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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.
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Tayyab, Areeba. "Grotesque Literary Caricatures of Exotic Orientals in Tariq Ali's Play Iranian Nights." International Journal of Linguistics, Literature and Translation 3, no. 10 (2020): 140–47. http://dx.doi.org/10.32996/ijllt.2020.3.10.16.
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The paper analyzes grotesque literary caricature of the exotic Orientals in Tariq Ali and Howard Brenton's play Iranian Nights. The focus is to elucidate how the writer market margins by creating caricatural and exotic characters that generate laughter and comical wit for the international readership. The research has two folds i.e. on one level it will discuss the caricatural features in characters to understand the underline meaning for the use of such distorted and exaggerated art form in a modern play. On the other hand, the paper will have an investigative stance into the dramatic techniques used ancient grotesque plays to find out the significance of such a dramaturgy in the business of exoticism. The research broadens the scope as it presents an art form that depicts a grotesque caricature exoticizing the third world's other Orientals to market margins.
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MAYER, Raymond. "Art and Exoticism. An anthropology of the yearning for authenticity de Paul Van Der Grijp." Journal de la société des océanistes, no. 129 (December 15, 2009): 339–40. http://dx.doi.org/10.4000/jso.5981.
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Chiu, Chao Chi. "‘Bodhisattva Bodies’: Early Twentieth Century Indian Influences on Modern Japanese Buddhist Art." Arts 13, no. 4 (June 30, 2024): 114. http://dx.doi.org/10.3390/arts13040114.
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The first decade of the twentieth century marked a turning point for Japanese Buddhism. With the introduction of Western academia, Buddhist scholars began to uncover the history of Buddhism, and through their efforts, they discovered India as the birthplace of Buddhism. As India began to grow in importance for Japanese Buddhist circles, one unexpected area to receive the most influence was Japanese Buddhist art, especially in the representation of human figures. Some artists began to insert Indian female figures into their art, not only to add a sense of exoticism but also to experiment with novel iconographies that might modernize Buddhist art. One example included the combination of Indian and Japanese female traits to create a culturally fluid figure that highlighted the cultural connection between Japan and India. Other artists were more attracted to “Indianizing” the Buddha in paintings to create more historically authentic art, drawing references from both Indian art and observations of local people. In this paper, I highlight how developments in Buddhist studies in Japan led to a re-establishment of Indo–Japanese relationships. Furthermore, I examine how the attraction towards India for Japanese artists motivated them to travel abroad and seek inspiration to modernize Buddhist art in Japan.
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Laberge, Yves. "Vanishing Paradise: Art and Exoticism in Colonial Tahiti Elizabeth C.Childs. Oakland: University of California Press, 2013." Journal of American Culture 38, no. 3 (September 2015): 326–27. http://dx.doi.org/10.1111/jacc.12407.
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Scherbinina, Olga I. "Northern Cheyenne Exodus and Negroes Lynching: Historical Novels of Howard Fast in the USSR." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 217–26. http://dx.doi.org/10.22363/2312-9220-2021-26-2-217-226.
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The article deals with the historical novels reception of Howard Fast (a writer who was extremely popular in the 1950s, though he is almost forgotten now) in the Soviet Union. Once a USA Communist Party member loyal to the USSR, he became a fierce opponent of Soviet communism. The analysis of the American context uncovers the reasons why the author of left-wing beliefs turned to the genre of a historical novel and peculiarities of the literary market he faced. A close study of Soviet reviews demonstrates that the novels The Last Frontier and The Freedom Road were perceived by Soviet literary critics as Fasts protest against racial discrimination and growing right-wing sentiment. These problems were a matter of urgency against the background of the McCarthy campaign, which Fast fell victim to in 1947. His novel The Freedom Road was put on the stage in Moscow theaters. According to Soviet reviewers, the absence of decadent primitivism set Fast apart from other once-friendly Soviet writers such as Richard Wright and Claude McKay. Within this tradition of exoticism criticism, dating back to the 1920s and 1930s, novels about distant lands were highly appreciated only when ethnographic descriptions were used for consistent social criticism. Being a committed supporter of the concept art as a weapon developed in the Soviet Union, Fast perceived exaggerated exoticism, top-heavy descriptions of historical novels as a sign of escapist literature that ignores the method of dialectical materialism.
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Chmielewski, Adam. "Politics, Lies, and Moral Exoticism. Re-Reading Hannah Arendt on the Crises of the Republic." Horyzonty Polityki 15, no. 50 (March 30, 2023): 81–97. http://dx.doi.org/10.35765/hp.2464.
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RESEARCH OBJECTIVE: The aim of the article is a critical analysis of Han nah Arendt’s views on the role of truth in politics and their validity in the context of contemporary global politics.
THE RESEARCH PROBLEM AND METHODS: The problem of the role of truth in politics has become increasingly relevant today due to the noticeable increase in political undertakings justified by false claims. In the article, the is sue is addressed by analyzing several such actions of global significance, among them the Vietnam War, the Iran‑Contra affair, and the US invasion of Iraq, as well as the public justifications for these actions formulated by the American administrations.
THE PROCESS OF ARGUMENTATION: The argument proceeds from an analysis of the course of political and military events that led to the United States’ war against North Vietnam, as well as analogous processes preceding American military involvement in the Middle East and Central America. These analyses are subsequently confronted with Arendt’s statements regarding The Pentagon Papers.
RESEARCH RESULTS: While many of Arendt’s observations remain valid, there are significant differences between the factually unfounded justifications of political actions critically appraised by Arendt and those of contemporary policies. The differences are especially expressed in the frequency of the resort to false justifications in politics and the invoked doctrinal basis for them.
CONCLUSIONS, INNOVATIONS, AND RECOMMENDATIONS: The overall analysis points to the growing significance of political aesthetics in contemporary politics: the art of political problem‑solving is increasingly replaced by the art of image building. The analysis of selected mendacious justifications in politics suggests also a paradox: excessive focus on the creation of a favourable image in politics, a prerequisite in democratic conditions, not infrequently brings about counterproductive results because political actions, if primarily trimmed for superficial public approval, tend to disappoint democrati cally formulated expectations.
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HABA, Myroslava, and Julia POGRANICHNA. "PROSPECTIVE DIRECTIONS OF THE DEVELOPMENT OF EXOTIC TOURISM IN UKRAINE." Herald of Khmelnytskyi National University. Economic sciences 310, no. 5(1) (September 29, 2022): 77–81. http://dx.doi.org/10.31891/2307-5740-2022-310-5(1)-12.
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The article examines the use of exoticism and exotic tourism in Ukraine. Nature, art and culture of African and Asian countries are often associated with exoticism. However, exoticism is not only about the sun, the sea, the beach, unusual fruits, kangaroos or the culture of eating sushi. In fact, everything that is unusual for a tourist’s place of ordinary residence, interesting and unusual for him can be called exotic in tourist trips. Therefore, Ukraine can also be considered an exotic country for foreign visitors. So, in our country, foreigners are attracted by the authentic traditional crafts of Ukrainians, their culture, unusual customs and traditions, unique culinary traditions, health practices, intangible cultural heritage. It has been established that at the current stage of the dynamic development of tourism, exotic tours are in particular demand among tourists. Usual tour programs have lost their relevance, therefore, in search of new experiences, tourists discover a new direction of tourism – exotic trips. It was found that exotic tourism in the country has every chance to become a popular and competitive tourism field, which will provide an opportunity to increase the state’s income from the tourism industry and create an additional source of foreign exchange earnings, which will be especially relevant in the post-war period. It was determined that it is expedient for the development of exotic tourism in Ukraine to support, popularize and finance promising “young” tourist destinations. Such, for example, are unusual SPAs – procedures with bees and wine therapy, these are the directions that will be promising for the development of exotic tourism in Ukraine, namely in the Ivano-Frankivsk, Chernivtsi and Zakarpattia regions. The outlined directions for the development of exotic tourism in Ukraine are among the important exotic tourist resources, the use of which in exotic and other tours will give the opportunity to expand the range of offers to travel companies, attract new potential tourists (both foreign and domestic), popularize Ukraine as an exotic country that in turn, will contribute to the development of new types of tourism and bring income to the tourism sphere of Ukraine.
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Li, Shuangyi. "Novel, Film and the Art of Translational Storytelling: Dai Sijie's Balzac et la petite tailleuse chinoise." Forum for Modern Language Studies 55, no. 4 (July 13, 2019): 359–79. http://dx.doi.org/10.1093/fmls/cqz019.
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Abstract This article examines the novel and film Balzac et la Petite Tailleuse chinoise, by the Franco-Chinese writer and filmmaker Dai Sijie, the story of which takes place against the background of the Cultural Revolution. The first part of my analysis will make clear how the film illuminates and dramatizes the special texture, aesthetic and structure of the novel, highlighting the cinematic sensibility of Dai’s literary aesthetic. I then move on to investigate the linguistic aspects of the various translations between the novel and the film in French, Mandarin Chinese and Sichuanese. The aesthetic effects of dubbing, in particular, will allow me to investigate new possibilities of reading exophone literature. Finally, this paper highlights the central role of oral storytelling in the Chinese tradition in/through various forms of translation: interlingual as well as intermedial. In so doing, this article aims to add nuance to and enrich current debates on issues such as intercultural misreading and exoticism in Dai’s works.
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Parker, Lawrence. "Not going 'pop': the aesthetic criticism of early British Maoism." Twentieth Century Communism 22, no. 22 (September 12, 2022): 141–65. http://dx.doi.org/10.3898/175864322835917900.
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If people think about Maoist/anti-revisionist groups in countries such as Britain, they are often seduced by an impression of exoticism and the incompatibility of such groups with a more humdrum native left-wing culture. What is also significant about such groups is the depth of their ideological inheritance from the Soviet-inspired world communist movement. This is particularly clear in relation to such groups' cultural criticism. Cultural products such as folk or pop music tended to be reduced to simplistic class designations (i.e.bourgeois art) and were often ruthlessly dismissed, sometimes for an apparent propensity to lead to fascism. Maoists called for a more political, communist art as an alternative, focused on serving the struggle for proletarian revolution. It's important to grasp that such criticism wasn't set apart from previous inner-CPGB debates on cultural issues, where the oppositional left that had been apparent in the party since the Second World War had retained the thrust of the Zhdanov doctrine emphasised by the party majority in the immediate post-war years. This article explores the aesthetic responses of a number of groups that developed during the first wave of international Maoism in the 1960s and measures them against inner-CPGB differences on art and culture.
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Afflerbach, Ian. "On the Literary History of Selling Out: Craft, Identity, and Commercial Recognition." PMLA/Publications of the Modern Language Association of America 137, no. 2 (March 2022): 230–45. http://dx.doi.org/10.1632/s0030812922000098.
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AbstractThis essay identifies “selling out” as an enduring yet evolving concern in anglophone literary history, from the late nineteenth century's divided literary field to the “program era” to the increasingly global circuits of contemporary literary commerce. It begins with Henry James, showing how his canonical statements on modern narrative form emerged from commercial negotiations—an economic prehistory of “craft.” Selling out becomes a salient concern as intellectuals come to see commercial success as antithetical to modern art. This cultural anxiety changes, however, once creative writing programs begin systematically reconciling craft and commerce. Turning to Nam Le's celebrated short story collection The Boat, the second section shows how selling out came to entail a fear that minority writers might betray group solidarity through reductive or essentialist portrayals of identity. Finally, the essay's third section closes by situating Le within a global market for postcolonial fiction and its attendant concerns over commodifying exoticism.
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Markov, Alexander V. "Intermedial contexts of the coat of arms motif in lyrical poetry by Viktor Krivulin." Neophilology, no. 18 (2019): 193–201. http://dx.doi.org/10.20310/2587-6953-2019-5-18-193-201.
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Although the heraldry theme does not belong to the main poetry themes of Viktor Krivulin, it is indicative of his poetic reflections on the relationship between self-comprehension of the Russian authorities, the dynamics of Russian art development and the fate of a private person. V. Krivulin’s poems are adjacent to the poet’s numerous ekphrases in which the coat of arms acts as a lyrical motif and the marginality of the theme in his lyrical world proves some of the mechanisms of this type of ekphrasis. The coat of arms acts simultaneously as a representation of authority and an artifact or image, dependent on the general world art development and on the specifics of power and art relationship. Therefore, underlining in the coat of arms such aspects as collectibility, provocativeness, exoticism, correlates V. Krivulin’s heraldry poems with ekphrases, devoted to the presence of art in Saint-Petersburg and to the complex fate of artifacts in the vicissitudes of history. In V. Krivulin’s lyrical heraldry I trace the visual semiotics influence of the Tartu-Moscow semiotic school, primarily in understanding the unity of the material, form, perspective view and conditional symbols of coat of arms, which immediately recalls the method of analyzing iconography as a spiritual authority manifestation in the Russian structuralism. But at the same time V. Krivulin gives enough markers that distinguish the coat of arms from works of art, and thus showing the crisis status of art in the 20th century. I note that these coats of arms are not conditional, a reader can always find real prototypes of these coats of arms, and thus their function turns out to be a historical linkage of the lyrical plot to the historical one. Close reading of these verses allows to clarify relationship between ekphrasis and historical reflections, its paradox and dynamism in V. Krivulin’s lyrical poetry, thereby identifying in a new perspective a combination of deeply melancholic mood and satirical, almost close to Sots Art principles in his works.
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Gubińska, Maria. "Dialogue de la littérature et la peinture dans Femmes d’Alger dans leur appartement d’Assia Djebar." Quêtes littéraires, no. 6 (December 30, 2016): 100–107. http://dx.doi.org/10.31743/ql.217.
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The paper presents the phenomenon of hybridity present in Assia Djebar’s writings based on the example of the collection of short stories entitled Femmes d’Alger dans leur appartement (Women of Algiers in Their Apartment). The title of the collection makes reference to famous paintings by Delacroix and Picasso but in doing so the author also supplements the Europocentric discourse with her own voice, the voice of a Francophone Algerian writer who, holding a dialogue with the painters, breaks with exoticism and the orientalising European approach. The dialogue with painting is accomplished on two levels; the first, diegetic and second, essayistic; in ‘The Overture’, and especially in ‘The Afterword’, which is not only a commentary to the painting works by Delacroix and Picasso, but also a complementation of the literary plot. The permanent link of Djebar’s writings to the dramatic present and the remembrance of the women deprived of their voice and subjected to reification is voiced powerfully in the work, which cannot be easily evaluated as it is very diverse in its references to other fields of art.
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Gonzalez, Anita. "Mambo and the Maya." Dance Research Journal 36, no. 1 (2004): 131–45. http://dx.doi.org/10.1017/s0149767700007609.
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This essay is a descriptive analysis of a 2000 encounter with Mayan “mambo” dancing in a mountain community, an encounter that challenges assumptions about prevalent notions of exoticism, identity, and cultural authenticity. Traveling in Guatemala with a group of international scholars, I witnessed a public performance of the transnational mambo by costumed Guatemalans that was not mambo, not Mayan, and not social. Male performers, in celebration of Corpus Christi, dressed as Disney-style costume characters and executed routines to merengue music while nondancing participants watched the spectacle. This contradictory display of dancing encouraged me to reflect on the impact of popular social dance and to examine the complicated meanings communicated by performers who incorporate body-based art into indigenous social and economic paradigms. The performers' unique interpretation of mambo dance within the context of a public Corpus Christi festival underscored discrepancies between institutional perceptions of the mambo and the popular reuse of dance motifs. At the same time, the performance, which used clowning as a mechanism to engage the audience, inverted the solemnity of the religious feast day.
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Liao, Yvonne. "‘Chinatown’ and Global Operatic Knowledge." Cambridge Opera Journal 31, no. 2-3 (July 2019): 280–90. http://dx.doi.org/10.1017/s0954586720000063.
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In recent years opera studies have taken a distinctly global and migratory turn: Nancy Rao's Chinatown Opera Theater is a notable example. Rao's book sheds new light on the art form's transpacific networks, Cantonese immigrant communities and their highly racialised experience of everyday entertainment in early twentieth-century America, thereby ‘strip[ping] the veneer of exoticism from [southern] Chinese [i.e., Cantonese] opera, placing it firmly within the bounds of American music and a profoundly American experience’. Still more illuminating is Rao's focus on the Chinatown theatre companies, their contracting of touring performers and their role in transoceanic commerce. Woven into the book is an intimately connected narrative of Cantonese opera in the 1920s, encompassing San Francisco, Vancouver, New York, Honolulu and (to a lesser extent) Havana. The selection of these locations is no coincidence, given their significance in the interwar years as port cities linked within imperial steamship networks, amidst the part-conflicting, part-intersecting agenda of dominant and emergent empires (for instance, Japan and the United States, in the case of the latter).
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Stasolla, Maria Giovanna. "The “Orient” in Florence (19th Century). From Oriental Studies to the Collection of Islamic Art, from a Reconstruction of the “Orient” to the Exotic Dream of the Rising Middle Class." Oriente Moderno 93, no. 1 (2013): 3–31. http://dx.doi.org/10.1163/22138617-12340002.
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Abstract The second half of the 19th Century was in Florence a period of extraordinary and fruitful interest in the oriental world when the philological and oriental studies were promoted. Thanks to the fervour of these studies, in 1878 Florence was designated to host the 4th Congress of the Orientalists. The “Orient” excited curiosity and collecting passion to such an extent that we could argue that the legacy of the magnificent Medicean collecting was inherited by the private middle-classes. Moreover, the new cultural context contributed to transforming the taste, it gave rise to new styles in architecture as well as in decoration and generally in the applied arts. After examining these topics, we will focus our attention on a little known fact that we could describe as the rebuilt “Orient” for entertainment, that is to say the Florentine Carnival in 1886, an event of the “disquieting” exoticism by which Europe represented the Islamic world.
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Dobrydneva, Anastasiya. "The SS Normandie as an Example of Art Deco Style." Ideas and Ideals 14, no. 2-2 (June 27, 2022): 363–79. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-363-379.
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The article is dedicated to ocean liners, the ambitious projects of the 1930s. The Interwar period was the golden age of transatlantic shipping, primarily due to technical improvements, for example, increased engine power and changes in ship hull shape. However from an artistic point of view, liners also proved to be an important field of application. Many European architects, sculptors, and decorators were involved in the design of the exterior of the liners and their interiors. Most of the masters who participated in the development of a special “liner style” were practitioners of art deco. The spectacular, varied art deco proved to be the most appropriate style, corresponding to the problems which had been set before the artists by the client companies. The subject of the research is to identify the relationship between the “liner style” of the 1930s and art deco, determining the place of the transatlantic liner projects in the culture of the XX century. The object of the research is the design conceptions in general, as well as works of art in the interiors of the liners. The author’s aim is to demonstrate the high importance of these projects for the understanding of the Art Deco era, to characterize the complex approach of masters to the design of liner exteriors and interiors, to consider and compare the most outstanding design solutions. The research methodology includes historical and descriptive, comparative methods, cultural, historical, and culturological approaches. The main attention in the article is given to the French “Normandy”, a recognized example of this style. To expand the context and the possibility of generalization, the focus is also made on two English liners: “Queen Mary” and “Queen Elizabeth”. Among the artists the author points special attention to a French master, Jean Dunant. Dunant’s panels made for the Normandy cigar lounge are considered examples of a decorative style, inspired by the exoticism of archaic or Oriental cultures.
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Dahlia, Putri, Ahmad Akmal, and Yuniarti Munaf. "RAGAM HIAS DAN FUNGSI BATIK MINANG NAGARI PANYAKALAN KABUPATEN SOLOK." Gorga : Jurnal Seni Rupa 7, no. 2 (October 11, 2018): 134. http://dx.doi.org/10.24114/gr.v7i2.10976.
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AbstrakPenelitian ini berjudul “Ragam Hias dan Fungsi Batik Minang Nagari Panyakalan Kabupaten Solok”, membahas tentang bentuk motif dan fungsi batik Minang, serta dampak yang ditimbulkan dengan adanya batik tersebut terhadap masyarakat. Sebagai produk budaya, batik Minang mempunyai nilai strategis dalam sistem budaya dan perekonomian sebagian masyarakat. Nilai budaya dan filosofi yang dikandung dipahami melalui simbol berupa motif hias pada batik. Penelitian ini menggunakan metode kualitatif. Teori estetis Edmund Burke Feldman menyangkut struktur, gaya, dan fungsi karya seni, digunakan dalampembahasan mengenai Batik Minang. Feldman membagi fungsi seni menjadi tiga bagian, yaitu fungsi personal (personal function of art), fungsi sosial (social function of art) dan fungsi fisik (physical function of art). Perkembangan batik Minang dewasa ini cenderung dipengaruhi aspek ekonomi dan sosial budaya. Begitu pula sistem keahlian dilakukan melalui pengembangan terhadap produk yang lebih kreatif dan variatif dalam bentuk maupun fungsi. Hal ini menjadi salah satu faktor penopang keberlangsungan seni batik Minang ini. Di era global ini batik Minang dikembangkan dan dimanfaatkan sebagai unsur estetik modern dengan maksud memberi nuansa eksotisme suatu penampilan, beberapa di antaranya berkembang menjadi produk industri seni sebagai material kebutuhan dan permintaan konsumen luarProvinsi Kata Kunci:Batik Minang, Fungsi, Estetika, Panyakalan AbstractThis research entitled "Decorative and Function Batik Minang in Panyakalan Solok Regency", discusses the form of motif contained in batik Minang art, and the impact that arises with the art of batik on society. As a cultural product, Minang batik art also has strategic value in cultural system and economy of some society. The value of culture and philosophy conceived through the symbol of decorative motifs on this batik art.This research uses qualitative method. Aestetic theory Edmund Burke Feldman about the structure, style, and function of artwork, used in the discussion of batik Minang. Feldman devides the function into three parts, that is personal function of art, fungsi sosial the social function of art, and physical function of art.The development of batik Minang today tend to be influenced by economic and socio-cultural aspects.Similarly, system expertise is done through the development of products that are more creative and varied in form and function. This became one of the factors supporting the continuity of batik Minang art. In this global era batik Minang is developed and utilized as an aesthetic element of modern interior with the intention to give feel of exoticism an appearance, some of which developed into art industry product as material requirement and demand of foreign consumer. Keywords: Batik Minang, Function, Aesthetic, Panyakalan
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Łakomska, Bogna. "Images of Animals in Neolithic Chinese Ceramic." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 1 (January 11, 2021): 63–80. http://dx.doi.org/10.30958/ajha.8-1-3.
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The images of animals or their (more or less) stylised motifs once depicted in the form of painting and sculpture, and nowadays through various media, have many stories to tell. Their ancient images point to the undeniably great role that animals played in human life. The rich material culture, as well as the written sources we have today, enables us to examine – both in physical and spiritual terms – the coexistence and co-creation of the worlds of people and animals in the region that we now call China. General animal research, especially within Europe, usually concerns spatial and physical differences; animals from ancient, medieval and early modern times are researched in the context of their utilitarian role, as well as their exoticism, discovering new species and deepening knowledge about those already known to man. Creating a picture of the animal images in Chinese Neolithic art, I hope to present various social and political practices that have influenced the acquisition of knowledge about animals, and thus to discover their role in human life. Chinese animal studies to date in pre-dynastic and dynastic eras regularly focus on animals as spiritual beings and sources of nutrition. It is worth looking at the significance of animals from a different angle – from the perspective of art, which can inform us about animals and people in the context of religion, magic, symbols, aesthetics and the spiritual life of both. My article focuses particularly on the decorative motifs appearing in ceramics of three Neolithic cultures: Yangshao 4000–3000 BC, Hemudu 5500-3300 BC and Longshan 2500-1900 BC.
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Łakomska, Bogna. "Images of Animals in Neolithic Chinese Ceramic." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 1 (January 11, 2021): 63–80. http://dx.doi.org/10.30958/ajha.8-1-3.
Full textAbstract:
The images of animals or their (more or less) stylised motifs once depicted in the form of painting and sculpture, and nowadays through various media, have many stories to tell. Their ancient images point to the undeniably great role that animals played in human life. The rich material culture, as well as the written sources we have today, enables us to examine – both in physical and spiritual terms – the coexistence and co-creation of the worlds of people and animals in the region that we now call China. General animal research, especially within Europe, usually concerns spatial and physical differences; animals from ancient, medieval and early modern times are researched in the context of their utilitarian role, as well as their exoticism, discovering new species and deepening knowledge about those already known to man. Creating a picture of the animal images in Chinese Neolithic art, I hope to present various social and political practices that have influenced the acquisition of knowledge about animals, and thus to discover their role in human life. Chinese animal studies to date in pre-dynastic and dynastic eras regularly focus on animals as spiritual beings and sources of nutrition. It is worth looking at the significance of animals from a different angle – from the perspective of art, which can inform us about animals and people in the context of religion, magic, symbols, aesthetics and the spiritual life of both. My article focuses particularly on the decorative motifs appearing in ceramics of three Neolithic cultures: Yangshao 4000–3000 BC, Hemudu 5500-3300 BC and Longshan 2500-1900 BC.
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Christian. "“A Doll’s House Conquered Europe”: Ibsen, His English Parodists, and the Debate over World Drama." Humanities 8, no. 2 (April 22, 2019): 82. http://dx.doi.org/10.3390/h8020082.
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The London premieres of Henrik Ibsen’s plays in the late 1880s and 1890s sparked strong reactions both of admiration and disgust. This controversy, I suggest, was largely focused on national identity and artistic cosmopolitanism. While Ibsen’s English supporters viewed him as a leader of a new international theatrical movement, detractors dismissed him as an obscure writer from a primitive, marginal nation. This essay examines the ways in which these competing assessments were reflected in the English adaptations, parodies, and sequels of Ibsen’s plays that were written and published during the final decades of the nineteenth century, texts by Henry Herman and Henry Arthur Jones, Walter Besant, Bernard Shaw, Eleanor Marx and Israel Zangwill, and F. Anstey (Thomas Anstey Guthrie). These rewritings tended to respond to Ibsen’s foreignness in one of three ways: Either to assimilate the plays’ settings, characters, and values into normative Englishness; to exaggerate their exoticism (generally in combination with a suggestion of moral danger); or to keep their Norwegian settings and depict those settings (along with characters and ideas) as ordinary and familiar. Through their varying responses to Ibsen’s Norwegian origin, I suggest, these adaptations offered a uniquely practical and concrete medium for articulating ideas about the ways in which art shapes both national identity and the international community.
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Cazzamatta, Regina. "The significance of cultural aspects in Latin America’s media image: the representation of the continent in the German press." Journal of Latin American Communication Research 8, no. 1-2 (July 13, 2021): 130–55. http://dx.doi.org/10.55738/journal.v8i1-2p.130-155.
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This paper focuses on Latin America’s cultural coverage produced by the German press – Süddeutsche Zeitung, Frankfurter Allgemeine Zeitung, Der Spiegel and tageszeitung – from January 2000 to December 2014. At first, one analysed the main subjects areas of coverage amidst 3.831 articles and identified a surprisingly 17% amount of cultural reports (662 news items). While empirical results on foreign reports worldwide point to a weak representation of cultural themes and an intense concentration on politics, this does not apply fully in the case of Latin America. Brazil, Argentina, Mexico (with an intense power status and economic proximity) and Cuba (still a myth in the German perception) show a high amount of cultural coverage with a broader spectrum of themes, from music and literature to art, architecture and exhibitions. On the contrary, the cultural coverage of small Central American nations concentrates on travel & tourism, an indicator of exoticism. South American states also have a good share of cultural reporting due to the presence of German cultural organisations such as the Goethe Institute. Eight qualitative interviews with German correspondents provide a more profound interpretation and contextualisation of these findings. Keywords: Latin America’s foreign reporting, cultural coverage, international communication, Latin American image, news factors.
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Jordano, Ángeles. "The Survival of Andalusi Artistic Formulas in the Time of Hernan Ruiz I." Arts 7, no. 3 (August 9, 2018): 37. http://dx.doi.org/10.3390/arts7030037.
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In the transition from the Middle Ages to the Modern Era, Hernan Ruiz I worked as master builder of the Cathedral of Cordoba. His works exemplify the adoption of an artistic language resulting from the symbiosis of Gothic, Renaissance and Islamic formulas. In this paper, we demonstrate the imprint of the Andalusi aesthetic in this master’s work. Through an analysis of his building works and the evolution of his style, we show that Hernan Ruiz I’s legacy is more important than what historiography has previously suggested, which has only addressed the transition in his architectural style from Gothic to Renaissance and has overlooked the impact of Andalusi formulas in his work. Hernan Ruiz I bore witness to an important change in the mentality and aesthetic tastes of his time, and although his son, Hernan Ruiz II, gained greater recognition for his work, his father was able to adapt a church model imbued with the medieval spirit to the demands of the new patrons, namely the nobility and high clergy. These clients imposed their tastes, which were anchored in the past, but were open to new Renaissance influences due to their humanistic training and, at the same time, attracted by the exoticism and prestige of Andalusi art.
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Saleem Akhtar Khan. "Ethnocentric Solipsism and Rhetoric of Dehumanization: A Postcolonial Reading of Imperial Hubris in Selected Colonial Novels." International Journal of Linguistics and Culture 5, no. 1 (June 4, 2024): 1–9. http://dx.doi.org/10.52700/ijlc.v5i1.258.
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Supremacist projections of the Self and reductive representations of the Other have been among the foremost colonial discursive practices. The same skewed representational predilection is manifest also in colonial fictional works. The article aims to unpack the colonial discursive pattern apropos characterization that is pervasive in the selected novels: James Grant’s First Love and Last Love (1868/ 2007), Louis Tracy's The Red Year (1907/ 2020), and E.M Foster’s A Passage to India (1924/ 2021). Two of the features of colonial rhetoric are focused in the study: the creation of uncanny characters and the concoction of eerie ambiance. To regulate the argument of the study, Michael Clarke’s (2013) identification of ethnocentric solipsism and imperialism has been invoked. His ideas guide the textual analysis, facilitate interpretation, and scaffold the argument. The analysis evidences that all three novels offer uncanny portrayals of the native characters, whereas the English are glorified. Moreover, an eerie ambiance has been discursively created to invoke a sense of exoticism and mystery. Both racial and civilizational fallacies have been used in these fictional narratives to depict the desired personae and setting. The article, therefore, posits that the peculiar art of characterization is marked by the imperial hubris and unwarranted solipsism.
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YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (November 2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.
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AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron makes possible a deeper scrutiny of traditional gender roles in the production and reception of Western art. The film's formulaic plot and the backstage musical format render transparent the commercial impetus behind the creative process and demystify the role of the Romantic artist-genius. Finally, the transnational and transhistorical elements of the film – a mostly Australian production team and crew, American and British pop songs, a Parisian backdrop, the Bollywood-inspired show-within-a-show, numerous anachronisms that refuse to stay confined within the specified time setting of the late nineteenth century – disrupt the Classical ideals of artistic unity and integrity and suggest new postmodern geographies and temporalities. This article considers how Luhrmann, by simultaneously paying homage to and critiquing operatic practices in Moulin Rouge!, deconstructs and reinvents opera for the postmodern age.
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Panova, Elizaveta Yu. "Jean-Baptiste Le Prince and the “Russian Theme” in Lavis." Observatory of Culture 19, no. 3 (July 5, 2022): 284–92. http://dx.doi.org/10.25281/2072-3156-2022-19-3-284-292.
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This paper discusses the phenomenon of “russerie” (“Russian theme”) and its specific embodiment in the work of the French engraver and artist Jean-Baptiste Le Prince (1734—1781). A student of François Boucher (1703—1770), he consistently developed the rocaille aesthetics of his teacher. Le Prince arrived in St. Petersburg in 1757. After spending five years in Russia, the artist returned to his homeland in France. Over the next decade, reflecting on the impressions received during his trip to Russia, he created numerous works devoted to the “Russian theme”. It was these works that formed the basis for “russerie” — a new genre of exoticism in European art. The most outstanding examples of the “Russian theme” in graphics are the prints produced in the new engraving method called lavis, invented by Le Prince (1769). These prints, creating the illusion of a watercolor drawing in printed graphics, have hardly attracted the attention of Russian scholars until recently. This article, for the first time, consistently examines the features of this technique and, basing on a number of archival documents, presents the reconstruction of public opinion and the evaluation of these works by the audience. The central part in the article is devoted to the “Russian theme” in lavis. There is shown the originality of “russerie” in lavis on the plot and stylistic levels. Besides, the article considers the relationship of this theme with “chinoiserie” and “turquerie”. In addition, the author outlines the development prospects of the “Russian theme”, which appeared under the influence of prints in the manner of lavis.
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Elsner, Jaś. "LITHIC POETICS: POSIDIPPUS AND HIS STONES." Ramus 43, no. 2 (December 2014): 152–72. http://dx.doi.org/10.1017/rmu.2014.8.
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The 20 poems collected together as thelithikaof Posidippus, the first surviving poems on a papyrus roll only published in 2001 and dating from the third century BCE, offer a range of spectacular new evidence for a series of issues in Hellenistic history, art and literature. The standard view is that Posidippus was probably author of all the epigrams in the roll known as P. Mil. Vogl. VIII 309, although this has been contested and by no means need certainly be the case. For my purposes here, I do assume that the interconnected poetics of the poems in thelithikado imply a single poet who is quite likely to be Posidippus, since poem 15—independently anthologised in antiquity and known through a manuscript tradition—was attributed to Posidippus in the twelfth century by the Byzantine poet and grammarian John Tzetzes. Historically speaking, the fact that so many of these poems focus on gems from the east gives remarkable insight into the interchange between Hellenistic and Achaemenid cultures: specifically, they signal the prestige of treasures from the east in the Hellenistic courts. In the history of collections, they represent a very early example of exoticism in elite collecting, of the accumulation of valuables in what we may assume was a royal and non-sacredSchatzkammer, of the need for an aesthetic response (in this case through short poems) to ‘label’ and valorise the precious items in the collection. In the history of ancientWissenschaft, the poems’ use of late Classical gem-lore (exemplified in texts like theOn Stonesof Theophrastus) offers a vivid instance of the ways theoretical knowledge circulated at least in elite contexts around the royal circle.
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Lyubimova, Natalya S. "Образ Японии в России – старые элементы в новом оформлении." Вестник антропологии (Herald of Anthropology) 51, no. 3 (September 20, 2020): 153–67. http://dx.doi.org/10.33876/2311-0546/2020-51-3/153-167.
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This article compares the image of Japan in Russia in two periods of time: at the end of XIX – beginning of the XX c. and in modern days. It reviews the images existing in the European part of Russia. Chronological periods were chosen for comparison based on some shared traits: both economical and political relations between the two countries are relatively weak, so the mass-media potential for propaganda is only used at times when a certain political problem becomes relevant (Russan-Japanese war/ the peace treaty problem and the Kuril Islands dispute), while there also is a fashion for Japanese or pseudo-Japanese products (japonisme in art, incl. decorative arts and literature/ Japanese cuisine, cartoons etc.). The image of Japan at the beginning of the XX c. is described based on literature with the use of journalistic and scientific publications. In addition, the author used pulp fiction as a source, which has not been previously done in research by Russian scholars. Analysis of the modern image of Japan is based on the results of a questionnaire survey, conducted via Internet in June 2019, and supplemented by the non-formalized content analysis of the on-line mass media. Image of Japan as special case of an image of the Other has one permanent trait – it is exotic. This exoticism comes from the notion of Japanese traditionalism as well as from perceiving Japan as a futuristic land. Both of these aspects can have negative or positive connotations. The historical part of this research shows how these connotations shift depending on the historical context and views of a particular author. The 2019 survey demonstrated the predominance of positive characterizations in the modern image of Japan and also that mass-media have little effect on this image.
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Siagian, Ade Onny, and Hadion Wijoyo. "Analisis Intertekstualitas di Relief Candi Prambanan Makna Fisik Wanita." Jurnal Media dan Komunikasi Indonesia 3, no. 1 (March 29, 2022): 52. http://dx.doi.org/10.22146/jmki.69999.
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The existence of women, especially regarding their physical beauty and beauty, is not a myth found in works of art or literature, including those found in temple reliefs. Many temple reliefs in Indonesia depict women and their exoticism, both physically and their activities and position in society. Prambanan Temple is a temple that is known to be closely related to the figure of a beautiful woman named Roro Jongrang who occupies the main statue. In addition to the main statue, on the reliefs of the walls of Prambanan Temple there are also reliefs about other women. This relief is a text that describes women and their existence. This study seeks to explore and interpret the physical woman on the wall reliefs of Prambanan Temple. The research was conducted by using semiotic-semanalytic analysis of Juli Kristeva. The results of the intertextual research show that almost all of the women's physical relief panels at Prambanan Temple are constructed to read the signs on the reliefs as a text, so that the story or story conveyed can be easily recognized and understood. The meaning of genotext in the context of women on temple wall reliefs who appear without a physical cover or naked is a common thing or a habit in society based on geographical and social conditions. The upper physical nudity of women at that time did not affect the views of the people around, especially men. Because women are chosen not based on their body shape but other attractions that are sometimes mystical. The meaning of phenotext, women who appear naked has a negative meaning and leads to pornography, can cause unlimited male attraction, can become victims of sexual crimes, and can even be in contact with the law.
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Val’kova, Vera B. "Intonation models N.A. Rimsky-Korsakov in the music of S.V. Rachmaninov." Contemporary Musicology, no. 3 (2019): 24–43. http://dx.doi.org/10.56620/2587-9731-2019-3-024-043.
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Using intonation models of N.A. Rimsky-Korsakov in Rakhmaninov’s music was deeply motivated by his special attitude to the older contemporary: N.A. Rimsky-Korsakov – along with P.I. Tchaikovsky – was one of the most considered and beloved Rakhmaninov’s composers. The nature of Rakhmaninov’s appeal to the musical patterns of the Petersburg master is determined by the specifics of the personal and creative contacts of the two musicians, which are briefly covered in the article. Cases of particular interest are when a tense semantic conjugation of his own text and borrowings from Rimsky-Korsakov’s music – clear allusions and quotations – occurs in the Rakhmaninov’s works. These particular cases are considered in the article. The article attempts to correlate the described cases with the “influence theory” of Harold Bloom. They form two groups. In the first one, clear allusions to the themes and individual intonations of the senior colleague provide additional depth to own artistic concepts, as in the vocal symphonic poem “The Bells”. In the outro of the first movement, there is a reference to the episode from Rimsky-Korsakov’s opera “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” – “Walking in the Invisible City” (introduction to the second pattern of the fourth act). The main theme of the second movement evoke associations with the Queen of Shemakha theme from “The Golden Cockerel” of Rimsky-Korsakov. In the second group of Rakhmaninov’s works, such borrowings polemically transform the meanings of the borrowed models. In the “Russian Rhapsody” for two pianos, deliberate rethought of theme from the third movement of “Scheherazade” by Rimsky-Korsakov is obvious. There is a reference to the leitmotif of Bomelius from the “Tsar’s Bride” in the second theme of the first movement of the Second sonata. The intonations of the song of the Indian guest from “Sadko” are distinctly showed in the outro of the Prelude in B Minor op. 32 № 10. In both cases, the signs of romantic exoticism grow into the subjective lyrics, introducing into it the painfully broken note of the Art Nouveau style of the early twentieth century.
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Dyadyshcheva-Rosovetska, Juliya. "P. Kulish's "Ukraine" and folk dumas: linguistic and poetic analysis." Actual issues of Ukrainian linguistics theory and practice, no. 41 (2020): 79–104. http://dx.doi.org/10.17721/apultp.2020.41.79-104.
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The article is devoted to the study of Panteleimon Kulish's search for a productive model of development of the new Ukrainian literary language and ways of its enrichment, in particular at the expense of the language of folklore as an inexhaustible source. A linguistic and poetic analysis of Panteleimon Kulish's large-scale work "Ukraine: From the Beginning of Ukraine to Khmelnytsky's Father" and its comparison with some elements of the linguopoetics of folk dumas of the classical repertoire are presented. The real problems that arise in P. Kulish’s creative work when he tries to achieve a harmonious combination of authentic folk thought words and expressions and stylized author's innovations are demonstrated. The article shows the difficulties in the artist's selection of colored ethnographically linguistic material needed to create a folklore duma's color. The shortcomings of combining the author's elements with fragments of real dumas within one work of art are revealed. This technique is compared with the approach of Taras Shevchenko, who turned to "stylization" or "improvisation" in the folk spirit (M. Kotsyubynska) and isolated the resulting structures structurally, putting in the mouths of certain characters - the Blind or the Witch. The fundamental difference in the approaches to verbal creativity is differentiated on the one hand by the bearer of the oral-poetic tradition, which is only within the possibilities of Ukrainian folklore, and on the other - by the artist of the XIX century - its user, who perceives the folklore tradition not "from within" but "from outside" and addresses the entire literary heritage - domestic and world, as well as folklore - his own and other peoples. The counterproductiveness of some authorial experiments of P. Kulish on dumas samples is illustrated. Their results cannot be considered satisfactory due to illogicality, low intellectual saturation or from an aesthetic point of view. A somewhat excessive exoticism of the author's innovations has been recorded, which attracts the reader's undue attention to them and distorts his perception of the artistic fabric of the poetic work. The question of the specifics of the experimental text of P. Kulish is formulated. What prevails here is the scientific reconstruction of lost fragments of true dumas, the restoration of time-destroyed parts of the national epic, or the demonstration of the author's creative ability to practice folklore improvisation in a work of art. Depending on the answers, a comprehensive assessment can be made.
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Medvedeva, Yulia P. "“Chinese style” in music at the turn of the 19th-20th centuries." Contemporary Musicology, no. 2 (2020): 50–74. http://dx.doi.org/10.56620/2587-9731-2020-2-050-074.
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The study focuses on the features of perception and interpretation of China and Chinese culture in European music at the turn of the 19th/20th centuries—yet another heyday for chinoiserie (“Chinese style”) in art. The author uses an integrated approach which encompasses cultural-historical, sociological, comparative-historical and musical-analytical methods. The analysis of Russian and European music associated with the “Chinese style” proves that the development of chinoiserie in the late 19th-early 20th century was influenced by changing cultural and political relations between China and the major European powers. The main milestones were the European colonial policy of the 19th century, growing export of exotic goods as well as the acquaintance with the culture of the Far East at the World Exhibitions. This was followed by the aggravation of relations, the Boxer Rebellion, extermination of Christians, the invasion of China by troops of eight European counties, the Battle of Beijing. Under the influence of these events, the romantic view of the Celestial Empire, sophistication and oriental bliss are gradually fading into the past, and China begins to be portrayed as wild, spontaneously unbridled and deadly. The evolution of the "Chinese style" also reflected the change in artistic landmarks of that time: from late romantic incarnations of exoticism through "playing rococo" and the exaggerated beauty of modernity to the barbaric wild sounds of expressionism; from the "generalized East"—to an increasingly national character and an expansion of the range of specific means (texture, mode, timbres, tempos, etc.). It is the first time that musical chinoiserie of the turn of the centuries is considered as an integral phenomenon, which makes the study relevant. The paper outlines its evolution and characteristic features and concludes that the path of chinoiserie in music development at the turn of the 19th/20th centuries is the path to the emerging dialogue between the cultures of the East and West.
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Hayes Edwards, Brent. "Transplanted Exoticism." TDR/The Drama Review 64, no. 2 (June 2020): 75–78. http://dx.doi.org/10.1162/dram_a_00919.
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Nelisiwe Xaba’s Fremde Tänze is a remarkable exercise in transplanted exoticism. Its trenchant critique of German imaginings of racialized and eroticized Others unavoidably took on different meanings when Xaba performed it in Chicago in the fall of 2017.
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Berque, Augustin. "Indigenous Beyond Exoticism." Diogenes 50, no. 4 (November 2003): 39–48. http://dx.doi.org/10.1177/03921921030504006.
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Abelove, Henry, G. S. Rousseau, and Roy Porter. "Exoticism in the Enlightenment." Eighteenth-Century Studies 25, no. 1 (1991): 119. http://dx.doi.org/10.2307/2739196.
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Shevtsova, Anna A. "VISUAL IMAGERY OF THE CHUVASH SATIRICAL MAGAZINE “KAPKAN” AS AN ETHNOGRAPHIC SOURCE." Historical Search 1, no. 4 (December 25, 2020): 182–91. http://dx.doi.org/10.47026/2712-9454-2020-1-4-182-191.
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The Chuvash literary-fiction illustrated satire and humour magazine “Kapkăn” (“Kapkan”) was chosen as the object of research. Chronological framework of the study covers 1956–1991: published intermittently since 1925in Cheboksary (originally – as a literary appendix to the newspaper “Kanash”), in 1940 the magazine ceased to be published, its issuing was resumed only in 16 years. The rich post-Soviet history of “Kapkan” (its issuing was suspended in 2017) with a changed plot and imagery of the visual series is the topic of a separate study.
The broad narrative and figurative range of illustrations of “Kapkan”, their abundance and quality were determined by the fact that over decades of its fruitful work many masters of the genre who were famous outside the Republic and who were published in the central press, collaborated with the magazine, including publications in the “elder brother” of republican propaganda satirical publications – the subordinate edition of the newspaper “Pravda» – “Crocodile” magazine. The lack of studies on iconography of the Soviet period of the journal “Kapkan” determines the novelty of the research. The aim of the study is to determine the opportunities of using the visual imagery of the mentioned periodical as an ethnographic source and a source on the history of everyday life. The author considered the methods of content- and context-analysis as the most adequate ones in this case. Turning to such subjects as mismanagement, localism, nepotism, bribery, bureaucracy, artists give considerable food for thought to historians who study the problems of everyday life. The visual imagery of “Kapkan” of the postwar period makes it possible to study not only Soviet social problems through aspects of everyday life of an “ordinary Soviet man”, but classical anthropological subjects (kinship and connection by marriage, gift exchange, power, rites of transition, initiation, social experience passing, work ethic, etc.) as well. “Socialist in content”, the graphic art of the Chuvash caricaturists, was nevertheless sometimes “national in form”. At the same time, “Kapkan” did not too much work the pedals of purely national plots, did not strive for spectacular exoticism. The magazine which was published in the Chuvash language knew and understood its readers, their needs, their daily life. The emotional degree of illustrations to the “Kapkan” ranged from mild patronizing humor to hard-edged accusatory satire; it is important that the stated balance – humor and satire – in an uneasy and often ideologized environment was almost always maintained. A wide range of themes and subjects, the skill to combine graphic materials of different artists, professionals and amateur masters with their own creative manner deserve the closest attention of researchers.
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Volodine, Antoine. "Post-Exoticism and Its Voices." Contemporary French and Francophone Studies 24, no. 2 (March 14, 2020): 138–47. http://dx.doi.org/10.1080/17409292.2020.1774214.
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Pereira, Ana Catarina. "A infindável procura de um traço identitário: existirá uma estética feminina?" Fotocinema. Revista científica de cine y fotografía, no. 6 (March 17, 2013): 77–96. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5910.
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Resumo: No âmbito das teorias feministas do cinema, e dos estudos fílmicos em geral, algumas questões têm sido levantadas ao longo das últimas décadas, nomeadamente no que diz respeito à exigência de uma maior representatividade feminina no mundo da realização e produção cinematográficas. Sendo o olhar do espectador, como Laura Mulvey sugeriu, pressupostamente masculino, treinado por realizadores com fantasias e tendências voyeuristas homogéneas, a questão seguinte seria inevitável: poderá este mesmo olhar assumir características distintas, quando mediado por uma mulher? Poderá a arte, ao contrário dos anjos, ter sexo? Existirá, neste sentido, uma “estética feminina”, como Silvia Bovenschen, em artigo homónimo, publicado em Setembro de 1976, procura antecipar? Procurá-la não implicará um aprofundar de estereótipos associados à feminilidade e à masculinidade, todos eles redutores, segundo o ponto de vista de Michel Foucault e Judith Butler, bem como a atribuição de um certo carácter de exotismo, pela falta de representatividade nos circuitos artísticos? Enunciando e debatendo os principais argumentos dos autores mencionados, propomo-nos, no presente artigo, responder às questões colocadas. Palavras-chave: voyeurismo; espectadora; ausência; receptividade; identificação. Abstract: In the context of feminist theories of cinema, and film studies in general, some questions have been raised in the past few decades, concerning the need for a greater representation of women in the world of film making and production. Accepting the idea of a viewer gaze, as Laura Mulvey suggested, supposedly male, trained by directors with fantasies and uniformed voyeuristic tendencies, the next question is inevitable: might this gaze have different characteristics when mediated by a woman? Can the art, unlike the angels, have sex? Is there, in this sense, a “feminine aesthetic”, as Silvia Bovenschen, on an article with the same name, published in September 1976, looks forward to anticipate? To look for it does not imply a deepening of stereotypes associated with femininity and masculinity, all reducers, according to the point of view of Michel Foucault and Judith Butler, as well as the assignment of a certain exoticism’ character, motivated by the lack of representation in the art circuit? Outlining and discussing the main arguments of the authors above mentioned, we propose, in this paper, to answer these questions. Keywords: voyeurism; female spectator; absence; receptivity; identification.Resumen: “Las mujeres son diferentes, y una manifestación natural de esta diferencia (nota bene!) es precisamente el hecho de que son incapaces de producir arte.” (Bovenschen, 1976: 115).Haciéndose eco del paralelismo ya realizado por Simone de Beauvoir en el ensayo El segundo sexo, Silvia Bovenschen vuelve, en un artículo publicado en 1976 que nos proponemos discutir aquí, a la asociación asumida entre una perspectiva descriptiva masculina y la verdad absoluta. En su opinión, el dominio de la producción artística por el género masculino habrá originado una inaccesibilidad y una extrañeza relativas a la otra mitad de la población, que se denuncia por el carácter de exotismo que muchos críticos votaron a los pocos, y de cierta forma lejos entre si mismos, objetos culturales producidos por las mujeres, a lo largo de la historia. Otra consecuencia natural de este fracaso, descrito por el uso del término déficit, importado del lenguaje economicista, todavía sería, a nuestro juicio, una segregación de la dicha producción en una sola clase: una escritura femenina, una mirada femenina, un rasgo femenino. Con la restricción, la incertidumbre se multiplica: la escritura femenina es la que centra su atención en mujeres fuertes y decididas, la que demuestra una sensibilidad y capacidad de observación característica de un género, o la que construye una narrativa entrecruzada, por la sociológicamente establecida capacidad de realizar múltiples tareas asociadas al mismo sexo?
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Iwabuchi, Koichi. "Complicit exoticism: Japan and its other." Continuum 8, no. 2 (January 1994): 49–82. http://dx.doi.org/10.1080/10304319409365669.
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Hooker, Lynn. "Turks, Hungarians, and Gypsies on Stage: Exoticism and Auto-Exoticism In Opera and Operetta." Hungarian Studies 27, no. 2 (December 2013): 291–311. http://dx.doi.org/10.1556/hstud.27.2013.2.7.
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Forsdick, Charles. "Travelling Concepts: Postcolonial Approaches to Exoticism." Paragraph 24, no. 3 (November 2001): 12–29. http://dx.doi.org/10.3366/jsp.2001.24.3.12.
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