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Journal articles on the topic 'Illustrators and Performers'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Rudek-Śmiechowska, Anna. "New York, the Mecca of the Art World. Initial Study on Polish Migrant Artists who Left for the United States, 1986–1995." Studia Migracyjne – Przegląd Polonijny 47, no. 3 (181) (2021): 101–18. http://dx.doi.org/10.4467/25444972smpp.21.034.14454.

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The paper strives to characterize the circle of Polish visual artists who left for the United States in the late 20th century and settled in New York City, where they continued their careers. For the purposes of the paper, the subject matter has been focused on an excerpt from an ample research problem i.e. the analysis of the history of the Polish American Artists Society (PAAS,) operating in New York from 1986 through 1995. Their activities form the basis for the analysis and constitute a database to construct a more profound picture of the organization. Therefore, the years in which PAAS op

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Moya, Liao. "Piano Miniature as a form of Projection of The Pianist's Image Model in The Executive Contest." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 133–45. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251814.

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The traditions of the genre of piano miniature are generalized by the author in the context of the achievements of modern musicology. There is some bias in existing research. It is established that the main provisions of these works remain theses: miniature is a little-studied genre; miniature is studied and perceived as a secondary genre; miniature is an extremely popular genre in the work of composers and in performing practice; the miniature is a mandatory part of the competition repertoire. The author applied a comprehensive culturological, musicological and psychological approach to justi

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Peterson, Eric E. "Narrative Identity in a Solo Performance: Craig Gingrich-Philbrook’s “The First Time”." Narrative Inquiry 10, no. 1 (2000): 229–51. http://dx.doi.org/10.1075/ni.10.1.17pet.

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In the solo performance of autobiographical narrative, the performer’s body is the primary site for the construction of narrative identity. Autobiographical performance emphasizes the tensions between conventionalized forms of representation and the contingent and relational forms of presentation. That is, presenting “a story about myself” both constitutes and performs identity in a narrative that represents this performative accomplishment as having already taken place. The tensions between the presentation and representation of narrative identity are productive opportunities for queer solo p

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Hancock, Philip, Melissa Tyler, and Mark Godiva. "Thursday Night and a Sing-along ‘Sung Alone’: The Experiences of a Self-employed Performer During the Pandemic." Work, Employment and Society 35, no. 6 (2021): 1155–66. http://dx.doi.org/10.1177/09500170211045830.

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COVID-19 has had a devastating impact on those working in the UK’s creative economy, and particularly its entertainment sector. This article explores the experiences of Mark Godiva, a self-employed musician whose livelihood has been radically threatened by the virus and its associated restrictions. Mark’s story highlights both the continuities and challenges that have been created for those working on the front line of what is a dramatically altered cultural landscape. It illustrates the continuing precarity of his work, and how the need for additional entrepreneurial skills, beyond simply bei

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Kurosawa, Kaori, and Jane W. Davidson. "Nonverbal behaviours in popular music performance: A case study of The Corrs." Musicae Scientiae 9, no. 1 (2005): 111–36. http://dx.doi.org/10.1177/102986490500900104.

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The aim of this study was to investigate performer nonverbal behaviour in popular music performance in order to understand the use and functions of gestures, postures, and facial expression. To this end, the study begins by reviewing relevant psychological and sociological research including Ekman and Friesen and Argyle's categorisations of nonverbal behaviour. Drawing on these specific categories, functions of nonverbal behaviours in popular music performance are proposed. These include: to maintain performer self-control; to provide musical, narrative, emotional and personal information; to

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Blocher, Edward, and Kung H. Chen. "The ALLTEL Pavilion Case: Strategy and CVP Analysis." Issues in Accounting Education 19, no. 4 (2004): 555–65. http://dx.doi.org/10.2308/iace.2004.19.4.555.

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The ALLTEL Pavilion case is intended for the undergraduate management accounting or cost accounting course and the M.B.A. management accounting course. It provides an excellent context in which to examine strategic issues in using cost volume profit (CVP) in a service business. Based on an actual entertainment pavilion, the case develops many factors unique to a service business and illustrates how pavilion management can use CVP analysis to determine which artists to attract and what kinds of contracts to have with these performers. The Pavilion has two types of customers (paying ticket holde

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Lee, Jean. "Movement in Sound/Sound in Movement: Choreographic Answer." Congress on Research in Dance Conference Proceedings 2012 (2012): 103–7. http://dx.doi.org/10.1017/cor.2012.12.

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This essay illustrates the working of the process of music and dance collaboration that has been developed since 2010 by composer Elo Masing and choreographer Jean Lee. It includes exemplification of their empirical work from a first person viewpoint, presented in chronological order. This paper questions how performer(s) to performer(s) interrelationship will affect the performer(s) to spectator(s) interrelationship in live performance, encompassing improvisation and examining spectatorship.

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Parr, Bruce. "Sweetmeats as Space of Desire." Theatre Research International 26, no. 1 (2001): 94–105. http://dx.doi.org/10.1017/s0307883301000098.

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Rock ’n’ Roll Circus promotes an expectation of performance that is energetic, challenging, irreverent, and sexual. Their 1998 production in Brisbane of Sweetmeats follows the company's earlier work, such as The Dark, which established its reputation in Australia for idiosyncratic physical theatre with an acute awareness of its erotic potential and appeal. A close analysis of the construction of (sexual) desires and erotic energies in Sweetmeats illustrates how the study of sexuality is also the study of what may appear to be non-sexual. Interactions are a key to an appreciation of this form o

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Katritzky, M. A. "Was Commedia dell'arte Performed by Mountebanks? Album amicorum Illustrations and Thomas Platter's Description of 1598." Theatre Research International 23, no. 2 (1998): 104–26. http://dx.doi.org/10.1017/s0307883300018459.

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Early modern mountebanks, also known as charlatans or quacksalvers, were commercial travelling showmen associated with the sale of quack medicines and other products. They achieved wide recognition as a significant influence on the rise of professional acting, through their employment of performers to attract customers for their wares, and are frequently discussed in the context of early professional popular entertainment. Many depictions of mountebanks include commedia dell'aite costumes, but it has remained an open question whether some of their shows (as well as some of their costumes) fall

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Ovenden, Philippa. "Rereading Guido’s Or voit tout en aventure." Journal of Musicology 40, no. 4 (2023): 511–51. http://dx.doi.org/10.1525/jm.2023.40.4.511.

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Or voit tout en aventure by Guido is often regarded as an archetype of the late-medieval notationally and rhythmically complex style that musicologists term the ars subtilior. Transmitted in Chantilly, Musée Condé, MS 564, the ballade has gained notoriety for both its self-reflexive text and its idiosyncratic notation. The song’s narrator laments the invention of new and confusing figures, but the song’s notation incorporates a collection of special note shapes—lozenge-shaped figures with appended stems and flags. Previous studies have emphasized the obscurity of the notation of Or voit. Three

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Harung, Harald S. "Illustrations of Peak Experiences during Optimal Performance in World-class Performers." Journal of Human Values 18, no. 1 (2012): 33–52. http://dx.doi.org/10.1177/097168581101800104.

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Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.

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Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.

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David, Emmanuel, and Yumi Janairo Roth. "Playing Filipino: Racial Display, Resistance, and the Filipino Rough Riders in Buffalo Bill’s Wild West." Journal of Asian American Studies 27, no. 1 (2024): 1–34. http://dx.doi.org/10.1353/jaas.2024.a926982.

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Abstract: This article examines the intersection of empire, national identity, performance, and cultural representation through an analysis of the Filipino Rough Riders in Buffalo Bill’s Wild West . Drawing on historical material—including newspaper articles and illustrations, photographs, and Wild West ephemera—this article explores how and why Filipino performers were included in Buffalo Bill’s Wild West and how they were represented by the exposition, the press, and the performers themselves. It develops the concept of “playing Filipino,” a phrase that adapts and alters the notion of “playi

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Budziarek, Zuzanna. "The Italian harpsichord between the 16th and the 18th centuries. A musical instrument and a work of art." Notes Muzyczny 2, no. 10 (2018): 45–71. http://dx.doi.org/10.5604/01.3001.0012.9812.

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The present article is aimed at collecting and organising the knowledge about harpsichords and similar instruments which were made on the territory of today’s Italy between the 16th and the 18th centuries. The analysis of the instruments from the Italian Peninsula will cover their exterior (instrument as a work of art) and typically technical features (disposition, rage, tuning, etc.). An addition to the text are the illustrations presenting construction-related and decorative details. The article is addressed to both harpsichordists and early music performers. Harpsichords, virginals and Ital

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Kuly, Lisa. "Locating Transcendence in Japanese Minzoku Geinô." Ethnologies 25, no. 1 (2003): 191–208. http://dx.doi.org/10.7202/007130ar.

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Abstract Contemporary minzoku geinô (folk performing arts) in Japanese society is associated with the matsuri, or festival. Community members, such as workers and students, practise and perform various types of minzoku geinô in preparation for local festivals. However, a look at the history of minzoku geinô reveals that originally its practitioners were marginalized members of society, who used ecstatic expression to perform various rites such as healings, exorcisms, and blessings. Furthermore, the attitude toward ritual specialists was often negative; indeed, shamanistic practices were prohib

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Bosanquet, R. Caroline. "The Alexander Principle and its Importance to Music Education." British Journal of Music Education 4, no. 3 (1987): 229–42. http://dx.doi.org/10.1017/s0265051700006069.

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Although not developed specifically with musicians in mind, Alexander Technique has come to be associated with musical performers and with the problems of tension they may experience. In this article the author, a cellist and a cello teacher who has herself been helped by therapy based upon Alexander principles, acknowledges the special value that the technique has for musicians and demonstrates this by reference to the needs of string players. She goes on to show how other performers may benefit, and how F. M. Alexander's ideas can be particularly important for singers. She enlarges this view

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Scielzo, Sandro, Stephen M. Fiore, Haydee M. Cuevas, and Eduardo Salas. "The Utility of Mental Model Assessment in Diagnosing Cognitive and Metacognitive Processes for Complex Training." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 46, no. 3 (2002): 566–68. http://dx.doi.org/10.1177/154193120204600373.

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This paper illustrates the utility of mental model assessment in discriminating between high and low performers in terms of cognitive and metacognitive processes. Distinct computer-based knowledge elicitation methods were utilized to assess the acquisition of different knowledge types as well as the development of participants' mental models when training for a complex task. Additionally, participants' metacognitive accuracy was also measured. Results suggest that mental model assessment is diagnostic of knowledge acquisition for a complex task and mental model accuracy is related to accuracy

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Curtis, Julia. "Renderings of the Charleston, South Carolina, Theatre of 1793." Theatre Survey 33, no. 1 (1992): 23–31. http://dx.doi.org/10.1017/s0040557400009583.

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Charleston will be celebrating another bicentennial in 1993, the restoration of its theatre. Several illustrations of the Charleston Theatre of 1793, its scenery, costumes, and performers have recently surfaced, enabling us to celebrate its bicentennial more vividly. An oil painting of the theatre under construction reappeared in a private estate in 1989 and was purchased by the Gibbes Art Gallery, Charleston, the following year. In addition, watercolors and pencil sketches of the interior of the theatre, its scenery, and costumes have recently been deposited at the South Carolina Historical S

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Malcomson, Hettie. "New generations, older bodies:danzón, age and ‘cultural rescue’ in the Port of Veracruz, Mexico." Popular Music 31, no. 2 (2012): 217–30. http://dx.doi.org/10.1017/s0261143012000062.

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AbstractUnderstandings and discourses about age have tended to be instrumental to popular music in terms of production, promotion and consumption, and many studies of popular music have taken younger people, and especially ‘youth’ cultures, as their subject matter. Where older people have been considered, the focus has mostly been retrospective, that is on their experiences when young and their attitudes to contemporary ‘youth’ cultures, rather than relationships between the temporal dimension of the life course and music. As the case of danzón illustrates, stereotypes that older people are re

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Montgomery, Westley. "The Many Voices of Sissieretta Jones: Opera and the Sonic Necromancy of the Black Phonographic Archive." Theatre Journal 76, no. 2 (2024): 137–56. http://dx.doi.org/10.1353/tj.2024.a932165.

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Abstract: Sissieretta Jones (1868-1933) is perhaps best remembered as one of the first Black opera singers, despite having never performed on the operatic stage. Exploring race and phonography as interlinking technologies of perception underlying and structuring the ability of audiences to perceive black performers, this essay analyzes the multiple Joneses produced through her archive—in reviews, promotional photographs and illustrations, and the absence of her phonographically recorded voice. Through this exploration, I argue that we must resist the drive to embalm the remains of performance

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Han, Benjamin M. "Transpacific Talent." Pacific Historical Review 87, no. 3 (2018): 473–98. http://dx.doi.org/10.1525/phr.2018.87.3.473.

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This article examines the Kim Sisters, a trio of female performers from South Korea, as a case study to explore the transpacific exchange of ethnic talent between the United States and Korea during the Cold War. It illustrates how U.S. military occupation, popular music, and Cold War diplomacy were visibly intertwined in entertainment television programming. The performances of the Kim Sisters in variety shows as a display of ethnic spectacle under the mask of internationalism constructed a false projection of race relations while the United States sought to win the cultural Cold War. The Kim

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Davis, Jim. "‘They Shew Me Off in Every Form and Way’: The Iconography of English Comic Acting in the Late Eighteenth and Early Nineteenth Centuries." Theatre Research International 26, no. 3 (2001): 243–56. http://dx.doi.org/10.1017/s0307883301000335.

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Comic actors in the late eighteenth and early nineteenth centuries, such as John Liston and Joseph Munden, were familiar not only on stage but also iconographically. Critical writing on both performers indicates their strong visual impact. Some critics accused them of caricature, but references to Hogarth in accounts of these actors by Lamb and Hazlitt imply that they followed Hogarth's own emphasis on observation rather than caricature. Indeed, illustrations of comic actors or inspired by comic actors often hover on the borders of caricature, but ultimately avoid it. In performance the live b

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Zorilova, Larisa S., and Anastasia V. Mironova. "Performing Characteristics of the Theme and Nature of Depicting Human Experiences in Cossack Folk Songs of the Life Cycle." Университетский научный журнал, no. 77 (December 23, 2023): 62–69. http://dx.doi.org/10.25807/22225064_2023_77_62.

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The paper examines the original vocal performing characteristics of Cossack folk songs of the life cycle devoted to various topics. The author of the paper illustrates a number of the most important correspondences of vocal interpretation in the plot analysis of folklore sources. When assessing the embodiment of a song by a performer, the basic factor is the worldview of the hero entering into historical, political, and everyday processes. The identifi cation characteristics of performing can be traced in various thematic lines of successive stages in the life of the song hero.

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Knopová, Elena. "Astonishing XVI. Annual Europe Theatre Prize Set in Ancient But Modern Rome." Slovenske divadlo /The Slovak Theatre 66, no. 1 (2018): 96–106. http://dx.doi.org/10.2478/sd-2018-0007.

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Abstract The text briefly illustrates the history of the Europe Theatre Prize (ETP) and its current form. The author offers insights into the work of theatrical performers who received prizes in the categories of Special Prize and Europe Prize Theatrical Realities. While also briefly apprises the productions seen during the 16th ETP. In 2017, the Special Prize category was won by: Wole Soyinka, Fadhel Jaïbi, Dimitris Papaioannou, the Europe Prize Theatrical Realities was won by: Susanne Kennedy, Yael Ronen, Theatre NO99, Alessandro Sciarroni, Jernej Lorenci. The main prizes were won by actors

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Lawrence, Robert G. "Lillie Langtry in Canada and the U.S.A., 1882-1917." Theatre Research in Canada 10, no. 1 (1989): 30–42. http://dx.doi.org/10.3138/tric.10.1.30.

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Lillie Langtry was the most controversial English stage performer to come to North America during the heyday of theatrical touring, c. 1880-1939. She returned frequently, to have her plays and performances almost invariably damned by critics and frequently by mayors. Yet the public was fascinated by Langtry and made her wealthy by crowding into Canadian and American theatres, attracted in part by rumours of her relationship with Edward, Prince of Wales. Langtry's brief visit to Windsor, Ontario, after The Degenerates was banned in Detroit in April 1900, illustrates the kind of controversy that

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Martynova, D. O. "Life in a Café-concert: A Study of Manners, 1894, by E. Ouvrard and L. Ouri: The Role of Music and Audiovisualizations in the French Entertainment Industry of the Second Half of the 19th Century." Art & Culture Studies, no. 1 (March 2025): 288–313. https://doi.org/10.51678/2226-0072-2025-1-288-313.

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The article is part of ascientific project dedicated to the study of the reception of musical practices in visual culture. The article analyzes the book by the French composer and performer of café-concerts Eloi Ouvrard (1855–1938) Life in a Café-concert: A Study of Manners written in 1894 to reveal the hypothesis of the connection between the musical accompaniment of caféconcert numbers and the role of artists. The analysis of this book made it possible to identify the specifics of the music of café-concerts, the main musical instruments, and the names of composers and performers of caféconce

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Sharma, Vibha, Fatema Sultana, Sohaib Alam, and Sameena Banu. "The Role of Language in the Survival of Bangladeshi Theatre Artists during the COVID-19 Pandemic: A Perspective on Resurging Society's Hope and Changing Realities." World Journal of English Language 14, no. 2 (2023): 43. http://dx.doi.org/10.5430/wjel.v14n2p43.

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The COVID-19 pandemic has had a profound impact on the theatre industry and its performers, causing psychological and socio-economic distress. This study examines the survival challenges faced by theatre artists in Meherpur, Bangladesh, during the pandemic and explores the role of language in their efforts to inspire hope and rejuvenate society. The paper investigates how these artists utilized online platforms and employed their native language, Bengali (L1), along with English, to communicate with the local population. By analyzing qualitative interviews with fifteen artists and administerin

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Martin, Cheryl. "The Music Collection of Thomas Baker of Farnham, Surrey." Royal Musical Association Research Chronicle 44 (2013): 19–54. http://dx.doi.org/10.1080/14723808.2012.730316.

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Thomas Baker's music collection is part of the special collections of the Music Library at Western University, Ontario. Thomas Baker (1719/20–94) lived mainly in Farnham, southwest of London, England, in the County of Surrey. His music collection remained largely intact, which is unusual for the library of an eighteenth-century man who lived in a small town in rural England. The collection at Western consists of 90 separate pieces of music, collections of music, and books of music theory, plus six manuscripts; an inventory of the collection illustrates the variety of musical forms that he coll

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Emmery, Laura, and Ivana Miladinović Prica. "“Different New Music in Yugoslavia”: The Earliest Minimalist Manifestations." AM Journal of Art and Media Studies, no. 34 (October 1, 2024): 75–97. http://dx.doi.org/10.25038/am.v0i28.566.

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Some of Yugoslavia’s most radical musical manifestations unfolded during the 1970s and 1980s. Aided by postwar Yugoslav cultural programs, the iconic Student Cultural Center (SKC) in Belgrade – a student-managed “safe space” for free expression and creativity – opened its doors in 1971 and instantly became a magnet for experimental musicians throughout the Western and Eastern Blocs. A group of rebellious composers and performers – Opus 4 and the Ensemble for Different New Music made some of the largest strides in Yugoslav music history and defined a new era of avant-garde and a unique brand of

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Szwajgier, Agnieszka. "Renesaissance wind instruments with a double reed, part 2." Notes Muzyczny 1, no. 13 (2020): 9–27. http://dx.doi.org/10.5604/01.3001.0014.1900.

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The present article is the second part of the cycle aimed at collecting and arranging information about the Renaissance wind instruments with a double reed. The author discusses their history, structure, use, ranges, styles and secrets of their playing technique. An addition to the text are the illustrations presenting construction details and circumstances in which these instruments were used. In the previous issue of “Notes Muzyczny” Agnieszka Szwajgier presented instruments with an “open reed”, such as the shawm, rackett, dulcian or bassanello. In this part she presents instruments whose re

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Paniccia, Alessandro, Brandon Chapman, Barish H. Edil, and Richard D. Schulick. "The video illustrates the key steps performed during a total laparoscopic pancreaticoduodenectomy (TLP)." ASVIDE 3 (August 2016): 295. http://dx.doi.org/10.21037/asvide.2016.295.

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Dmitrii, Sekhniaidze, and Agasiev Malik. "The video illustrates the key steps performed during a minimally invasive Lewis procedure." ASVIDE 3 (November 2016): 432. http://dx.doi.org/10.21037/asvide.2016.432.

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Ananda, Jihan, Dadang Solihat, and Yayan Suryana. "NONVERBAL COMMUNICATION PERFORMED BY FOREIGN ENGLISH TEACHER." Indonesian EFL Journal 6, no. 2 (2020): 175. http://dx.doi.org/10.25134/ieflj.v6i2.3424.

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This paper specifically aims at knowing the types of nonverbal communications performed by the foreign English teacher based on Schmitz�s (2012) theory and finding out the students� responses toward the foreign English teacher�s nonverbal communication. Qualitative research design was applied in this research. The participants of this research were the foreign English teacher and the students of class VII A MTsN 2 Kuningan. The data were collected through observation, interview, and questionnaire. The data were analyzed both qualitative and quantitative. The results of the research revealed th

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Moroz, Solomiya, and Craig Vear. "TRANSFORMING PRACTICE: THE IMPACT OF DIGITAL SCORES ON CREATIVITY, PERFORMANCE AND ACCESSIBILITY." Tempo 79, no. 313 (2025): 56–69. https://doi.org/10.1017/s0040298225000129.

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AbstractThis article presents an overview of findings from an ERC-funded DigiScore project that investigates how digital technologies are reshaping music creation, performance and accessibility. Digital scores, defined as interactive interfaces for musical ideas, enable innovative compositional approaches, immersive performance experiences and inclusive practices. Drawing on nearly 50 case studies across five continents, the research highlights four key impacts: (1) enhanced interactivity and multimedia integration; (2) non-linear and real-time compositional methods; (3) novel performance oppo

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Noh, Young-Eun, and Tony Morris. "Designing Research-Based Interventions for the Prevention of Injury in Dance." Medical Problems of Performing Artists 19, no. 2 (2004): 82–89. http://dx.doi.org/10.21091/mppa.2004.2013.

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Injury is a major problem for dancers. There is now substantial evidence that psychological interventions can reduce injury in dance and in sport. When planning intervention programs designed to help reduce injuries to dancers, researchers or practitioners should identify the major psychosocial factors that are associated with injury risk, perceived by performers, preferably using a combination of quantitative and qualitative research or assessment methods. This article illustrates this approach to the design of interventions with an example from our research with Korean ballet dancers. We use

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Nurwendah, Yusti Dwi, Najib Kailani, and Wening Udasmoro. "Religious Soundscape, Sacred Space, and Affective Body: The Experience of Sufi Whirling Ritual Practitioners in Java." Teosofi: Jurnal Tasawuf dan Pemikiran Islam 14, no. 1 (2024): 145–62. http://dx.doi.org/10.15642/teosofi.2024.14.1.145-162.

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This article explores the experience of cultivating religious senses and sensibilities through ritual Sufi dance. In contemporary Indonesia, Sufi dance serves both as a performance and a ritual. As a performance, it is staged at specific events; as a ritual, it acts as a religious practice, engaging the body and fostering a connection with God to experience spiritual ecstasy. Employing a phenomenological approach, the research data were gathered through interviews, participant observation, and social media. This article focuses on the Tari Sufi Mafia Sholawat group, the predominant Sufi dance

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Krasovec, Aleksandra. "Samira Kentrić’s Graphic Novel “Balkanalia: Growing up in the Age of Transition” and His Hybrid Poetics." Stephanos Peer reviewed multilanguage scientific journal 47, no. 3 (2021): 7–31. http://dx.doi.org/10.24249/2309-9917-2021-47-3-7-31.

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The article analyzes the autobiographical graphic novel of the Slovenian artist, illustrator and performer Samira Kentrić (b. 1976) “Balkanalia: growing up in the age of transition” (2015), in particular the hybrid nature of the genre of this work and its poetics. In this example, the genre incorporates elements of autobiographical comics strip, comics book about the war (in Bosnia), family album, graphic poetry, political illustration, philosophical parable, etc. Visual and textual narratives are designed to reflect the transculturality, the hybridity of the space of the former Yugoslavia, th

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DEOANCĂ, ADRIAN. "Musical enchantment. Affective pragmatics and the making of intersubjective grief in lăutari funeral performance." Annuaire Roumain d'Anthropologie 2024, no. 61 (2024): 21–38. http://dx.doi.org/10.59277/annanthrop.2024.61.03.

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This paper contributes to the expanding body of ltierature on affective performance by examining, from a semiotic perspective, the role of live musicians (lăutari) in the expression and shaping of grief during funeral ceremonies among members of the Roma in Romania. By conducting de detailed analysis of two funeral performances by Florin Salam, drawn from publicly available sources, this study illustrates how musicians utilize lyrical content with inherent affective potency, and exploit sound iconicity to imbue their vocal communication with emotional resonance. Additionally, the paper explore

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Britt, Erica. "Stylizing the preacher: Preaching, performance, and the comedy of Richard Pryor." Language in Society 45, no. 5 (2016): 685–708. http://dx.doi.org/10.1017/s0047404516000567.

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AbstractThis article illustrates the ‘moving parts’ involved in the stylization of the voice of the Black preacher in the comedic performances of Richard Pryor with the ultimate goal of uncovering what these linguistic features help the performer to accomplish in interaction. Overall, while Pryor often utilizes hyperbolic and exaggerated features of Black preaching traditions and potentially Southern-inflected speaking styles in his performances, I argue that he engages in a type of linguistic subterfuge, blending elements of his own voice into a more favorable depiction of a witty, street-wis

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Chauhan, Parul. "A Critical study of Indira Goswami’s novel The Man from Chinnamasta from the perspective of Ecofeminism." International Journal of English Literature and Social Sciences 9, no. 1 (2024): 279–83. http://dx.doi.org/10.22161/ijels.91.37.

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This present paper attempts to analyse Indira Goswami’s novel, The Man from Chinnamasta from the ecofeminist perspectives showcasing the position of women in an orthodox patriarchal society, and years old saga of animal sacrifice in the name of culture and religion in the Kamakhya temple. From the viewpoint of ecofeminism, the play illustrates the feminist struggles against oppression, environmental destruction, and patriarchy. It emphasises on the interconnecting issues pertaining to the oppression of women and animals. The novel depicts about Chinnamasta Jatadhari, who along with Ratnadhar,

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Corbould, Clare. "Race, Photography, Labor, and Entrepreneurship in the Life of Maurice Hunter, Harlem’s “Man of 1,000 Faces”." Radical History Review 2018, no. 132 (2018): 144–71. http://dx.doi.org/10.1215/01636545-6942465.

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Abstract In 1925, African American newspapers began reporting on Maurice Hunter’s work as a model for prominent visual and commercial artists, illustrators, and art students. By the 1950s, Hunter’s image had appeared on millions of advertising billboards, in all the major magazines, and in murals and statues in banks, parks, and department stores from Wall Street to Rochester to Cincinnati. Because no agency would represent a black model, Hunter was forced to raise his own public profile and create work opportunities. He did so by emphasizing his authenticity as a performer of nonwhite roles a

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Hillman, Jordan. "Steinlen, the Police, and the (In)Justice System in Fin-de-Siècle France." Visual Arts Research 48, no. 1 (2022): 83–101. http://dx.doi.org/10.5406/21518009.48.1.08.

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Abstract In writing about the police force in late 19th-century France, the anarchist Jean Grave decried that it was in fact necessary, if only to uphold the decisions of the unjust magistracy and to protect the interests of the bourgeoisie. This essay explores his claim through the graphic work of the Franco-Swiss artist Théophile-Alexandre Steinlen, a member of Grave's intellectual circle. Steinlen collaborated with radical leftist performers, authors, and publishers, including Grave, to produce a wealth of images that reveal his keen sensitivity to the social and political inequities of his

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Shannon, Mary L. "The Multiple Lives of Billy Waters: Dangerous Theatricality and Networked Illustrations in Nineteenth-Century Popular Culture." Nineteenth Century Theatre and Film 46, no. 2 (2019): 161–89. http://dx.doi.org/10.1177/1748372719852739.

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Billy Waters ( c. 1780–1823), the ‘King of the Beggars’, was a London street-performer and a well-known figure in early nineteenth-century popular culture, yet despite this he has received no sustained critical or cultural attention. Close attention to depictions of Waters offers the potential for developing a new model of 1820s and 1830s popular culture that shows – in more detail than the critical models currently available – how popular theatre connects with print and visual media. The use and reuse of Waters’ image allows us to see how Regency popular culture had a specific kind of matrix

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CHAMBERS, THOMAS. "‘Performed Conviviality’: Space, bordering, and silence in the city." Modern Asian Studies 53, no. 3 (2019): 776–99. http://dx.doi.org/10.1017/s0026749x17000786.

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AbstractThrough ethnographic material gathered in the Muslim woodworking mohallas (neighbourhoods) of a North Indian city, this article attends to ‘performed’ elements of everyday convivial interactions. It builds on work that situates conviviality as a normative project aimed at understanding and fostering interaction within urban space which bridges forms of difference. Through descriptive accounts, the article illustrates how convivial exchanges can embody degrees of instrumentality and conceal relations of power and marginalization that act to silence outrage or contestation. This ‘perform

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Morphew, M. Ephimia, Marvin L. Thordsen, and Gary Klein. "The Development of Cognitive Analysis Methods to Aid Interface Design." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 42, no. 3 (1998): 305–9. http://dx.doi.org/10.1177/154193129804200326.

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The goal of any human factors implementation is to optimize the interface between technological systems and the humans operating within them. As technological systems continue to grow in capability and complexity, knowledge of how performers operate within these systems has become more deeply embedded within the system and in the head of the operator. In high-technology, high-complexity systems used in military, nuclear power, air traffic control, and aerospace operations, demands imposed by the system interface are predominantly cognitive in nature. Techniques for uncovering the cognitive dem

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Jiao, Ze. "The Impact of Culture Differences on Film --Taking Farewell My Concubine as an Example." Communications in Humanities Research 4, no. 1 (2023): 642–46. http://dx.doi.org/10.54254/2753-7064/4/20220970.

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Almost all of Chen Kaiges works, such as the film Farewell My Concubine, include a significant historical and cultural theme to express his views and understanding of traditional culture and human nature. The film illustrates the ups and downs of Peking Opera performers lives in the context of a tumultuous society, with the art of Peking Opera serving as a point of reflection. Farewell My Concubine, as an epic work of cinema, is unusually rich in the use of cinematic symbolism and aesthetics, which not only adds to the films vivid connotation but also inspires people to think profoundly. A hug

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Ceschi, Valentina, and Kate Lane. "Greenham: Costume, memory and activism in outdoor performance." Studies in Costume & Performance 6, no. 2 (2021): 233–52. http://dx.doi.org/10.1386/scp_00049_3.

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This visual essay illustrates the transformative, performative and narrative potential costume can have in the context of outdoor site-responsive work, by looking at Ceschi + Lane’s recent R&D project, Greenham. The project included two performances that took place on Greenham Common, the site of a former RAF and American Army base in the English countryside, which is now common land. Greenham is also the former site of the Greenham Common Women’s Peace camp, set up in 1981 to protest against the British government allowing American cruise missiles to be stored at the base. In response to

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Homann, Lisa. "Controversy and human agency in ‘portrait masks’ from the studio of André Sanou." Africa 88, no. 4 (2018): 768–801. http://dx.doi.org/10.1017/s0001972018000463.

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AbstractThis article examines artist André Sanou's individual agency in the invention and popularity of ‘portrait masks’ in and around Bobo-Dioulasso, Burkina Faso. Rather than depicting abstract qualities of unseen natural forces, common among masks in this region, Sanou created the first portrait mask headpiece in a stylized but highly naturalistic manner, using a photograph as reference. It clearly depicted a specific human being, redefining the mask as a portrait of the deceased whom it honoured. Sanou's act gave rise to a wildly popular mask genre. However, portrait masks have aroused deb

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Giuffre, Liz, and Philip Hayward. "Harry Styles as a Cecaelia: Sexuality, Representation and Media-lore in “Music for a Sushi Restaurant”." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 442–61. http://dx.doi.org/10.18778/2083-2931.13.23.

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The music video for Harry Styles’s 2022 track “Music for a Sushi Restaurant” (directed by Aube Perrie) provides a surprising representation of the pop star (arguably at the peak of his career) appearing as a cecaelia (a monstrous figure with a human head, arms and torso giving way to tentacles around its midriff). The video is notable in two distinct contexts. First, in terms of Styles’s trajectory as a popular music performer who has received intense media attention because of his fan base, artistic persona and ambiguous sexual identity; and second, in terms of the articulation of a relativel

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Li, Cheng, Weerayut Seekhunlio, Sayam Chuangprakhon, and Qingbing Wei. "Gong Yi's Role in Preserving Literacy and Transmission of Guqin Music for Cultural Sustainability." International Journal of Education and Literacy Studies 13, no. 2 (2025): 227–34. https://doi.org/10.7575/aiac.ijels.v.13n.2p.227.

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The research investigates Gong Yi's preservation of literacy and the transmission of Guqin music for cultural sustainability. As a skilled performer, instructor, and inventor, Gong Yi has been instrumental in preserving ancient Guqin practices while advancing their musical and educational evolution. His comprehensive study, polished playing techniques, and use of innovative approaches have expanded the expressive potential of the Guqin, securing its ongoing significance in modern music. In addition to his performance, Gong Yi has devoted decades to Guqin education, guiding students in conserva

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