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Journal articles on the topic 'CPC and artistic circles'
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1
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.
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Shportko, Valery. "Review to the Anniversary of the National Academy of Fine Arts and Architecture." ART Space, no. 3 (2018): 40–44. http://dx.doi.org/10.28925/2519-4135.4.2018.3.8.
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On the basis of own memories and experiences, the author expresses deep respect to the lecturers and professors of Kyiv State Art Institute, now NAFAA, who he communicated with, gained knowledge and support during his study in 1968–1972. The author expresses his opinion and attitude to the deliberate discussion in some artistic circles on the alleged reorganization and failure of academic education in NAFAA, which closely influence development of art education in Ukraine in general.
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Paşca, Eugenia Maria. "History and Modernity in Artistic Education from Romania." Review of Artistic Education 18, no. 1 (March 1, 2019): 347–52. http://dx.doi.org/10.2478/rae-2019-0039.
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Abstract The issue of artistic education is not new, it is still concerned and concerned by many specialists. The newities emerged and imposed from time to time in the evolution of culture and education were and are determined by the scientific and artistic achievements, the enrichment of the possibilities of knowledge and valorization of the experiences and achievements, both from the field of artistic didactics, as well as from musical creation and interpretative art. The perspectives, especially in the last half century, aimed at increasing the knowledge of the child’s physical and mental peculiarities, his ability to form audiences, visions and chinestecs, and the fundamental aims pursued by specialists - teachers and researchers - have been and have continued to improve the contributions of music, literature and dance to the aesthetic and ethical education of children, to developing their sensitivity and intelligence, in other words, to the formation and harmonious development of the children’s personality. From the perspective of knowing and preserving the national identity, in the non-formal educational system existing in Romania, there are musical-literarychoreographic circles with folkloric specifics organized in the Children’s Clubs and Palaces. Also, through school curriculum (CDS), there are initiatives by music education teachers to capitalize on music-literary-choreographic folklore through new disciplines, giving pupils the knowledge of local, regional and national traditions.
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MÓRICZ, KLÁRA. "Shadows of the Past: Akhmatova’s Poem Without a Hero and Lourié’s Incantations." Twentieth-Century Music 5, no. 1 (March 2008): 79–108. http://dx.doi.org/10.1017/s1478572208000613.
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AbstractArthur Vincent Lourié (1891–1966), futurist, communist commissar of music, and close friend of Stravinsky in Paris in the 1920s, was an important member of avant-garde Russian artistic circles in the first three decades of the twentieth century. Yet by the 1950s he seems to have faded into obscurity. This article attempts to fill the gap left by the lack of discussion of the strange permutations of Lourié’s career after his emigration in 1922 by way of an analysis of his miniature 1961 song cycle Zaklinaniya (‘Incantations’). The cycle consists of five settings of lines from Anna Ahkmatova’s Poema bez geroya (‘Poem Without a Hero’), whose first part recalls Lourié and Akhmatova’s shared past in Russia’s Silver Age. Akhmatova (1889–1966), an intimate friend of the dandyish Lourié and at the centre of avant-garde artistic circles in pre-Revolutionary St Petersburg, describes the early 1910s as a Meyerholdian nightmarish masquerade in which the protagonists were constantly in danger of losing their identity through nihilistic role playing. Lourié’s elusive figure can be seen as the embodiment in the Poema of the frightening, superfluous shadow with ‘neither face nor name’. Rather than any unfortunate turn of political or personal history, it was Lourié’s affection for masks – for taking up exaggerated poses and concealing his real face – that provides the most compelling reason for his gradual disappearance from view in the chaos of the first half of the twentieth century.
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Gruszczyński, Oskar. "Taniec w kajdanach: chińska cenzura filmowa w latach 1949–1966." Gdańskie Studia Azji Wschodniej, no. 18 (2020): 103–19. http://dx.doi.org/10.4467/23538724gs.20.038.12875.
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Dancing in chains: Chinese film censorship, 1949–1966 After the proclamation of the People’s Republic of China in 1949, and the subsequent nationalization of the domestic film industry three years later, the Chinese Communist Party gained unlimited control over the entire Chinese film world, while film itself became an instrument of state propaganda. In order to fulfill their role ‘in the service of workers, peasants, and soldiers’, filmmakers had to abide strictly by the requirements which the CPC had imposed upon them, and subject themselves to a rigorous film censorship system. Artistic independence and freedom were subject to the political needs of a one-party state and its ideology. The establishment of a full-fledged and extremely complex institutional censorship system in 1953 resulted in the emergence of two distinct phenomena: self-censorship and social censorship. Both of these made it possible for the CPC to gain full control not only over the film industry, but also, in certain aspects, over the minds of filmmakers as well as the audiences. This article aims at revealing the mechanisms of the Chinese censorship system in the period stretching from 1949 to 1966, and to elucidate the disastrous effects which these exceedingly rigorous control mechanisms brought upon the Chinese film industry in general in this turbulent era
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Sweeder, Logan A., Nikki Hill, Emily Whitaker, Anushka Tiwari, and William Doan. "STORY CIRCLES AS A METHODOLOGY: A PILOT STUDY EXPLORING COGNITIVE PROBLEMS IN AGING." Innovation in Aging 3, Supplement_1 (November 2019): S661. http://dx.doi.org/10.1093/geroni/igz038.2448.
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Abstract A Story Circle refers to a group of individuals in a comfortable social environment sharing personal experiences through stories to explore problems shared by a community and facilitate artistic representation of experiences of interest. In this pilot study, we examined the feasibility of Story Circles to facilitate qualitative inquiry of the experience of cognitive problems among older adults. A convenience sample of six cognitively intact, community-dwelling older adults (M=72.5; SD=5.09 years; 83% female) with self-reported cognitive complaints participated in a 90-minute Story Circle as well as a follow-up phone call. Each shared a personal story of experiencing a cognitive complaint and related these experiences to those shared by others in relation to a prompt provided by the group facilitator. Participants reported enjoying the Story Circle experience (M=8.5/10; 10 = extremely positive) and interest in participating in future Story Circles (M=9.3/10; 10 = extremely likely). Common themes included a sense of community established during the group that persisted after its conclusion as well as a normalization of the experience of occasional cognitive problems. Story Circles may be a useful data collection method to enhance understanding of complex phenomena within a social context.
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Орлов, O. І. "Art House - Exhibiting the country in elite circles." Grani 22, no. 3 (May 10, 2019): 43–51. http://dx.doi.org/10.15421/171931.
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The article investigates the phenomenon of growing popularity of art-house cinema in the twentieth century. The possibilities and success of art-house cinema as an instrument of research of socio-cultural problems of the past, present and future are considered. The formation of contemporary art house cinema and the growing interest in it by various social groups determine the relevance of the art house. It is this direction of cinema that affects the most acute socio-cultural transformations of modern society, in parallel contributing to the establishment of new social interactions, the formation of behavior models and values of the audience. The urgency of the socio-cultural study of the phenomenon of art-house cinema determines the need for the development of a conceptual apparatus that can serve as a tool for further theoretical and practical research. Art cinema is considered as a practice of leisure and consumption of a cultural product, as an institutionalized social practice, and an artistic film - as a means of existence and translation of normative-value content. The result of the socio-cultural analysis of the arthouse was the discovery of the main factors that influence the choice of the individual of a certain type of cinema. Identifying and analyzing these factors, for example, arthouse and mainstream, as well as studying a number of interdisciplinary approaches to studying the cinematic preferences of the audience, allowed us to propose a scheme for explaining the demand for various cinematic trends, which combines individual, institutional and socio-cultural factors, the definitions of which can reveal trends in cinematic preferences of the studied community, and vice versa, information about the cinematic flavors of the group under study makes it possible to make n ypuschennya it on such factors as education, income and so on. As an example of the development of Ukrainian cinema, the trends of the art house during the Independence period were analyzed, on the basis of which the features of the country’s exhibit in elite circles were determined.
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Bielniak, Nel. "Recepcja twórczości Aleksandra Wertyńskiego w Polsce." Acta Polono-Ruthenica 1, no. XXIV (March 31, 2019): 7–18. http://dx.doi.org/10.31648/apr.4393.
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This article deals with the implications of Alexander Vertinsky stay in Poland in the 1920s. Literary works of this representative of the first wave of Russian emigration enjoyed great popularity in the interwar period in Poland. Hence, he frequently gave concerts to a number of Polish cities and towns. The singer has made numerous acquaintances in all social circles, also in the artistic milieu, which until today eagerly reaches for his repertoire. The artist recorded many of his works and composed several hits in Poland. Vertinsky was not forgotten. His music scores, records, poetry books and memoirs were also published after his death
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Power, Aidan. "Awakening from the European Dream: Eurimages and the Funding of Dystopia." Film Studies 13, no. 1 (2015): 58–72. http://dx.doi.org/10.7227/fs.13.0005.
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Since its inception by the Council of Europe in 1989, Eurimages has been to the fore in financing European co-productions with the aim of fostering integration and cooperation in artistic and industry circles and has helped finance over 1,600 feature films, animations and documentaries. Taking as its thesis the idea that the CoE seeks to perpetuate Europes utopian ideals, despite the dystopian realities that frequently undermine both the EU and the continent at large, this article analyses select Eurimages-funded dystopian films from industrial, aesthetic and socio-cultural standpoints with a view toward decoding institutionally embedded critiques of the European project.
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Edwards, Steve. "William Morris and Edward Burne-Jones: Interlacings, Caroline Arscott, New Haven: Yale University Press, 2008./The Poetry of Chartism: Aesthetics, Politics, History, Mike Sanders, Cambridge: Cambridge University Press, 2009." Historical Materialism 18, no. 2 (May 20, 2010): 165–76. http://dx.doi.org/10.1163/156920610x512507.
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New books by Caroline Arscott and Mike Sanders return to the vexed problem of Marxism and aesthetics. For some time, there has been an intense suspicion of aesthetic thought in Marxist circles, where it is perceived as an ideology perpetrating a false resolution of contradictions. Arscott and Sanders understand aesthetics to be at the heart of the communist imagination: Arscott offers a detailed investigation of how the body is inhabited in the art of William Morris and Edward Burne-Jones; Sanders considers the figure of the poet in Chartism as a spur to radicalism. Engaging with these books, this review calls for a Marxist reconsideration of aesthetic thought and artistic practice.
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Boiko, Tatiana, Lesya Torbina, and Galina Zavgorodnya. "Landscaping of General Secondary Education Institutions and its influence on the Formation of Schoolchildren's Artistic Taste." Path of Science 7, no. 7 (July 31, 2021): 4001–7. http://dx.doi.org/10.22178/pos.72-5.
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The article considers the formation of schoolchildren's artistic and aesthetic taste and the influence of landscaping of school green areas on this process. During natural sciences, students should form the concept of the beauty of plant objects, the relationship of individual-personal reaction, and the object's quality. The purpose of education in this context should be the consistent implementation of the humanistic principle - a careful attitude to the inner world, his interests and needs, enrichment of his spiritual potential. Achieving this goal is facilitated by introducing the educational process of a personality-oriented approach aimed at the holistic development of a student's personality. The formation of children's artistic and aesthetic taste is one of the urgent problems of the harmonious development of personality, the successful solution of which improves the quality of pedagogical process in general secondary education. Feelings and understanding of beauty, artistic and aesthetic taste are not formed independently. They should be nurtured, consistently formed and developed. One of the top places in the formation of aesthetic taste is studying the decorative qualities of woody and herbaceous plants in the green areas of secondary schools. Both lessons of subjects of a natural cycle and practical classes of circles can be conducted on their basis. Successfully designed green space develops students' aesthetic perception of form and space, symmetry and asymmetry, a combination of light and shadow, texture and colour, i. e. the formation of artistic and aesthetic taste. Plantations of tree plants and flower arrangements contribute to the formation of the concept of the beauty of plant objects, the relationship of individual-personal reaction and the quality of the object. Conducting classes on the territory of green areas of educational institutions compensates for the lack of communication with wildlife, forms the childrens' artistic and aesthetic taste, cultivates a caring attitude to the environment.
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Kalita, Liliana. "Filmowe Tbilisi, Moskwa i Warszawa we wspomnieniach Heleny Amiradżibi-Stawińskiej." Acta Polono-Ruthenica 4, no. XXIV (December 30, 2019): 129–40. http://dx.doi.org/10.31648/apr.4878.
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Amiradżibi-Stawińska (1932–2017), a director born in Tbilisi, was educated in Moscow Film Institute. She came to Poland with her first husband, Jerzy Ziarnik, where she made a dozen or so documentaries and feature films. However, she reached the peak of her career when she was married to her second husband – a screenwriter and director, Jerzy Stefan Stawiński. In Poland, Amiradżi-bi-Stawińska published three memoirs: Słodkie życie księżniczki (1996), Książka antykucharska(2007) and Moja filmowa Moskwa. Białym pociągiem dookoła wódki... i nie tylko (2011), where we can find many interesting comments on life in Georgia, Russia and Poland in the 30s–70s in the 20thcentury. The text concentrates on the subject of film that is present in all her books, which shows cultural relationships and habits of the artistic circles in those years and in each of the three coun-tries. In the memoirs we can see the director’s artistic path against the background of the turbulent events of the 20th century; they are also a source of information about important figures in the film industry in Georgia, Russia and Poland.
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Prokopovych, Lidia. "Associative-shaped concept of the world in artistic discourse of Myroslav Dochynets." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 193–200. http://dx.doi.org/10.34079/2226-3055-2020-13-23-193-200.
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Recently, cognitive studies in Ukrainian linguistics have been widely developed. Linguists pay special attention to the isomorphism of language and thought, language and culture, investigating the processes of spiritual reflection of the world through the word, and consider language as a system of worldview. The phenomenon of constant spiritual culture is examined in the research of A. Stepanov. It is also worth focusing on the concept of the world as a special linguistic and cultural-mental phenomenon in the artistic discourse of Myroslav Dochynets, in particular, in his novels “Krynychar” and “Maftey”. The purpose of the present paper is the analysis of associative and figurative concept of the world in the artistic discourse of Myroslav Dochynets. The objectives include identifying the body of epitheic, metaphorical and comparative structures of the concept “world”, finding out their functional and stylistic load, and contactive colouring, outlining the place in the system of author's pausing. The language of literary texts written by Myroslav Dochynets is characterised by his artistic vision. This pattern is traced in the image of the world. The analysis enables to state that the associative and figurative structure of the concept “world” in the artistic discourse of Myroslav Dochynets is syncretic. It has been singled out that author's linguistic representation is based on the inherent Ukrainian sacramental perception of the world (the world returns to its circles).The original content of many metaphors motivates the traditional artistic comprehension of associative identification, inter alia, world – joy (The world belongs to joyful), and world – grief. The metaphorical motifs of the unity of a man and the world reveal the cognitive model man – world (the world did not accept me) special ethno-linguistic value has this segment of silence, the image of the world is presented through the prism of language-national symbols of Ukrainian culture. The prospects of further investigations lie in the study of contextual manifestations of grammatical units in the artistic discourse of Myroslav Dochynets.
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Jesse, Moba. "Cook stew of pidgin." English Today 17, no. 3 (July 2001): 45–51. http://dx.doi.org/10.1017/s0266078401003066.
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This paper discusses pidgin English, and far from calling it a corrupt and decayed form of the English language (as has been the case in many well-meaning literary circles), shows that pidgin has poetic resources capable of expressing a wide range of mentalities, tastes, customs, and even fashion itself. Because of this flexibility, pidgin reveals a high degree of closeness to the original speech patterns, notably in an attempt to preserve syntactical equivalents. Thus, if pidgin is adopted as a lingua franca throughout the sub-Saharan African region, it will enable Africans to take new pride in their artistic traditions and non-Africans to share in the joy and excitement of Africa's art.
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Bond, Kevin. "Of saints and blood: the Narita Buddhist sword cult in Edo Japan." Bulletin of the School of Oriental and African Studies 77, no. 2 (May 22, 2014): 313–35. http://dx.doi.org/10.1017/s0041977x14000093.
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AbstractThis article examines the local character of early modern (1600–1868) Japanese Buddhism using a case study of the Narita Fudō cult of Shinshōji Temple, with particular attention to the temple's most sacred treasure, the legendary Sword of Amakuni. Drawing on local sources produced within and beyond clerical circles, it examines how the sword and its popular narratives became central to the public identity of the cult and the temple's proselytization efforts. This article illuminates the evolving, fluid nature of deity cults as highly mobile properties working across sectarian boundaries, and how these properties gained importance beyond the walls of Buddhist institutions among the artistic and theatrical landscapes of the country's capital.
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Garvey, Gregory P. "Life Drawing and 3D Figure Modeling with MAYA: Developing Alternatives to Photo-Realistic Modeling." Leonardo 35, no. 3 (June 2002): 303–10. http://dx.doi.org/10.1162/002409402760105325.
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This paper discusses the organization and motivation for a workshop devoted to the experimental use of 3D computer graphics to model the human figure. The workshop introduced a simple technique for modeling a leg by lofting a series of circles into the appropriate shape using sketches drawn from life. This approach links the expressive world of drawing to the impersonal mechanical tasks of computer modeling. The workshop also served as an introduction to 3D modeling and the MAYA 3D Computer Graphics Software Graphical User Interface. The drawing exercises of Kimon Nicolaïdes are discussed and provide inspiration to explore alternatives to photo-realistic modeling that reflect the artistic legacy of early modernist experiments such as cubism and futurism.
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Newman, Shawn. "It's All in the Hips: Sexual and Artistic Minority in Canadian Concert Jazz Dance." Congress on Research in Dance Conference Proceedings 2012 (2012): 118–23. http://dx.doi.org/10.1017/cor.2012.15.
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Contemporary sexual norms in Canada continue to dictate how sexuality should be presented on the stage in many styles of theatrical dance. Jazz dance is not excluded from this practice; in fact, since the early days of social dancing, jazz dance has often been considered synonymous with gratuitously deviant sex and sexuality. In contemporary artistic circles, concert jazz dance often finds itself subject to an additional classification as low-art because of this perceived relationship between sex and the dancing. This artistically marginalized position of concert jazz implies a conservative heteronormativity in Canada that is contrary to our apparent inclusion of subjugated sexual minorities as “normal.” “It's All in the Hips” explores sexuality in contemporary Canadian concert jazz dance to illustrate the potential for representations of marginalized sexualities on stage, and the perceived threat to artistic hegemony. While there is growing research into sexuality on the American stage in ballet and modern dance through scholars such as Jane C. Desmond, Jennifer Fisher, Susan Leigh Foster, and others, and also into jazz's roots in social dancing by Susan Manning, Anthea Kraut, Julie Malnig, and a growing host of scholars, very little work has been done on the Canadian concert jazz scene, save for the work of Iro Tembeck, Mark Miller, Meilan Lam, and a handful of dancers. This paper examines the intersection between sexual and artistic minority in Canadian concert jazz dance and problems that arise for positioning the form to dance audiences as high art.
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Amir, Or. "Niẓām al-Dīn Yaḥyā al-Ṭayyārī – An Artist in the Court of the Ilkhans and Mamluks." Asiatische Studien - Études Asiatiques 71, no. 4 (February 23, 2018): 1075–91. http://dx.doi.org/10.1515/asia-2017-0005.
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Abstract Reading through the sources written in the Mamluk Sultanate (1250–1517), one receives the impression that the political borders between the Mamluk and Ilkhanid realms were just that – in no ways cultural or even serious physical barriers. This paper will demonstrate this by focusing on the biography of Niẓām al-Dīn Yaḥyā al-Ṭayyārī (685–760/1286/7–1358/9~). His father served under the Ilkhans as a physician and scribe, while Niẓām al-Dīn grew up into the Ilkhanid elite and became a prolific calligrapher, scribe and musician in his own right, being especially close to the Sultan Abū Sa‘īd and his vizier, Ghiyāth al-Dīn Muḥammad. After the death of Abū Sa‘īd and the subsequent disintegration of the Ilkhanate, Niẓām al-Dīn made his way to the Mamluk Sultanate, where his artistic talents were very much appreciated, representing the glorious artistic tradition of the east. Despite his seemingly smooth reception in the ruling circles of the Mamluk Sultanate, Niẓām al-Dīn seems to have remained attached to his homeland, and to the lavish properties which he left behind him. He subsequently returned to Baghdad, where he was immediately reinstated to his former duties. Following and analyzing the career of Niẓām al-Dīn can grant insights into court culture of the Muslim world of his age, where similarities in taste and bureaucratic traditions probably outweighed the differences. We also learn about mobility, cultural exchange and artistic sensibilities between the two competing courts.
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Sullivan, Moynagh. "‘The Woman Gardener’: Transnationalism, Gender, Sexuality, and the Poetry of Blanaid Salkeld." Irish University Review 42, no. 1 (May 2012): 53–71. http://dx.doi.org/10.3366/iur.2012.0008.
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Blanaid Salkeld (1880–1959), a published poet, actress, writer of verse plays, reviewer, and publisher, is fascinating both as an active participant in literary and artistic circles of early and mid-twentieth century Ireland and as a poet in her own right. In terms not just of style but also of politics, Salkeld is considered neither postcolonial nor properly modernist. Salkeld's class and access to international influences would appear to disqualify her from subalternity, given the relatively privileged metropolitan circles in which she moved. And yet her metropolis, Dublin, while incubating much powerful creativity, was not a centre for the radical avant-garde experimentalism that had characterized high modernism. Her family had been part of the colonial machinery in India yet she had close working and personal friendships with Dorothy Macardle and other republicans. In this essay, I consider how the transnational poetics elaborated by Jahan Ramazani can re-situate Salkeld's seemingly anomalous work, moving it from the margins of Irish literature, to the centre of a ‘cross-hemispheric and transhistorical common terrain’, postulated by Ramanzani. I go on to argue that reading Salkeld's work across modernist and postcolonial discourses enlarges the possibilities for exploring her poetry's concern with issues of gender and genesis.
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Konysheva, E. V. "The Soviet Pavilion at the World Exhibition in New York: Search and Implementation of an Architectural Image." Modern History of Russia 10, no. 3 (2020): 715–46. http://dx.doi.org/10.21638/11701/spbu24.2020.310.
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This article addresses the Soviet pavilion at the World Exhibition in New York City, 1939, especially the architectural and artistic image of the Soviet pavilion, including its search and implementation. Archiveal documents from the Soviet section of the International exhibition in New York, as well as professional periodicals of the 1930s, analyzed to interpret and evaluate the New York exhibition and the Soviet pavilion in the Soviet public field, make up the main data base for the article. First, the competitive practices of the 1930s and their hidden mechanisms, ruled by party-state power, are shown through the case of the New York Pavilion. Further, the stylistic peculiarities of the pavilion are considered, and ideas among the power circles about worthy forms of the “export” representation of the USSR by architectural and artistic means are shown. With the example of an “Americanized” style of the Soviet pavilion, the practice of appropriating alien architectural forms was demonstrated as a way to emphasize the involvement of Stalinist culture in current global trends. Attention is also drawn to the contradiction between official “internal” discourse, with its main thesis of turning to “classical heritage”, and the choice of a modern language for “export” architecture.
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PORTER, ERIC. "Bill Dixon's Voice (Letter)." Journal of the Society for American Music 9, no. 2 (May 2015): 204–31. http://dx.doi.org/10.1017/s1752196315000061.
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AbstractIn November 1966 composer and improviser Bill Dixon recorded a seventeen-minute-long “voice letter” to jazz writer Frank Kofsky. This letter may be analyzed as a critical intervention by Dixon, an attempt to change the context of interpretation around improvised music. But the voice letter may also be heard and analyzed as a kind of performance. As Dixon speaks, one can hear the rumbling and roar of the city as well as the staccato sounds of car and truck horns unfolding in dynamic counterpoint to his words. In this essay, I put the voice letter into dialogue with Dixon's personal history, his writings and interview statements, and some of his contemporaneous musical and multi-generic projects, especially his collaboration with dancer and choreographer Judith Dunn. I show how the letter maps Dixon's and Dunn's positions within a geography of intellectual circles, experimental artistic communities, and low-wage employment networks. By extension, I examine how the voice letter, as critical intervention and performance, points us to a nuanced understanding of black experimental music of the 1960s as a socially inflected, self-conscious and, ultimately, serious engagement with various modes of artistic production and thought, carried out under conditions of both precarity and inspiration.
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Duan, Lian. "Semiosphere and Solitary World." Chinese Semiotic Studies 14, no. 4 (November 27, 2018): 455–79. http://dx.doi.org/10.1515/css-2018-0026.
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Abstract Literati landscape painting was the mainstream of Chinese art in the Yuan dynasty; its keynote is the idea of yi, literally, escaping for freedom, which is represented by the notion of reclusiveness at the conceptual level and the notion of spontaneity at the formal level. Based on an analytical interpretation of the development of Yuan literati landscape painting at the two levels, this essay intends to make a point that, under the Mongol rule, reclusiveness and spontaneity became the artistic pursuit of Chinese artists in the period from late 13th to late 14th century. Employing Yuri Lotman’s theory of “semiosphere” in this study, I argue that the blueprint for the solitary world is designed by the early Yuan literati artist Zhao Mengfu, and this world is constructed by the later Yuan literati artists Huang Gongwang and Ni Zan, among others. I further describe the structure of this world as having two levels and three concentric circles, with reclusiveness as the signified central idea and spontaneous brushwork as its signifier. I then conclude that the interaction of the reclusive idea and spontaneous style semioticizes the structure, and completes the construction of the unique artistic world of Yuan literati landscape painting.
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Kozłyk, Ihor. "O жизни, науке, судьбе." Acta Polono-Ruthenica 4, no. XXIII (March 19, 2019): 97–117. http://dx.doi.org/10.31648/apr.3565.
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The review deals with the comparative analysis of the second edition of the book by Kharkiv literary critic, Doctor of Philology, Professor Leonid Genrikhovich Frizman (1935–2018) “In the circles of literary critics: Memoirs essays”, published in Kyiv and Moscow in 2017. The history of the book is described in the context of the author’s creative practices and similar experiences of Russian and Ukrainian literary critics; its substantive focus, the concept embodied in it, the personal composition, style, architectonics, illustrative component and artistic design are characterized in the review. The focus is on the study of the semantic role of the corrections and additions, made by the author in the second edition. The analysis takes into account the existing critical experience of perception of the first edition of memoirs in Russia to avoid unnecessary repetition.
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Hordecki, Bartosz. "Farewell to the Past Century?" Politeja 16, no. 5(62) (December 31, 2019): 237–53. http://dx.doi.org/10.12797/politeja.16.2019.62.14.
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The Russian authorities, supported by the representatives of the Russian cultural circles, celebrated 2018 as a year of harmonious reception of their literary traditions. Accordingly, the 100th anniversary of Alexander Solzhenitsyn’s birth was included into the series of commemorations and jubilees, minimizing, however, the problem of the Russian literature’s profound heterogeneity and inconsistency. Disregarding differences between literary currents, equalizing various, often contradictory intellectual phenomena can manifest that the Russian authorities search for a kind of cultural synthesis which will become a solid foundation of the Russianness in the XXI century. Nevertheless, their integrative ambitions are some how static or demobilizing. Moreover, these seem to be based on the conviction that cultural policy is not about determining and enhancing directions of further literary development but about assimilating and even restricting various artistic forces and traditions.
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Lvov, K. V. "The Artist’s Diary as a Portrait of Time: About the Diaries of M. Matyushin and K. Somov." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 462–71. http://dx.doi.org/10.25205/2410-7883-2020-2-462-471.
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The essay discusses the diaries of Russian artists of the first third of the 20 th century as a source for a study of their lives and opinions. The diaries of Mikhail Matyushin (1911–1934) and Konstantin Somov (1917–1927) were selected as examples. The author shows different techniques of keeping a diary. Matyushin’s diary is a creative laboratory of an artist and mentor. Somov’s almost daily entries represent a chronicle of his life. His experience is also related to his emigration to Paris. Both diaries were not to be published. Therefore, one can interpret them in terms of a “sincere and frank reports.” Overall, these autobiographical writings allow understand their creative impulses and their idea of artistic creativity as such. They also uncover the circles of their relationships, their preferences and dislikes.
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Barevičiūtė, Jovilė. "Editorial. Dialogue, Communication and Collaboration: Aspects of Philosophy and Communication." Coactivity: Philosophy, Communication 24, no. 1 (March 31, 2016): 1–2. http://dx.doi.org/10.3846/cpc.2016.246.
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Acting as a usual means of everyday communication and collaboration, dialogue is also a fundamental mode of human presence in the world. It is innate and, therefore, feels organic to people. Nothing but a dialogue determines and defines the inborn human potential of reflexivity, empathy and communitivity. Naturally, it is hardly surprising that as a phenomenon, a dialogue constantly fell within the purview of most prominent European thinkers and throughout different historical epochs, in the spaces of philosophy and communication, it unfolded in a diverse and multidimensional manner. Ancient Greek philosopher Plato wrote in the form of dialogue, this way opening the possibility to a reader to learn about the world and the order of things as well as defining a certain relationship between the perceiving subject and the perceivable object. In the early Middle Ages, writings of Saint Augustine encouraged people to immerse into themselves and start a conversation with God, which established a certain living relationship between spaces empirical and transcendental. Much later, towards the end of the 19th and the beginning of the 20th century, German phenomenologist Edmund Husserl, who developed the theory of the intentionality of the consciousness, perceived that no living relationship between people is feasible without intersubjectivity. In this case, the communication is conditioned on the focus of at least two subjects on a certain object. This object, in particular, ensures the potential of the meaning, content and the purpose of communication. Another German author Martin Buber treated the dialogue as a phenomenon, in which an individual establishes a personal relationship with the Christian God, and this gives rise to a certain immediacy: a confrontation with the Ruler of the Kingdom of Heaven gives meaning to all the other interpersonal relationships. These are but few different philosophical interpretations of dialogue as a phenomenon. The universe of issues related to dialogue emerges from thinking perspectives of philosophers as well as communication theorists. On the one hand, the perspective of communication trivializes the phenomenon of dialogue, depriving it of its depth and profoundness; and on the other hand, it defines and specifies the concept of dialogue, assigning to it a form or function. This issue of the journal is devoted to the analysis of the phenomenon of dialogue both in the fields of philosophy and communication, inquiring into different contexts of its development. In her article Communication Solutions by Improving Interactive Art Projects, Gintarė Vainalavičiūtė analyses the relationship between visual arts and contemporary technologies, which determines both the rise of the forms of dialogue and non-traditional understanding of works of art. Mindaugas Stoškus contributed an article entitled Disciplines of Political Philosophy and Political Science: Antagonism, Cooperation or Indifference? in which he investigates the relationship between these two disciplines, conditions and problems pertaining to their dialogue, and the particularly intensified dynamics of the dialogue in the fifties of the 20th century. In their article Online Artistic Activism: Case-Study of Hungarian-Romanian Intercultural Communication, Gizela Horváth and Rozália Klára Bakó delve into the interactive relationship between works of art and their perceiver, as these works of art send messages via the social media environment. Moral Perception, Cognition, and Dialogue is an article authored by Vojko Strahovnik, in which he examines the causes for the rise of cases that hinder intercommunication and mutual understanding, such as disagreement, intercultural dialogues, etc. Problems of visual communication and the specificity of visual languages, bringing together subjects into dialogue are discussed by Arto Mutanen in his article Relativity of Visual Communication. Another article entitled Scientific Realism versus Antirealism in Science Education is a contribution by Seungbae Park, in which he attempts to define how the dialogue between teachers and students is possible, as he takes the position stating that the doctrine of scientific realism is much more effective than provided opportunities of scientific antirealism. And finally, Algis Mickūnas, in his article The Different Other and Dialogue, discusses the reasons why members of different communities find it difficult to establish dialogue-based relationships and why in some cases they remain imprisoned in the state of a monologue. This issue of the journal presents a truly wide field of investigations into opportunities and obstacles for communication, interaction and collaboration. It is pleasing to see that representatives of various humanities and social sciences joined the same dialogue. Looking forward to the productive insights in the future, the Editor would like to express her gratitude to the authors of this issue.
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Čapková, Helena. "The Mystical Spirit of Japan – Stefan Łubieński and Transnational Artistic Networks in 1920s Japan." Studia Religiologica 53, no. 1 (2020): 15–31. http://dx.doi.org/10.4467/20844077sr.20.002.12505.
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Stefan Łubieński (1893–1976), composer, fine artist, diplomat, spiritual seeker, and thinker, was a Polish nobleman, follower of Anthroposophy and author of such books as Ways to Spiritual Light and Man between Microcosm and Macrocosm. With his first wife, Zina Łubieńska, he resided in Japan in the first half of the 1920s. Although Łubieński published his autobiography and the names of the two Poles were mentioned at that time, the time they spent in Japan has not yet been analysed by scholars. This article is an attempt to unravel the Łubieńskis’life in Japan and show how it is placed in the context of Japanese culture in the 1920s. Furthermore, it will document the ways the Łubieńskis operated within the transnational network of Theosophists that spread among artists, foreign and Japanese alike, as a way to meet and exchange ideas. One of the circles the Łubieńskis joined, together with Noémi and Antonín Raymond, was the Garakutashū(en. “Circle for the Study of Odd Things and Junk”), a casual setting for open discussion about passion for collecting objects, hobbies, and a shared interest in Japanese arts such as woodblock printing, calligraphy, and ink painting. The transnational method used in this article foregrounds the importance of thinking through a lens highlighting transnational networks and enables us to recognize the Łubieńskis as a part of the Theosophical Society (TS), Garakutashū, and other networks of modern Japan.
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Cho, Hyunjung. "Arata Isozaki: the architect as artist." Architectural Research Quarterly 24, no. 3 (September 2020): 239–50. http://dx.doi.org/10.1017/s1359135520000329.
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This paper is not a comprehensive survey of the architectural career of Arata Isozaki, one of the most distinguished practicing architects in the world today and the 2019 winner of the Pritzker Prize, but a specific look at his formative years of the 1960s when he began to build his own design methodology. It delineates Isozaki’s encounter with the avant-garde art movement of the 1960s, collectively called “Anti-Art, ” against the backdrop of the “anti-spirit” of Japanese society. Although Isozaki’s artistic side has been overstated at times, previous studies rarely addressed how his intensive interactions with art circles played a role in shaping his design methodology. I would like to examine the convergence of creative individuals and cross-disciplinary connections to understand Isozaki’s architectural thinking.This study examines how Isozaki’s collaborations with his artist contemporaries enabled him to formulate the notion of the “invisible city, ” a radically new design concept characterised by the expansion of the nature of architecture from producing isolated built-forms to all-encompassing natural and manmade environments. However, after drawing on communications and information theory, which prevailed in 60s architectural circles, Isozaki’s destructive and anarchistic connotation of “invisible city” was channeled into a systematic cybernetic model and eventually transformed into a constructive planning method. I will discuss the realisation of a cybernetic environment at the Festival Plaza of Expo’ 70 and trace the legacy of “invisible city” in his later postmodern work.
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Hiley, Michael J., and M. R. Yeadon. "Optimum Technique for Generating Angular Momentum in Accelerated Backward Giant Circles Prior to a Dismount." Journal of Applied Biomechanics 19, no. 2 (May 2003): 119–30. http://dx.doi.org/10.1123/jab.19.2.119.
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In men’s artistic gymnastics the backward giant circle on the high bar is used to produce the angular momentum that the gymnast needs for executing somersaulting dismounts. Dismounts in which the gymnast performs two somersaults in the layout (straight body) position require the greatest angular momentum. However, it appears there are two distinct techniques that elite gymnasts use when performing backward giant circles prior to a double layout somersault dismount. The “traditional” technique has been superseded by the “scooped” technique which is now used by the majority of elite gymnasts. To determine whether the scooped technique is better at producing angular momentum, a simulation model was used to optimize the angular momentum about the mass center at release. The model was evaluated using data obtained from a force/video analysis of accelerated giant circles. The model was able to estimate the reaction forces measured by strain gauges on the bar to within 9% of the peak forces, and the body rotation angle to within 1% of total rotation. During the optimizations, the joint angle time histories of the model were manipulated in order to maximize the angular momentum about the model’s mass center at release. Two optima were found which were characteristic of the two backward giant circle techniques used by elite gymnasts. The traditional technique produced more angular momentum than the scooped technique, although both were capable of producing sufficient angular momentum for a double layout somersault dismount. This suggests that the preference of elite gymnasts for the scooped technique must be based on factors other than the production of angular momentum.
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Wieruszewska, Maria. "Benefits of Rereading Texts about Folklore by Professor Kazimiera Zawistowicz-Adamska." Zeszyty Wiejskie 23 (December 30, 2017): 11–21. http://dx.doi.org/10.18778/1506-6541.23.01.
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The paper presents and analyses views of the scholar, ethnographer and founder of the so-called Łódź school of ethnography, Kazimiera Zawistowicz-Adamska (1897–1984) concerning the issues of cognitive difficulties they encountered – as well as some that are still experienced by folklore researchers.
While perceiving a close relationship between folklore and folk artistic culture this scholar emphasized the extent of studies devoted to these issues in the global science and their popularity in non-scientific circles. Simultaneously, she presented an opinion that ethnographers should not be constrained to studies on so-called material culture that is always conditioned socially and always appears in the context of phenomena (fairly conventionally) of both, social and spiritual culture. Thus, the scholar’s standpoint functions as a kind of conciliation for op-posing standpoints – supporters of things, on the one hand, and defenders of symbols on the other.
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Tomenchuk, John, and Peter L. Storck. "Two Newly Recognized Paleoindian Tool Types: Single- and Double-Scribe Compass Gravers and Coring Gravers." American Antiquity 62, no. 3 (July 1997): 508–22. http://dx.doi.org/10.2307/282168.
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A small collection of gravers from the Fisher site, an Early Paleoindian (Parkhill complex) site in Ontario estimated to date between 10,400 and 11,000 years B.P., produced two previously unrecognized tool types: single- and double-scribe compass and coring gravers. Experimental use-wear studies on replicated tools confirm that the compass and coring gravers were probably used on organic materials for engraving single or concentric circles, cutting thin disks, and boring holes. Although not identified as such, the compass graver occurs widely in North American Paleoindian assemblages and, judging from the presence and context of similar tools in the Eurasian Upper Paleolithic and Siberian Neolithic, may represent a specialized tool designed to express decorative, artistic, or symbolic aspects of Paleoindian culture. Together with other tools in Paleoindian assemblages, the new tool types promise to contribute to comparative studies concerned with the origin, development, and spread of Paleoindian cultures.
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Giani, Marco. "Donna, che fosti tra le donne un Sole»: sui tentativi poetici giovanili di Paolo Paruta (metà XVI sec.)." Italianistica Debreceniensis 23 (December 1, 2017): 60–73. http://dx.doi.org/10.34102/italdeb/2017/4638.
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During the mid-1560s, Paolo Paruta (1540-1598), future Ambassador of the Republic of Venice in Rome (1591-1595) and author of the three books of Perfettione della Vita Politica (Venice, 1579) wrote some poems: the canzone Donna, che fosti tra le donne un Sole, and three somnets. The former was then published in Dionigi Atanagi’s Rime di diversi nobilissimi et eccellentissimi autori, in morte della Signora Irene delle Signore di Spilimbergo (Venice, 1561), the latters were insert in Diomede Borghesi’s anthology for Cinzia Braccioduro Garzadori (then published in Padua, 1567, without Paruta’s somnets).
Writing those juvenile poems and making them circulate among the Venetian literary circles (such as Domenico Venier’s), Paruta was looking not only for artistic approval, but also for social visibility: the canzone and the somnets were part of his wider strategy for social climbing inside Venetian patrician ruling class.
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Laermans, Rudi. "‘After Luhmann’: Dirk Baecker’s Sociology of Culture and Art." Cultural Sociology 5, no. 1 (March 2011): 155–65. http://dx.doi.org/10.1177/1749975510389918.
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The German sociologist Dirk Baecker is one of the most prominent voices within contemporary social systems theory and German sociology, but is not well known within the wider circles of international sociology. He follows in the footsteps of Niklas Luhmann, yet in marked contrast with his ‘sociological master’ Baecker also gives ample attention to the notion of culture. This paper first summarizes some of the main lines in his writings on the notion of culture and on contemporary culture. It then continues with a succinct presentation of Baecker’s approach to artistic communication against the background of this more general characterization of the relationship between the individual and society, conscious sensory perception and communication, in terms of an ‘aesthetic coupling’. It will be shown that a recurrent figure of thought links up Baecker’s various considerations on culture and art, i.e. the inclusion of the excluded.
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Servant, Catherine. "Hanuš Jelínek’s Beginnings in Mercure de France." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (September 1, 2016): 21–28. http://dx.doi.org/10.1515/amnpsc-2017-0014.
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Abstract The aim of this article is to describe the beginnings of the cooperation between Hanuš Jelínek and the journal and publishing house Mercure de France. In March 1900, Jelínek published, under the pseudonym Jean Otokar, his first study ‘La Poésie moderne tchèque’ in the Parisian journal. For some time, the critic then wrote the column ‘Lettres tchèques’ (August 1900 – February 1903) in Mercure – after Alexandr Bačkovský (alias Jean Rowalski) and before William Ritter. The early origin of the ‘Lettres tchèques’ of Bačkovský and Jelínek as a result of the aesthetic affinity between literary and artistic modernism on the one hand and some French and Francophone circles of the time on the other has the merit of introducing the readers of an important French periodical to Czech production. These columns have their firm place in the history of Czech efforts to gain recognition in France and the French-speaking world.
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Xu, Sufeng. "The Courtesan as Famous Scholar: The Case of Wang Wei (ca. 1598-ca. 1647)." T’oung Pao 105, no. 5-6 (January 30, 2020): 587–630. http://dx.doi.org/10.1163/15685322-10556p03.
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Abstract This article examines the life and poetry of Wang Wei, one of the most distinguished courtesan poets of the Ming dynasty. Through an examination of her courtesan career, her friendship networks in literati circles, and her adoption of multiple identities such as xianren (person of leisure), daoren (person of the Dao), and shiren (poet), it seeks to illustrate what I believe is an important explanation for the flourishing of late Ming courtesan and literati culture. The rising prominence of learned and literary courtesans was strongly connected to a new social formation of nonconformist literati, the “men of the mountains” (shanren). These nonofficial urban elites of the prosperous Jiangnan region fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government service. In constructing an “artistic and hedonistic counterculture,” they encouraged the involvement of both courtesans and literary women of the gentry class.
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Wijnands, Clim. "Reflections of the Hidden Duchess and the Moon King: The Tabula Scalata and the Engaged Beholder in Sixteenth-Century Italy." Ikonotheka, no. 29 (September 16, 2020): 79–101. http://dx.doi.org/10.31338/10.31338/2657-6015ik.29.2.
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A tabula scalata consists of triangular slats painted on two sides and attached to a panel, creating a “double image”. Sometimes, a mirror was placed at straight angles of the upper frame, allowing the beholder to see both painted sides at the same time – but only when standing in the right position. This contribution analyses how these scarcely studied devices relied on the beholder’s active participation to convey intertwined layers of artistic, scientific, political, and poetic meanings. To do so, it discusses two sixteenth-century case studies. The first is a lost painting created in French royal court circles around 1550 and subsequently making its way to Rome as a diplomatic gift. The device combined a portrait of Henry II of France, a moon symbol, and a puzzle-ridden poem to convey interrelated political and poetic meanings. The second painting is Ludovico Buti’s Portrait of Charles III of Lorraine and Christina de’ Medici. It was commissioned by the Medici, and originally hung in a room filled with maps and geographical devices. This article considers three aspects central to the paintings’ reception: motion, sensory perception, and ideology. Operating in an intellectual culture fuelled by curiosity and designed to evoke wonder, these devices aimed to prolong the beholders’ attention by establishing thresholds within the artistic experience. As such, they straddled the vague boundaries between painting, scientific instrument, and poem to stimulate the beholders’ senses and involve them in an interactive game of meaning-making.
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ZABIYAKO, ANNA A., and YANA V. ZINENKO. "SAKHALYAN-BLAGOVESHCHENSK: LIFE OF THE RUSSIAN ORTHODOX COMMUNITY IN THE BORDER TERRITORIES IN THE 1920S AND 1940S (BASED ON THE MATERIALS OF EMIGRATION JOURNALISM)." Study of Religion, no. 3 (2020): 130–42. http://dx.doi.org/10.22250/2072-8662.2020.3.130-142.
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The publication presents a collection of archival materials about the life of the Orthodox community of Russian emigrants in Sakhalyan (today's Heihe) in the 1920s and 1940s. The publications of Harbin correspondents record the stages of the formation of the Russian enclave on the territory of the Manchu border town, allow us to correlate Russian life in Sakhalyan with the events of anti-religious policy in Soviet Blagoveshchensk, with socio-cultural, ethnocultural and ethno-religious processes in the life of the Russian emigration in the whole of Northern Manchuria. The sources of the collection were publications of a very different orientation - daily news (“Zarya”), popular literary and artistic journals (“Rubezh”), politically engaged papers (“Our Way”, “Ray of Asia”). The interest in the life of the Orthodox community in Sakhalyan, recorded in the refugee press of those years, testifies not only to the political significance of the border territories in the understanding of well-known emigre circles and the Japanese administration...
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Half, Daphna E. "A new materiality in praise of the ordinary, in Palestine-Israel c. 1940–66." Architectural Research Quarterly 23, no. 1 (March 2019): 47–62. http://dx.doi.org/10.1017/s1359135518000702.
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This article examines the emergence of a new materiality in Israeli architecture in the 1950s. I refer here to two distinct but interrelated senses of the word materiality. The first is predicated on the socioeconomic and geopolitical conditions in which architecture, like all fields of artistic production, takes shape; the second reflects the use, handling, and finishing of materials in construction. I show how several key figures in architectural circles in the recently founded State of Israel expressed this new materiality by developing a new style, characterised by restrained formal gestures, abstention from material extravagance, the use and exposure of local materials, an emphasis on the legibility of structure, and an appeal to rational building procedures. This style was a product of both pressing objective material constraints, which were acute in the postwar welfare state and its austerity regime, and ideological frameworks from the interwar period, the foundations of which were cultural as well as disciplinary.
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Wójcik, Wiesław A. "„Ku Tatrom się wrócę”, czyli zakopiańsko-tatrzańskie transgresje w twórczości literackiej Mariana Maurizia." Góry, Literatura, Kultura 11 (July 17, 2018): 207–19. http://dx.doi.org/10.19195/2084-4107.11.14.
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"KU TATROM SIĘ WRÓCĘ" I WILL RETURN TO THE TATRAS" OR ZAKOPANE AND TATRA TRANSGRESSIONS IN MARIAN MAURIZIO'S LITERARY OEUVREMarian Antoni Maurizio-Abramowicz 1905–1996, agronomist engineer by training, skier and mountaineer by avocation, left Poland in 1939 and in 1942 settled in Spain, where he lived until his death. He spent his childhood and youth in Zakopane, where he moved in the local intellectual and artistic circles and among Podhale highlanders. Fascinated with the beauty of the Tatra landscape, highland folklore and the unique mental aura that emerged from this foundation — of the world of the mountains and people of the mountains — he cherished vivid memories of this throughout his stay abroad, memories strengthen by frequent visits to his homeland. He expressed this in his writings — poetry and prose. His oeuvre can be an excellent example of temporal transgression referred to the constant crossing of the boundary between the present and the past.]]>
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Szulc-Woźniak, Agata. "A Tribute to „Barocco”: The Figurativeness of Maria Morska." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 8 (December 30, 2019): 187–98. http://dx.doi.org/10.18778/2299-7458.08.20.
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The paper focuses on the figure of Maria Morska, a reciter dubbed “Skamander muse”, who had a versatile and multifaceted impact on the literary circles of her day. I am conducting the quest for the artist (elusive today in the face of scarce biographical sources) through interpreting the poems for which she was a magnet and a centre (i.e. Inwokacja by Antoni Słonimski and Groteska by Jarosław Iwaszkiewicz). The image of Morska emerging from them presents a very original figure: one that was admired and received intensely. The poetic inscriptions of the impression which the Skamander muse made often bring to mind the reception of works of art. Morska refines commonness into a metaphor. Her literary image is a testimony to a moment of delight, dazzle, and – perhaps more importantly – spontaneous, artistic co-participation. She inspires one to look for pseudonyms and roles which would be capable of expressing the impression that accompanied her – one of changeability, glimmer, being different, never being the same.
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Loos, Helmut. "The Art-Religious ideas of Mahler and Schönberg." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 11–16. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235115.
Full textAbstract:
There is no doubt in research about the exemplary role Richard Wagner played for Gustav Mahler and Arnold Schönberg. His personality was simply too dominant in musical life and in the broader intellectual history of the time to not have a considerable influence on the two composers in their formative years. The suffering idea was the art-religious rank of music, as it had been widespread since Arthur Schopenhauer, especially in artistic circles. In contrast to Wagner’s decided atheism, which invoked Ludwig Feuerbach, Mahler and Schönberg can be diagnosed with a tendency towards modern irrationalism, asfound at the time inTheosophy and Anthroposophy. Philosophy of life and esotericism formed a favourable breeding ground for the most diverse varieties of art religion, among which emphatic art music was probably the most successful with regard to establishing itself in society. Syncretism was widespread and allowed the inclusion of heterogeneous elements, including, for example, traditional Christian religions.