Academic literature on the topic 'CPC and artistic circles'
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Journal articles on the topic "CPC and artistic circles"
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Zheng, Wei. "A Study on the Ideological Basis of the CPC's Leadership in Literary and Artistic Work during the New Democratic Revolution." International Journal of Social Science Studies 8, no. 4 (June 29, 2020): 170. http://dx.doi.org/10.11114/ijsss.v8i4.4915.
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The leadership of literary and artistic work is an important part of the revolutionary cause led by the Communist Party of China (hereinafter referred to as “the CPC”). During the new democratic revolution, the ideological basis for the CPC's leadership in literary and artistic work included the literary and artistic thoughts of Marx and Engels, Lenin and Stalin, as well as the traditional Chinese literary and artistic thoughts. These ideological resources provided theoretical guidance for the CPC to lead literary and artistic work in the period of the new democratic revolution, and also provided basic guidelines for the CPC to formulate policies on literary and artistic work. The study of the ideological basis of the CPC's leadership in literary and artistic work during the new democratic revolution is of great historical significance for promoting the development of Chinese literary and artistic undertakings in the new era.
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Horváth, Gizela, and Rozália Klára Bakó. "Online Artistic Activism: Case-Study of Hungarian-Romanian Intercultural Communication." Coactivity: Philosophy, Communication 24, no. 1 (March 31, 2016): 48–58. http://dx.doi.org/10.3846/cpc.2016.237.
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Technical reproduction in general, and photography in particular have changed the status and practices of art. Similarly, the expansion of Web 2.0 interactive spaces presents opportunities and challenges to artistic communities. Present study focuses on artistic activism: socially sensitive artists publish their creation on the internet on its most interactive space – social media. These artworks carry both artistic and social messages. Such practices force us to reinterpret some elements of the classical art paradigm: its autonomy, authorship, uniqueness (as opposed to copies and series), and the social role of art. The analysis is aimed at Hungarian and Romanian online artistic projects from Transylvania region of Romania, relevant as intercultural communication endeavours. Our research question is the way they differ from the traditional artistic paradigm.
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Vieira Leitão, José. "Phantoms and Figments." Aries 21, no. 2 (May 25, 2021): 225–45. http://dx.doi.org/10.1163/15700593-20211001.
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Abstract This paper explores the parallels that can be observed between the Portuguese poet Fernando Pessoa (1888–1935) and the English artist Austin Osman Spare (1886–1956). Although having quite different artistic backgrounds, they both arrived at complex spiritual theories and artistic production techniques associated with personality fragmentation and the emotional or intellectual exploration of alternative selves. While Pessoa and Spare are often regarded as exceptional artists and spiritual thinkers within their own environments, these similarities suggest a common familiarity with overarching themes and ideas expanding beyond their own restricted circles. Consequently, the purpose of this study is to question the exact nature of said esoteric and artistic exceptionality in light of the intellectual and artistic groups and movements surrounding them and propose a framework for the study of the overlap of occult and artistic circles in the late-nineteenth and early twentieth-centuries.
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Lemonchois, Myriam. "Artistic practical activities in art education." Palíndromo 13, no. 29 (January 1, 2021): 75–89. http://dx.doi.org/10.5965/2175234613292021075.
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Everyone agrees to put practical activities at the heart of artistic teaching. Whether or not there isan “artistic”, “aesthetic” or “poetic” dimension is a question that haunts these teachings. How can we be sure that artistic dimension is present, in particular during practical workshop activities? Since the early of the 19th century, democratization of arts has been the main aim of practicalartistic education, the artistic dimension is ensured by the development of creative imaginationand its support from artistic circles, just like our contemporary teachings. This article proposes to describe the place given to the artistic dimension in practical activities, by French and Quebec plastic arts programs at elementary and secondary levels and more generally in the teachingof drawing in the 19th and 20th centuries. Noting the limits of French-speaking practices and research with regard to practical artistic activities, we conclude with the presentation of research examples to develop a didactic of practical artistic activities, which seems essential to us, to whatwe could call an aesthetic experiential culture.
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Tsai, Heng. "Kinematical descriptors of circles of short pommel horse in men¶s artistic gymnastics." Journal of Biomechanics 40 (January 2007): S741. http://dx.doi.org/10.1016/s0021-9290(07)70729-7.
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Mańczak, Aleksandra. "The Ecological Imperative: Elements of Nature in Late Twentieth-Century Art." Leonardo 35, no. 2 (April 2002): 131–36. http://dx.doi.org/10.1162/00240940252940496.
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The author draws attention to visual artworks of the 1980s and 1990s in which artists, drawing upon diverse trends, disciplines and artistic generations, applied materials directly from the surrounding environment in pieces called eco-installations. The text attempts to explain certain creative postures and artistic decisions in the context of our advanced civilization—its achievements and threats alike. The eco-installations—subtle, subdued, gentle, fragile, fleeting, whose finite existence (like that of living organisms doomed to pass away) reflects the artists' own decisions—are in urgent need of identification, analysis and documentation. Among artists recognized in international circles, the author situates two Polish artists perhaps less well known than their colleagues.
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Aurylaitė, Ieva. "Ar galimas buvimas ir ką reiškia būti už komunikacinio galios diskurso?" Coactivity: Philosophy, Communication 23, no. 1 (July 15, 2015): 64–72. http://dx.doi.org/10.3846/cpc.2015.212.
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This article analyses Michel Foucault’s and Jürgen Habermas’ debate, it examines in more detail the interpretation of the theory of communicative action and genealogy methods and their applicability. Although this debate has already been widely analyzed and discussed in the public academic community, the uniqueness of this paper is in going deep into the motifs of the deconstruction and reconstruction, revealed from the transgression perspective. It is important to find out, whether the destabilization of social forms has some influence on the occurrence of deconstruction, if reconstruction does not constitute the hierarchy of causative relationship, leading to the one – way (one – sidedness) granted claims to universality. Basing on the notion of the transgression concept which indicates the precondition of the motif of the irreversibility of events and the motif of the possibility of the repeatedness of similar events, it can be stated that reconstruction and deconstruction play an important role in the originating of emergentisms in social sciences. The aims of the article are to enrich the standard overlying classification requirements, raised by the classical social methodology, with the new opportunities of style recognition, providing the artistic style with equal alignment pretensions to the priorities of social research theory requirements.
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Lee Jung-Hee. "The Spirit Exhibited Within the Daegu Cultural & Artistic Circles during the Modern Period." 한국학논집 ll, no. 44 (September 2011): 375–423. http://dx.doi.org/10.18399/actako.2011..44.010.
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Naraniecki, Alexander. "Karl Popper on the Unknown Logic of Artistic Production and Creative Discovery." Culture and Dialogue 4, no. 2 (October 26, 2016): 263–82. http://dx.doi.org/10.1163/24683949-12340015.
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In the field of artistic research there has recently been a resurgence of interest in Karl Popper’s thought on scientific methodology. However, the current literature on artistic research has tended to reduce his methodological thought to the arguments in his book The Logic of Scientific Discovery (1959). Although greatly influential, this book does not represent Popper’s “mature” or later arguments. This article provides an alternative view of Popper better suited to debates on creativity and discovery. Contrary to his popularity in political and scientific circles, the relation of Popper’s arguments to the arts is less well known and has not seriously been studied, despite his profound influence on the art historian Ernst Gombrich. This article points out ways in which Popper’s thought can continue to contribute to the current debates on artistic research and creative production. It does this by disclosing the way in which his later writings on evolutionary epistemology and theory of objective knowledge, otherwise called the “World 3 Thesis,” can contribute to the field of artistic research.
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Rizo-Patron, Eileen. "Promises of Advent: North and South." Religion and the Arts 12, no. 1 (2008): 434–57. http://dx.doi.org/10.1163/156852908x271187.
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AbstractThe purpose of this essay is to set in motion a hermeneutics of divine posse through the exploration of religious, poetic, and artistic works on the promise of advent, spanning the North-South axis of our globe—from the European Renaissance to a present-day transcultural Andean Renaissance. It takes its point of departure from Richard Kearney's essay "Enabling God," with its proposed play of hermeneutic circles from sacred to secular contexts in our readings of "annunciation" and "advent." I see this methodological shift as a necessary step towards making further imaginative leaps between wisdom traditions in our search to understand the experiences and aspirations symbolized in religious and artistic expressions across cultures.
Dissertations / Theses on the topic "CPC and artistic circles"
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Chandellier, Armelle. "Origine, création et transition socialiste du système artistique chinois : du premier au quatrième Wendaihui (1937 – 1980)." Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0018.
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Ce présent travail de thèse propose d’explorer le système artistique chinois à travers une analyse de la dynamique complexe qui caractérise les relations entre les milieux artistiques et le Parti Communiste Chinois (PCC) de 1937 à 1980. En dégageant les trois aspects qui conditionnent cette relation : la structure organisationnelle, le cadre idéologique et les conjonctures politiques, l’objectif est de démontrer dans quelle mesure le système artistique est un haut lieu du politique.La convocation du premier Congrès National des Travailleurs Littéraires et Artistiques de Chine (Wendaihui 文代会) en juillet 1949, inaugure l’édification du système artistique chinois et incarne le point de départ d’une institutionnalisation d’un nouveau modèle de gestion des milieux artistiques fonctionnant en symbiose avec les organes du gouvernement et du PCC. Avant d’être une manifestation dédiée aux seuls milieux artistiques, le Wendaihui constitue un moment politique qui s’inscrit dans une stratégie globale de restructuration nationale dirigée par le PCC.Ainsi, grâce à une analyse des origines, de la création, de la dérive socialiste et de la restauration du Wendaihui, cette approche pluridisciplinaire permet de rompre avec l’idée que le système artistique chinois serait une organisation homogène, uniforme et intemporelle. Elle l’envisage, au contraire, comme une construction sociale historiquement située, résultant de l’interaction de multiples facteurs et prenant des formes diverses dans le temps et dans l’espaceThis research investigates the Chinese artistic system through an analysis of the complex dynamic that characterizes the relationship between the artistic circles and the Communist Party of China (CPC) from 1937 to 1980. By identifying the three aspects that condition this relationship: the organizational structure, the ideological framework and the political conjunctures, the aim of this thesis is to demonstrate to what extent the Chinese artistic system is a high place of politics.The convocation of the first National Congress of Literary and Arts Workers of China (Wendaihui 文代会) in July 1949, inaugurates the construction of the Chinese artistic system and embodies the starting point for the institutionalization of a new model of management of artistic circles that works in symbiosis with the organs of the government and the CPC.Before being an event strictly dedicated to artistic circles only, the Wendaihui is a political moment that is part of a comprehensive national restructuring strategy led by the CPC.Thus, thanks to an analysis of the origins, the creation, the socialist drift and the restoration of the Wendaihui, this multidisciplinary approach breaks with the idea that the Chinese artistic system is a homogeneous, uniform and timeless organization. This research is considering it, on the contrary, as a historically situated social construction, resulting from the interaction of multiple factors and taking various forms in time and space
Books on the topic "CPC and artistic circles"
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Drennan, Geo B. Voices, circles, echoes. El Paso, Tex: Printing Corner Press, 1996.
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Museum, Victoria and Albert, ed. Artistic circles: Design & decoration in the aesthetic movement. London: V&A Pub., 2010.
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C.L.R. James and creolization: Circles of influence. Jackson: University Press of Mississippi, 2001.
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McCue, Michael J. Paris and Tryon: George C. Aid (1872-1938) and his artistic circles in France and North Carolina. Columbus, N.C: Condar, 2003.
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Shards & Circles: Artistic Adventures in Spirit and Ecology. Trafford Publishing, 2007.
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Collaborative Circles: Friendship Dynamics and Creative Work. University Of Chicago Press, 2001.
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Farrell, Michael P. Collaborative Circles: Friendship Dynamics and Creative Work. University Of Chicago Press, 2003.
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Hodge, Susie, and Sarah Papworth. Artistic Circles: The Inspiring Connections Between the World's Greatest Artists. Quarto Publishing Group UK, 2021.
Find full textBook chapters on the topic "CPC and artistic circles"
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O’Toole, Kit. "Magic Circles." In Fandom and The Beatles, 107–38. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190917852.003.0005.
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Despite technological change, two elements of the Beatles fan community remain stable: community and artistic expression. Fans want to communicate with fellow enthusiasts. In addition, fans want to contribute to that community, whether through fan fiction, fanzines, books, online discussion groups, YouTube channels, or podcasts. In the 1960s and 1970s, fans bonded primarily in person at record stores, concerts, and fan conventions. Desktop publishing and personal computers let fans design their own fanzines at lower cost. Then the internet changed how fans network and how they contribute to participatory culture. This chapter examines these trends and how fans today communicate with one another and ensure the Beatles’ legacy among younger generations. A survey of multigenerational fans and an interview with a video blogger further illustrate how fans connect today. Two forms of Henry Jenkins’s participatory culture will be applied to how technology has impacted Beatles fandom: affiliation and expression.
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Melrose, Susan. "Running in Circles, with “Music” in Mind." In Artistic Research in Music: Discipline and Resistance, 187–210. Leuven University Press, 2017. http://dx.doi.org/10.2307/j.ctt21c4s2g.13.
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Voytekunas, Valentina. "К истории рецепции и интерпретации творчества Боттичелли в России." In Testo e immagine. Un dialogo dall’antichità al contemporaneo. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-362-5/003.
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The paper focuses on reception and interpretation of Botticelli’s œuvre in Russian nineteenth-century cultural context. It describes the premises of interest in his work in literary and artistic circles starting from the 1830s and analyses a series of early publications dedicated to Botticelli that appeared in 1880s – 1890s. It reconstructs critical response of Russian writers and artists to his work and generally to the art ‘before Raphael’, considering various factors that influenced the reception of his style and image.
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Goldberg, Halina. "Józef Sikorski’s “Recollection of Chopin”: The Earliest Essay on Chopin and His Music." In Chopin and His World, translated by John Comber. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691177755.003.0003.
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This chapter focuses on “Recollection of Chopin” by Józef Sikorski, the earliest extended essay on the composer's life and works. The author's emotional language captures the immediacy and poignancy of the response to the news of Chopin's death in the composer's Warsaw circles. A close reading, however, also reveals striking similarities between Sikorski's effusive prose and the overlapping metaphoric vocabularies of German Idealism and Polish political messianism: the figurative language is deployed to locate Chopin and his artistic achievement within these two philosophical frameworks. Moreover, Sikorski was among the first critics to offer perceptive analytical observations on Chopin's compositional strategies and his innovative musical language.
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Hernández, Robb. "The Iconoclasts of Queer Aztlán." In Archiving an Epidemic, 31–54. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479845309.003.0002.
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This chapter draws on Cherríe Moraga’s classic essay “Queer Aztlán: The Re-Formation of Chicano Tribe” to distinguish how iconoclasm, the literal breaking of images, has been deployed as a unifying language for queer Chicanx avant-garde formed in the ethnic enclaves of Los Angeles. In institutional discourse, the East LA art collective known as Asco (Spanish for “nausea”) has tended to overshadow queer of color amorphous collectives, artistic circles,and collaborations. With attention to groups like Escandalosa Circle, Butch Gardens School of Art, Pursuits of the Penis, and Le Club for Boys, this chapter elucidates how a bold language faced indifference and sometimes violence in traditional museum settings. With a particular eye on the disciplining of Robert “Cyclona” Legorreta’s unruly archival body, another method and definition of Chicano queer avant-gardisms is demanded and found in the archival body/archival space methodology undergirding the case study chapters.
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Lemon, Alaina. "Dividing Intuition, Organizing Attention." In Technologies for Intuition. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294271.003.0006.
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Picking up from the discussion of credentials and intuition, we look more closely at the divisions and collusions of phatic and communicative labor that structure bureaucratic forms of encounter. These structures render specific moments that seem to isolate pairs of communicants as if a given contact pair were the natural configuration, the only one upon which to model all communication. In fact, most communication involves multiple parties, is multiply embedded, crosses multiple circles of attention, and sends out chains of multiple interpretants (like the cover of this book). The trick to the dyadic illusion is to distract from all the other, ongoing communications or channels, as well as from the work that has made such a moment of contact possible or necessary. The dyad who makes contact across a border or a frame. Such dyad/frame configurations, infused with repetitions of signs and qualia that signal not only paranoia but also the virtues of scientific transcendence or artistic spiritualty, still rules as a metaphor for all communication.
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Fujiwara, Gideon. "Seeing the “Country” of Tsugaru in Northeastern Japan." In From Country to Nation, 13–45. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753930.003.0002.
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This chapter chronicles the history of Hirosaki domain to late-Tokugawa times, charting rule by the Tsugaru clan and developments in the local politics, economy, society, and military defense of Ezo, which was inhabited by the Indigenous Ainu. Hirosaki domain represents a fascinating case of a “country” that underwent transformation within an evolving Japanese state. In the late sixteenth and early seventeenth centuries, the Tsugaru family asserted its dominance over its conquered territory on the northeastern edge of Japan's main island. They ingratiated themselves with the rulers of Japan by forming political alliances. The chapter also follows the story of how two merchant-class scholars navigated history: Hirao Rosen established himself as a painter and ethnographic researcher, and Tsuruya Ariyo made his name as a poet in local literati circles. The chapter traces how these young men learned from notable teachers, while yearning for the advanced scholarship of Edo. Through their artistic and scholarly works, Rosen and Ariyo expressed visions of their local “country” of Tsugaru embedded in a larger Japan.
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Gerber, Jane S. "Crossing the Borders of Art and Society: Toledo as a Meeting Place of Cultures 1150–1350." In Cities of Splendour in the Shaping of Sephardi History, 48–85. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781904113300.003.0003.
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This chapter focuses on how Toledo's Jews formed an integral part of a city defined by diverse languages, cultures and peoples. Toledo, situated in the heart of Muslim territory, was the first Andalusian city to fall to the Christians in 1085. It discusses a new Castilian identity emerged out of the embers of Andalusia and the ongoing clashes of the Reconquest. The chapter highlights the New Jewish identities developed, the reconfiguration of political borders and population shifts on a grand scale. It explores how Toledo became the meeting place as well as a prime battleground for the many competing social and intellectual currents in Christian and Jewish circles. It argues that the migration of the Jews from Muslim to Christian Spain in the twelfth century did not spell the end of the rich culture that Jews had created in Andalusia. Jews continued to speak Arabic well into the fourteenth century and to cultivate Arabic-inspired arts. These formed an essential part of their identity. Ultimately, the chapter explains how the Sephardim responded to the new challenges of the Reconquest and the attacks on their tradition with the artistic vocabularies of the surrounding cultures.
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Evangelista, Stefano. "Those Who Hoped." In Literary Cosmopolitanism in the English Fin de Siècle, 206–55. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198864240.003.0006.
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This chapter explores the relationship between the proliferation of artificial languages and literary cosmopolitanism at the turn of the century: both strove to promote ideas of world citizenship, universal communication, and peaceful international relations. The two most successful artificial languages of this period, Volapük and Esperanto, employed literature, literary translation, and the periodical medium to create a new type of cosmopolitan literacy intended to quench divisive nationalisms and to challenge Herder’s theories on the link between national language and individual identity. Starting with Henry James’s lampooning of Volapük in his short story ‘The Pupil’ (1891), the chapter charts the uneasy relationship between literature and artificial language movements. Ludwik L. Zamenhof, the creator of Esperanto, stressed the importance of literary translation for his utopian ideal and used original literature to explore the complex affect of his cosmopolitan identity. The chapter closes with an analysis of the growth of the Esperanto movement in turn-of-the-century Britain, focusing on its overlap with literary, artistic, and radical circles, on contributions by Max Müller, W. T. Stead, and Felix Moscheles, and on the 1907 Cambridge Esperanto World Congress.
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Wheeler, Michael. "Croker’s London." In The Athenaeum, 11–26. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300246773.003.0002.
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This chapter focuses on the founder of the Athenæum, John Wilson Croker. Croker created a new kind of club, which had no political affiliation, which chose its members on the basis of achievements rather than birth, and which was to benefit from the rapid rise of an expanding middle class. Croker knew about clubs, and he also knew literary, scientific, and artistic London better than most. Many of the Athenæum's 'original' members, as those elected in the first year or so were called, moved in the same political and intellectual circles, in the House of Commons and the Admiralty, at John Murray's publishing house and the Royal Institution, among the book shops of St James's, at the learned societies in Somerset House off the Strand, at soirées in private houses, or at the Union Club in Waterloo Place. The chapter visits these centres of activity in the years after Wellington's victory at Waterloo in 1815, a victory that established Great Britain as the leading European power which ruled over the largest empire the world had ever known. In this way, one can see what Croker meant when he referred to 'these times' as being propitious for the formation of a new London club.
Reports on the topic "CPC and artistic circles"
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.