive and divisive phenomenon, figures in the formation of community and thus in defining and interpreting diaspora.
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Medenica, Ivan. "BITEF Before and After 1989: Representation to Deconstruction of Social and Cultural Paradigms." New Theatre Quarterly 37, no. 3 (July 19, 2021): 273–80. http://dx.doi.org/10.1017/s0266464x21000178.
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Ivan Medenica here analyzes the cultural shift that the Belgrade International Theatre Festival (BITEF) experienced after 1989. From its beginnings in the late 1960s until the end of the1980s, BITEF was a representation of the dominant multicultural, modernist, and progressive paradigm of Yugoslavia’s cultural policy. This was not an unambiguous position. On the one hand, modernist values were imposed by Tito’s authoritarian regime and, on the other, they were confronted with the conservative tendencies both in politics and the arts. As a multicultural and progressive platform, BITEF was one of the biggest victims in the field of the arts of Slobodan Milošević’s nationalist regime in the 1990s and the wars in former Yugoslavia. After the fall of Milošević in 2000, a complex period of tension started between the ‘reborn’ urge for democratization and internationalization, on the one hand, and persistent nationalism and conservatism, on the other. Due to its tradition, reinforced artistic ambitions, and international reputation, BITEF regained its fame. Its position today, however, is quite paradoxical. It is an anti-traditionalist and multicultural festival – within a culture and society that are becoming traditional and rather claustrophobic. Ivan Medenica is a Professor of Theatre at the University of the Arts in Belgrade in Serbia and has received the national award for theatre criticism six times. His publications include The Tragedy of Initiation, or the Inconstant Prince: The Classics and Their Masks. Medenica is also the artistic director of BITEF.
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Ottosen, Rune. "The Military-Industrial Complex Revisited." Television & New Media 10, no. 1 (September 19, 2008): 122–25. http://dx.doi.org/10.1177/1527476408325365.
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Deans, Jan, and Robert Brown. "Reflection, Renewal and Relationship Building: An Ongoing Journey in Early Childhood Arts Education." Contemporary Issues in Early Childhood 9, no. 4 (January 1, 2008): 339–53. http://dx.doi.org/10.2304/ciec.2008.9.4.339.
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The established place of the arts within early childhood education is rarely questioned. Nevertheless, social, cultural and political shifts in values, beliefs and practices impact on approaches to the arts, as early childhood practitioners grapple with increasingly complex views on how children learn and what factors impact on their learning. This article maps some of these shifts over the past 15 years, at one Early Learning Centre (ELC) in Australia. The centre has created and regularly re-conceptualised its vision for the place of the arts in the lives of young children. Curriculum is informed by a layered and multidimensional theoretical framework, where the arts are integrated into the children's learning, and theories are considered as collections of partial truths. The article documents a number of significant events where the children engaged with the arts as ways of making and communicating meaning, and as a means for inquiry-based learning, for developing their artistry and as a space for relationship building between individuals and communities. Reflections on these events examine the image of the child, symbolic languages, emergent curriculum, the role of artist/ teacher and the impact of socio-cultural values on arts pedagogy and practice.
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Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.
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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.
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Gerasimova, D. L., and N. O. Kopylova. "CULTUROLOGICAL ASPECTS OF TEACHING “THE HISTORY OF FINE ARTS”." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 321–31. http://dx.doi.org/10.31650/2519-4208-2020-20-321-331.
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Today’s culture presents new important challenges for the education system. The transformation of cultural norms and standards and the movement of social consciousness towards tolerance require the formation of a new ideal of "cultural human". The value of professional knowledge implies a strong connection with the moral upbringing of future professionals and their orientation towards general cultural values. For its part, actual educational paradigm focuses on the principle of complexity and interdisciplinarity, integration of different scientific methods. This is appropriate for the studying and teaching the art disciplines. Of course, art has always been considered in close connection with the cultural and historical context, because art cannot exist outside it. Today, however, the search for new perspectives in interdisciplinary research is relevant in the field of culture and the arts, as in humanities and social sciences in general. This is also due to the transformation of the concept of art in today’s world, which requires the search for new vectors of analysis, addition and expansion of traditional tools of art’sanalysis. The objectives of this study are to analyze the educational and work programs and textbooks of the History of Fine Arts (the History of Arts) of the last five years; to determine what scientific culturological methods are most commonly used in the development of today’s educational and methodicalliterature (textbooks, manuals, educational programs) of “The History of Fine Arts ("The History of Arts"); to identify what other methods should be appropriate to include in the toolkit of studying and teaching the art history; to present the interaction between the teacher and students as a "cultural dialogue"; to reveal the role of cultural approach in the spiritual and aesthetic education of future artists.The researchers’ interest in the cultural aspects of the pedagogical process in today’s Ukrainian studies is increasing. O. Malanchuk-Rybak, I. Pyatnitska-Pozdnyakova, O.Shevnyuk, N. Kovaleva, Yu. Solovyova and others consider the cultural aspects of studying art history and teaching art disciplines. The cultural approach to analyzing the evolution of the world's art systems is demonstrated by the textbooks of the last decade, including “The History of the Arts” by O. Shevnyuk (2015), “The History of Arts” by K. Tregubov (2015), “Ukrainian Art in the Historical Dimension” (Yu. Solovyova, O. Mkrtichyan, 2017), etc. As well asthe research has determined the culturological orientation of educational and work programs in last five years: “The History of Arts” (Trofimchuk-Kirilova T., 2017), “The History of Fine Arts”(O. Kirichen-ko, 2019), “The History of Fine Arts and Architecture” (Panasyuk V. 2015), “The History of Fine Arts” (Panyok TV, 2016), etc. The article deals with the cultural aspects of the study and teaching of the art on the basis of these educational and methodological publications. For this purpose the following methods are used in the article: descriptive method, method of system analysis, axiological approach and socio-cultural analysis.The analysis of these textbooks and work programs made it possible to formulate the subject, purpose and main objectives of the course “The History of Fine Arts”. The aim of the course is to form students' systematic knowledge of the development of fine arts from archaic times to the present.In this context the culturological orientation of teaching "The History of Fine Arts" makes it possible to solve the following educational problems: forming a complex of knowledge about the essence of art, its functions in culture and society; moral and aesthetic education and involvement in cultural values; revealing the general patterns of evolution of the world art systems; forming an artistic picture of the world through mastering the system of artistic knowledge; understanding of the historical and cultural conditionality of aesthetic canons in art; mastering the basic principles and forms of communicative experience of art as a means of transmitting socially meaningful cultural meanings; development of critical perception and interpretation of works of art, ability to navigate in artistic styles and movements; involvement of artistic and creative artifacts in the fulfillment of various socio-cultural tasks. Thus, future artists not only learn to solve immediate professional tasks, but also accumulate the ideological and artistic experience of the past, acquire the ability to interpret it and make certain predictions, in particular in thetoday’s art market. Domestic researchers believe that the synthesis of methods of art studies and cultural studies is relevant in teaching the course "The History of Fine Arts". It was found out that systematic analysis, diachronic and synchronic methods, socio-cultural approach, biographical method allow revealing the content of the course most completely. Semiotic analysis and gender approach can also open up the new perspectives of the studying and teaching of art history in today’s humanitarian discourse.
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Žižek, Slavoj. "Notes on a Poetic‐Military Complex." Third Text 23, no. 5 (September 2009): 503–9. http://dx.doi.org/10.1080/09528820903184534.
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Carville, Conor. "‘Room to Rhyme’: Heaney, Arts Policy and Cultural Tradition in Northern Ireland 1968–1971." Review of English Studies 71, no. 300 (December 16, 2019): 554–68. http://dx.doi.org/10.1093/res/hgz136.
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Abstract Drawing on extensive research in Arts Council and government archives in Belfast and the collections of Seamus Heaney’s manuscripts, this essay reconstructs for the first time Northern Irish state cultural policy at the height of the crisis years 1968–1972. It also examines the response of a major poet to this policy, through a genetic mapping of the complex development of Heaney’s poem ‘The Last Mummer’, between 1969 and its publication in 1972. The poem refers to the mumming plays practiced at Christmas when troupes of young men, or ‘Rhymers’ would enter and perform in the houses of both communities in the North. This practice also informed ‘Room to Rhyme’, the Arts Council sponsored 1968 tour of several towns in Northern Ireland by Heaney and Michael Longley and the folk musician Davy Hammond. The make-up of the performers on the tour, the itinerary and accompanying booklet, suggest a deliberate attempt on the part of the Arts Council Northern Ireland to assert a role for itself, and for culture, in the political thaw of the time. In the years immediately after the tour, however, major confrontations between civil rights marches and police, widespread sectarian rioting and ultimately troops on the streets, resulted in even more extreme polarization in the North. As this essay shows, Heaney’s manuscripts from this period provide a valuable resource for the examination of the relationship between poetry, the public sphere and notions of cultural tradition in early 1970s Northern Ireland.
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Nae, Andrei. "Shakespeare and the Accumulation of Cultural Prestige in Video Games." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 115–28. http://dx.doi.org/10.2478/ausfm-2019-0018.
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Abstract The present article analyses the manner in which AAA action-adventure games adapt, quote, and reference Shakespeare’s plays in order to borrow the bard’s cultural capital and assert themselves as forms of art. My analysis focuses on three major releases: Metal Gear Solid 4: Guns of the Patriots, BioShock: Infinite, and God of War. The article shows that these games employ narrative content from Shakespeare’s plays in order to adopt traits traditionally associated with the established arts, such as narrative depth and complex characters. In addition to this, explicit intertextual links between the games’ respective storyworlds and the plays are offered as ludic rewards for the more involved players who thoroughly explore game space.1
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Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (November 1990): 269–94. http://dx.doi.org/10.1017/s0954586700003281.
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From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.
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Olson, Izabel Duarte. "Cultural Differences Between Favela and Asfalto in Complex Systems Thinking." Journal of Cognition and Culture 13, no. 1-2 (January 1, 2013): 145–57. http://dx.doi.org/10.1163/15685373-12342089.
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Ooi, Can-Seng. "The Changing Role of Tourism Policy in Singapore's Cultural Development: From Explicit to Insidious." Tourism Culture & Communication 19, no. 4 (November 27, 2019): 231–42. http://dx.doi.org/10.3727/194341419x15542140077648.
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In the last three decades, Singapore has transformed from a cultural desert to a global arts city, thanks significantly to tourism. The Singapore Tourism Board was proactively shaping the cultural dynamics and policy of Singapore until 2012. But since then its official role in the country's arts and cultural development almost disappeared. The disappearance of tourism interests in cultural development stems apparently from years of resistance, dialogues, and negotiation. This study argues that the tourism authorities are still maintaining influence in the cultural dynamics and development of Singapore by reframing its involvement. It insidiously asserts its influence by enticing members of the arts community with resources, opportunities, and economic support to participate in the tourism industry. This article provides a dialogical understanding of how tourism has shaped Singapore's cultural dynamics. Cultural dynamics and tourism development in Singapore must be understood within economic and social engineering perimeters defined by the government. The tourism authorities do not only work with other government authorities, they use similar techniques in managing and controlling cultural development in the city-state. The Bakhtinian Dialogic Imagination is the heuristic that organizes and structures the complex and dynamic tourism–culture relations in this study. Three dialogical concepts—carnivalesque, heteroglossia, and polyphony—are used. Besides documenting the ongoing evolution of tourism in the cultural development of Singapore, this study questions the effectiveness of the arm's length approach to managing cultural development. The Singapore case shows that there are subtle economic and political ways to go round that principle.
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Lansing, J. Stephen. "Complex Adaptive Systems." Annual Review of Anthropology 32, no. 1 (October 2003): 183–204. http://dx.doi.org/10.1146/annurev.anthro.32.061002.093440.
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Brenneis, Don, and Karen B. Strier. "Mapping Complex Terrain." Annual Review of Anthropology 48, no. 1 (October 21, 2019): v—vi. http://dx.doi.org/10.1146/annurev-an-48-082119-100001.
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Mastnak, Wolfgang. "Chinese Martial Arts: Add-on Therapy and Application in Cardiovascular Rehabilitation. A Review." Journal of Combat Sports and Martial Arts 8, no. 1 (July 31, 2017): 69–79. http://dx.doi.org/10.5604/01.3001.0010.5240.
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Background. Martial Arts (MA) are complex systems that involve both psycho-motor facets and cultural traditions. Although Western approaches tend to discern between meditative movement for health, competitive sports, and ethnic rites, many martial arts have to be regarded as holistic entities that comprise medical features, physical exercises, and mystical perspectives. Methods. Review, critical comparative analysis. Results. Cardiologic studies upon the martial arts mainly explore the Chinese disciplines of Tai Chi Chuan 太极拳and Qigong 气功and speak about cost-effective and safe ways of treatment. These approaches are applied to reduce hypertension and high heart rate and might have positive effects on endothelial function and heart rate variability. In addition to these cardiac perspectives, Tai Chi Chuan and Qigong proofed to exhibit preventative and therapeutic effects on anxiety and depression, hence their function for controlling psychopathological sequelae of heart conditions. A wealth of studies highlights that these martial arts also improve the patients’ quality of life and enhance their adherence to rehabilitation programmes. For some years, also Karate and Judo have gained ground in cardiology. Conclusion. Chinese Martial Arts are a viable means in cardiac rehabilitation. From the perspective of cross-cultural research in medicine, more studies on the martial arts that involve both Western and Chinese theories of cardiology are required.
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Anderson, Richard L. "Cross-Cultural Aesthetic Contrasts and Implications for Aesthetic Evolution and Change." Empirical Studies of the Arts 11, no. 1 (January 1993): 51–60. http://dx.doi.org/10.2190/tkv4-73d6-x9td-6cp2.
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In contrast to small-scale societies, philosophies of art in complex societies tend to be relatively explicit, produced by specialists, and densely textured—a pattern exemplified by the differences between the aesthetic systems of Aboriginal Australian versus pre-Columbian Aztec societies. These differences may parallel the gradual changes in aesthetics that occurred as some small, pre-neolithic cultures evolved into complex states. Also, when traditional societies undergo the shock of culture contact, their previously profound aesthetic systems, whether explicit or implicit, tend to be replaced by concerns about craftsmanship, intensiveness of work, and market value—as exemplified by pre- and post-contact Aztec culture. Also discussed are possible future developments in each of these dynamic processes, respectively designated “bary-evolution” and “ocy-evolution.”
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Norman, Moss Edward, and John Bryans. "Performing the Norm: Men in the Performing Arts and the Materialization of White, Heteronormative Masculinity." Journal of Men’s Studies 28, no. 3 (February 28, 2020): 281–300. http://dx.doi.org/10.1177/1060826520907923.
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There is a relatively robust body of scholarship examining popular cultural representations of masculinity, yet there is comparatively little research on the men who take up and perform these representations. Based on interviews with 12 men in the performing arts, including dance, theater, film, and television, we examine the everyday lived experiences of men in the arts, with a specific focus on the complex and dynamic processes by which normative masculine performances are materialized. Using Judith Butler’s theory of performativity, we argue that performances of normative masculinity in the arts are not nearly as stable and certain as we might imagine. Rather, normative masculinity is continuously formed and re-formed within an assemblage of discursive and nondiscursive relations that performatively materialize the seemingly stable white, heteronormative masculine subject.
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Jürgens, Anna-Sophie. "Batman and the World of Tomorrow: Yesterday’s Technological Future in the Animated Film Batman: Mask of the Phantasm." Animation 15, no. 3 (November 2020): 246–59. http://dx.doi.org/10.1177/1746847720965459.
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Examining facets of modernist visions of our technological future and of theatricalized city and stage spaces in the 1993 animated film Batman: Mask of the Phantasm, this article explores the cultural meaning of technology in graphic fiction. The confrontation scene between Batman and Joker in the grounds of Gotham’s World’s Fair, the author argues, echoes the 1939 New York World’s Fair with its modernist urban optimism and pop cultural fascination with new visionary technologies, as well as the modern history of moving pictures and multi-media spectacle. The article spotlights the power of the Batman story to participate in, and contribute towards, complex cultural inquiry and transmedial discourses around technology and popular entertainments. Through the exquisite medium of animation – which allows animated characters to be placed on an abstract architectural city stage – Mask of the Phantasm also embodies modernist visions of the ‘ideal’ stage character in a medium that creates non-realist art and more complex possibilities for movement, thus transporting modernist thinking into the 20th century.
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Kalinga Dona, Lasanthi Manaranjanie. "Bali Healing Ritual in Sri Lanka from a Medical Ethnomusicology Perspective." Musicological Annual 52, no. 2 (December 9, 2016): 121–36. http://dx.doi.org/10.4312/mz.52.2.121-136.
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Medical ethnomusicology, a new growing sub-field of ethnomusicology takes into consideration on an equal basis music, medicine/healing and culture. This article focuses on a complex of cultural beliefs intertwined with the arts and crafts, in a multileyered bali healing ritual, which aims to restore wellbeing of individuals and communities in the South Asian country Sri Lanka.
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Delgado, Hishochy, Yasselle Angela Torres, and Maylín Alonso. "Educación crítica de las artes visuales en estudiantes de diseño gráfico. Relaciones de aprendizaje en torno a la cultura visual." eari. educación artística. revista de investigación, no. 11 (December 19, 2020): 71. http://dx.doi.org/10.7203/eari.11.15716.
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Resumen: La dimensión crítica en los procesos de enseñanza y aprendizaje universitarios constituye un estadio superior del intelecto y la moral en los educadores y educando. Encuentra su base teórica, epistemológica y metodológica en las capacidades reconstructivas y autónomas del sujeto libre que piensa y crea. En esta investigación pretendemos abordar –desde las experiencias como docentes e investigadores- el andamiaje contextual que sitúa al discurso crítico como una necesidad educativa en estudiantes de Diseño Gráfico. Realizaremos un análisis de los componentes curriculares que intervienen en las decisiones para conformar un aparato crítico hacia el objeto artístico visual y responder a la pregunta ¿qué sentido tienen la educación crítica y su discurso sobre Artes Visuales en estudiantes de Diseño Gráfico? Para ello, proponemos repensar las nociones de crítica, en contextos diversos por los que transita la cultura visual en aras de una educación más compleja, a través de relatos que cuentan las intimidades de las artes visuales.
Palabras clave: educación crítica, discursos críticos, artes visuales, diseño gráfico, cultura visual.
Abstract: The critical dimension in the processes of university teaching and learning constitutes a higher stage of the intellect and morality in teachers and students. It finds its theoretical, epistemological and methodological basis in the reconstructive and autonomous capacities of the free subject that think and create. In this research I intend to address -from the experiences as a teacher and researcher- the contextual scaffolding that places critical discourse as a necessity in the teaching and learning process of graphic design students. I will make an analysis of the curricular components that intervene in the decisions to form a critical apparatus towards the visual artistic object and answer the question: what is the point of critical education and its discourse on Visual Arts in Graphic Design students? For this, I propose to rethink the notions of criticism, in diverse contexts through which visual culture transits for the sake of a more complex education, through stories that tell the intimacies of the visual arts.
Keywords: critical education, critical discourses, visual arts, graphic design, visual culture
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Yingchun, Zang. "A view from China: Reflecting back on James Elkins’ Chinese Landscape Painting." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 49–54. http://dx.doi.org/10.1386/jcp_00013_1.
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In this article, the author, a scholar based in China, reflects on James Elkins’ book Chinese Landscape Painting. She notes that the development of Chinese art has a complete history. As a cultural system that has grown and developed in a long and relatively isolated state, it has formed a unique philosophical aesthetic thought and a unique form of artistic expression. Chinese landscape painting is a part of this complex and rich cultural system, and it would be meaningless to discuss Chinese landscape painting in isolation from this ever-changing cultural ecology.
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Ledgard, Anna, Susannah Hall, Sofie Layton, Mark Storor, Nicky Petto, Jo Wray, and Giovanni Biglino. "Defining the Role of “Relational Producer” in Arts-and-Health Collaborations in Hospitals: A Reflection on Catalysts and Partnerships." Leonardo 54, no. 3 (2021): 345–49. http://dx.doi.org/10.1162/leon_a_02036.
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Abstract As the profile of the arts-and-health sector grows and interdisciplinary projects with public outcomes become more common, it is useful to explore roles and ways of working at the interface between different disciplines. The authors analyze the complex role of producer, likely to become increasingly relevant in this landscape. While incorporating aspects of existing roles (e.g. hospital arts manager, cultural venue participatory producer, independent creative producer, public engagement manager), the producer has a very specific raison d'être and could be defined as “relational producer.” This role is not well understood and yet central to this field of practice.
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Suarez, Ananda Cohen. "From the Jordan River to Lake Titicaca: Paintings of the Baptism of Christ in Colonial Andean Churches." Americas 72, no. 1 (January 2015): 103–40. http://dx.doi.org/10.1017/tam.2014.3.
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The arts of the colonial Andes bear witness to a complex and contested story of evangelization that involved a variety of actors, including priests, artists, indigenous congregations, and confraternities. Sculptures of saints, sumptuousretablos(altarpieces), canvas paintings with elaborate gilded frames, and mural cycles devoted to a variety of biblical themes were employed in the religious instruction of indigenous communities, and as catalysts for sensorial modes of communication. The visual arts provided a tangible analogue to sermons and printed catechisms, offering parishioners a lens through which to envision the sacred. Adapted from European iconographic models and infused with local references and symbolism, religious art throughout the colonial Americas introduced new visual vocabularies to indigenous congregations, who quickly became conversant in these images of conversion.
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Wark, McKenzie. "In the shadow of the military‐entertainment complex." Continuum 9, no. 1 (January 1996): 98–117. http://dx.doi.org/10.1080/10304319609365693.
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Guachalla, Adrian. "Perception and experience of urban areas for cultural tourism: A social constructivist approach in Covent Garden." Tourism and Hospitality Research 18, no. 3 (May 10, 2016): 297–308. http://dx.doi.org/10.1177/1467358416646820.
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Covent Garden is firmly established in London’s tourism landscape due to its commercial sector, distinctive architecture and provision of different forms of performing arts including the UK’s leading Opera House at its core. This study aims to understand the factors that shape the tourists’ perception and experience of this long standing urban precinct and the influence that the Royal Opera House exerts on these processes. It contributes to the understanding of how a well-established area is perceived and experienced by tourists exposed to a range of stimulating factors including a cultural flagship for the performing arts. A social constructivist approach was adopted to address this complex area of study from a non-foundational perspective. A total of 306 semi-structured interviews were conducted in a variety of locations revealing that age and nationality are fundamental elements underpinning the tourists’ perception and experience of place leading to a process of cultural appraisal.
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Cobb, Charles R. "Mississippian Chiefdoms: How Complex?" Annual Review of Anthropology 32, no. 1 (October 2003): 63–84. http://dx.doi.org/10.1146/annurev.anthro.32.061002.093244.
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Kraus, Brittany. "Art for Everyone?" Theatre Research in Canada 40, no. 1-2 (March 20, 2020): 42–63. http://dx.doi.org/10.7202/1068257ar.
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Founded in 2008 by Shahin Sayadi and Maggie Stewart, the Prismatic Arts Festival is a Halifax-based multidisciplinary arts festival that features the work of Indigenous and culturally diverse artists. This article examines the development of the Prismatic Arts Festival and the ways in which the festival has sought to negotiate, challenge, and transform Halifax’s artistic landscape by creating a model that is locally-grounded, nationally-networked, and fundamentally devoted to advancing the careers and profiles of Indigenous and culturally diverse artists in Nova Scotia and across Canada both within and outside of mainstream performance cultures. As the festival recently celebrated its tenth anniversary, this article traces the history of the Prismatic Arts Festival, its struggles and successes, and the complex negotiations the festival has made and continues to make in order to move toward a future of Canadian theatre in which cultural diversity and inclusivity are the norm, rather than the exception.
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Vermeyden, Anne Elizabeth, and Eid Mohamed. "Making Canada Home: Snapshots of Syrian and Iraqi Newcomer Cultural Production in the Waterloo Region, 2016-2019." Refuge: Canada's Journal on Refugees 36, no. 1 (April 25, 2020): 30–39. http://dx.doi.org/10.25071/1920-7336.40588.
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Since the beginning of the Syrian Crisis in 2011, millions of refugees from Syria and Iraq have been displaced. Over 25,000 Syrian newcomers settled in Canada between 2015 and 2016.1 The Region of Waterloo, home to a population of approximately 535,000 by 2016,2 was where about 2,000 of these newcomers settled.3 This article argues that these newcomers have used arts and culture to navigate the difficulties of settlement and acculturation. Evidence from newspaper articles, interviews, and participant observation indicates that refugees from Syria and Iraq in this region have utilized dance and theatre to develop community that retains cultural connections and identity linked with Syria and the greater Levantine region. Professional and community arts initiatives spearheaded by refugees showcase how culture and identity are caught up in continuous circulations of culture that are geographically situated in the Canadian context. For Syrian and Iraqi refugees in the Waterloo Region, acculturation, nostalgia, and assimilation are complex and powerful sites of community.
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Saltzstein, Herbert, Maria da G. Dias, and Mari Millery. "Moral suggestibility: the complex interaction of developmental, cultural and contextual factors." Applied Cognitive Psychology 18, no. 8 (2004): 1079–96. http://dx.doi.org/10.1002/acp.1077.
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Roscoe, Paul B. "The Pig and the Long Yam: The Expansion of a Sepik Cultural Complex." Ethnology 28, no. 3 (July 1989): 219. http://dx.doi.org/10.2307/3773512.
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Balme, Christopher B. "Cultural Anthropology and Theatre Historiography: Notes on a Methodological Rapprochement." Theatre Survey 35, no. 1 (May 1994): 33–52. http://dx.doi.org/10.1017/s0040557400002544.
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After a century of carefree source research conducted against the background of positivist objectivism, theatre historiography now finds itself in the throes of a methodological paradigm shift. Quite independent of its historical disciplinary affiliations, whether as an extension of literary criticism of the various national literatures or as a subsidiary of the historical sciences, theatre historiography is no longer able to resist engagement with fundamental and increasingly complex methodological debates. Particularly in North America there has been a broad discussion on the crisis of traditional, positivist theatre history. The result has been to open up theater historiography to other approaches such as semiotics and diverse theories and methodologies of a poststructuralist provenance. Despite this intensifying and often broad-ranging methodological debate there have been hitherto hardly any attempts to bring theatre history into a dialogue with historical anthropology or ethnohistory, both of which are strongly influenced by the methodologies of cultural anthropology. The deficit is all the more remarkable as these areas have ignited a veritable explosion of interest amongst historians and ethnologists which has transcended the narrow disciplinary borders of both fields of scholarship.
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Necipoglu-Kafadar, Gulru. "The Suleymaniye Complex in Istanbul: An Interpretation." Muqarnas 3 (1985): 92. http://dx.doi.org/10.2307/1523086.
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Thys-Senocak, Lucienne. "The Yeni Valide Mosque Complex at Eminonu." Muqarnas 15 (1998): 58. http://dx.doi.org/10.2307/1523277.
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Necipoğlu-Kafadar, Cülru. "THE SÜLEYMANIYE COMPLEX IN ISTANBUL: AN INTERPRETATION." Muqarnas Online 3, no. 1 (1985): 92–117. http://dx.doi.org/10.1163/22118993-90000198.
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