Academic literature on the topic 'Exoticism in art'
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Journal articles on the topic "Exoticism in art"
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Locke, Ralph P. "On Exoticism, Western Art Music, and the Words We Use." Archiv für Musikwissenschaft 69, no. 4 (2012): 318–28. http://dx.doi.org/10.25162/afmw-2012-0028.
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Teodorski, Marko. "Book Review: Aleksandra Mančić, Egzotizam i kanibalizam. Transmisije drugog i avangardni oblici prevođenja [Exoticism and Cannibalism. Transmissions of the Other and the Avant-Garde Forms of Translation]. Beograd: Službeni glasnik, 2017." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 165. http://dx.doi.org/10.25038/am.v0i17.280.
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How to cite this article: Teodorski, Marko. "Book Review: Aleksandra Mančić, Egzotizam i kanibalizam. Transmisije drugog i avangardni oblici prevođenja [Exoticism and Cannibalism. Transmissions of the Other and the Avant-Garde Forms of Translation]. Beograd: Službeni glasnik, 2017, 204 pp., ISBN 978-86-519-2096-0." AM Journal of Art and Media Studies 17 (2018): 165−168. doi: 10.25038/am.v0i17.280
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Keshmirshekan, Hamid. "The Question of Identity vis-à-vis Exoticism in Contemporary Iranian Art." Iranian Studies 43, no. 4 (September 2010): 489–512. http://dx.doi.org/10.1080/00210862.2010.495566.
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Lovings-Gomez, Lauren. "Antiquity, Exoticism, and Nature in Gold “Lotus and Dragon-fly” Comb with Cyprian Glass Fragment." Athanor 37 (October 23, 2019): 109–26. http://dx.doi.org/10.33009/fsu_athanor116679.
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In this paper, I aim to reconstruct the life of Ornamental Comb, with emphasis on its materiality. I argue that the centerpiece of ancient glass, framed in Art Nouveau ornamentation, transforms into a modern jewel in accordance with avant-garde notions of looking to the past to create something new. Finally, I will contend that decorative art objects, like the CMA’s Ornamental Comb, disrupt the perceived hierarchy between what is deemed “high” and “low” art at the fin-de-siècle.
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Mariella, Rosita. "Tarsila do Amaral." Journal of Avant-Garde Studies 2, no. 1-2 (October 9, 2023): 13–30. http://dx.doi.org/10.1163/25896377-bja10010.
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Abstract In the field of visual arts, painter Tarsila do Amaral was a pioneer in her revindication of ‘peripheral’ areas, as well as in her opposition to an exclusive Eurocentric vision of the world. The article highlights how her contribution was crucial to an early approach to decolonization that used the notion of antropofagia to present the colonized in an act of ‘devouring’ the colonizer, assimilating certain aspects and discarding others to process and build new, independent identities. Considering her white, upper-class and cosmopolitan background, the article also explores the limits of her colonial-related art practices and the common trap of exoticism in the arts. Using the history of Tarsila do Amaral as a case study, this study will question how artists from ‘peripheral’ areas were making use of their access to native cultures in order to be part of the established European art scene and hegemonic discourse.
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SIDRI, Samira. "ART ET ARTIFICES DE LA PRÉFACE VIATIQUE : VOYAGEURS EN ORIENT." Analele Universității din Craiova, Seria Ştiinte Filologice, Langues et littératures romanes 25, no. 1 (January 24, 2022): 287–306. http://dx.doi.org/10.52846/aucllr.2021.01.20.
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This study aims to investigate the many forms of the preface in relation to the conditions of its production and the profile of the preface writer in certain travel accounts in Morocco, Algeria, Egypt, or Turkey from the seventeenth to the twentieth centuries. It is interesting to see the diversity of the construction of the self in the prolegomenes, intended to enhance the good reception of the narrative. From the simple traveller in search of exoticism to the passionate missionary, the prefaces of travel relationships offer an array of discursive strategies where the narrator's ethos underpins a rhetoric specific to the travel literature. Lady Montagu, Bugéja, Eberhardt, Montesquieu, Loti and other travellers invite the reader not only to explore a travel experience, but also to grasp the secrets of a rhetorical approach consciously undertaken.
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Hauser, Jakub. "Exiled Russian and Ukrainian Artists in Prague during the Interwar Period." Experiment 23, no. 1 (October 11, 2017): 127–41. http://dx.doi.org/10.1163/2211730x-12341306.
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Abstract Through several examples of the representation of Russian art in the milieu of interwar Czechoslovakia, the article shows the specificity of the local Russian cultural community which was exiled there following the October Revolution and the ensuing civil war. It examines the community’s international contacts and the role its strong institutional background played in establishing several art collections—most importantly at the Slavonic Institute and the Russian Cultural-Historical Museum in Prague—as it attempted to capture and preserve for the future the art production of Russian artists abroad. It also looks at a remarkable artistic strategy used by The Scythians artist group, which was based on an alleged otherness and even exoticism of the Russian artists residing in Prague and drew on the ideology of Eurasianism promoted in the Russian exiled community of the period.
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Martínez Figueroa, Adriana. "Binational Indianism in James DeMars’s Guadalupe, Our Lady of the Roses." Journal of the Society for American Music 18, no. 2 (May 2024): 93–107. http://dx.doi.org/10.1017/s1752196324000063.
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AbstractSince the late nineteenth century, the “Indian” as symbol has been a recurring trope in the art music of Mexico and the United States. Composers in both countries have often turned to representations of Indigenous Peoples as symbolic of nature, spirituality, and/or aspects of the national Self. This article seeks to place James DeMars's opera Guadalupe, Our Lady of the Roses (2008) in the context of two major cultural trends: Indianism in the U.S., and the representation of Mexico by U.S. composers. DeMars's use of Indigenous instruments in Guadalupe, including Mexican pre-Hispanic percussion, and flutes performed by famed Navajo-Ute flutist R. Carlos Nakai, continues the Indianist tradition of associating the Indigenous cultures of both countries with nature, spirituality, and authenticity. Similar associations emerge in the development and reception of both “world music” and the Native American recording industry since the 1980s, as exemplified by Nakai's career. DeMars uses these instruments in combination with Plains Native American features and generic exoticisms to represent both the Mexican Indigenous Peoples and the spiritual message of the opera. The sympathetic treatment of Indigenous cultures in Guadalupe nevertheless exists in tension with their exoticism and Otherness; in this the work is representative of U.S. cultural responses to Mexico stretching back throughout the long twentieth century.
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Loges, Natasha. "Exoticism, Artifice and the Supernatural in the Brahmsian Lied." Nineteenth-Century Music Review 3, no. 2 (November 2006): 137–68. http://dx.doi.org/10.1017/s147940980000063x.
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Perhaps as a consequence of the late-nineteenth-century tendency to differentiate Brahms from the Wagnerian coterie at all costs, his enduring interest in exoticism has received little attention. This is not unreasonable, since his untexted works show no evidence of any foreign links further than Hungary. In addition, for obvious reasons, the specific tropes associated with exoticism, or more specifically orientalism, manifested themselves most clearly through art-forms better equipped to portray specific verbal content, such as opera, literature and painting, none of which is strongly associated with Brahms. Biographically, it is even harder to reconcile Brahms with exoticism, since the connotations of sensuality sit oddly with the bürgerlich North German Protestant work ethic that generally defines perceptions of him. Still, the effect of over 30 years in cosmopolitan Vienna cannot be overlooked; also Brahms was a friend and supporter of artists as well as of musicians. Although Max Klinger and Adolf von Menzel spring primarily to mind, his interest in German painters dated from his early twenties, following his visit to the Schumanns in Düsseldorf. In particular, from the mid-1860s onwards he expressed constant interest in the works of the painter Anselm Feuerbach. Interestingly, both Brahms's and Feuerbach's concept of orientalism, specifically through the Persian poet Hafis, was mediated by the poetry of Georg Friedrich Daumer. This study will explore the simultaneous burgeoning of interest shown by Brahms in his Hafis settings and Feuerbach in his works Hafis vor der Schenke and Hafis am Brunnen in the mid-1860s, as well as the background of the poet who inspired them both.
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Mamona, Anhelina. "Four Songs op. 41 to Rabindranath Tagore’s poems in musicological reflection: aspects of exploring Karol Szymanowski’s Oriental visions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, no. 69 (December 28, 2023): 40–55. http://dx.doi.org/10.34064/khnum1-69.02.
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Statement of the problem. Karol Szymanowski’s vocal works have repeatedly drawn the attention of researchers particularly from the perspective of embodying an oriental colour. In the majority of such studies one of the composer’s cycles, which should clearly be included in the group of his oriental works, is interestingly omitted. Four Songs op. 41 to the poems by Rabindranath Tagore seem to fall out of the context of the composer’s work, since they lack the traditional complex of musical idioms associated with Eastern exoticism, which was typical for K. Szymanovsky in the 1910s and early 1920s, as well as for the Western European tradition of that time in general. However, this cycle, as argued in this article, is an example of Orientalism, although unusual. Objectives, methods, and novelty of the research. The purpose of the study is to reflect on this cycle from the perspective of the composer’s creative search and testing of alternative to European musical Orientalism artistic solutions. To achieve this objective, the following research methods were chosen: source-critical, comparative-historiographical, genre and stylistic, and semantic. In the musicological works dedicated to Szymanowski’s vocal music and oriental aspect of it the Four Songs to Tagore’s texts are often neglected or characterised as those that lack of significant artistic value. The cycle is usually not considered as a part of composer’s oriental “visions”, which determines the original contribution of the proposed article to researching K. Szymanovski’s work. Results and conclusion. Answering the question whether Szymanowski’s Four songs op. 41 are an extra cycle or a technical exercise, we note that both answers may be correct, but with the negative connotation being excluded. In a group of oriental works, this cycle can really seem odd due to the lack of exoticism in its sound. In a certain sense, the writing of this cycle can be understood as a technical exercise, being perceived as K. Szymanowskis attempt to master the potential of Orientalism beyond exoticism. The composer probably did not set himself the goal of completely moving away from the very idea of Orientalism in the music of the cycle, but he clearly avoided the use of stereotyped signifiers of musical exotics. Apparently, Tagore’s poetry prompted him to try to embody its images on a more personal expressive level. The result of the “technical exercise” was the realisation of the possibility of creating an artistic vision of oriental imagery beyond the clichés of musical exoticism practiced in European art. However, as it can be seen from K. Szymanowski’s subsequent works, this approach, caused by the peculiarities of the poetic source, did not become the leading one in the composer’s work. Four songs op. 41 to the texts by R. Tagore arose at the intersection of two creative interests of the composer: the world of the East and modern musical language. And in this case, the creative decision of the artist was to level in the cycle of signs of musical Orientalism; instead, K. Szymanovsky focuses attention on the deeper, psychological side of R. Tagore’s poems.
Dissertations / Theses on the topic "Exoticism in art"
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Guégan, Xavier. "Samuel Bourne and Indian natives : aesthetics, exoticism and imperialism." Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/2218/.
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Samuel Bourne (1834-1912), one of the most prestigious Victorian English commercial photographers to have worked in British India, is best known for his photographs of the Himalayas. Bourne's work features in general studies of photography of the period; his representations of the Indian landscape have been the object of studies and several exhibitions. Bourne was in India initially from 1863 to 1870 thereby establishing his career as a professional photographer. Soon after his arrival he started a business with the experienced photographer Charles Shepherd. Within a few years, the firm of Bourne & Shepherd became recognised as being a directing influence over British-Indian photography. The photographs were taken either in studio or on location, and included individual and group portraits of both the British and Indians, topographical images in which peoples were incidental, as well as a range of representations of Indian life, customs and types. These images were informed by, and in turn contributed to, an expanding body of photographic practice that mixed, to varying degrees, authenticity and aesthetic style. Whilst Bourne's work was significant and influential in the representation of Indian peoples, no substantial study has been undertaken until now. The aim of this thesis is to redress this imbalance. The central focus highlights the specific character of the images portraying Indian people. This specificity was determined by a combination of technical and 'authorial' factors, by the audience to which they were addressed — ranging from the general public in Britain to the family circle of wealthy Indians — by commercial considerations, and by current and evolving notions of authority, race and gender. The first two chapters seek to frame Bourne's work by first examining the political and cultural context of photography in India during the mid-nineteenth century, then by focusing on the context of the photographer's own production. The following three chapters are concerned with the study of the photographs themselves regarding what they depict and the questions they raise such as gender, racial identities and imperialism. The last chapter is an attempt to assess the significance of these photographs by comparing them with the work of Lala Deen Dayal, and highlighting different perspectives on Bourne's work regarding British India and Western societies. Placed in the context of the development of photography as a medium of record and representation, this thesis aims to show that Bourne's work is a significant historical source for understanding British cultural presence in post-Mutiny India.
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Medvedev, Natasha. "The contradictions in Vereshchagin's Turkestan series visualizing the Russian Empire and its others /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835633981&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Choi, Keeryong. "Invented exoticism : the development of artistic forms and inlaid colouring technique to explore the aesthetics of the cultural uncanny in an individual's visual experience with glass." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20943.
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This practice led research explores the possibility of cultural dislocation intrinsic to my glass art practice. The research on cultural dislocation is explored through both my practice and viewers’ interaction with the major works created during the investigation. The development of Korean glass art in the late 1980s provides an important example of the influence of a universalised culture in the course of adopting, adapting, and assimilating it, and why the artistic medium of glass is still perceived as ‘foreign’ by some artists and viewers in Korea. The artistic aim in creating a vase form, by combining porcelain and glass, is deeply inspired by the history of the materials in Western and Eastern cultures, including the history of European (or Western) imperialism and the influence of the colonial legacy on the development of glass art in Korea. By creating a formal visual vocabulary that informs the possibility of expressing the cultural ambiguity of the material, the resulting artworks were made to deliberately not fit into either Korean or British visual culture. Instead the works were created to fit into a pseudo Korean-British or British-Korean image intended to challenge the individual’s projected expectation of another culture (derived from cultural stereotypes). This research addresses the possibility of highlighting the individual’s cultural stereotypes, cultural relocation and bicultural identity in art. Applying the results related to these findings to the ‘aesthetics of the cultural uncanny’ present in my creative practice, the research was directed by the following research aims: - To extend the discourse about the uncanny to my artistic approaches by identifying what the exotic implies for individuals, both in Britain and Korea. - To develop the use of the experience of the uncanny as an expressive tool within my own creative practice through the medium of glass introducing an unexpected juxtaposition by combining English manufactured porcelain elements. - To develop an artistic language with respect to cultural stereotypes within contemporary glass art by analysing individuals’ engagement with my artwork.
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Castets, Sylvie. "L'exotisme : un art du débordement." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1005/document.
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L'art actuel est fait, pour partie, de mobilités et de formes si diverses, que d'après certains critiques et commissaires, tels que Jean-Hubert Martin ou Bao Dong, la sensation d'exotisme existe encore. On peut d'ailleurs s'étonner, qu'à l'heure de la globalisation, elle soit toujours aussi vivace. Elle l'est effectivement ; mais elle est aussi distincte de ce sentiment particulier qui offrait aux voyageurs occidentaux du XVIII et XIX èmes siècles, l'assurance de leur supériorité. Victor Segalen a, en effet, donné à l'exotisme une autre définition, chargée, celle-là, de valeurs esthétiques et éthiques. Par exotisme, il ne s'agissait donc plus de qualifier une chose, une région ou encore un être, mais d'envisager une expérience profonde de la différence perçue comme étant irréductible. Quant au monde de l'art, il s'est laissé pénétrer d'exotismes et a produit une multitude d'oeuvres, provoquant, à leur manière, des débordements de différentes natures. Il s'agira dans cette recherche d'en analyser les caractéristiques et les enjeux, en prenant pour prétexte l'étude des constituants plastiques d'un tableau peint. Le jeu des analogies entre les espaces – réels ou représentés – permettra ainsi de dégager, dans le détail, certains aspects d'une géo-esthétique, et de manière plus générale, de rendre manifeste le fait qu'il n'y a pas un, mais des mondes de l'artArt today is partly made of mobilities and forms so diverse that according to art critics and curators such as J. H Martin or Bao Dang, the feeling of exoticism still exists. Besides one may be surprised that in the age of globalization that feeling is so vivid . Indeed it is,but it is also different from that particular feeling that gave the European travellers of the eighteenth and nineteenth centuries the certainty that they were superior to the other people. Indeed V. Segalen gave exoticism another definition laden with aesthetic and ethical values.Through exoticism it was no longer a question of describing a thing, a region or even a human being but of considering a profound experience of the difference viewed as being resolutely different.As for the world of Art, it let itself be filled by exoticism and it has produced a vast number of masterpieces, creating in their own way diversions of all kinds. The purpose of my research will then be to analyze the characteristics and what is at stakes in exoticism, under the pretence of studying the plastic constituents of a painting.The game of analogies between the spaces- either realistic or as they are represented- will allow to single out in detail some aspects of a geo- aesthetics and more generally to make it obvious that there is not ONE world of Art but several
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Deso, Gaëtan. "Entre émergence et affirmation de l’art contemporain au sein du Triangle Polynésien : étude comparée de la Polynésie française et d’Aotearoa – Nouvelle Zélande." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30067/document.
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Cette thèse de doctorat en Histoire de l’Art, spécialité art contemporain, tend à repositionner l’Histoire de l’Art contemporain insulaire de la Polynésie Française et d’Aotearoa – Nouvelle Zélande au sein de son histoire locale tout autant qu’au niveau international. Par le biais d’une approche combinant Histoire de l’Art et Anthropologie, sont abordés les mondes de l’art respectifs à ces deux territoires afin de mettre en évidence les spécificités historiques et artistiques de localités trop souvent couplées du fait d’un passé commun. Faite de particularismes issus de la contraction des cultures au lendemain de la colonisation, la notion d’art international ne paraît jamais aussi ethnocentrée et occidentale que lorsqu’elle est transposée et apposée au Pacifique insulaire. Par l’étude des tentatives d’émancipation à l’égard du modèle occidental et des luttes de regards, ce travail de recherche confronte les postures des divers acteurs officiant dans l’affirmation et l’intégration de l’Océanie au sein du circuit international de l’artThis PhD thesis, in contemporary Art History, aims to resituate Pacific contemporary art of French Polynesia and Aotearoa – New Zealand as much into their own history as international history. Through an Art History and Anthropological approach, the purpose of this research is to highlight the historical and artistic specificities of these two territories often paired up due to a common past. When the concept of international art is transposed and applied to Pacific islands, it appears ethnocentric and Western. The aim of this study is to show that contemporary societies, and thus also art, are the result of cultural hybridization. With a thorough examination of the emancipation attempts towards the Western model and postcolonial gaze, this research compares the positions of actors involved in the affirmation and integration of Oceania within the international art field
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Carotenuto, Gianna Michele. "Domesticating the harem reconsidering the zenana and representations of elite Indian women in Colonial painting and photography of India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2024771361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Nicolau, Netto Michel 1978. "O discurso da diversidade = a definição da diferença a partir da world music." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280864.
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Orientador: Renato José Pinto OrtizTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-19T21:01:50Z (GMT). No. of bitstreams: 1 NicolauNetto_Michel_D.pdf: 5232732 bytes, checksum: 923f6a074b8a670cc13eeebf7eb461e8 (MD5) Previous issue date: 2012
Resumo: A valorização contemporânea da diversidade revela um mundo atento à diferença. De fato, se um dia lutávamos pelo direito de sermos iguais, hoje, paradoxalmente, também clamamos pelo reconhecimento de nossas diferenças. Nesse sentido, vozes que discursam sobre essas diferenças hoje precisam ser ouvidas e ressoam pelo mundo ao habitarem o espaço global. Contudo, de que diferenças estamos falando? A permanência de nosso olhar no seio das relações sociais muitas vezes impede que notemos que, na verdade, as diferenças são construídas social e historicamente. Não basta que as coisas se diferenciem, mas é preciso um contexto no qual seja possível a seleção de índices suficientes de diferenciação para que essas sejam classificadas e, por consequência, hierarquizadas. Dessa forma, duas coisas se diferenciam apenas quando índices específicos são legitimados e, então, discursados. Por isso, a diferença é necessariamente uma construção discursiva que se realiza pelas próprias práticas discursivas, mas que somente podem surgir em relação a determinadas realidades concretas. No século XIX a diferença fora construída a partir da organização do exótico. É em relação a ele, em um momento no qual o discurso universal e a nação criavam a separação entre internalidades e externalidades centradas no imperialismo europeu, que a diferença fora articulada. Na contemporaneidade, contudo, o mundo perde seu centro e as relações entre externo e interno não mais podem organizar um discurso, sendo esse percebido na diversidade. O discurso da diversidade, portanto, surge na contemporaneidade como forma de ordenar o diferente a partir de bases concretas na sociedade, mas também por interrelações entre enunciados específicos. Podemos notar a operação desse discurso ao voltarmos nossos olhos para um objeto específico: World Music. Nele, a música é valorizada pela própria diferença, sendo então necessário se compreender quais os índices tornados suficientes para a diferenciação. Propomos que neste objeto os índices privilegiados são o local e a etnia. Com essa mirada, então, mais importam as forças relacionadas à determinação dos índices do que a tentativa de se perceber um mundo mais ou menos homogêneo. É dessa forma que poderemos compreender as implicações sociais e o condicionamento das vozes presentes no discurso da diversidade
Abstract: The value given to diversity in our times shows just how attentive the world is to difference. In fact, where we once fought for equal rights we now look to establish our sense of difference. In this sense, voices who speak about these differences need to be heard today and resonate throughout the world. But what differences are we talking about? The permanence of our attention within social relations often prevents us from noticing that, in fact, we're talking about differences that are socially and historically constructed, and therefore of interest to sociology. It's not enough that things are distinct, but we need a context in which it is possible to select sufficient levels of differentiation for things to be classified and consequently put in hierarchies. Thus, two things are different when specific factors are legitimized and then discoursed. Therefore, the difference is necessarily a discursive construction that takes place by their own discursive practices, but that can only arise in relation to certain realities. In the nineteenth century, difference was built from the organization of the exotic. And it's in relation to this, at a time in which the universal discourse and the nation, centrered on European imperialism, created the separation between the internalist and the externalist view, that the difference was articulated. In contemporary times, however, the world loses its centre and the relationship between internal and external can no longer organise a discourse, this being perceived in the diversity. The discourse of diversity, therefore, arises in the contemporary world as a way to order the different from concrete foundations in society, but also by interrelationships between specific enounciation. We can note the operation of this discourse by examining a specific object: World Music. In it, the music is valued by the difference, so one needs to understand what are the factors that make the differentiation sufficient. We propose that with this object the privileged factors are location and ethnicity. With this look, then, it's of importance to understand the forces related to the determination of these factors rather than the attempt to realize a more or less homogeneous world. And so we can understand the social implications and the conditioning of the voices present in the discourse of diversity
Doutorado
Sociologia
Doutor em Sociologia
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Adendorff, Adele. "Nomadic figurations of identity on the work of Berni Searle." Diss., Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-12072005-161121.
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Yun, Kusuk. "Etre exotique dans l'art contemporain : la scène internationale de l'art et trois pays d’Asie – Japon, Corée du Sud et Chine – dans la mondialisation : création et stratégies de diffusion." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080135/document.
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Depuis « l’ère de la mondialisation », le monde occidental s’est vivement engagé dans la découverte de nouvelles cultures du monde dans le domaine des arts visuels. En effet, il est devenu la norme de valoriser la diversité du monde et le relativisme culturel parce que les cultures perçues comme authentiques développeraient des valeurs esthétiques et économiques considérables grâce à leur aspect original, singulier et pittoresque. Même si l’on ne peut pas réellement saisir toutes les nuances de la culture d’un pays éloigné, nous pouvons malgré tout esquisser une image plaisante de ce pays dans notre imagination, notamment grâce aux médias qui dépeignent aujourd’hui les paysages du monde à travers des images « typiques ».Par conséquent, les artistes des pays « périphériques » essaient de valoriser les attentes du monde occidental dans leurs créations, en espérant ainsi pouvoir s’intégrer dans le réseau mondial dominé par quelques pays qui se sont désormais positionnés en « leaders ». Ces artistes conçoivent, en effet, des stratégies de communication afin de favoriser la diffusion de leurs œuvres sur la scène internationale : ils représentent leurs identités culturelles dans leurs propres créations artistiques d’une manière stéréotypée facilement identifiable pour les pays occidentaux. Le pluralisme « postmoderne » influence ainsi considérablement la création des œuvres des artistes issus des pays périphériques, en mettant en scène et en valeur tout ce qui est spécifiquement typique, c’est-à-dire local et originalEver since the era of globalization began, the Western world has been strongly engaged in the discovery of new cultures of the world, in the field of the visual arts. Indeed, it has become the norm to value diversity and cultural relativism because cultures perceived as authentic can develop considerable aesthetic and economic value from their unique and picturesque features. Even if we cannot really understand all the cultural characteristics of a far-off country, we are still able to sketch a pleasant and attractive image of this place in our imagination thanks to the mass media, which repeatedly presents these landscapes through "typical" images.As a result, artists from "peripheral" countries are trying to meet the Western world’s expectations in their work, hoping in this way to break into a global system where some countries are positioned as "leaders". These artists devise communication strategies to promote their works on the international art scene; they represent their cultural identity in their artwork in a stereotypical and easily recognizable way to the West. Postmodern pluralism considerably influenced these artists’ work, whilst focusing attention on everything that is typically “local” and “original”
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Zilcosky, John. "Kafka's travels : exoticism, colonialism and the traffic of writing /." New York : Palgrave Macmillan, 2003. http://catalogue.bnf.fr/ark:/12148/cb41352859h.
Full textBooks on the topic "Exoticism in art"
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François, Cheval, Tchakaloff Thierry-Nicolas C, Maison franc̜aise du meuble créole., and Musée Léon Dierx, eds. Souvenirs de Paul & Virginie: Un paysage aux valeurs morales. Paris: Adam Biro, 1995.
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Winter, Tomáš. Lovesick exoticism: The collection of non-European ethnic art of Adolf Hoffmeister. Prague: Artefactum, 2010.
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Assayag, Jackie. L' Inde fabuleuse: Le charme discret de l'exotisme français, XVIIe-XXe siècles. Paris: Kimé, 1999.
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Rolf-Peter, Janz, ed. Faszination und Schrecken des Fremden. Frankfurt am Main: Suhrkamp, 2001.
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Margarethe, Jochimsen, Dering Peter, and Verein August Macke Haus, eds. Kleine Fluchten: Exotik im rheinischen Expressionismus. Bonn: Der Verein, 1995.
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Majorelle, Jacques. Jacques Majorelle, rétrospective: [exposition], Musée des beaux-arts de Nancy, 1er décembre 1999-31 janvier 2000. Paris: Réunion des musées nationaux, 1999.
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Iacovleff, Alexandre. Alexandre Iacovleff, itinérances. Boulogne-Billancourt: Musée des années 30, 2004.
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Instituto Nacional de Bellas Artes (Colima, Mexico), ed. Espejismos del Medio Oriente: Delacroix a Moreau. Colima, Mexico: Instituto Nacional de Bellas Artes, 1999.
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Moreau, Gustave. L' Inde de Gustave Moreau: Musée Cernuschi, Paris, 15 février-17 mai 1997, Musée de la Compagnie des Indes, Lorient, 17juin-15 septembre 1997. Paris: Paris-Musées, 1997.
Find full textBook chapters on the topic "Exoticism in art"
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von Beyme, Klaus. "From Exoticism to Postcolonial Art: Theorizing and Politicizing Art in the Age of Globalisation." In Politics in South Asia, 179–88. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09087-0_13.
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Yu, Eric C. K. "The Valuation of Elementary Exotics with Strike Resets." In Progress in Industrial Mathematics at ECMI 2006, 637–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-71992-2_105.
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Aloe, Stefano. "Аспекты рецепции русской литературы в Италии периода фашизма." In Biblioteca di Studi Slavistici, 225–42. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.20.
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Aspects of the reception of Russian culture and literature in Italy during the fascist period. Many studies are dedicated to the reception of Russian literature in Italy with a really extensive bibliography on specific aspects of the question. However, there is still no comprehensive monograph on the subject as a whole. Russian literature became popular in Italy at the end of the ‘80s of the 19th century after being almost completely ignored. A deepened comprehention and awareness of Russian literature was gained in the first decades of the 20th century, when exoticism was gradually supplanted by familiarity. The 20’s are the time when Russian literature and culture can be considered a modern classic for the average Italian. Fascism’s attitude to the Soviet experiment was by no means unequivocal, and Russian literature had a specific influence on intellectual life in Italy and served as a factor in its defense of intellectual freedom during the 20 years of fascist power. Almost all major Soviet writers are translated and published in Italy in the 20’s. The situation will radically change in the 30’s, when the censorship will take over and the confrontation will become unambiguous.
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Tucker, Bram. "Mikea, Malagasy, or hunter-gatherers?" In Scale Matters, 179–206. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460993-009.
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Are ethnic units also cultural and sociopolitical units? Barth (1969a) argued that they are not. However, some recent cultural evolutionary studies argue that ethnicity may function to facilitate within-group cooperation and between-group competition, referred to as parochial altruism (Choi and Bowles 2007; García and van den Bergh 2011; Handley and Mathew 2020; Jones 2018). Ethnographers have historically treated ethnicity and culture as equivalent with assertions that X people have particular beliefs, habits, customs, etc. In this paper I explore the ramifications of scale in ethnographic description and generalization, with a focus on my research participants in southwestern Madagascar, whom I usually label with the ethnonyms Mikea, Masikoro, and Vezo, or with the anthropological categories of hunter-gatherers, farmers, and fishermen. These are people who refer to themselves by these same ethnonyms or hyphenated combinations of terms (Masikoro-Mikea, Vezo-Mikea), or as Malagasy, a term referring to all peoples of Madagascar, or by village or clan affiliations. By contrasting evidence from my research (Tucker et al. 2021) with a study by Handley and Mathew (2020) about East African herders, I argue that the appropriate scale for ethnographic description may depend on patterns of similarity and difference in shared cultural traits and social networks, and these may be related to, or independent of, historically constituted ethnonyms. Careful thought is required to avoid scalar errors of over-particularization and exoticism (which I call Type 1 scalar errors) and over-generalization and stereotyping (Type 2 scalar errors). Because "ethnicity" is not just one "thing," ethnicity is not always the proper scale for ethnographic description.
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Sukumaran, Sivakumar, Greg Rebetzke, Ian Mackay, Alison R. Bentley, and Matthew P. Reynolds. "Pre-breeding Strategies." In Wheat Improvement, 451–69. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-90673-3_25.
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AbstractIn general terms, pre-breeding links needed traits to new varieties and encompasses activities from discovery research, exploration of gene banks, phenomics, genomics and breeding. How does pre-breeding given its importance differ from varietal-based breeding? Why is pre-breeding important? Pre-breeding identifies trait or trait combinations to help boost yield, protect it from biotic or abiotic stress, and enhance nutritional or quality characteristics of grain. Sources of new traits/alleles are typically found in germplasm banks, and include the following categories of ‘exotic’ material: obsolete varieties, landraces, products of interspecific hybridization within the Triticeae such as chromosome translocation lines, primary synthetic genotypes and their derivatives, and related species mainly from the primary or secondary gene pools (Genus: Triticum and Aegilops). Genetic and/or phenotyping tools are used to incorporate novel alleles/traits into elite varieties. While pre-breeding is mainly associated with use of exotics, unconventional crosses or selection methodologies aimed to accumulate novel combinations of alleles or traits into good genetic backgrounds may also be considered pre-breeding. In the current chapter, we focus on pre-breeding involving research-based screening of genetic resources, strategic crossing to combine complementary traits/alleles and progeny selection using phenomic and genomic selection, aiming to bring new functional diversity into use for development of elite cultivars.
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Sheppard, W. Anthony. "Singing Sayonara." In Extreme Exoticism, 234–75. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0007.
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Postwar Hollywood films offered the most sustained exposure American audiences have ever had to the Japanese performing arts. Following World War II, Hollywood created a new image of Japan, one that replaced the racism it had nourished during the war with depictions emphasizing the cultural refinements of the exotic Japanese. Music was central to this transformation. The primary example is the 1957 Sayonara. Multiple forms of “Japanese” music are heard in this film, creating a complex and contradictory musical portrait. Franz Waxman’s score employs Irving Berlin’s “Sayonara” and numerous folk tunes and includes original music composed for Japanese instruments. Several traditional Japanese performing art forms are encountered as well as Takarazuka theater. Sayonara is but one of the multiple films from the late 1950s and early 60s discussed: Three Stripes in the Sun, Cry for Happy, The Barbarian and the Geisha, Teahouse of the August Moon, The Crimson Kimono.
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Sheppard, W. Anthony. "Strains of Japonisme in Tin Pan Alley, on Broadway, and in the Parlor." In Extreme Exoticism, 54–104. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0003.
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This chapter focuses on the representation of Japan and the Japanese in American popular song and musical theater from 1860 to 1930. The representation of African Americans and of European immigrants in American popular song has received much attention. Comparatively little work has been undertaken on Tin Pan Alley’s engagement with Asians and Asian Americans. Through style and content analysis, the author identifies particular features that served as “Japanese” markers in the music, lyrics, and cover art of these songs. Musical interest in Japanese subjects directly reflected developments in political history and in American conceptions of race. The impact of Puccini’s Madama Butterfly, Gilbert and Sullivan’s The Mikado, and of the Russo-Japanese War is identified. The chapter is based on a collection of some 375 pieces with Japanese subjects–including parlor songs, show tunes, and piano dances and novelty pieces–that were published between 1890 and 1930 in the U.S.
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Keshmirshekan, Hamid. "Exhibiting Essentialism: Exoticism and its Attendant Uniformity." In The Art of Iran in the Twentieth and Twenty-first Centuries, 241–67. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474488648.003.0009.
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It provides a critical account of the subject of the politics of identity and examines issues of reception and the politics of representation within the international (Euro-American) exhibition system. Drawing on Said’s study of Orientalism and that of Mitchell’s exhibitionary order, the chapter examines works of contemporary artists from Iran in relation to the stereotypes deployed by Orientalist and neo-Orientalist practices. It shows how the majority of the artistic events relating to the contemporary art of Iran in Europe and America have tended to rely upon ethno-cultural categories and political identity markers. It addresses the problematic of the ‘constructed identity’ that is generated by external definitions. I contend that it is directly related to the process of exoticisation, which represents ideological materials by highlighting selected segments of a culture that are presented to consumers who desire to underpin their common identities, as Mitchell has already explained it, by exaggerating the ‘Otherness’ of different cultures. The aim is to explore the tensions that arise when artworks created in the specific socio-cultural context of Iran are viewed in a different cultural environment.
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"8 Exhibiting Essentialism: Exoticism and its Attendant Uniformity." In The Art of Iran in the Twentieth and Twenty-First Centuries, 241–67. Edinburgh University Press, 2023. http://dx.doi.org/10.1515/9781474488679-012.
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Shelleg, Assaf. "Adamot—Art Music—Israel." In The Oxford Handbook of Jewish Music Studies, 39–69. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.15.
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Abstract This chapter discusses the histories of art music in British Palestine and Israel reframing them through a study of the key variables of Hebrew culture (or Hebrewism) and the meanings they have accrued and lost between the 1930s and the early 2000s. Mapping the simultaneities and interdependencies of these variables—territorialism, biblocentrism, diaspora-negating rhetoric, Westernness, language, and historiography—this chapter is concerned less with surface phenomena like exoticism or identitarian qualities, and more with the transitions from musics conditioned by territorial nationalism to growing autonomous aesthetics manifested in deflations of neo-biblicism, dialectical returns to diasporic Jewish cultures, and the outgrowing of the theological from the national receptacles that attempted to tame it. The impact of these non-linear developments saw the introduction of other adamot (lands) whose histories, cultures, and ethnographic imports have steadily decentered Zionist territorialism, as much as it interfered with its management of Jewish history and socio-ethnic hierarchies. The music of Paul Ben-Haim, Abel Ehrlich, Josef Tal, Betty Olivero, and Chaya Czernowin serves as a springboard to illuminate the separation of culture from the national territory.
Conference papers on the topic "Exoticism in art"
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Sundari, R., T. Rohidi, S. Sayuti, and Hartono Hartono. "Exoticism of Barongan Kusumojoyo Demak Regency: The Art of East Coast of Central Java." In 2nd Workshop on Language, Literature and Society for Education. EAI, 2019. http://dx.doi.org/10.4108/eai.21-12-2018.2282744.
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Setiawan, Ikwan, and Andang Subaharianto. "Never-ending Local Beauty: Neo-Exoticism in Tourism Activities and Online Media Narratives." In Proceedings of the Third International Conference of Arts, Language and Culture (ICALC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icalc-18.2019.28.
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Setiawan, Ikwan, and Andang Subaharianto. "Neo-Exoticism as Indonesian Regional Government’s Formula for Developing Ethnic Arts: Concept, Practice, and Criticism." In 4th International Conference on Arts Language and Culture (ICALC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200323.020.
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Prelovsek, Sasa. "Lattice spectroscopy (focus on exotics)." In 18th International Conference on B-Physics at Frontier Machines. Trieste, Italy: Sissa Medialab, 2020. http://dx.doi.org/10.22323/1.377.0009.
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Craik, Daniel Charles. "Spectroscopy, onia including exotics at LHCb." In 16th International Conference on B-Physics at Frontier Machines. Trieste, Italy: Sissa Medialab, 2016. http://dx.doi.org/10.22323/1.273.0074.
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Lebed, Richard. "Exotic Discoveries in Familiar Places: Theory of the Onia and Exotics." In 16th International Conference on B-Physics at Frontier Machines. Trieste, Italy: Sissa Medialab, 2016. http://dx.doi.org/10.22323/1.273.0052.
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RUSU, Eduard. "Alla Turca, the Origin of the main Percussion Instruments in Symphony Orchestras and the Romanian Principalities." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0003.
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Alla turca, percussion instruments of a symphony orchestra and the Romanian Principalities are, at first glance, a strange and inappropriate combination of words. Yet, if one goes deeper into the subject, one may easily find a silver thread running through them all, which facilitates the understanding of these combinations of words and especially the reason for their combination. In this case, the culture of mobility is extremely visible and interesting. Alla turca was a cultural phenomenon specific to Western Europe since the 17th century, which was due to the interest shown by Europeans in the oriental culture gradually brought to Europe by the Ottomans. The increasingly powerful Ottoman Empire, its incursions towards the West and frequent military, diplomatic and cultural contacts piqued the Europeans’ interest in the exoticism of the new world with which they came in contact, music being one of the main areas of influence. This is due to Ottoman military music (mehterhane), consisting mainly of percussion musical instruments, which produced extremely loud music accompanying the Ottoman armies on the battlefield and supporting the efforts of the soldiers through its marches. At the same time, the effect of this music on their opponents was the complete opposite, as they were not used to such sonorities and were easily intimidated by it. The effectiveness of Ottoman military music proven on the battlefield and its physical appearance impressed the European monarchs who tried to imitate it in various forms and by various methods and implement it both in their armies and in their ceremonial music, as a symbol of political power, since the mehterhane was also a powerful political symbol in the Ottoman Empire. Starting from here, various European composers, the most important being Mozart, were also influenced by the exotic features of this music and by its novelty and used it in their own creations, at first playing it using Western musical instruments and then gradually adopting in the orchestra instruments specific to mehterhane, the so-called “Turkish drums”, thus developing the symphony orchestra to the form in which it is present today. As far as the Romanian Principalities are concerned, their connection with the elements mentioned above consists precisely in the fact that their geo-political location allowed the contact between the West and the East and the occurrence of alla turca influences, since the mehterhane had been present in the Romanian Principalities since the 15th century and foreign Western travellers crossing these regions listened to it and described it in their memoirs, making it known to the West, its most important promoter being Franz Joseph Sulzer.
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Koltsova, N. "ON THE QUESTION OF THE SYMBOLISM OF THE VELD IN RUSSIAN PROSE OF THE FIRST THIRD OF THE TWENTIETH CENTURY (USING THE EXAMPLE OF THE STORIES OF PLATONOV AND PRISHVIN)." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3707.rus_lit_20-21/122-125.
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The article is devoted to the study the features of “spatial form” in the stories of M. Prishvin and A. Platonov. The space itself acts as a hero in them, while the central character (or characters) are interesting to the author rather as a focus of perception. The shift of emphasis from a person to “thinking matter”, or “the substance of existence” (Platonov), predetermines a change in all levels of artistic structure - from the organization of the plot, which is relegated to the background or is completely absent, to types of psychologism, often taking the form of “anti-psychologism”. The “floating point of view” of Platonov’s later stories evokes associations with the cinematic technique of the wandering camera, or “subjective camera.” In Prishvin’s story, the effect of “depersonalization” is achieved by updating the traditional technique of duality: the black Arab is the shadow of the hero, declaring itself before the latter appears and remaining in the story (and in the desert world) after him. Despite the fact that national exoticism predominates in Prishvin’s story, it, introducing the reader to the world of oriental legends and culture in general, does not cancel the Russian “prehistory” of Prishvin’s method, prepared both by the traditions of Russian classical literature of the 19-th century and by the discoveries of neorealism of the 20-th century.
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Palacios, Fernando. "Breath: Reciprocities Without Words. Music, sound and videoart as communication paths on migration processes." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13207.
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Breath was created during a research stay at Social Sciences department in Roskilde University in Denmark. The challenge was to find ways to disseminate knowledge through artistic resources in a research project under migration topic.European socio-cultural contexts nowadays are established as landscapes of diversity, platforms of social interaction where the confluence of perspectives of diverse cultures are gradually modified, giving rise to new expressive parameters of social groups. This environment allows a dialogue between different cultural musical manifestations and the approaches to the sound phenomenon that each one establishes. These cultural platforms are laboratories par excellence of the transculturation as a place where the exchange of musical identities is more easily produced. They accept (or should accept) diversity not as exoticism or threatening otherness but as a possibility of one's own identity.Under these circumstances, music plays a definitive and fundamental role constituting a purposeful and peaceful way of interaction between different cultural groups. Furthermore, music allows the development of a dialogue in the rethinking process of the collective, related to the individual.Breath is an approach to music in a social perspective, connecting people from different genders, generations and cultures that didn´t know each other before. Together we created a communication path without words, where breath is the guideline for the improvised music. We were all synchronized in a co-creative work. The photos and drawings that appears on the video where chosen and made by the participants afterwards, reflecting what they felt during the experience. Besides, Breath is an interactive work that invites you to participate in it with your own breath. Through a video installation, Breath pretends to arouse our empathy towards an understanding of the other. It aims to visualize our common aspects as humans and living beings, focusing on an existing and basic one: breathing reciprocity.
Reports on the topic "Exoticism in art"
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Shamblin, Robert, Kevin Whelan, Mario Londono, and Judd Patterson. South Florida/Caribbean Network early detection protocol for exotic plants: Corridors of invasiveness. National Park Service, July 2022. http://dx.doi.org/10.36967/nrr-2293364.
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Exotic plant populations can be potentially catastrophic to the natural communities of South Florida. Aggressive exotics such as Brazillian Pepper (Schinus terebinthifolius) and Melaleuca (Melaleuca quinquinervia) have displaced native habitats and formed monocultures of exotic stands (Dalrymple et al. 2003). Nearby plant nurseries, especially the ones outside the boundaries of Biscayne National Park (BISC) and Everglades National Park (EVER), are a continuous source of new exotic species that may become established within South Florida’s national parks. Early detection and rapid response to these new species of exotic plants is important to maintaining the integrity of the parks’ natural habitats and is a cost-effective approach to management. The South Florida/Caribbean Network (SFCN) developed the South Florida/Caribbean Network Early Detection Protocol for Exotic Plants to target early detection of these potential invaders. Three national parks of South Florida are monitored for invasive, exotic plants using this protocol: Big Cypress National Preserve (BICY), Biscayne National Park (BISC), and Everglades National Park (EVER). These national parks include some 2,411,000 acres (3,767.2 square miles [mi2]) that encompass a variety of habitat types. To monitor the entire area for new species would not be feasible; therefore the basic approach of this protocol is to scan major “corridors of invasiveness,” e.g., paved and unpaved roads, trails, trail heads, off road vehicle (ORV) trails, boat ramps, canals, and campgrounds, for exotic plant species new to the national parks of South Florida. Sampling is optimized using a two- to three-person crew: a trained botanist, a certified herbicide applicator, and optionally a SFCN (or IPMT [Invasive Plant Management Team]) staff member or park staff to take photographs and help with data collection. If infestations are small, they are treated immediately by the herbicide applicator. If large, they are reported to park staff and the Invasive Plant Management Team. The sampling domain is partitioned into five regions, with one region sampled per year. Regions include the terrestrial habitats of Biscayne National Park, the eastern region of Everglades National Park, the western region of Everglades National Park, the northern region of Big Cypress National Preserve, and the southern region of Big Cypress National Preserve. Monitoring of roads, trails, and canals occurs while traveling into and through the parks (i.e., travel at 2–10 mph) using motorized vehicles, airboats, and/or hiking. Campgrounds, boat launches, trailheads, and similar areas, involve complete searches. When an exotic plant is observed, a GPS location is obtained, and coordinates are taken of the plant. Photographs are not taken for every exotic plant encountered, but photographs will be taken for new and unusual species (for example a coastal exotic found in inland habitats). Information recorded at each location includes the species name, size of infestation, abundance, cover class, any treatment/control action taken, and relevant notes. During the surveys, a GPS “track” is also recorded to document the areas surveyed and a field of view is estimated. Field notes, pictures, and GPS data are compiled, entered, and analyzed in a Microsoft Access database. Resource briefs (and optional data summary reports) and associated shapefiles and data are then produced and sent to contacts within the corresponding national parks.