Journal articles: 'Arts turcs'

1

Tufan, Muzaffer. "Les Turcs de la Macedoine et Leurs Arts." Erdem, no. 15 (September 1, 1989): 877–924. http://dx.doi.org/10.32704/erdem.1989.15.877.

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Olçer, Nazan Tapan. "Le Musée des arts turcs et islamiques: la renaissance d'un palais du XVIe sièele." Museum International (Edition Francaise) 36, no. 1 (April 24, 2009): 42–48. http://dx.doi.org/10.1111/j.1755-5825.1984.tb00896.x.

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Simonneau, Karinne. "Une relecture politique de l'"Enlèvement d'Europe" de Titien : Philippe II et les Turcs." Revue de l'Art 125, no. 1 (1999): 32–37. http://dx.doi.org/10.3406/rvart.1999.348460.

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Simonneatu, Karinne. "Une relecture politique de l’ Enlèvement d’Europe de Titien : Philippe II et les Turcs." Revue de l'art N° 125, no. 3 (March 1, 1999): 32–37. http://dx.doi.org/10.3917/rda.125.0032.

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Dennis, George T. "Grecs, Occidentaux et Turcs de 1054 à 1453: Quatre siècles d'Histoire de Relations Internationales.Basile G. Spiridonakis." Speculum 69, no. 4 (October 1994): 1278–79. http://dx.doi.org/10.2307/2865704.

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Kraljić, Ivan C. "« Nous sommes morts de peur » : considérations pathémiques sur les opuscules antiturcs de Marko Marulić de Split." Renaissance and Reformation 42, no. 2 (August 22, 2019): 105–40. http://dx.doi.org/10.33137/rr.v42i2.32982.

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Les incursions des Ottomans en Europe depuis le XIVe siècle ont donné naissance à un genre littéraire particulier appelé littérature antiturque (antiturcica), tour à tour belliciste, prophétique ou historique. Le Dalmate Marko Marulić de Split (1450–1524) composa ainsi une Prière contre les Turcs (date inconnue), une Plainte de la ville de Jérusalem (1517 vraisemblablement), et une lettre demandant l’aide du pape Adrien VI (1522). Il connut de près la menace ottomane : de son vivant, les Ottomans conquirent Constantinople, Jérusalem, la Syrie, l’Égypte, la Serbie, la Bosnie, l’Herzégovine, et enfin Belgrade (1521), victoire qui leur ouvrit les portes de la Hongrie et de la Croatie. De l’étude pathémique de ces trois antiturcica maruliens émerge une rhétorique de diabolisation des Ottomans qui non seulement témoigne des violentes émotions subies par l’auteur, mais qui justifie aussi une guerre sans merci contre cet ennemi qui apparaît cruel, insatiable et invincible.

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Aubin, Jean. "Deux Chrétiens au Yémen Tāhiride." Journal of the Royal Asiatic Society 3, no. 1 (April 1993): 33–52. http://dx.doi.org/10.1017/s1356186300003667.

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Bien que l'emploi des bouches à feu soit attesté dans les pays de l'lnde antérieurement, la diffusion de l'artillerie, et de ce que l'on appelle du terme générique conventionnel d'arquebuse, a été, au début du XVIe siècle, le fait de transfuges recherchés pour leur habileté à fondre des canons et à manier l'arme à feu portative. Les plus fameux sont les deux Italiens qui, en 1503, passérent au service du Samorin de Calicut. On trouve ensuite parmi eux des “Turcs” ou “Roumes” – dont la plupart semblent, arrivés au Gujarat en 1507, avoir essaimé après le désastre de Diu de 1509, au service d'autres princes, jusqu'au Bengale et au Pégou – et des “Portugais”, ou réputé tels, dont la trace, une fois passés dans le monde d'en face, se perd le plus souvent. Si les activités de quelques-uns de ces aventuriers, revenant en terre chrétienne, étaient trop notoires pour qu'ils donnent le change, d'autres entouraient de fumée leur curriculum incontrôlable et rachetaient par une version édifiante un moment douteux de leur passé.

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Monok, István. "Les transformations fonctionnelles de la cour et la culture du livre dans la Hongrie royale et en Transylvanie aux XVIe ET XVIIe siècles." Hungarian Studies 34, no. 2 (July 6, 2021): 163–89. http://dx.doi.org/10.1556/044.2020.00013.

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AbstractLa cour royale de Mathias Corvin (1443–1490 ; 1458–1490) et celle des rois Jagellons jouent jusqu’au XVe siècle, dans la vie intellectuelle du royaume de Hongrie, un rôle comparable à celui des cours royales en Europe occidentale. Mais l’occupation de la capitale (Buda) par les Turcs (1541) et l’absence de souverain « national » transforment profondément le rôle des familles aristocratiques pour ce qui concerne tant l’organisation de la vie culturelle que la vie de l’Église. Parallèlement, la Réforme protestante progresse au XVIe siècle en Hongrie et en Transylvanie, cette dernière devenue une principauté pratiquement indépendante. Les nouveaux acteurs autour desquels se développe dès lors la vie culturelle dans le pays sont les grands aristocrates et les cours qu’ils réunissent à leur entour : les Bánffy, Batthyány, Nádasdy, Perényi, Rákóczi, Esterházy et quelques autres. En Transylvanie, le rôle de la cour princière reste dominant, grâce à sa richesse relative par rapport aux cours seigneuriales. Si l’aristocratie de Hongrie et de Transylvanie se convertit très majoritairement à la Réforme au XVIe siècle, la politique des Habsbourg et les progrès de la Contre-Réforme entraînent un vaste mouvement de reconversion, mais en Hongrie seulement, au XVIIe siècle. À la fin du siècle, ces territoires sont pleinement réintégrés dans les territoires des Habsbourg : dès lors, la question de la modernité se déploie de plus en plus nettement, à laquelle se joint la nouvelle problématique de l’identité collective, puis nationale.

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9

Kanter, Steven L. "Medicine and the Arts Turns 20." Academic Medicine 86, no. 12 (December 2011): 1483. http://dx.doi.org/10.1097/acm.0b013e31823cefdd.

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Φραγκίσκος, Εμμ Ν. "Ιχνηλατήσεις στις σελίδες της αλληλογραφίας Κοραή." Gleaner 28 (December 30, 2011): 211. http://dx.doi.org/10.12681/er.134.

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INVESTIGATIONS DANS LA CORRESPONDANCE DE CORAY 1. Lieux communs dans la correspondance de Coray du début du XIXe siècle et dans sa brochure intitulée Dialogue entre deux Grecs (1805). On repère dans les deux textes des passages de contenu commun et aux termes presque identiques, qui se réfèrent à trois sujets : 1. les conséquences graves de la défaite militaire russe face aux armées de Napoléon sur la question politique de la Grèce, les Russes étant devenus ainsi incapables de mettre fin à l’Empire ottoman ; 2. l’opinion inébranlable de Coray, pour qui la Grèce asservie au joug des Turcs gagnerait sa liberté pacifiquement et, dans un avenir lointain, par les armes de l’éducation et de la culture ; 3. la nécessité de répartir la richesse matérielle et spirituelle des nations selon les principes de la justice sociale. 2. «Metakenosis» : aspects linguistiques et interprétatifs. On examine l’origine du terme «metakenosis», utilisé pour la première fois en 1811 par Coray dans sa correspondance, et on propose une interprétation fondée sur des données grammaticales ainsi que sur l’opinion courante que les lettres et les arts cultivés et développés en Europe avaient leur source dans l’Antiquité grecque. Dès lors, il fallait revenir de nouveau vers la Grèce moderne afin de contribuer à sa régénération culturelle. 3. La correspondance de Coray avec Félix Malzac, médecin à Castres, pendant la Révolution française. On a essayé d’identifier un certain Malzac, médecin à Castres, mentionné pour la première fois en 1795 comme correspondant de Coray, avec la personne de Félix Malzac, docteur en médecine de l’université de Montpellier où il avait probablement connu Coray pendant son séjour là-bas, et de révéler les raisons qui ont animé leur amitié. EMM. N. FRANGHISKOS

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11

RICHER-ROSSI, Françoise. "PALINODIA DE LA NEPHANDA Y FIERA NACIÓN DE LOS TURCOS Y DE SU ENGAÑOSO ARTE Y CRUEL MODO DE GUERREAR Y SU TRADUCCIÓN VENECIANA: DEL ENEMIGO ENDEMONIADO AL VECINO RESPETADO." MELISENDRA. Journal of Spanish Early Modernity Studies 3, no. 3/2023 (November 1, 2023): 30–53. http://dx.doi.org/10.62229/mjs3/2.

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El artículo analiza las distintas representaciones del turco según se trata de la versión original del español Vasco Díaz Tanco, publicada en Orense en 1547, o de su traducción italiana realizada por Alfonso de Ulloa, español de nacimiento y veneciano de adopción, titulada sobriamente: Libro dell’origini e successione dell’Imperio de’Turchi (1558). Llama la atención cómo Alfonso de Ulloa se adapta, en buen mediador cultural entre España y la República de Venecia, al contexto veneciano. Es consciente del interés de la obra de su compatriota, pero también sabe que las relaciones hispano-turcas son muy diferentes de las que Venecia mantiene con sus vecinos otomanes. Tiene que ajustarse a las exigencias de otros lectores. Por eso, sin olvidar nunca el servicio de su patria, se esmera en no desagradar a las autoridades venecianas que contemporizan a menudo con los turcos para comerciar libremente en el Mediterráneo. No se puede olvidar que diez años más tarde y tras diez meses de negociaciones, ⸺a raíz del ataque de Chipre (julio de 1570) por los turcos y del suplicio del gobernador de la isla Marc Antonio Bragadín, en Famagusta⸺ Venecia iba a formar la liga con los españoles y el papa Pío V. Teniendo en cuenta la historia política del contexto en el que surgen ambos textos, el artículo analiza supresiones y adiciones de Alfonso de Ulloa respecto al texto inicial. Frente a la versión original que defiende con ahínco el campo de los cristianos y ataca con virulencia a los turcos, Alfonso de Ulloa suaviza el estilo, censura y compensa alabando a la República de Venecia e insistiendo en su papel destacado en el tablero internacional.

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12

SCHWARZ, HANS. "Luther and the Turks." Unio Cum Christo 3, no. 1 (April 1, 2017): 127. http://dx.doi.org/10.35285/ucc3.1.2017.art8.

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Abstract: Confronted with the military advance of the Turkish Ottoman Empire against the Holy Roman Empire, including the siege of Vienna, Martin Luther wrote several treatises on the Turks. Luther rejected the idea of a war in the name of religion against the Ottoman onslaught, seeing instead the defense of the Holy Roman Empire as the duty of the Emperor. Luther understood the Turkish threat as God’s punishment for the laxity of Christians and so called for repentance and a return to the gospel. Luther wanted the Christians to have ﬁrsthand information about Islam and promoted a translation of the Qur’an in German against many obstacles. The Protestant church in Germany is very cautious about deﬁning a present-day application of Luther’s approach.

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13

Kaba, Flavia, and Xavier Baró i Queralt. "Héroe o traidor:." Medievalia 25, no. 1 (November 21, 2022): 99–120. http://dx.doi.org/10.5565/rev/medievalia.571.

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Tras la conquista de Constantinopla (1453), los focos de resistencia contra los turcos eran prácticamente residuales en los Balcanes. Tan solo el albanés Gjergj Kastrioti (¿c. 1405?-1468) (Skanderbeg) mantuvo una resistencia notable frente al turco. A lo largo de su vida ayudó a forjar también la identidad nacional albanesa. En este artículo estudiamos y contraponemos la imagen contrapuesta y contradictoria que ofrecieron sobre el líder albanés los cronistas e historiógrafos albaneses, bizantinos y un cronista turco. Tras la lectura de esas fuentes, contextualizadas con la bibliografía secundaria que ha generado Skanderbeg, se concluye que el personaje fue descrito según los intereses apriorísticos de sus autores: desde el elogio a la crítica, y también algunos silencios reveladores.

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14

Roland, Meg. "Arthur and the Turks." Arthuriana 16, no. 4 (2006): 29–42. http://dx.doi.org/10.1353/art.2006.0018.

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15

Gallagher, Kathleen. "Off the beaten track: a reflection on intention and unpredictability in arts education research." Encounters in Theory and History of Education 11 (November 22, 2010): 35–43. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.2387.

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The coherence of a ‘research program’ is often betrayed by the unanticipated turns and detours in arts research. The following article reflects upon the place of the unexpected in arts research, the alternative ways in which knowledge or ‘findings’ are often constructed, and the complexity of calibrating or measuring arts research for broader publics. UNESCO’s road map is seen here as a site for further deliberation, a point in time and space that should engage arts communities in rousing dialogue—locally and globally—about the convergences and divergences of our practices and research paradigms.

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16

David Hendy. "Radio’s Cultural Turns." Cinema Journal 48, no. 1 (2008): 130–38. http://dx.doi.org/10.1353/cj.0.0071.

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17

Rich, B. Ruby. "Toronto Turns Forty." Film Quarterly 69, no. 2 (2015): 66–73. http://dx.doi.org/10.1525/fq.2015.69.2.66.

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18

Perceval, José María. "Uno y múltiple: el turco y los diferentes turcos imaginados por la propaganda literaria de los siglos XVI y XVII." Hipogrifo. Revista de literatura y cultura del Siglo de Oro 11, no. 2 (December 2023): 19–34. http://dx.doi.org/10.13035/h.2023.11.02.03.

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19

Sen, Chandan K. "ARS Turns Fifteen: la quinceañera bonita." Antioxidants & Redox Signaling 18, no. 1 (January 2013): 1–4. http://dx.doi.org/10.1089/ars.2012.4980.

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20

Ritchie, Ian. "Dance of Light and Line: When an Architect Turns to Art." Architectural Design 93, no. 5 (August 30, 2023): 22–29. http://dx.doi.org/10.1002/ad.2971.

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AbstractIan Ritchie is not bound by stylistic fetishes and long‐established, old‐fashioned protocols of solving architectural problems. Each of his projects is designed from first principles, even before spaces and materials are projected. He prefers to get to know his clients and their organisations in extreme detail. At concept stage he uses the other arts to inspire his outputs – poetry, etching and painting, to name but a few. Here he describes his methodologies.

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21

Drew, Philip. "JØRN UTZON TURNS EIGHTY." Architectural Theory Review 3, no. 2 (November 1998): 126–29. http://dx.doi.org/10.1080/13264829809478350.

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22

Alpert, Jack N. "Funny Turns." Archives of Neurology 65, no. 11 (November 10, 2008): 1548. http://dx.doi.org/10.1001/archneur.65.11.1548-b.

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23

Marosi, Ernő. "László Beke turns seventy." Acta Historiae Artium 55, no. 1 (December 1, 2014): 229–38. http://dx.doi.org/10.1556/ahista.55.2014.1.10.

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Takács, Imre. "Ernő Marosi Turns Eighty." Acta Historiae Artium 61, no. 1 (December 18, 2020): 217–38. http://dx.doi.org/10.1556/170.2020.00009.

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Urbainczyk, Theresa. "Spartacus:A Hero Turns 50." Film International 8, no. 3 (July 2010): 7–13. http://dx.doi.org/10.1386/fiin.8.3.7.

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Kustianti, Dyah, Suminto Suminto, and I. Wayan Sutirtha. "The Manifestation of Kuntisraya Story in Ethnic." Randwick International of Social Science Journal 4, no. 1 (January 31, 2023): 168–78. http://dx.doi.org/10.47175/rissj.v4i1.631.

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The purpose of writing this article is to discover the manifestations of the Kuntisraya story in works of arts in Indonesia. In general, Kuntisraya stories can be found in ancient Javanese literary works. In particular, it turns out that there are works of art, design, and ethnic performing arts in Indonesia that are realized based on the Kuntisraya story. The problems are : 1) What is the form of the manifestation of the Kuntisraya story in works of art and design?; 2) What is the form of the manifestation of the Kuntisraya story in ethnic performing arts?. This research was conducted with qualitative methods. Observations and interviews have been used to obtain primary data. The results of the literature study have been used as secondary data. All data has been analyzed qualitatively using aesthetic and reception theories. The results of the study show that : 1) manifestations of the Kuntisraya story exist in works of art and designs in the form of architectural reliefs of temples; and 2) manifestations of the Kuntisraya story exist in performing arts in the form of sacred performing arts and tourism performing arts.

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27

Pereira, Ana Catarina. "Creative Tools: How Education and Arts Connect?" Proceedings 2, no. 21 (November 21, 2018): 1338. http://dx.doi.org/10.3390/proceedings2211338.

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It is a question with which surely many university professors debate: what turns a Cinema professor into a good College Professor? Obliterating the subjectivity of the adjectivation, I believe that this is the ultimate goal of every academic or professional who has embraced the career of specialized art and cultural education. Nevertheless, the undefinition or constant debate around concepts such as Art, New Media, History, Canon, Experimentalism, Utopia or even Freedom, often associated with film schools, raise the question. How to properly define the programs of the curricular units? How to establish evaluation criteria? How to meet the expectations of a whole faculty that considers an immense variety of issues fundamental for the knowledge and development of students of the first degree in universities?

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Dressman, Mark. "Theory into Practice?: Reading against the Grain of Good Practice Narratives." Language Arts 78, no. 1 (September 1, 2000): 50–59. http://dx.doi.org/10.58680/la2000140.

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Reports results of a content analysis of 61 narratives of classroom practice that appeared in “Language Arts,” volumes 69-74 (1992-1997), as a way of illustrating that narratives that include the twists and turns of practice are more powerful and persuasive than narratives that report only success.

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Keating, Christine, Guisela Latorre, and Judy Tzu-Chun Wu. "Frontiers Turns Forty!" Frontiers: A Journal of Women Studies 36, no. 1 (2015): vii—viii. http://dx.doi.org/10.1353/fro.2015.a576862.

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O'Neill, Alistair. "Exhibition Review: Malign Muses: When Fashion Turns Back and Spectres: When Fashion Turns Back." Fashion Theory 12, no. 2 (June 2008): 253–59. http://dx.doi.org/10.2752/175174108x300193.

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Munnelly, Lisa. "Three Turns: A dialogue across disciplines." Drawing: Research, Theory, Practice 7, no. 2 (October 1, 2022): 299–312. http://dx.doi.org/10.1386/drtp_00097_1.

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On 21 February 2021 at 9.00 p.m., the performance Three Turns was featured as part of a curated series of works in The Performance Arcade (PA2021), a festival that brought together live art, music and performance on Wellington’s Waterfront. In a shipping container transformed into a temporary stage, three artists: a drawer, a dancer and a musician, celebrated the immediacy of their mediums. In an hour-long performance, a dialogue across disciplines was formed, a dialogue that evolved intuitively. Over three turns, each artist took the lead, with a note, a mark and a gesture offered up as provocation – forms, actions, colours and chords followed. The sonic surface, the stage and the page merged into a single space in which the artists explored velocity, rhythm and repetition. This encounter created a place where gravity and levity pushed and pulled, space was devoured and patterns emerged, accumulated and dissipated. The collaborative performance of Three Turns allowed three artists to form a dialogue across disciplines and ask: what new knowledge can emerge from a conversation between drawing, dance and music? This report, written in the first person from the drawer’s perspective, with contributions from The Dancer/Sacha Copland and The Musician/Simon Eastwood, reflects upon the event and posits that whilst on an individual level the performance produced new drawings, new sounds and new movements that individually had value, it was the relation between the three artists and their mediums, that emerged to be the most significant aspect of the work.

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de las Rivas Sanz, Juan Luis. "City turns toward nature." TERRITORIO, no. 88 (September 2019): 89–98. http://dx.doi.org/10.3280/tr2019-088014.

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Jackson, Shannon. "Just-in-Time: Performance and the Aesthetics of Precarity." TDR/The Drama Review 56, no. 4 (December 2012): 10–31. http://dx.doi.org/10.1162/dram_a_00211.

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Integrating post-Operaismo social theory with recent turns in performance studies shows how such theory complicates and is complicated by cross-arts questions around virtuosity and affective labor. Such complications emerge, not only in the contemporary art sphere, but also in the history and theory developed by performance studies as a discipline.

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Ruiz, Jaime, Francois Colbert, and Alessandro Hinna. "Arts and culture management." Academia Revista Latinoamericana de Administración 30, no. 2 (June 5, 2017): 147–55. http://dx.doi.org/10.1108/arla-02-2017-0032.

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Purpose The purpose of this paper is to provide an overall picture of the five articles included in this issue highlighting their contributions and revealing the importance of academic research for arts and culture management as a nascent topic in the Latin American context. Design/methodology/approach This paper elaborates a critical description of the main aspects of the papers included. The contributions are grouped together around central topics pertaining to arts and culture management such as: audience creation and environment; museums, competition and efficiency; and management skills and entrepreneurship. Findings The contributions of the articles are as diverse as the topics included in them. Some highlight the importance of the context in audience creation processes, others reveal the determinants of the institutional variables in the efficiency of artistic organisations, and a final one, reveals the deconstruction of an artistic genre and its contribution to the comprehension of organisations’ innovation processes. However, the most important contribution, within the Latin American context, consists basically in a process of dissemination and knowledge of the research developed in different international contexts and which may apply to the analysis of arts and culture management in the region. Originality/value As noted in the body of this paper, the topic of cultural management is novel and has acquired notable importance in developed economies in which the arts and culture sector has strategic value. Latin America reveals an institutional revolution which situates the cultural sector in a predominant position where its contribution to the creation of social and economic value turns it into a key field in Latin American societies. Arts and culture constitute a factor of value creation which requires carefully planned and pertinent management processes. This publication, through its five contributions, all European, is a valuable tool of dissemination for knowledge and management in Latin America, where academic research into the sector is, as yet, incipient.

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Fox, Ann M. "KIRSTY JOHNSTON Stage Turns: Canadian Disability Theatre." Theatre Research in Canada 35, no. 1 (May 7, 2014): 109–11. http://dx.doi.org/10.3138/tric.35.1.109.

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Hanna, Gay, Pamela Saunders, and Marie Bernard. "Why Creativity Matters to Aging and Health." Innovation in Aging 4, Supplement_1 (December 1, 2020): 643. http://dx.doi.org/10.1093/geroni/igaa057.2208.

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Abstract As GSA turns 75, it is an appropriate time to review the history of the creative aging movement. This symposium explores the research, policy and practice of creative aging - past and present, starting in the 1970’s through the efforts of pioneering leaders in the aging, humanities and arts in conjunction with growing support from the newly established National Endowment for the Arts and related aging and health service systems. The foundational research by Gene Cohen, MD PHD and others at the turn of the 21st Century will be described in terms of its building the science to utilize the humanities and arts to scaffold policy and practices that promote the potential of aging through creative expression rather than the pervasive view of aging as a time of loss. Moving towards strength-based approaches to further the development of overall health including brain reserve, physical fitness and social networks, creative aging collaborations will be highlighted as the future of this initiative. Case studies of joint research projects between state departments of both aging and arts in partnership with Universities will demonstration contemporary practices to address major aging issues around isolation, loneliness and caring for the care giver.

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Wu, Changlin, and Jiaxin Wan. "A Study on the Literary Landscape of Taohua Island in Legends of the Condor Heroes." Advances in Education, Humanities and Social Science Research 8, no. 1 (October 26, 2023): 169. http://dx.doi.org/10.56028/aehssr.8.1.169.2023.

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The writer Louis Cha took the Taohua Island in Zhoushan, Zhejiang Province as the prototype, and built a fairyland with martial arts flavor in his book Legends of the Condor Heroes. The natural landscape of Taohua Island thus turns into a literary landscape after literary writing. Later readers combined their own aesthetic feeling to construct an ideal Taohua Island in their hearts, forming an aesthetic space. The Taohua Islands in nature, in literature and in readers' hearts are interrelated, which shape the three-layer spaces of the landscape of Taohua Island and give Taohua Island its unique connotation of martial arts wonderland. Exploring the unique cultural value of Taohua Island will help the construction and development of its natural landscape.

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Khudyakov, Yuliy S., and Alisa Yu Borisenko. "CHARACTERISTIC FEATURES OF MARTIAL ART OF THE OLD TURKIS DURING THE FORMATION PERIOD OF THE FIRST TURKIC KHAGANATE." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 2 (2021): 173–81. http://dx.doi.org/10.21684/2411-197x-2021-7-2-173-181.

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This article studies and characterizes the principal features of martial arts of the Old Turks during the period, when in the Central Asian historical and cultural region, the Old Turkic state entities were formed, including the most powerful Turkic nomads’ state — the First Turkic Khaganate. The authors analyze the data, contained in the medieval written sources, which mentioned available different types of weapon of the Old Turkic equestrian lightly armed and armored warriors. The historical data show that the Old Turkic archers were accurate bows’ shooters. The Old Turkic warriors used arrows with iron tree-blade and faceted armour-piercing tips; the three-blade arrows were equipped with hollow bone balls and roundish holes. The Old Turkic warriors employed spears, swords, glaives, sabers, and battle-axes for defeating the enemies in close combat. For defence, they used iron armor plates, helmets, and wooden shields. The military science of the Old Turks had a significant impact on development of armament and martial art in Eurasian Steppe nomadic society during the era of the Early Middle Ages. Foreign affairs of the Old Turkic rulers during the existence period of the First Turkic Khaganate was characterized by the commitment to rallying of many nomadic tribes within the unified state. This article aims to identify the characteristic features of the ancient Turks during the formation of the First Turkic Khaganate, which contributed to the unification of most of the nomadic tribes inhabiting the steppe spaces of Inner Asia within a single state formation. Achieving this goal has required using the historical references and the methods of scientific reconstruction of the characteristic features of the martial arts of the Old Turks during the formation period of the first Turkic Khaganate.

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Koldau, Linda Maria. "Musik und Politik Über die gesellschaftliche Relevanz von Musik und Musikwissenschaft." Zeitschrift für Religions- und Geistesgeschichte 59, no. 4 (2007): 331–50. http://dx.doi.org/10.1163/157007307781787589.

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AbstractThough often stylized as the most transcendent of the arts, music is inseparably linked to politics and society. The essay offers several examples of how even the technical and aesthetic aspects of music have been determined by political factors through the ages. In conclusion, the author turns to the political role of musicology and the current tendency in Germany to transfer academic institutes of musicology to conservatories.

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Bruno, Giuliana. "Visual Studies: Four Takes on Spatial Turns." Journal of the Society of Architectural Historians 65, no. 1 (March 1, 2006): 23–24. http://dx.doi.org/10.2307/25068236.

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Reshetnikov, I. A. "Complexity of the language of turns of two arcs. Short Communications Article." Proceedings of Moscow Institute of Physics and Technology 13, no. 3 (2021): 107–8. http://dx.doi.org/10.53815/20726759_2021_13_3_107.

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Aston, Margaret. "The Bishops’ Bible Illustrations." Studies in Church History 28 (1992): 267–85. http://dx.doi.org/10.1017/s0424208400012493.

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The illustrations in the Bishops’ Bible have received more attention from art historians than from historians, though their story—which turns out to have been remarkably complicated—calls for the skills of both disciplines. The tale, which I can only outline here, throws interesting light on the state of the arts and art censorship in the early Elizabethan Church, at a time when there was much interrelationship between England and continental artists and craftsmen.

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Trisnawati, Ririn Kurnia. "Toni Morrison's The Bluest Eye: When Beaaty Turns Out To Be Hegenomy." Journal of English and Education 2, no. 1 (October 7, 2016): 67–91. http://dx.doi.org/10.20885/jee.vol2.iss1.art7.

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Christine Keating, Guisela Latorre, and Judy Tzu-Chun Wu. "Editors' Note: Frontiers Turns Forty!" Frontiers: A Journal of Women Studies 36, no. 1 (2015): vii. http://dx.doi.org/10.5250/fronjwomestud.36.1.0vii.

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Snell, Colleen. "Making Space: A List Distilled from the Wisdom of Three Creative Placemakers." Canadian Theatre Review 194 (April 1, 2023): 31–36. http://dx.doi.org/10.3138/ctr.194.006.

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When arts organizations are exiled from their homes, how can theatre practices grow roots over the long term? There is a repeated pattern of theatre companies losing their space—most often owing to reasons beyond their control. This loss is significant, but it is part of an unfortunately predictable cycle. This article asks what artists can do to help sustain artistic practice and the cultural life of our cities and spaces. It turns to creative placemakers Clay & Paper Theatre, MABELLEarts, and Derek Kwan as sources of wisdom. It shares a list of principles gathered from the lived experience of these artists and organizations, showing us delightful, practical, and poetic solutions for sustaining the arts ecosystem. This piece concludes with an up-and-coming creative placemaking initiative in Lakeview, the Art Shelter, led by Frog in Hand.

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Fisher, Ebon. "Wigglism: A Philosophoid Entity Turns Ten." Leonardo 40, no. 1 (February 2007): 37–42. http://dx.doi.org/10.1162/leon.2007.40.1.37.

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The author describes The Wigglism Manifesto, a work authored amidst the fury of early exchange on the World Wide Web. The term Wigglism refers to a quality shared by biological and artificial life forms alike. The manifesto has taken an open-source approach to its cultivation, allowing numerous voices to nurture the entity into being. This collective approach to truth cultivation embodied by the manifesto was inspired, in part, by the author's experiences with community-based media rituals in the North Brooklyn community before it gentrified in the mid-1990s. The project has affirmed its initiator's sense that cultivating a living system can be a vital alternative to traditional creative practices more aligned with manufacturing and commerce.

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Kenaan, Vered Lev. "Preface: Vocal Turns." American Imago 79, no. 3 (September 2022): 369–77. http://dx.doi.org/10.1353/aim.2022.0019.

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Malnig, Julie, Reva Howitt Clar, and Mimi Melnick. "Lollipop: Vaudeville Turns with a Fanchon and Marco Dancer." Dance Research Journal 37, no. 2 (December 1, 2005): 106. http://dx.doi.org/10.2307/20444648.

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Scott, Gregory. "Twists and Turns: Modern Misconceptions of Peripatetic Dance Theory." Dance Research 23, no. 2 (October 2005): 153–72. http://dx.doi.org/10.3366/drs.2005.23.2.153.

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Jonker, Francois. "Propositions for a counter-economy of assessment: Adventures in the assessment of creative arts in higher education." Scholarship of Teaching and Learning in the South 7, no. 3 (December 8, 2023): 25–45. http://dx.doi.org/10.36615/sotls.v7i3.333.

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This article considers assessment practices within the neoliberal conditions of higher education by posing questions to conceptions of value. As a motivating thrust, this article asks: might there be generative potential that remains unexplored, due to assessment’s direct linkage to the production of human capital? With its central emphasis on value, this article turns towards Brian Massumi’s Postcapitalist Manifesto: 99 Theses on the Revaluation of Value (2018). Guided by Massumi, I compose speculative propositions with which to explore the potential for a postcapitalist reworking of value within the context of assessment. The propositions offered in this paper by no means exhaust the emergent potential of re-thinking assessment, yet my aim is to sow but a few generative seeds that might expand on the potential of what (else) assessment might do. In engaging assessment otherwise, this article foregrounds assessment practices that are pertinent to the creative arts (with particular interest in the pedagogical convention of the studio crit), not as a means to suggest that arts-based disciplines have a superior and well-resolved approach to assessment, but rather to leverage the already tenuous relationship between arts education and assessment. As its objectives, this article aims to (1) contribute to the underrepresented discourse on the assessment of creative arts in higher education and to (2) explore the potential for re-imaginings of arts-based assessment practices to leak into the wider discourse of assessment as a whole. The intention is not to deliver fully formed methodological formulae but to think through assessment with propositions that might be expanded upon through speculative experimentation and future inquiries.

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Journal articles on the topic 'Arts turcs'

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