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Relevant bibliographies by topics / Identity - Contemporary Art

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Academic literature on the topic 'Identity - Contemporary Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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Journal articles on the topic "Identity - Contemporary Art"

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Mason, Rachel, and Raphael Vella. "Lessons about identity formation from contemporary art." International Journal of Education Through Art 9, no. 2 (July 1, 2013): 235–52. http://dx.doi.org/10.1386/eta.9.2.235_1.

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Adams, Tessa. "Contemporary art and the revisioning of identity." International Journal of Jungian Studies 1, no. 1 (March 1, 2009): 50–57. http://dx.doi.org/10.1080/19409050802681900.

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The aim of this article is to address the influence of contemporary art in terms of both its problematic and its seduction. Discussion will focus on works that challenge psychotherapists’ views of creative practice. The art object as agency will be set in contrast to its positioning in psychodynamic terms, raising the question as to why and what is the purpose of the visual artist whose relationship with image, and the imaginal is exemplar.

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Myzelev, Alla. "Fashionality: Dress and Identity in Contemporary Canadian Art." Fashion Theory 17, no. 4 (September 2013): 457–65. http://dx.doi.org/10.2752/175174113x13673474643246.

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Shoshanova, Saltanat. "Queer identity in the contemporary art of Kazakhstan." Central Asian Survey 40, no. 1 (January 2, 2021): 113–31. http://dx.doi.org/10.1080/02634937.2021.1882388.

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전희원. "Multicultural Art Education and Cultural Identity as Viewed through Identity Formation of Contemporary Asian Art." Journal of Research in Art Education 12, no. 2 (July 2011): 39–59. http://dx.doi.org/10.20977/kkosea.2011.12.2.39.

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Leitão, Inês. "THE CONTEMPORARY AZULEJO: AN IDENTITY ISSUE?" ARTis ON, no. 8 (December 30, 2018): 104–18. http://dx.doi.org/10.37935/aion.v0i8.221.

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One of the aspects that has supported the idea of the azulejo (tile) as a cultural heritage of the Portuguese identity is its continuous employment since the end of the fifteenth century until today, now having become a part of the projects of artists, architects and designers. This article seeks to ponder upon the relationship that contemporary authors have established, or not, with this appreciation of the azulejo as an art connected to identity, discerning the reasons that have led them to select it for their pieces.

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Cohn. "Feminine Identity in Ultra-Orthodox Jewish Women's Contemporary Art." Shofar 38, no. 2 (2020): 281. http://dx.doi.org/10.5703/shofar.38.2.0281.

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Cohn, Noa Lea. "Feminine Identity in Ultra-Orthodox Jewish Women's Contemporary Art." Shofar: An Interdisciplinary Journal of Jewish Studies 38, no. 2 (2020): 281–301. http://dx.doi.org/10.1353/sho.2020.0016.

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Magnatta, Sarah. "Common Ground: Place and Identity in Contemporary Tibetan Art." South Asian Studies 34, no. 2 (July 3, 2018): 186–96. http://dx.doi.org/10.1080/02666030.2018.1514955.

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Guenther, Mathias. "Contemporary Bushman Art, Identity Politics and the Primitivism Discourse." Anthropologica 45, no. 1 (2003): 95. http://dx.doi.org/10.2307/25606117.

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Dissertations / Theses on the topic "Identity - Contemporary Art"

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Correia, Alice Anne. "Questions of identity in contemporary British art." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426230.

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Silpasart, Chayanoot. "Contemporary Thai art : globalisation and cultural identity." Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617061.

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The drastic changes in Thai life since the 1980s, led by the impact of globalisation and economic growth, has made the Thai people to become more aware of the concepts of nationhood and cultural/national identity or "Thai-ness", especially through the form of cultural activities including visual art. The fear of losing national identity has led to the revival of traditional art, namely "neo-traditional Thai Art". This style is strongly supported by the government and is regarded as the mainstream of the Thai art scene since it has been the most effective catalyst for arousing patriotism and creating a sense of Thai unity. - Thai-centrism is promoted by artists and art instructors as a necessary means to distinguish national characteristics from the influence of Western art styles. Consequently, modern and contemporary Thai art is geared toward the conservative value of national identity. The assumption is that such art should reflect characteristics that are uniquely Thai. Yet, globalisation also gives some Thai artists, who are the subject of this thesis, confidence as the new internationalism opens up a wide range of opportunities. This thesis presents the work of distinctive avantgarde/ contemporary Thai artists, particularly Montien Boonma, Manit . Sriwanichpoom, Michael Shoawanasai, Rirkrit Tiravanija, and Navin Rawanchaikul. They struggle against the dominance of traditional styles and the professional hierarchy, yet are challenged to make distinctive contributions to contemporary Thai art. Thai-ness is defined and redefined in many contemporary contexts, despite the government's favouring neo-traditional art. While neo-traditional Thai art is favoured at home, neo-traditional artists have not really succeeded on the international art scene, even though they have exhibited in major museums around Asia. On . the other hand, avantgarde/ contemporary Thai artists, who always struggle to survive at home, have been selected by foreign curators, who had • developed an appreciation for cutting-edge/ experimental Thai artistic expression to participate in many prestigious international platforms.

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Heathfield, Adrian. "Representation and identity in contemporary performance." Thesis, University of Bristol, 1998. http://hdl.handle.net/1983/3bfedf40-4124-4ca5-b729-355c0601d71a.

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Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.

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Bahauddin, Azizi Bin. "Contemporary Malaysian art : an exploration of the Songket motifs." Thesis, Sheffield Hallam University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287587.

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This thesis explores the Malay songket motifs in relation to Malaysia's cultural identity and the transformations of these motifs within the context of the researcher's own art works. An examination of Malaysian government's fixed National Culture policy on identity is contrasted with the reality of identity as dynamic. The identity policy was created and asserted on a multi-racial population based on concept of MalaylBumiputera with no recognition of the 'Other', the nonBumiputera culture. Divisions among the populace were created by the privileges of political, economic and social adjustments given only to the Bumiputera. The lack of addressing the concerns of recognition and acknowledgement of the 'Other' and existence of 'difference' and stereotyping becomes the main interest of this research. In this thesis, the Malay songket motifs were used as a vehicle to demonstrate the Malay's strong association with traditional customs and rituals, a culture that became the focus of the National Culture policy. The motifs symbolises the dominance of the Malays clinging on to power to control the nation, echOing the height of the Malacca Malay Sultanate Empire eight centuries ago. The sense of growth, unity and human spirituality associated with animism was expressed in the songket motifs. However, evidence of the motifs assimilation with Hindu-Buddhist and Islamic influences proved that there is no Malay 'purity' in this art form. The researcher's practice transforms the flat images of the songket motifs into installative art works. Foods, light, shadow, images and sound become the media which express the research findings drawn from documentary, visual and oral sources concerning the songket motifs. His practice differs from the normal practice of Malaysian artists, who literally translate Malay culture into art work. The researcher's practice employs specific references to Malaysian sources free from didactic, cultural-political content. Above all, as a Malaysian working in the UK, the researcher not only engages his theoretical findings to inform his practice, he becomes part of the research. He is both a Malaysian artist himself and a contributor to that part of Malay culture that is examined in this thesis. He contributes to the compilation of the songket motifs information into CD-ROM.

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Xue, Grace H. "Space Between: Asian-American Women Identity, Culture and Contemporary Art." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/765.

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An exploration and analysis on the connections between identity, culture and contemporary art. A number of critical race theories are examined as possible constructions of Asian-American women identities. This paper seeks to understand how Asian-American women reconcile with these strivings and limitations and how they maintain their native racial identities despite their conflicting desire to conform to the mainstream culture. This paper also examines two contemporary women artists who promote a dialogue regarding transcultural identities.

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Perkins, Zalika. "Embracing Identity And Narrative In Art For Self-empowerment." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/art_design_theses/138.

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This arts-based thesis will explore ethnic identity and narrative in symbolic self-portraiture as themes for a body of work. This paper will discuss how identity and narrative play an important role in the empowerment of the artist and viewer. It will also show how this can be incorporated into an art classroom engaged in multicultural learning and the study of visual culture to empower students and give them opportunities to narrate their life stories.

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Cohn, Susan Art College of Fine Arts UNSW. "Recoding jewellery: identity, body, survival." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43809.

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RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, technology and performance; and academic writing across a number of fields. The thesis concludes with a discussion of how these interests came together in a single show, Black Intentions. However, the span of work covered extends through my career in jewellery to provide a basis for future directions.

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Gomez, Elizabeth. "Voice and identity in contemporary Canadian art: perspectives on vocality and representation." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66664.

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This thesis argues that voice is defined through both its material and representational status and is fully integrated within the construction of gendered and raced identities, as well as the process of identification itself. At the centre of each chapter is the notion that voice can be an alternate mode of encountering and experiencing the other. As an examination into the issues of contemporary Canadian art, this discussion is initiated from context of art practices but is not limited to this field. Using the works of Janet Cardiff, Geneviève Cadieux, Ken Lum and Rebecca Belmore, this dissertation connects artistic practices to the distinct themes of narrative, embodiment, representation, and place. All of these artists and themes are integral in explaining the connectivity of voice to identity and how this topic is relevant to and reflective of current issues of race and gender within Canadian society. The use of non-visual artistic practices is also evidence of how constructions of identity, when restricted to the visual field are regimented and informed by the ideological structures of the term 'visibility'. 'Visibility' and its metonymic link with overt politicized terminology such as 'visible minority' is a limiting factor in daily existence for many citizens who face discrimination based on regimes of viewing. This dissertation makes a case not only for expanding the critical terms from which to discuss contemporary Canadian art that falls outside of visual parameters, but it is also an examination of existing critical theories of identity. Aside from critiquing aspects of visuality, the following chapters will consider voice as an aspect of the material body and the represented body that is ever present, but rarely considered critically. Through the use of interdisciplinary feminist and postcolonial texts, this thesis constructs a critical framework from which 'voice' can be applied not only to
Cette thèse soutient l'idée que la voix est définie tant par son corps matériel que par son statut de représentation et qu'elle est inhérente à la construction des identités, de genre et de race, ainsi qu'au processus d'identification lui-même. Chaque chapitre se construit autour de la notion de voix comme constituant une modalité alternative de rencontre et d'expérimentation de l'autre. Dans le cadre d'un examen de l'art contemporain canadien, mon propos s'enracine dans un contexte de pratiques d'art, mais ne se limite pas à ce seul champ. Se référant aux oeuvres de Janet Cardiff, Geneviève Cadieux, Ken Lum et Rebecca Belmore, cette discussion propose la mise en relation étroite entre pratiques artistiques et thèmes du récit, de l'incarnation, de la représentation et du lieu. Artistes et thèmes viennent soutenir l'explication de la connectivité entre voix et identité, et confirment que ce propos est le reflet - autant que le produit - des problèmes actuels de race et de genre existants au sein de la société canadienne. L'utilisation de pratiques artistiques non-visuelles montre également comment les constructions de l'identité, lorsqu'elles sont confinées au champ du visuel, sont régies et nourries par les structures idéologiques du terme « visibilité ». La « visibilité », et son lien métonymique avec la terminologie surpolitisée de « minorité visible », est un facteur limitant dans la vie quotidienne de nombreux citoyens, qui subissent des discriminations basées sur la loi du visible. Cette dissertation propose non seulement d'élargir le vocabulaire critique permettant de discuter de l 'art contemporain canadien sortant des paramètres visuels, mais fait aussi l'examen des théories critiques existantes sur la notion d'identité. En plus d'une critique des aspects de la visualité, les chapitres suivants traiteront de la voix comme aspect du corps matériel

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Cheetham, April. "A veiling of identity : anamorphosis as double vision in contemporary art practice." Thesis, Liverpool John Moores University, 2012. http://researchonline.ljmu.ac.uk/6127/.

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The thesis examines the trope of anamorphosis as a formal dimension of art practice and as a critical tool for exploring subjective vision. Anamorphosis is a technique of perspective that produces a distorted image that may only be corrected and made coherent when viewed from a specific angle. In order to re-form an oblique anamorph, it is necessary to view the image from a position that is markedly different from the conventional, frontal viewpoint. This process of eccentric viewing relies on the observer of the work to actively locate the viewing position that will re-form the image and confer meaning. The beholder of anamorphic images becomes aware of herself as a viewing subject and consequently, this act of viewing affirms the construction of vision as reflexive and self-critical. The thesis takes as its point of departure the claim of the influential art critic and theorist, Rosalind E. Krauss that the art practice of the German-American artist Eva Hesse, specifically the work, Contingent, 1969, represented a reinvention for its own time of an anamorphic condition through a mutual eclipse of form and matter. Krauss deploys the device of anamorphosis as a means of addressing the problematic of the relationship between the categories of painting and sculpture, and the debates into which Hesse's work intervened during the late 1960s. The thesis outlines the history of anamorphosis and its relation to geometric perspective from its genesis in the Renaissance to contemporary artists' engagement with anamorphic strategies of disruption. The psychoanalytical model of vision proposed by Jacques Lacan deploys anamorphosis as an exemplary structure in the elaboration of the gaze. The thesis discusses various dimensions of the anamorphic in art practice since 1970, with reference to works by Hannah Wilke, Richard Hamilton, Rachel Whiteread, Christine Borland and Shirazeh Houshiary.

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Books on the topic "Identity - Contemporary Art"

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Sexed universals in contemporary art. New York, NY: Allworth Press, 2004.

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Glaz, Kazimir. Our identity. Toronto: Toronto Center for Contemporary Art, 1987.

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Mourik, Broekman Pauline Van, Ratnam Niru, and Locus+ (Agency), eds. Locus solus: Site, identity, technology in contemporary art. London: Black Dog, 2000.

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Gallery, Fruit Market, ed. Dada's boys: Identity and play in contemporary art. Edinburgh: Fruitmarket Gallery, 2006.

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Carter, Curtis L. Dolls in contemporary art: A metaphor of personal identity. Milwaukee, WI: Patrick and Beatrice Haggerty Museum of Art, 1993.

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Metatextile: Identity and history of a contemporary art medium. Emsdetten: Edition Imorde, 2010.

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Connected by art: Zeitgenössische Kunst aus dem Ostseeraum = Connected by art : contemporary art from the Baltic Sea Region. Heidelberg: Kunstsammlungen Schlösser und Gärten, Staatliches Museum Schwerin, 2012.

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Madill, Shirley. Identity/identities: An exploration of the concept of female identity in contemporary society. Winnipeg: Winnipeg Art Gallery, 1988.

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Valerie, Fraser, ed. Drawing the line: Art and cultural identity in contemporary Latin America. London: Verso, 1989.

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Hall, Stuart. Different: A historical context : contemporary photographers and black identity. London: Phaidon, 2001.

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Book chapters on the topic "Identity - Contemporary Art"

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Kutis, Barbara. "The Artist-Parent Identity." In Artist-Parents in Contemporary Art, 1–7. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-1.

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Kutis, Barbara. "A Collective Artist-Parent Identity." In Artist-Parents in Contemporary Art, 115–53. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-5.

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Zhou, Yan. "Institutionalization and Identity of Contemporary Art (2000-Present)." In Chinese Contemporary Art Series, 335–458. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-1141-7_6.

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Lehner, Ace. "Proliferating Identity: Trans Selfies as Contemporary Art." In Visual Culture Approaches to the Selfie, 60–89. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367206109-3.

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Gladston, Paul. "International Curatorial Practice and the Problematic De-Territorialization of the ‘Identity’ Show." In Chinese Contemporary Art Series, 17–29. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46488-5_2.

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Man, Eva Kit Wah. "Experimental Painting and Painting Theories in Colonial Hong Kong (1940–1980): Reflections on Cultural Identity." In Chinese Contemporary Art Series, 47–55. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_7.

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Tumbas, Jasmina. "Countering Persecution, Misconceptions, and Nationalism: Roma Identity and Contemporary Activist Art." In Shifting Corporealities in Contemporary Performance, 103–27. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78343-7_6.

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Hassanein, Hala. "Trends of Contemporary Art in Innovative Interior Architecture Design of Cultural Spaces." In Cities' Identity Through Architecture and Arts, 25–57. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-14869-0_3.

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Zabunyan, Elvan. "Black Art: The Constitution of a Contemporary African-American Visual Identity." In A Companion to Racial and Ethnic Studies, 423–38. Oxford, UK: Blackwell Publishers Ltd, 2018. http://dx.doi.org/10.1111/b.9780631206163.2002.00037.x.

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Milanović, Aleksa. "The Impact of Western Society onto the Identity Politics of Sexual and Gender Minorities in Colonial and Post-colonial India." In Regimes of Invisibility in Contemporary Art, Theory and Culture, 61–73. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55173-9_5.

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Conference papers on the topic "Identity - Contemporary Art"

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Waldnerova, Jana. "CREATING IDENTITY AND ITS CONNECTION WITH CORPOREALITY IN CONTEMPORARY SLOVAK ART." In NORDSCI Conference on Social Sciences. SAIMA CONSULT LTD, 2018. http://dx.doi.org/10.32008/nordsci2018/b1/v1/42.

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Wijaya, Hanny, and Amarena Nediari. "Implementing Cultural Identity in Global Perspective through Contemporary Art: Study Case of “THROUGH” Workshop in Beijing, China." In BINUS Joint International Conference. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0010004901950200.

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Hou, Rui. "On Seminars for Senior Class in Major of Art and Design in Colleges. Inspiration on CI Visual Identity Design." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.300.

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Yavuz, Aysel, Habibe Acar, and Nihan Canbakal Ataoğlu. "Urban Readings on Public Art Representations in Landscape Architecture." In 3rd International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2020. http://dx.doi.org/10.38027/n372020iccaua3163634.

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Being a social presence, people participate in social life in the public spaces of the city. In these areas, they are in perceptual and physical contact with each other and get the opportunity to socialize. Social life culture contributes to urban culture and urban identity while keeping communities together. Cities creates areas for people to express themselves outside of their basic needs. The art used in the expression of an emotion, design and beauty has been included in our socio-cultural life in public spaces over time. Public art, which provides social, physical, environmental and economic contributions to the society and the city, is a manifestation of a multi-layered and multi-dimensional expression that includes different representations. Public art representations are important urban images and are the sensory components of collective memory. Today, in the process where the cities start to look alike, public art representations identified with the place make sense of the space and contribute to the identity of the city. In our study, the approach of landscape architecture to this subject will be evaluated by making important public art representations and city readings.

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Arruda, Amilton, Celso Hartkopf, and Rodrigo Balestra. "City branding: strategic planning and communication image in the management of contemporary cities." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3288.

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Over the past decade, one can observe a steady growth in the use of terms such as Place Branding, Nation Branding, Destination Branding and City Branding. Both in academic research and in the practical applications in large cities management and urban spaces, this new paradigm takes shape and, along with it, the need for definitions and concepts, methods and methodologies and the establishment of technical and theoretical standards. This approach was born in the Marketing field, specifically in what was called Place Marketing. In this context the Branding stood out as a development tool solutions to the need for differentiation, generation of solid images and the establishment of symbols and identity signs, in order to leverage economic benefits for countries, cities and regions. In a way, fulfilling, in the first instance, a similar role to the branding of products and services. But it was specifically in Branding corporations that were found the biggest matches to adapt this knowledge to management positions. Ashworth & Kavaratzis (2010) highlight the fact that both present multidisciplinary roots, a multiple number of strategic actors (stakeholders), high degree of intangibility and complexity of social responsibility, the multiplicity of identities and the long-term development needs are strong examples their similarities. The development and management of corporate identities, here expanded to the Branding corporations, it is a prolific field of Design. It great names of the area said their careers and built great legacy. The time of greater proficiency in the area were the 50s and 60s, dominated by modernist thought, and, coincidentally or not, exactly the time that focused efforts to assert the identity of the designer as a professional (STOLARSKI, 2006) . Nationally stand out names like Alexandre Wollner, Ruben Martins, the duo Carlos Cauduro and Ludovico Martino and Aloisio Magalhaes. In contrast, in the literature produced in the marketing field, often the role of design in this context is reduced to merely promotional measures, such as creating logos or advertising campaigns. In other words, defined as a work of low complexity and low social prägnanz. This approach comes at odds with contemporary theories of design, such as MetaDesign, Design Thinking and Design Collaborative, in which are presented motodológicos models of high relevance for the identification, analysis and solution of complex problems involving multiple elements and agents. The proposed article aims to survey the state of the art City Branding / Place Branding focused on publications produced in the disciplinary field of design. The literature review will grant that, before the above presented context, is analyzed as designers and researchers design face the contributions that the field can offer to the practice and theory of Branding places. Finally, Article yearns assess whether the pre-established hypothesis that there are possible and fruitful connections between contemporary theories of design and the City Branding, is being addressed in articles and publications area.DOI: http://dx.doi.org/10.4995/IFDP.2016.3288

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Li, Jing. "The Folk Culture and Cultural Identity in Grimm's Fairy Tales." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.94.

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Chen, Linpeng. "Disorder, Identity, and Fusion — A Cultural Interpretation of Tuwei Videos." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.043.

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Zhang, Jiancheng. "Empirical Analysis of Shaanxi Female College Students' Religious Identity. Shaanxi N Professional College as an Example." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.232.

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Zhang, Peifang. "A Study of the Spatial Images and Identity in The Namesake." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.82.

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Lei, Jing, and Yufang Rao. "Language, Identity and Ideology: Media-Induced Linguistic Innovations in Contemporary China." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.6-2.

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As we enter the 21PstP century, we often find ourselves living in an increasingly globalized world, a world which is characterized by the global cultural flows of people, technologies, capital, media, and ideologies (Appadurai 2015). Language, as a part of culture, is always evolving in response to socio-cultural changes. Thus, linguistic innovations via social media offer a particularly interesting locus to track such global flows. This paper aims to study how popular lexicons have emerged out of digital communication and have been widely used and interpreted by different groups of individuals involved in social media in contemporary China. As China is increasingly becoming integrated into the global economy, the widespread movement media networks, such as WeChat, QQ and Microblogs, has provided Chinese citizens with easy access to new words and new ways of using old forms. When did these linguistic innovations appear? What linguistic resources are used to bring about such changes? Why are new lexicons and new meaning created? And how do Chinese citizens respond to these media-induced language changes? By addressing these questions, this paper is oriented toward exploring the role of social media in language change as well as the relationship between language, identity and ideology in the context of globalization. Our findings suggest that these media-induced language innovations are not simple responses to the broader socio-cultural changes occurring inside and outside China. Instead, Chinese citizens, through creating, using or spreading new popular lexicons, are able to construct, negotiate, and make sense of multiple selves across those digital spaces. Therefore, social media has generated a network of ‘imagined communities’ that allow individuals of various social backgrounds to have practical images, expectations and self-actualizations that extend beyond temporal spatial limits (Anderson 1983; Boyd 2014). As such, linguistic innovations in those virtual spaces have created multiple figured worlds, within which, individuals’ identities and agencies are formed dialectically and dialogically in global cultural processes (Holland etal. 1998).

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Reports on the topic "Identity - Contemporary Art"

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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.

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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.

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Chornodon, Myroslava. FEAUTURES OF GENDER IN MODERN MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11064.

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The article clarifies of gender identity stereotypes in modern media. The main gender stereotypes covered in modern mass media are analyzed and refuted. The model of gender relations in the media is reflected mainly in the stereotypical images of men and woman. The features of the use of gender concepts in modern periodicals for women and men were determined. The most frequently used derivatives of these macroconcepts were identified and analyzed in detail. It has been found that publications for women and men are full of various gender concepts that are used in different contexts. Ingeneral, theanalysisofthe concept-maximums and concept-minimum gender and their characteristics is carried out in the context of gender stereotypes that have been forme dand function in the society, system atizing the a ctual presentations. The study of the gender concept is relevant because it reveals new trends and features of modern gender images. Taking into account the special features of gender-labeled periodicals in general and the practical absence of comprehensive scientific studies of the gender concept in particular, there is a need to supplement Ukrainian science with this topic. Gender psychology, which is served by methods of various sciences, primarily sociological, pedagogical, linguistic, psychological, socio-psychological. Let us pay attention to linguistic and psycholinguistic methods in gender studies. Linguistic methods complement intelligence research tasks, associated with speech, word and text. Psycholinguistic methods used in gender psychology (semantic differential, semantic integral, semantic analysis of words and texts), aimed at studying speech messages, specific mechanisms of origin and perception, functions of speech activity in society, studying the relationship between speech messages and gender properties participants in the communication, to analyze the linguistic development in connection with the general development of the individual. Nowhere in gender practice there is the whole arsenal of psychological methods that allow you to explore psychological peculiarities of a person like observation, experiments, questionnaires, interviews, testing, modeling, etc. The methods of psychological self-diagnostics include: the gender aspect of the own socio-psychological portrait, a gender biography as a variant of the biographical method, aimed at the reconstruction of individual social experience. In the process of writing a gender autobiography, a person can understand the characteristics of his gender identity, as well as ways and means of their formation. Socio-psychological methods of studying gender include the study of socially constructed women’s and men’s roles, relationships and identities, sexual characteristics, psychological characteristics, etc. The use of gender indicators and gender approaches as a means of socio-psychological and sociological analysis broadens the subject boundaries of these disciplines and makes them the subject of study within these disciplines. And also, in the article a combination of concrete-historical, structural-typological, system-functional methods is implemented. Descriptive and comparative methods, method of typology, modeling are used. Also used is a method of content analysis for the study of gender content of modern gender-stamped journals. It was he who allowed quantitatively to identify and explore the features of the gender concept in the pages of periodicals for women and men. A combination of historical, structural-typological, system-functional methods is also implemented in the article. Descriptive and comparative methods, method of typology, modeling are used. A method of content analysis for the study of gender content of modern gender-labeled journals is also used. It allowed to identify and explore the features of the gender concept quantitatively in the periodicals for women and men. The conceptual perception and interpretation of the gender concept «woman», which is highlighted in the modern gender-labeled press in Ukraine, requires the elaboration of the polyfunctionality of gender interpretations, the comprehension of the metaphorical perception of this image and its role and purpose in society. A gendered approach to researching the gender content of contemporary periodicals for women and men. Conceptual analysis of contemporary gender-stamped publications within the gender conceptual sphere allows to identify and correlate the meta-gender and gender concepts that appear in society.

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Alkan, Haluk. GOVERNANCE IN THE TURKEY OF THE FUTURE. İLKE İlim Kültür Eğitim Vakfı, December 2020. http://dx.doi.org/10.26414/gt011.

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Report considers the field of governance first at the level of constitutional institutions and tradition, addressing the development of Turkey’s constitutional politics and contemporary debates as its subject matter. Secondly, the report includes the primary institutional structures relevant to establishing constitutional institutions into its subject matter. In this context, the political party regimes, electoral system, and public administration must be handled with their current structures and problems. Whether at the level of the constitution or the primary institutional structures, analyses are debated in terms of the socio-administrative dynamics that are determinant in shaping these structures, the effects these dynamics have on the formation of institutional structures and administrative traditions, and finally their impact on the functioning of Turkish politics. When creating the vision document, the report will identify Turkey’s stance within global debates through both its similarities, as well as its peculiarities to other nations. In this context, concrete and practicable recommendations are made to improve the functionality of the Presidential System, which was introduced with the 2017 Constitutional Referendum.

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HEFNER, Robert. IHSAN ETHICS AND POLITICAL REVITALIZATION Appreciating Muqtedar Khan’s Islam and Good Governance. IIIT, October 2020. http://dx.doi.org/10.47816/01.001.20.

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Ours is an age of pervasive political turbulence, and the scale of the challenge requires new thinking on politics as well as public ethics for our world. In Western countries, the specter of Islamophobia, alt-right populism, along with racialized violence has shaken public confidence in long-secure assumptions rooted in democracy, diversity, and citizenship. The tragic denouement of so many of the Arab uprisings together with the ascendance of apocalyptic extremists like Daesh and Boko Haram have caused an even greater sense of alarm in large parts of the Muslim-majority world. It is against this backdrop that M.A. Muqtedar Khan has written a book of breathtaking range and ethical beauty. The author explores the history and sociology of the Muslim world, both classic and contemporary. He does so, however, not merely to chronicle the phases of its development, but to explore just why the message of compassion, mercy, and ethical beauty so prominent in the Quran and Sunna of the Prophet came over time to be displaced by a narrow legalism that emphasized jurisprudence, punishment, and social control. In the modern era, Western Orientalists and Islamists alike have pushed the juridification and interpretive reification of Islamic ethical traditions even further. Each group has asserted that the essence of Islam lies in jurisprudence (fiqh), and both have tended to imagine this legal heritage on the model of Western positive law, according to which law is authorized, codified, and enforced by a leviathan state. “Reification of Shariah and equating of Islam and Shariah has a rather emaciating effect on Islam,” Khan rightly argues. It leads its proponents to overlook “the depth and heights of Islamic faith, mysticism, philosophy or even emotions such as divine love (Muhabba)” (13). As the sociologist of Islamic law, Sami Zubaida, has similarly observed, in all these developments one sees evidence, not of a traditionalist reassertion of Muslim values, but a “triumph of Western models” of religion and state (Zubaida 2003:135). To counteract these impoverishing trends, Khan presents a far-reaching analysis that “seeks to move away from the now failed vision of Islamic states without demanding radical secularization” (2). He does so by positioning himself squarely within the ethical and mystical legacy of the Qur’an and traditions of the Prophet. As the book’s title makes clear, the key to this effort of religious recovery is “the cosmology of Ihsan and the worldview of Al-Tasawwuf, the science of Islamic mysticism” (1-2). For Islamist activists whose models of Islam have more to do with contemporary identity politics than a deep reading of Islamic traditions, Khan’s foregrounding of Ihsan may seem unfamiliar or baffling. But one of the many achievements of this book is the skill with which it plumbs the depth of scripture, classical commentaries, and tasawwuf practices to recover and confirm the ethic that lies at their heart. “The Quran promises that God is with those who do beautiful things,” the author reminds us (Khan 2019:1). The concept of Ihsan appears 191 times in 175 verses in the Quran (110). The concept is given its richest elaboration, Khan explains, in the famous hadith of the Angel Gabriel. This tradition recounts that when Gabriel appeared before the Prophet he asked, “What is Ihsan?” Both Gabriel’s question and the Prophet’s response make clear that Ihsan is an ideal at the center of the Qur’an and Sunna of the Prophet, and that it enjoins “perfection, goodness, to better, to do beautiful things and to do righteous deeds” (3). It is this cosmological ethic that Khan argues must be restored and implemented “to develop a political philosophy … that emphasizes love over law” (2). In its expansive exploration of Islamic ethics and civilization, Khan’s Islam and Good Governance will remind some readers of the late Shahab Ahmed’s remarkable book, What is Islam? The Importance of Being Islamic (Ahmed 2016). Both are works of impressive range and spiritual depth. But whereas Ahmed stood in the humanities wing of Islamic studies, Khan is an intellectual polymath who moves easily across the Islamic sciences, social theory, and comparative politics. He brings the full weight of his effort to conclusion with policy recommendations for how “to combine Sufism with political theory” (6), and to do so in a way that recommends specific “Islamic principles that encourage good governance, and politics in pursuit of goodness” (8).

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