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Journal articles on the topic 'Children as artist'
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1
Smith, Victoria F. "Exhibiting Children." Journal of Juvenilia Studies 1 (July 4, 2018): 62–81. http://dx.doi.org/10.29173/jjs101.
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This intimate exchange between real children and the stories we tell about them is at the fore of juvenilia studies, as scholars examining texts children produce must balance attention to the young person as author or artist with a critical awareness of systems of publication, reception, and analysis that are typically managed by adults. The focus of this paper is an investigation into the challenges of researching and writing about child-produced culture amid the often-overpowering constructs of childhood that surround it, taking two young artists as case studies: Daphne Allen, and Pamela Bianco, whose work can be challenging to access in ways that arise in part from the idiosyncrasies of their cultural moment, understood here as one that combined lingering Romanticism and burgeoning modernism. Analysis of the two child artists suggests that both were savvy and self-aware in negotiating, through their art, the discourses that surrounded them; it also presents methodologies that may be useful to other scholars in the field of juvenilia studies more broadly.
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McCracken, Penny. "Sculptor Mary Thornycroft and Her Artist Children." Woman's Art Journal 17, no. 2 (1996): 3. http://dx.doi.org/10.2307/1358460.
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Fitzsimmons Frey, Heather. "A Small Festival for Small People." Theatre Research in Canada 40, no. 1-2 (2020): 64–82. http://dx.doi.org/10.7202/1068258ar.
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The WeeFestival, English Canada’s first performance festival dedicated to children from ages 0 to 5, acts as an advocate for the early years demographic and for the artists who create for them through three key elements of festival structure: programming, space, and creative/artistic exchange. Engaging with research by Ben Fletcher-Watson, Lise Hovik, Matthew Reason, and Adele Senior, this article uses company archives, artist interviews, and the writer’s personal experiences to analyze how the WeeFestival temporarily establishes an alternative public sphere that challenges policy-makers, funders, and artists to rethink relationships between arts, very young citizens, and urban life. Even though very young citizens may not initially know that they want to experience art, the festival attends to the interests and responses of young people, demonstrates respect for their capacity to be emotionally and intellectually engaged by artful and thoughtful productions, and establishes festivalized spaces that put an alternative public sphere into action, gesturing to the possibility of real social change. Taking into account the significance of programming for artists, educators, and policy-makers alongside the significance of meaningful audience-artist exchange, the analysis suggests that events like the WeeFestival have the capacity to gently shift how urban dwellers perceive very young children and the way they interact with the arts in daily life.
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Mayor, Susan. "Artist consults children over works for new centre." BMJ 336, no. 7641 (2008): 410.4–410. http://dx.doi.org/10.1136/bmj.39496.664398.db.
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Walshe, Nicola, Elsa Lee, and Millie J. Smith. "Supporting Children’s Well-being with Art in Nature: Artist Pedagogue Perceptions." Journal of Education for Sustainable Development 14, no. 1 (2020): 98–112. http://dx.doi.org/10.1177/0973408220930708.
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There is increasing concern about children’s mental well-being and an urgent need for research into how to support positive mental health; including as part of the United Nations Sustainable Development Goals (SDGs). Alongside this is the heightened awareness about diminished access to green spaces and diminished exposure to the arts for children. Our research aims to show the potential for addressing these three issues in tandem through a qualitative case study exploring the work of one charity, Cambridge Curiosity and Imagination (CCI). The charity undertakes arts-based projects in nature with children. In particular, this article considers the implications of CCI artist pedagogues’ perceptions of their nature-based practice for children’s well-being. The research comprised a ‘talk and draw’ focus group followed by individual interviews with CCI artists. Findings show artist pedagogues’ work has the potential to support aspects of children’s well-being through promotion of agency, developing confidence and providing inspiration to support creativity.
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Haffner, Dorothee. "Artists' estates: keep or get rid of them?" Art Libraries Journal 41, no. 1 (2016): 56–61. http://dx.doi.org/10.1017/alj.2015.9.
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The fate of the estates (Nachlässe) of visual artists are as varied as the fortunes of the artists themselves.2 It is only the well-known, high value artists with considerable resources who have the means to create their own museum or archive.3 Yet the storage and preservation of the vast remains of artists' estates is an increasingly urgent matter. Artist output has dramatically increased since the middle of the 20th century, as has the awareness of the importance of artists bequests. Artists have often taken matters into their own hands while they are still living. More often though, it is the heirs to an estate who are faced with the task after the artist's death. The immediate family (widow, widower, children) understand the importance of the work and feel a sense of obligation. But the second generation (grandchildren) questions what to do with “all this stuff”? Often the heirs do not have the expertise, understandably, and are overwhelmed by the financial and other costs of appropriate storage for the permanent preservation of the material.4 How to professionally accommodate, develop and make such collections accessible? In the following, several models for the handling and storage of artist estates are presented, with specific reference to the issues of sifting, recording and selection.
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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 (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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Kovtun, Natalia. "The Intertextual Game in Ulitskaya’s Novel Medea and Her Children." Respectus Philologicus 22, no. 27 (2012): 70–86. http://dx.doi.org/10.15388/respectus.2012.27.15338.
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This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ideas of the Russian modernists, e.g., Soloviev and Block.The Greek story of Medea—the daughter of King Aeëtes of Colchis and wife of Jason, who headed the expedition of the Argonauts—provides the basic structure of the novel. This myth is one of the most popular in the world among artists. Its interpretive options (from Euripides and Ovid to Anouilh, Pasolini and Petrushevskaya) are evidence for the unity of the text of culture. The novel, then—the ironical statement of the author to enter into the circle of the elect, the family of Medea, whose image is highlighted by signs of Sofia—is the embodiment of style. Medea’s manor is “the navel of the earth” in which the outlines of the Masons are traced; here, time and space, living and dead, sinners and saints converge. The earth itself is read like a book.All the characters are divided into puppets—unable to understand the hidden meaning of the text—and directors/demiurges—artists, musicians, and doctors who write the history of dolls. The typology of female images is constructed on the gender stereotypes of the fin de siècle era: the woman as a sexual object (Gypsy, wanton); femme fatale/vamp (Amazonian, Salomé); and the romantic lover and muse (Madonna, the eternal feminine). The functions of the male characters are associated with Orpheus, Perseus, Pygmalion, and Ulysses, who perform their feats in the name of Beauty. The mission of the reader is to pass the initiation of the plot and guess all its variations with the power of letters resembling dragon’s teeth, to detect in these traces of meaning the “Golden Fleece,” much as Medea who led Jason to such a purpose.
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BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 26, no. 3 (2009): 239–40. http://dx.doi.org/10.1017/s0265051709990015.
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In this issue the majority of articles focus on performance. Within this context we are invited particularly to reflect upon the perspectives of students, parents and children, all of whom may share the delights of music learning, musical knowledge and engagement but who experience and apply them in very different settings. Understanding how we learn music, how musical skills develop, how musical knowledge is represented and how music teachers can best teach and inspire, are challenging topics for music educators across all phases whether they be early music teachers, artists in residence or artist educators.
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McCrary, Jan. "Ethnic Majority/Minority Status: Children's Interactions and Affective Responses to Music." Journal of Research in Music Education 48, no. 3 (2000): 249–61. http://dx.doi.org/10.2307/3345397.
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This study is an examination of the effect of classroom ethnic majority/minority status on third-, fifth-, and seventh-grade children's ( N = 118) interactions and affective responses while these children listened to and discussed a Latin salsa artist, an African-American rhythm and blues artist, and a European-American folk artist. Classroom ethnic-group proportions determined African-American and European-American children's classroom status. The study also examined the children's preference ratings for each artist. The researcher recorded the children's interactions on a laptop computer while they listened to and discussed the performers. The findings suggested that classroom status affected girls' interactions more than boys'. The study reports statistically significant differences among the children's music preferences.
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Bronner, Shaw. "Here’s To Our Community." Medical Problems of Performing Artists 35, no. 4 (2020): 233–34. http://dx.doi.org/10.21091/mppa.2020.4034.
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Memorialized in former Secretary of State Hillary Clinton’s children’s book entitled It Takes a Village, “it takes a village to raise a child” is an African proverb that means an entire community of people must interact with children for those children to experience and grow in a safe and healthy environment. The need of the artist to create is undeniable and their villages continue to support them. During these dark days of the COVID-10 pandemic, performing and fine artists have been denied their traditional communication with their public as theaters and museums closed down throughout the world. For those of us who live in New York City where the worst of Covid-19 hit last spring, it was no Broadway shows, no spring, summer or fall dance seasons, no summer festivals, no dance classes. Yet almost immediately, artists’ resourcefulness shone as they continued to create, teach, and perform their art in new ways.
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Viljoen, Stella. "Authorship and auteurism in Another Country." Tydskrif vir Letterkunde 41, no. 2 (2018): 47–54. http://dx.doi.org/10.4314/tvl.v41i2.29673.
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In 1873 Benjamin Disraeli could bemoan, "[a]n author who speaks about his own books is almost as bad as a mother who talks about her own children." Today, however, authorship is a consumable that demands endless promoting in order to be profitable. The ironic predicament of the author within contemporary (technocratic) culture is his frequent invisibility. Another Country is an apposite vehicle for raising the quandary of contemporary authorship since it is first, a music video and thus a promotional tool itself and second, an authorial collaboration between musical artists Mango Groove and "fine artist" William Kentridge.
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Moorjani, Angela. "GENESIS, CHILD'S PLAY, AND THE GAZE OF SILENCE: Samuel Beckett and Paul Klee." Samuel Beckett Today / Aujourd'hui 19, no. 1 (2008): 187–97. http://dx.doi.org/10.1163/18757405-019001015.
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Samuel Beckett situated Paul Klee among "the great of [his] time." I explore the reasons for Beckett's recognition of an artist whose distillations suggest that he is to painting what Beckett is to the written word and stage. Beckett and Klee were among the modernist writers and artists who were fascinated with genesis and child's play in opting for a willed impoverishment of unseeing and unknowing. I will investigate this shared trajectory by drawing in particular on the work of Rudolf Arnheim on visual perception and the nonrepresentational translations children make of an intersecting inner and outer world.
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Cox, M. V., and A. Martin. "Young Children's Viewer-centred Representations: Drawings of a Cube Placed Inside or Behind a Transparent or Opaque Beaker." International Journal of Behavioral Development 11, no. 2 (1988): 233–45. http://dx.doi.org/10.1177/016502548801100206.
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Previous research has found that young children characteristically draw what they know rather than what they see; they do not routinely draw viewercentred representations. The aim of the first experiment was to investigate the way subjects represent one object totally occluded by another. Although some of the younger children included what they could not see, most subjects aged 5 to 9 years and adults drew only what they could see. There was also a tendency among the younger children to differentiate in their drawings between the inside and the behind relationships in the scene. The second experiment investigated the subjects' interpretation of the main types of picture produced in experiment 1 by asking them to arrange the objects as they would have appeared to the artist. Most subjects matched their view of the objects to that shown in the picture, but the picture did not necessarily elicit the same object arrangement in experiment 2 as the artist in experiment 1 had seen.
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Rusinko, Elaine. "Rear Cover: “We Are All Warhol’s Children”: Andy and the Rusyns." Carl Beck Papers in Russian and East European Studies, no. 2204 (November 5, 2012): A. http://dx.doi.org/10.5195/cbp.2012.190.
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Andy Warhol is the world’s most famous American of Carpatho-Rusyn ancestry, and the icons of the Ruthenian Byzantine Catholic Church were his first exposure to art. His unexpected death in 1987 was followed by the fall of communism in Eastern Europe and the rise of the Rusyn movement for identity, which embraced the flamboyant pop artist, filmmaker, and jet setter as their iconic figurehead. From their own idiosyncratic perspective, the traditional, religious, provincial Rusyns have reconstructed the image of Andy Warhol, pointing up aspects of the artist that have gone largely unnoticed. In a reciprocal process, Andy has had a significant impact on the Rusyn movement and on the recognition of Rusyns worldwide. This study establishes Warhol’s Carpatho-Rusyn ethnicity and explores its possible influence on his persona and his art. It also analyzes the Rusyns’ reception of Warhol, with a focus on the history of the Warhol Museum of Modern Art in Slovakia. The author concludes that recognition of the Rusyn Andy contributes to a distinctive perspective on the American Warhol.
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Bykeeva, V. ""My genius will fl y forever..."." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (March 1, 2020): 54–62. http://dx.doi.org/10.33920/nik-01-2003-10.
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Methodical development of activities for children of senior school age and students of 1–2 courses of universities dedicated to the 205th anniversary of the birth of the great Russian writer, poet, artist Mikhail Yurievich Lermontov.
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Ioannidou, Martha. "Artists as Inviting Personalities for Self Exploration and Social Learning at School." European Journal of Social Sciences Education and Research 11, no. 2 (2017): 52. http://dx.doi.org/10.26417/ejser.v11i2.p52-58.
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In today’s increasingly fast-paced societies, undergoing reformation in the aging schooling systems in order to prepare children to subdue the high amounts of pressure and stress and lead productive lives seems to be moving slowly, compared to the unexpected rhythms of the socio-economic changes. In that context a programme has been created at the School of Primary Education, based on the belief that art shouldn’t rest only in the frame, but become itself a frame of the children’s experiences, a means for self-exploration, enhancing at the same time social learning and cultural responsiveness in schools. At current stage we explore whether and how artists as inviting personalities can become an example to children for building their own identity, while opening widely the borders of relating effectively to others or to life’s varied phenomena, as they learn how to communicate the subtleties of who they really are and what they believe in ways that words usually fail to fully capture. Children are asked to choose as a self-companion through their school year an artist, who greatly benefited from the arts’ unique power as a tool for shedding light on his/her self-knowledge and for overcoming difficulties as well as a means of fostering meaningful connections with his/her social and cultural environment. Curricular goals and learning units are approached by adapting innovative and effective teaching practices through the arts, based on the life and work of the artists children have chosen.
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Dernini, Sandro. "Transmitting Mediterranean food culture through art: a creative interdisciplinary approach." Public Health Nutrition 9, no. 8A (2006): 1141–43. http://dx.doi.org/10.1017/s136898000766858x.
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AbstractObjectiveAs a qualitative problem solving method, to manage the accelerating phenomenon of overweight and obesity among children and adolescents as well as to promote the Mediterranean Diet and the diversity of the Mediterranean Food Cultures heritage, it is presented a creative interdisciplinary approach through art.DesignTaking into account that young generations are becoming the highest majority of the consumer population in the Southern and Eastern Mediterranean countries, it is reported the artist practice and the creative community-based interdisciplinary experience of Plexus International, a network of artists and scientists of various nationalities and disciplines.SettingMediterranean Region and International.SubjectYoung Populations.ResultsThrough the Ark of the Well Being project, artists and scientists have collaborate together, promoting The 2005 Rome Call for a Common Action in the Mediterranean and raising more attention on the erosion of the cognitive capacities of young generations by hunger and malnutrition.ConclusionsA creative interdisciplinary approach was developed to transmit through art Mediterranean food culture with the aim to achieve a broader nutritional well being.
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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.
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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.
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Feldwisch, Rachel P., Kristie L. Coker, Shanna M. Stuckey, Ashley A. Rittenhouse, Kassi K. Kite, and Joshua S. Smith. "The impact of an arts‐integrated curriculum on student literacy and engagement." International Journal of Literacy, Culture, and Language Education 3 (April 1, 2014): 95–111. http://dx.doi.org/10.14434/ijlcle.v3i0.26910.
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This paper presents the results of mixed‐method examination of the implementation and outcomes of the Arts Integration Program (AIP). The AIP was created by a national nonprofit organization that works with educational systems, the artscommunity, and private and public sectors to provide arts‐related education to elementary school aged children. The arts‐based literacy curriculum included an artist‐in‐residence component. The study design included classroom observations,interviews, and a pre–post standardized Literacy Assessment Tool in 11 schools in the Midwest. Results show high levels of student enthusiasm and engagement in the AIP, with consistently sustained levels of student engagement when the artists in residence facilitated learning. Student scores increased modestly in literacy knowledge, and the findings provide avenues for other schools to infuse arts into their literacy instruction.
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Leşe, Ana-Cristina. "1. Importance of Physical Exercise in Living Arrangements Artist." Review of Artistic Education 11, no. 1 (2016): 133–38. http://dx.doi.org/10.1515/rae-2016-0016.
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AbstractIncreased occurrence of spine deviation is the result not only of modern technology hazards (for example, sitting in front of the computer for long hours) or lack of physical exercise, but also of specific posture related to the study of a musical instrument. The aim of this paper is the timely warning of children who choose to study a musical instrument about the spine deviations that can occur in time, also to refer them to a specialist and to encourage them to take up exercises meant to tone specific muscle groups. The study was conducted on two groups of students from the department of Musical interpretations, 1st and 2nd year, and two groups of students from the department of Painting and Photography and video, 1st year, at the “George Enescu” Arts University of Iaşi. The school screening method was used with the help of four MA students at the department of Kinetotherapy. The data were tabulated. We recommended that subjects be referred to specialised examinaton by doctors at the Pediatric Orthopedics clinic and have special sets of physical exercises.
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Shreefter, Robert. "Borders/Fronteras: Immigrant Students' Worlds in Art." Harvard Educational Review 71, no. 3 (2001): A1—A17. http://dx.doi.org/10.17763/haer.71.3.66h56140vg11k4j8.
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In my work as an artist and a writer-in-residence in a number of public schools in Wake and Durham counties in North Carolina, I was struck by changing school demographics and culture. These schools — which had been made up almost exclusively of Black and White students—were experiencing a growing population of immigrant children, mostly children of migrant workers from Mexico, whose families were choosing to settle permanently in the area.
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Semenec, Paulina. "Re-imagining research with children through an engagement with contemporary art." Childhood 25, no. 1 (2017): 63–77. http://dx.doi.org/10.1177/0907568217718033.
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This article explores how an engagement with a contemporary art film can foster a different attitude in relation to research with children through the following question: How might an engagement with a contemporary art film inform/disrupt/provoke how we do research with children, and what new ways of thinking about children might it invite? Informed by post-qualitative research in education, this article explores how a different attitude to visual research opens the possibility for re-thinking concepts of voice and agency. Through a discussion of the role of visuals in the field of anthropology as well as education, this article engages with the film Pódworka by the American contemporary artist, Sharon Lockhart.
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Erman, Deniz Onur. "Purest form of creation: Art Brut." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (2018): 134–42. http://dx.doi.org/10.18844/prosoc.v5i6.3850.
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In many cultures, it has been a long-established practice to apply various domains of art as therapy methods in asylums, prisons and rehabilitation centres in order to help people express themselves and their current circumstances and to aid cure themselves. Hans Prinzhorn’s book entitled ‘Artistry of the mentally ill’, which was published in 1924 in Berlin has been the initial resource for Art Brut, also known as ‘raw art’. A French artist, Jean Dubuffet has first used Art Brut as an artistic term in 1945, which has ignited major debates in the artistic milieu. The ultimate goal of these artists was to unveil the works of those with no art education, of mentally ill patients, rejected and marginalised individuals, children and major criminals, in order to question the authenticity of all established approaches to art through the revelation of instinctive expression andthe purest form of creation.Keywords: Art Brut, Jean Dubuffet, raw art, outsider art, primitive art.
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Maravic, Manojlo. "Social constructions of the concept of child art." Zbornik Instituta za pedagoska istrazivanja 46, no. 2 (2014): 385–98. http://dx.doi.org/10.2298/zipi1402385m.
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This text is a theoretical paper based on the method of critical discourse analysis of child art. The paper is aimed at presenting the genesis of this concept in order to reexamine the hitherto approaches and to support the thesis that children?s art is a cultural construct by using the arguments based on a socio-cultural research platform. The defining of this concept will be critically reviewed and the conditions and procedures for proclaiming children?s drawing as art will be pointed out. Once childhood started to be observed as an important separate period of human life in pedagogy and psychology, there consequentially appeared the notions of the uniqueness of children?s drawings, children?s artistic development and child art as a separate category, which is at the same rung of the evolutionary ladder as the art of the ?primitive? peoples. The discourse on the child as an artist was formed in the fields of psychology, theory of art and artistic practice and started to spread in the 20th century. With the development of psychoanalysis it obtained its ideological connotations. Teachers, pedagogues, psychologists and artists construct a set of narratives and theories about child art that reflect humanistic values of free self-expression. The above-mentioned theories still serve as the basis for the development of school practice of art education in the contemporary education systems. Therefore, it is important to offer to art pedagogues the new theoretical approaches that re-examine the hitherto modernist ideas on children?s drawings in order to change their attitude towards practice.
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Papert, Artemis. "An Exploration of Artistic and Technological Symmetry." LEARNing Landscapes 11, no. 1 (2018): 25–30. http://dx.doi.org/10.36510/learnland.v11i1.919.
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 In this interview, biologist, artist, and shiatsu healer Artemis Papert describes how computational thinking can help people organize their thoughts in a more formal way. She discusses TurtleArt, a software that allows both children and adults to create two-dimensional static art images using geometry and coding as a medium. TurtleArt not only bridges the worlds of math and art, but is also easy to learn. She concludes by reading an excerpt from the article, “Teaching Children Thinking”— written in 1971 by her father Seymour Papert—as a still relevant starting point for where technology is heading.
 
 
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Bulavs, Vilnis. "Kārlis Cemiņš – mākslinieks un pedagogs." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 12 (December 21, 2020): 89–113. http://dx.doi.org/10.37384/sm.2020.12.089.
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Kārlis Celmiņš (1894–1973) is one of the less famous Latvian artists. He was born in Cēsis as the fifth, the last child in his family, the only son. He received an artistic education at Stroganov School of Arts in Moscow. Still studying at this school, Celmiņš took part in the IV Exhibition of Latvian Art in Riga in 1914. After he had finished school, he was drafted into the Russian Empire’s army, where he was assigned a painter decorator of his regiment. Celmiņš returned to Latvia in 1918. After working as a teacher of drawing in Madona for two years, he moved to Jelgava. There he worked as a teacher of arts in Jelgava Classic Gymnasium. During the time of independent Latvia, Celmiņš actively took part in Jelgava’s artistic life. He regularly displayed his works at society’s “Zaļā Vārna” and other exhibitions and organized exhibitions himself together with students of the gymnasium. Celmiņš had many-sided artistic interests. He was not only painting and drawing but also doing graphics, applied arts, making silver jewelry, and writing poems in his leisure time. The monument devoted to the Latvian soldiers who fell in action in 1916–1917 was made after the artist’s project. Almost all works of the master were destroyed in the ruins of Jelgava during the war in 1944. Celmiņš felt very sorry about this loss. The artist and his wife and children moved to Dundaga after Jelgava was destroyed, but when the war was over, they settled in Tukums. There Celmiņš worked in a ceramics workshop as a decorator of ready-made plates and dishes. In 1946 the artist was invited to work at the School of Applied Arts in Liepāja. The rest of his life Celmiņš spent in this city. The artist painted portraits, landscapes, still-lifes, and decorative compositions with plants, flowers, and the sea all his creative life. He did his works with oil, watercolours, colour chalks, and pencil. The life of the free-thinking artist was not easy during the Soviet occupation. Many people did not understand the art of Celmiņš. At the end of his life, the master organised several personal exhibitions in Liepāja, Jelgava, Cēsis. Many interesting paintings of flowers done with watercolours, pastel, and colour oil chalks were displayed in his last exhibition, “Flowers” in 1973. Those were the paintings of gladioli, irises, calla lilies, and other flowers made during the last years of his life. Celmiņš died in Liepāja on 16 October 1973, leaving a wide range of works of his individual, unique style.
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Shalenova, M., and Zh Kosherbayev. "The world of children's book: the study illustration as a path of knowledge." Pedagogy and Psychology 46, no. 1 (2021): 113–20. http://dx.doi.org/10.51889/2021-1.2077-6861.15.
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The article is devoted to the study of the role of illustration in a children's book, where the latter is considered as a visual way for a child to learn the content of the text. The author, considering the development of illustration in historical retrospect, tries to highlight its features and specifics, which changed from era to era, covering more and more new styles, new directions, new artists. At the same time, the author, based on the analysis of scientific literature, comes to the conclusion that the illustration for children is as important as the text of the book itself, and for younger children it is even more important than the text. Illustration in a children's book, whether educational or artistic, is always a kind of visual path of knowledge, which is undoubtedly included in the system of cultural universals. And here, the task of the illustrator is to dynamically expand the knowledge of children and adolescents obtained through the book. It is clear that the introduction of modern children to reading, which in the digital era - the era of the craze for gadgets is becoming especially relevant, where an important role is played by illustration, its quality and skill of execution, the power of attraction. The author is sure that the illustration not only interprets the text, but also enriches it in its visual images, and here the artist shows his attitude to the text, develops or complements the thoughts of the writer or poet, enriching the text with visual images.
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Komarova, T. S. "“Worth the Respect and Praise of the Artist”: Drawings’ of Krasnoyarsk Merchants’ Children (Mid-19th Century)." Historical Courier, no. 1 (February 28, 2021): 182–207. http://dx.doi.org/10.31518/2618-9100-2021-1-16.
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Dymel-Trzebiatowska, Hanna. "“Talking” Containers. Visual Heterotopias in the Picture-Books Illustrated by Svein Nyhus." Folia Scandinavica Posnaniensia 25, no. 1 (2018): 76–88. http://dx.doi.org/10.2478/fsp-2018-0014.
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Abstract The article discusses picturebooks illustrated by a Norwegian artist, Svein Nyhus, to show his specific symbolic manner of depicting the child’s environment. It is argued that the illustrator employs characteristic recurrent elements of home representations and elaborates an interesting interplay of outer and inner spaces, consistently focusing the child’s perspective. This is demonstrated by an analysis of four picturebooks by the Norwegian artist: Pappa! (1998, Daddy!), Snill (2002, Nice), Sinna mann (2003, Angry Man) and Håret till mamma (2007, Mum’s Hair). The books have been regarded as ambitious literature for children, addressing difficult issues or even sometimes breaking a taboo. To show Nyhus’ visual method of thematising childhood’s traumas in relation to a home space is also one of the aims of the paper. The analysis of visual content is carried out with references to the textual narratives, drawing on ideas about heterotopia by Michel Foucault (1984), self-effacement by Karen Horney (1997) and the poetics of space by Gaston Bachelard (1969).
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price, kathryn. "The ““Juice of a Few Flowers””: Gerald and Sara Murphy's Life of Beautiful Things." Gastronomica 7, no. 2 (2007): 13–16. http://dx.doi.org/10.1525/gfc.2007.7.2.13.
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Gerald and Sara Murphy were friends to scores of the twentieth century's leading artists, writers, and composers including Picasso, Lééger, Fitzgerald, Hemingway, and Stravinsky, among others. The Murphys created a life of beautiful things for themselves, their three children, and their circle of friends. Trans-Atlantic Americans, the Murphys took great joy in entertaining especially at their home in Antibes, which they named Villa America. Gerald was famous for preparing his legendary signature drinks, including one he called the "Juice of a Few Flowers." He was an extremely talented artist - although short-lived - and one of his few paintings, Cocktail, depicts all the accoutrements that would be found on a bar tray. Gerald and Sara often hosted their famous friends at parties that included F. Scott Fitzgerald's drunken outbursts. They drank sherry with the Hemingways in Pamplona and ate ranch food with them in Montana. Always accommodating, they kept recipes of friends' favorite foods to serve at their intimate gatherings. Through their warmth and ability to entertain, the Murphys created a life of beautiful things for themselves and everyone around them.
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Hackett, Abigail, Steve Pool, Jennifer Rowsell, and Barsin Aghajan. "Seen and unseen: using video data in ethnographic fieldwork." Qualitative Research Journal 15, no. 4 (2015): 430–44. http://dx.doi.org/10.1108/qrj-06-2015-0037.
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Purpose – The purpose of this paper is to report on video making in two different contexts within the Community Arts Zone research project, an international research project concerned with the connections between arts, literacy and the community. Design/methodology/approach – At one project site, researchers and parents from the community filmed their children making dens with an artist. At another site, a professional film crew filmed young people engaged in arts practice in school settings. Findings – In both cases, researchers, artists and community participants collaborated to do research and make video. This paper discusses the ways that this work was differently positioned at the two sites. These different positionings had implications for the meaning ascribed to video making from the point of view of the participants, researchers and artists involved. Originality/value – By drawing on perspectives of researchers and artists, the paper explores implications for video making processes within ethnographic research. These include a need for awareness of the diversity and fragmentation of the fields of both visual research and visual arts practice. In addition, the relationship between research and the visual is unfolding in a context in which the digital is increasingly ubiquitous in everyday life. Therefore the authors argue for the need for researchers and artists to explore their epistemological assumptions with regards to video and film, and to consider the role of the digital in the lives of their participants. The coming together of these positions and experiences is what constructs the meaning of the digital and visual in the field.
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Lokke, Kari. "“Children of Liberty”: Idealist Historiography in Staël, Shelley, and Sand." PMLA/Publications of the Modern Language Association of America 118, no. 3 (2003): 502–20. http://dx.doi.org/10.1632/003081203x47796.
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This essay explores the contributions of a tradition of nineteenth-century Künstlerromane by Germaine de Staël, Mary Shelley, and George Sand to European idealist historiography as exemplified in Kant's writings on perfectibility. Corinne, Valperga, and Consuelo represent the historical agency of the intellectual and artist as communication with a spirit world inhabited by ghosts of the past so that their secrets and wisdom can be transmitted to the future. In canonical Romanticism, contact with these phantasms provokes crippling guilt over the failure of past projects of perfectibility like the French Revolution (doomed by violence and bloodshed), guilt that is figured in the interdependent tropes of the titanic hero and Romantic melancholy. The novels discussed here perform an explicit critique of masculinist individualism in the name of women and humanity as a whole, replacing melancholy with enthusiasm and deploying spirits aesthetically, as sublime signs of future historical potentiality.
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Manchev, Angel. "THE ARTIST AND EDITOR IN THE PROCESS OF CREATING ILLUSTRATIONS IN EDUCATIONAL BOOKS FOR PRE-SCHOOL CHILDREN." Education and Technologies Journal 8, no. 1 (2017): 59–62. http://dx.doi.org/10.26883/2010.171.255.
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Sardiwalla, Yaeesh, and Steven F. Morris. "Dr Henry Shimizu: The Journey of a Canadian Plastic Surgeon, Advocate, and Artist." Plastic Surgery 27, no. 1 (2018): 6–9. http://dx.doi.org/10.1177/2292550318799752.
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Dr Henry Shimizu was a dedicated Canadian plastic surgeon with Japanese roots who spent his career practicing in Edmonton at the University of Alberta Hospital. He relished the opportunity to share his expertise by training residents and medical students. Dr Shimizu completed his plastic surgery training in the United States and was central to establishing the plastic surgery training program in Edmonton. Beyond clinical practice, Dr Shimizu was a prominent advocate in his community, serving as the Chairman of the Redress committee for Japanese internment. As a talented painter, he had produced magnificent oil paintings based on childhood recollections as an internee in the Slocan Valley. Dr Shimizu has made significant contributions to Canadian plastic surgery serving as president of the Canadian Society of Plastic Surgeons in 1978. His clinic work and dedication to the community at large were recognized with the Order of Canada in 2004 and more recently an honorary degree from the University of Victoria. Dr Shimizu continues to golf, paint, and travel in his retirement. He is happily married to his wife Joan and is the proud father of 4 children and 6 grandchildren.
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Tejapermana, Prisma, and Riyan Hidayatullah. "Critical View on The Existence of Gambus Tunggal Lampung: Promoting Collaborative Working Between Artists and Stakeholders." Harmonia: Journal of Arts Research and Education 20, no. 2 (2020): 176–82. http://dx.doi.org/10.15294/harmonia.v20i2.25144.
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The Lampung societies have many arts and cultures, one of which is a gambus tunggal. The characteristic of gambus that are played solely and has an original tuning system. A gambus tunggal style produces a melodic tone, accompanied by chanted poems that involve new romantic romance of Lampung, or parents’ advice to their children. This ethnography study aims to comprehend how the gambus tunggal artists maintain the existence in Lampung. The study applies a descriptive method with a qualitative idea. We have interrogated and field studies to gather primary data. A purposive sampling technique was used to interview a gambus tunggal player who existed for decades. The result indicates that a gambus tunggal artist is doing a collaborative struggle to support gambus tunggal and living sources’ survival. They need collaboration to keep the existence of traditional Lampung music. Gambus players have considered using social media as a promotional strategy. The local government’s role has a tremendous impact, for example, providing an opportunity to perform gambus tunggal at various events, festivals, and many competitions. Therefore, the tourism sector is the foundation of Lampung’s traditional music. It establishes policies to serve various performing arts.
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Rozie, Fachrul, Dita Safitri, and Wiwik Haryani. "PERAN GURU DALAM PENANGANAN PERILAKU ANAK HIPERAKTIF DI TK NEGERI 1 SAMARINDA." Journal of Early Childhood Education (JECE) 1, no. 2 (2019): 53–59. http://dx.doi.org/10.15408/jece.v1i2.12874.
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The purpose of research is to know: the role of teachers in handling hyperactive child behavior in TK Negeri Pembina 1 Samarinda, the inhibiting factor of teacher in the handling of hyperactive child behavior in TK Negeri Pembina 1 Samarinda, and supporting factor of teacher in handling behaviour of hyperactive children. This method of research is qualitative with a case study approach consisting of two focuses, namely the role of the teacher and child behavior hyperactivity. The results show that hyperactive child behavior has difficulties to focus, unable to sit quietly, perform unmistakable, rebellious activities and could not wait. The teacher's role in child care is hyperactive: as a learning designer, learning artist, learning motivator, mediator learning and inspirational learning. The inhibitory factor in treating hyperactive children is the professionalism of teachers, approaches with hyperactive children, and child behavior. The supporting factors, namely environment, facilities and infrastructure.
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Boguszewska, Anna. "Twórcza działalność na rzecz książki dla dzieci Krystyny Lipki-Sztarbałły." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 6 (November 30, 2018): 154–67. http://dx.doi.org/10.24917/23534583.6.13.
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Krystyna Lipka-Sztarbałło’s creation for children bookShaping full personality includes an introduction to cultural messages understanding and requires preparation from the earliest years of life. The use of picture books and book illustrations as the key assumption in visual education of children. Picture books represent the first artistic medium as the primary carrier of aesthetic values and a potential chance to stimulate cognitive, social development of a child. History of Polish picture book dates back to the turn of XIX and XX centuries. However, the realizations gaining more widespread range occurred much later. Krystyna Lipko-Sztarbałło, a graphic artist and an animator of Polish book for children, has been of key importance for the development of Polish picture book for the last twenty-odd years. The significance of the illustrations book in child development is proven by the examples of graphic designs taken from Krystyna Lipka-Sztarbałło’s works.
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Griffin, Joanna. "Moon Vehicle: Reflections from an Artist-Led Children's Workshop on the Chandrayaan-1 Spacecraft's Mission to the Moon." Leonardo 45, no. 3 (2012): 218–24. http://dx.doi.org/10.1162/leon_a_00363.
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This article reflects on the journey to the Moon of the spacecraft Chandrayaan-1 as it was interpreted through an artist-led workshop. The workshop participants were a group of children who lived close to where Chandrayaan was built and some of the engineers and scientists responsible for creating the spacecraft. Insights from the workshop show how a mission to the Moon draws on both the technological and the imaginative; they also have bearing on the relative agency of these individuals to contribute to the Moon missions in ways that are personally meaningful to them.
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Kolosnichenko, M. V., T. F. Krotova, K. L. Pashkevych, and N. M. Pshinka. "STYLISTIC AND CONSTRUCTIONAL SOLUTIONS IN BOOK SERIES DESIGN "FAIRY TALES FROM AROUND THE WORLD" OF THE NATIONAL CHILDREN`S LITERATURE PUBLISHING HOUSE "VESELKA"." Art and Design, no. 2 (August 11, 2021): 20–29. http://dx.doi.org/10.30857/2617-0272.2021.2.2.
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Aim: to analyze the stylistic and constructive features of the design of the books in the series “Fairy Tales from Around the World“ by the publishing house “Veselka“, to trace the sequence of the publishing project and the role of the designer and art-designer in it. Methodology. Historical and comparative methods, as well as art history methods of image and stylistic and formal analysis have been used in the research. Results. The artistic approaches to the creation of 25 books of the series “Fairy Tales from Around the World“ (1978–2016) have been analyzed, the stages of creating the book design of this series have been studied with the help interview of the main artist of the publishing house “Veselka“ (1975–2015), national artist of Ukraine M. Pshinka; the image and stylistic features of this series design have been revealed, which allowed synthesizing the verbal, figurative and architectonic levels of books, ensured the integrity of the book as an artistic object, contributed to the emotional and aesthetic expressiveness of illustrations. Scientific novelty. The image and stylistic features of the decoration of the series “Fairy Tales from Around the World“, founded in 1978 by the National Children's Literature Publishing House “Veselka“, have been analyzed for the first time. The analysis of the books` design in this series as a synthesis of text, illustrations, and layout design has been presented. The sequence of the artistic and production process and the designer`s role in achieving the synergy of visual and verbal images has been traced. The constructive elements of the layout have been analyzed and introduced to ensure the serial stylistic unity of the books, which illustrations were made by different artists, keeping their own bright individual style. Practical significance. The study allowed analyzing the design features of the layout, which due to the creative approach of designers and collaboration with leading Ukrainian illustrators ensured the continued popularity of the books “Fairy Tales from Around the World“ among several generations of young readers, success and awards at numerous international and national competitions over four decades. The construction and serial elements of the layout design, which provided the stylistic unity and recognizability of all books of the series, have been described. The results of the research can be used for further study of the traditions of the art school of illustration and design of Ukrainian books, and also serve as theoretical and visual material in the educational process specializing in “graphic design“.
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Lee, Sang-Hie. "A Community Arts Program for Underserved Children: Getting Things Done and Member Development." SciMedicine Journal 2, no. 3 (2020): 138–50. http://dx.doi.org/10.28991/scimedj-2020-0203-4.
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The Program: The AmeriCorps ArtsUSF program was a federally funded outreach program that provided hands-on arts experience to underserved children in culturally and economically deprived communities in and around a large metropolitan area. The project had two components: Getting Things Done (GTD) and Member Development (MD). Objectives: The goals of GTD were to help improve the communities’ self-image, stability, and culture by providing accessible, safe, and affordable cultural activities and programs. The goals of MD were to help the AmeriCorps volunteer artist-teacher members develop an awareness of societal problems, teaching and class management skills, and to become responsible citizens. Methods: GTD goals were measured using a quantitative survey instrument developed for the program. Pre (November) and post (May) data were compared using paired one-tailed t-tests to see if there were significant changes. MD outcomes were summarized from content analysis of member journals. Results: Data showed progress in all measured items, particularly, integrating arts to life, group problem-solving skills, attitude on diversity, and attitude on being-kind-to-each-other. Factor analysis results demonstrated strong connections among arts skills, expression through the arts, art appreciation skills, and integrating arts to life. There was an association among class learning skills, attitude on diversity, and attitude on being kind-to-each-other. Independent problem-solving skills were associated with expressive skills through the arts, integrating arts to life, attitude on diversity, and class learning skills. In the post data, independent problem-solving skills were further related to anti-drug, alcohol, and smoking attitude, and art skills. Members expressed that AmeriCorps ArtsUSF experience provided a life-changing impact on them. Seeing the effects of their input on other, they realized that one way of achieving the American dream was by helping others. Conclusion: The program gave a sense of pride and ownership to the underserved communities, and the experience gave the artist-members the confidence and self-esteem necessary to pursue their own life’s goals. Novelty: Federally funded, community-wide supported program with novel program and curriculum. Improvement: The initial phase could be better organized and more affective narratives could be added in the survey instrument.
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Peterken, Corinna. "Crafting Living Inquiry with a Quilt of Children’s Images." Art/Research International: A Transdisciplinary Journal 4, no. 1 (2019): 240–55. http://dx.doi.org/10.18432/ari29418.
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Embodied encounters in and with crafting as method led to knowing with making in this research. A crafted bricolage of photographs from young children (aged 15 months to 5 years) was created at their early childhood centre. The children’s photographs became material for further thinking as they were transferred to fabric and combined into a quilt that was tie quilted by children and the researcher as artist/researcher/teachers (Springgay, Irwin, Leggo, & Gouzouasis, 2008). Our craft processes in quilt making initiated ongoing integrated art-making, teaching/learning, and conversations with and without words. Much research in early childhood has a focus on the child, but what do children focus on, and how might they be more than participants? Rich experiences throughout the co-creation of the quilt as a living inquiry provided spaces for learning and knowledge making. Craft as research and a piece of art to display for the learning community provoked questions and opened understandings about and with young children, their preferences, and their capacity as co-researchers.
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Ruffer, David. "The London Sinfonietta Education Programme – An analysis of an interface between the professional artist and music in education." British Journal of Music Education 5, no. 1 (1988): 45–54. http://dx.doi.org/10.1017/s026505170000632x.
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The Gulbenkian Report (1982) highlighted the need for bridges to be built between performing artists, arts organisations, teachers and pupils. The London Sinfonietta Education Programme can be seen as an exemplar in this respect; it is not perceived as merely an arm of marketing, but seeks to be an educational resource in itself providing children with a rich rewarding experience that fosters not only musical skills but also transferable social and life skills.
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Eniņa – Briede, Rasa. "The Problem of Violence in Student Groups." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 3 (July 24, 2015): 504. http://dx.doi.org/10.17770/sie2014vol3.693.
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The problem of violence student's collective concern to the community. Violence is out of control and almost every day we learn some new events that are painful for both children and their parents. In his article I was looking for opportunities to use art to solve the problem acute. As an artist myself and cultural history teacher I find this theme is very close and I am sure that every artistic genre emotionally beneficial effect on a child's character. Artistic impression of the child becomes positive, emotionally open is just to find the right approach for each individual child.
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Maslennikova, Anzhela. "Opera and Choral Performance in Mykhailo Krechko’s Work." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.
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The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
 Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.
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Paudel, Rudra Prasad. "Mainali’s “A Blaze in the Straw” as a Fine Work of Art." Tribhuvan University Journal 27, no. 1-2 (2010): 143–48. http://dx.doi.org/10.3126/tuj.v27i1-2.26397.
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Art refers to the product of creative human activity in which concepts are shaped and selected to convey an idea or emotion. A short story is an art form, a particular type of artistic activity and a product of the author’s imagination. Unlike novels that usually depict conflicts among many characters, developed through a variety of episodes, stimulating a complexity of responses inreaders, a short story is a brief fictional narrative prose disclosing one character’s inner conflict with others having one thematic focus. It concisely presents events and stirs our imagination.
 Guru Prasad Mainali (1900-1971), one of the prominent writers and a leading personality in Nepali literature, develops the modern short story in Nepali language and becomes popular with a few stories. His most famous stories have been collected in The Ward (Naso) (1969) in which an elderly Brahman who has no children is obliged to marry a second wife in order to clear his way to paradise. He writes stories in a new model and each is considered a classic. He isa modern artist in Nepali short story writing. In “A Blaze in the Straw,” Mainali focuses on a way of living of husband and wife in Nepali context and proves that the quarrel between husband and wife is not more than a blaze in the straw as shown in the life of Chame and Gaunthali. He, very skillfully, expresses the experience of the characters as it is, which is the greatness of the artist suggested in the art. Based on this fact, this article discusses Guru Prasad Mainali as a modern artist and his “A Blaze in the Straw” as Nepali proverb implied in the title.
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Šmigelskytė-stukienė, Ramunė. "VEIKLIOS MOTERS KASDIENYBĖ: EPIZODAS IŠ IZABELĖS LIUDVIKOS BORCH-PLIATERIENĖS (1752–1813) GYVENIMO." Lietuvos Didžioji Kunigaikštystė Visuomenė. Kasdienybės istorija, T. 4 (October 8, 2018): 116–43. http://dx.doi.org/10.33918/xviiiastudijos/t.4/a5.
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On the basis of empirical sources the article analyses the daily life of a noblewoman from the Grand Duchy of Lithuania Izabela Ludwika Borch Platerowa (1752–1813), with a special focus on several elements of the daily life of the late eighteenth century woman of the elite: time management and daily routine, food and diet, health (illnesses and their treatment), and relationships with family members (husband, children, parents) and the near environment. The article underlines the network of communication of the duchess Platerowa in a given period, covering not only family members or the spiritual and political elite of the Grand Duchy of Lithuania and Livonia but also artists residing in Warsaw, among them closest being Italian born artist and poet Antoni Albertrandy (ca. 1733–1795) from the court of the King Stanislaw August, and his family. Despite the micro-world of Izabela Ludwika Platerowa being framed within two socially important factors of the time, i.e. social status of a noblewoman and her gender, which would confine the field of activities of a woman to the privacy of a home-space, the ties of partnership, love and respect, linking husband and wife in the Plater family, opened wide opportunities for the creative activities of the woman. As active and educated woman of the Enlightenment, she managed to cross the frame of her home-space and dedicate large portion of her time to important public activities: editing of a special reading publication for children Przyjaciel dzieci (A Friend of Children), on which she intensely worked 6–8 hours every day. Schedule of the duchess was occupied with Masses, teaching of children and translations. Personal needs and entertainment received very little attention, only from a quarter to half an hour a day. In the period of Lent very strict fasting was observed, as well as abstinence from any entertainment, including full renouncing of music. Keywords: Izabela Ludwika Borch Platerowa (1752–1813), daily life, family, history of women.
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Campagnaro, Marnie. "Materiality in Bruno Munari’s book objects." Libri et liberi 8, no. 2 (2019): 359–79. http://dx.doi.org/10.21066/carcl.libri.8.2.7.
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This paper reviews the primacy of materiality in Bruno Munari’s work based on the case study of two of his picturebooks. Bruno Munari was one of 20th-century Italy’s most eclectic figures. Over the course of his lengthy career as an artist and designer, Munari explored the field of materiality in children’s books with exceedingly favourable results. His picturebooks set a precedent in the field of children’s literature, and they are highly valued even today. Children are fascinated by the opportunity to organise the experience of reading more freely thanks to innovative graphic and typographic mechanisms that fully exploit the editorial potential of materials such as paper, construction paper, and cardboard, but also transparent or semi-transparent sheets of acetate film, wood, plastic, sponge, and so on. In this paper, I describe the exclusive relationship that Munari developed over the years with the book as an object in all its various components (text and paratext). To do so, I discuss two of Munari’s significant editorial projects, the picturebook entitled Nella notte buia [In the Dark of the Night] (1956) and I Prelibri [Prebooks] (1980). I analyse the ways in which the Milanese artist succeeded in exploiting all the communicative, aesthetic and educational potential of these books’ material dimension.
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Berger, Shulamith. "Moyshe Levin (Ber Sarin) of Yung-Vilne and His Solo Publishing Venture for Children." Judaica Librarianship 20, no. 1 (2017): 100–133. http://dx.doi.org/10.14263/2330-2976.1281.
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Moshe [Moyshe] Levin, talented author and artist, was better known by his pseudonym Ber Sarin, the pen name he used when he wrote short Yiddish books in rhyme for children who were just beginning to read. He wrote the lively texts, illustrated them in color and black and white, and self-published many of them in Vilnius (Vilna) Lithuania in the 1930s. The books were popular and successful with teachers and children. He was a graduate of the Vladimir Medem Teachers’ Seminary, a teacher in the TSYSHO school system, and a member of Yung-Vilne .2017 is the 75th anniversary of Levin’s murder at the hands of the Nazis. Levin left behind a wife and daughter who also perished during the Holocaust. Levin’s literary legacy, the books themselves, survived in limited numbers in only a handful of libraries; some are now available on the web. This article includes a brief biography of Moshe ]Moyshe] Levin (Ber Sarin), an overview and discussion of his work for children, information on the current whereabouts of his works, and a bibliography with brief annotations of the works the author was able to view.
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Immerwahr, Daniel. "Ten-Cent Ideology: Donald Duck Comic Books and the U.S. Challenge to Modernization." Modern American History 3, no. 1 (2020): 1–26. http://dx.doi.org/10.1017/mah.2020.4.
Full textAbstract:
The comic-book artist Carl Barks was one of the most-read writers during the years after the Second World War. Millions of children took in his tales of the Disney characters Donald Duck and Uncle Scrooge. Often set in the Global South, Barks's stories offered pointed reflections on foreign relations. Surprisingly, Barks presented a thoroughgoing critique of the main thrust of U.S. foreign policy making: the notion that the United States should intervene to improve “traditional” societies. In Barks's stories, the best that the inhabitants of rich societies can do is to leave poorer peoples alone. But Barks was not just popular; his work was also influential. High-profile baby boomers such as Steven Spielberg and George Lucas imbibed his comics as children. When they later produced their own creative works in the 1970s and 1980s, they drew from Barks's language as they too attacked the ideology of modernization.