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1
Casale, Jarett. "Harris Peyton Mosher, MD: The Educator, Artist, and Pioneer behind the Mosher Award." Otolaryngology–Head and Neck Surgery 160, no. 3 (2019): 510–11. http://dx.doi.org/10.1177/0194599818823734.
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Harris P. Mosher, MD, was a pioneer in the development of modern-day otolaryngology. The prestigious Mosher Award was named after him and is awarded annually for recognition of excellence in otolaryngology clinical research. Dr Mosher’s contributions to the field include innovative research, technique and instrument development, and advancement of all national otolaryngology societies that function to this day. He was regarded as an expert and forerunner in sinus anatomy and started the first sinus anatomy course in the United States. He was also the recipient of many prestigious awards, including the Royal Society of Medicine of London’s Semon Medal as well as the American Laryngological Association Gold Medal. The yearly administration of the Mosher award highlights the legacy and passion of Dr Mosher for the advancement of the field of otolaryngology.
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Castrillón Vizcarra, Alfonso. "Tópicos sobre Arte Popular: 40 años del Premio a López Antay." Illapa Mana Tukukuq, no. 12 (February 20, 2019): 12–24. http://dx.doi.org/10.31381/illapa.v0i12.1914.
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El presente artículo presenta los puntos más destacados de la polémica suscitada con motivo del otorgamiento del Premio Nacional de Cultura al artista popular Joaquín López Antay en el año 1976. Luego de una introducción en que se da cuenta de los hechos, la conformación del jurado y la reacción de los artistas académicos, el autor fundamenta su tesis sobre la diferencia entre arte popular y artesanía examinando las propuestas de otros estudiosos que salieron a la luz en los años que vinieron. El autor concluye proponiendo la denominación de arte popular para significar hoy día aquellas manifestaciones que no son “arte informado” y tampoco artesanía.
 Palabras clave: López Antay, Premio Nacional de Cultura, arte, arte popular, artesanía, arte informado.
 
 AbstractThis article presents the most prominent points of the controversy brought on by the giving of the National Culture Prize to the popular artist Joaquín López Antay in 1976. After an introduction, in which the facts of the situation are explained and a description of the composition of the award panel and the reaction of the academic artists is given, the author bases their thesis on the difference between popular art and professional craftsmanship, examining the proposals of other scholars that came to light in the years they came out. The author concludes by proposing the naming of popular art to mean today those manifestations that are neither informed art nor works of professional craftsmanship.
 Keywords: López Antay, Culture National Prize, art, folk art, craftsmanship, academic art.
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Munive Maco, Manuel. "Don Joaquín antes de 1975. Adenda para una polémica inconclusa." Illapa Mana Tukukuq, no. 13 (February 19, 2019): 72–79. http://dx.doi.org/10.31381/illapa.v0i13.1899.
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A primera vista el “Premio Nacional de Cultura” que se le otorgó en 1975 significó también su consagración como una celebridad en la escena cultural capitalina. Sin embargo, Joaquín López Antay era conocido desde mucho antes gracias a su participación en bienales y ferias limeñas y porlas aproximaciones que diversos intelectuales nacionales ensayaron sobre su fascinante quehacer plástico. El presente trabajo aporta información sobre la actividad de Don Joaquín algunos años antes de 1975 en relación con la de John Davis, artista norteamericano que participó en primera línea en el proceso de reconocimiento y divulgación de la plástica tradicional y popular peruanas. 
 Palabras clave: Premio Nacional de Cultura 1975, Joaquín López Antay, John Davis, Bienales de Artesanía, Encuentro Mundial de Artesanías, Art Center Shop, Arte popular peruano.
 
 AbstractAt first sight it seems that the “National Award of Culture” that was granted to him in 1975 it also meant his “launch” in the cultural scene of the capital. However, Joaquin Lopez Antay was known since much earlier thanks to his participation in biennial and fairs in Lima and for the approachesthat various national intellectuals made on his fascinating plastic work. The present paper provides information about the activity of Don Joaquin some years before 1975 and in relation with John Davis, an American artist who participated in the process of recognition and dissemination of traditional Peruvian folk art.
 Keywords: National Prize of Culture 1975, Joaquín López Antay, John Davis, Craft Biennale, World Meet Artisans, Art Center Shop, Peruvian Folk Art.
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Nikitin, Andrii. "Philosophical context in the work of Sergei Zoruk." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 46–53. http://dx.doi.org/10.33838/naoma.29.2020.46-53.
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S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.
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Williams, Sonja D. "Wade in the Water." Resonance 1, no. 1 (2020): 15–24. http://dx.doi.org/10.1525/res.2020.1.1.15.
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In January 1994, Wade in the Water: African American Sacred Music, a first-time radio series collaboration between the Smithsonian Institution and National Public Radio, began airing on hundreds of NPR affiliate stations throughout America. An ambitious and influential series of 26 hour-long documentary programs, Wade explored 200 years of black sacred music, including spirituals, ring shouts, lined hymns, jazz, and gospel. The series also featured the insights of music creators, performers, listeners, and historians who could place African American sacred music traditions within the social, political, and cultural context of their times. Wade eventually won a Peabody Award and other awards of distinction. Conceived and hosted by Smithsonian Institution curator, artist, and MacArthur Foundation “Genius” Fellow Bernice Johnson Reagon, Wade required an intensive, five-year-long fundraising, research, and production journey of commitment. As the series’ associate producer, this article’s author worked with a host of dedicated radio producers, researchers, engineers, scholars, and music collectors who helped to make Wade a reality. Therefore, this article describes the series’ production journey from the vantage point of an insider, and it serves as a personal reflection on the making of a series that would set the standard for future long-form, NPR-based music documentary productions.
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Rafael, Vicente L. "Telling Times." positions: asia critique 29, no. 1 (2021): 121–39. http://dx.doi.org/10.1215/10679847-8722810.
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Nick Joaquin (1917–2004) is often regarded as the greatest Filipino writer in English, yet he remains largely unknown outside his country. He published widely in all genres and was awarded the National Artist Award, yet he dropped out of high school and spent much of his youth holed up in libraries and walking Manila’s streets. He wrote some of his most powerful stories between the end of US colonial rule and the beginning of the postcolonial era, at a time when the very craft of storytelling was itself endangered. And he did so in another language, American English, which required setting aside his mother tongue, Tagalog, and an inherited tongue, Spanish. This article explores some of these contradictions, looking at the relationship between language and literature exemplified in Joaquin’s writings and situating him as a storyteller in the wake of Manila’s utter destruction by colonial wars and the uneven recovery from postcolonial strife. This article also asks how Joaquin sought to rescue not just the memory of the city but also the very faculty of remembering itself as well as the remembering self.
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Harris, Catherine T., Philip J. Perricone, and Margaret Supplee Smith. "The Artist and Androgyny: A Study of Gender Identity in Visual Artists." Empirical Studies of the Arts 6, no. 1 (1988): 67–78. http://dx.doi.org/10.2190/9p69-xcur-c3na-2dck.
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While art is an activity that is socially valued, the image of the artist as perceived by the public and expressed in the literature has rarely been studied empirically. The Adjective Check List is used to test one dimension of this issue—June Wayne's hypothesis that the artist is a stereotypical woman, focusing on the artist's view of himself/herself and artists in general. Data were gathered by means of a questionnaire mailed to 1753 artists who had been nominated for the national Awards in Visual Arts during the first five years of the program (1982–86). It was found that artists tend to have self-images which are androgynous in terms of sex stereotyping, while at the same time, they see artists in general as relatively masculine. It was also found that while artists tend to view their colleagues in favorable terms, they view themselves as individual artists significantly more favorably. The implications of these findings for the profession of art are discussed.
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Ștefănescu, Mirela. "Iassy – Sourse of Local, National and International Talents." Review of Artistic Education 18, no. 1 (2019): 246–54. http://dx.doi.org/10.2478/rae-2019-0027.
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Abstract The city of Iaşi, one of the most important visual art centers in the country, is one with an extraordinary creative potential, this being the reason why in this paper we mentioned local artistic personalities of national and international value. In this context, we will present among the most relevant exhibiting events that are constantly organized in Iaşi and which bring together local, national and international creative values. We would like to mention the ArtIS Salons, the Drawing Salon, the Iasi Identity Exhibitions, the Visual Arts Exhibitions of the International Festival of Education, the Visual Arts Exhibitions of Euroinvent, Inventica, the International Triennial Texpoart, the International Biennale of Contemporary Engraving, as well as visual artists who have already integrated into the international circuit, being rewarded with numerous awards and distinctions among the most honored. Thus, local artistic life is in a continuous creative effervescence, supported by the numerous exhibitions of consecrated and young artists who come to the audience with a great variety of styles.
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Williams, Roy. "Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?" New Theatre Quarterly 22, no. 2 (2006): 113–21. http://dx.doi.org/10.1017/s0266464x06000352.
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Roy Williams is one of the outstanding new voices in contemporary British theatre. Born in Fulham, south-west London, in 1968, he has already, by his mid-thirties, won a shelf-full of awards, with plays staged at the National Theatre and Royal Court. His debut, The No Boys Cricket Club, won the Writers' Guild New Writer of the Year award in 1996. Two years later, his follow-up, Starstruck, won three major awards: the John Whiting Award for Best New Play, an EMMA (Ethnic Multicultural Media Awards) for Best Play, and the first Alfred Fagon Award, for theatre in English by writers with Caribbean connections. In 2000, Lift Off was joint winner of the George Devine Award, and in 2001 Clubland received the Evening Standard Award for Most Promising Playwright. In 2002, Williams received a best school drama BAFTA (British Academy of Film and Television Arts) for Offside (BBC), and in 2004 he won the first Arts Council Decibel Award, given to black or Asian artists in recognition of their contribution to the arts. His most recent play, Little Sweet Thing, was a 2005 co-production between Ipswich’s New Wolsey Theatre, Nottingham Playhouse, and Birmingham Rep. What follows is an edited transcript of Aleks Sierz’s ‘In Conversation with Roy Williams’, part of the ‘Other Voices’ symposium at Rose Bruford College, Sidcup, Kent, in May 2004, organized by Nesta Jones. Williams is a graduate and now a Fellow of the college.
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Callus, Ron, and Mark Cole. "Live for Art — Just Don't Expect to Make a Living from it: The Worklife of Australian Visual Artists." Media International Australia 102, no. 1 (2002): 77–87. http://dx.doi.org/10.1177/1329878x0210200109.
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Visual artists make up one of the few occupational groups in Australia where the majority of those working in the field are not regulated by awards or agreements that set minimum rates of pay and conditions. This is because most artists are self-employed and therefore lie outside the industrial relations regulatory framework. This article builds on the results of a survey of members of the National Association of Visual Artists (NA VA). The survey was designed to provide a picture of the income sources and activities of persons who work in the arts industry. For the majority of artists, the paid work undertaken as an artist was not their main source of income. These artists supplemented their art-producing income with other art and non-related income-producing work. A significant proportion of NAVA members work for a living in the visual arts industry as teachers, arts administrators, curators or in other art-related work; many of these also produce art in their spare time. The data collected were then used to develop a typology based on the combination of artists' time-use and income-generating activities. The typology was generated through the use of a cluster analysis that revealed three major groups of artists and a number of subgroups within these three major groupings. Given the complexities of the artist's labour market experiences, a number of options are canvassed as to how the precarious nature of artists' work could better be managed. One approach to regulation is to accept the realities of the artists' labour market and build around this through a system of accruing entitlements that come from working in the industry rather than for any one individual or organisation. It is suggested that governments could also take a different approach by recognising the special nature of artists' work, specifically the fact that artists move in and out of the labour market over their lifetimes. A whole-of-life approach to the problem is therefore necessary.
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Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.
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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.
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Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.
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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.
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Visanich, Valerie, and Toni Attard. "Towards the social prescription of the arts: The arts in health and social care in Malta." Journal of Applied Arts & Health 12, no. 2 (2021): 163–76. http://dx.doi.org/10.1386/jaah_00065_1.
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Recently, the notion of arts as therapy has been of growing interest to sociologists. The aim of this article is to evaluate community-based arts funded projects in terms of their priorities and effectiveness and discuss possibilities for enabling Arts on Prescription schemes in Malta. Thematically, this article explores discourse on the potential of the arts on promoting well-being. Methodologically, this article draws on primary data collected from focus groups, interviews and an online survey with project leaders and artists of funded arts projects targeting mental health, disability or old age. Specifically, this research evaluates all national funded community-based arts projects in Malta between 2014 to 2018 under a national scheme of the President’s Award for Creativity fund, managed by the national Arts Council Malta. Analysis of this data was used to inform the new national cultural policy on the implantation of the Arts on Prescription scheme in Malta.
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Morahg, Gilead. "Borderline Cases: National Identity and Territorial Affinity in A. B. Yehoshua's Mr. Mani." AJS Review 30, no. 1 (2006): 167–82. http://dx.doi.org/10.1017/s0364009406000079.
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A. B. Yehoshua's growing eminence as one of Israel's foremost literary artists has been attended by his emergence as one of the more powerful voices of the secular Zionist left. A highly self-aware writer, Yehoshua has been scrupulously deliberate in separating the intellectual pragmatism of his political writing from the imaginative structures and aesthetic integrity of his literary works. But the generic distinction between polemical essay and imaginative fiction does not preclude overlapping areas of concern as well as a common basis of values and beliefs. Consequently, Yehoshua's essays often prove to be useful means of enhancing the understanding of his fictional works.
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Kolosnichenko, M. V., T. F. Krotova, K. L. Pashkevych, and N. M. Pshinka. "STYLISTIC AND CONSTRUCTIONAL SOLUTIONS IN BOOK SERIES DESIGN "FAIRY TALES FROM AROUND THE WORLD" OF THE NATIONAL CHILDREN`S LITERATURE PUBLISHING HOUSE "VESELKA"." Art and Design, no. 2 (August 11, 2021): 20–29. http://dx.doi.org/10.30857/2617-0272.2021.2.2.
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Aim: to analyze the stylistic and constructive features of the design of the books in the series “Fairy Tales from Around the World“ by the publishing house “Veselka“, to trace the sequence of the publishing project and the role of the designer and art-designer in it. Methodology. Historical and comparative methods, as well as art history methods of image and stylistic and formal analysis have been used in the research. Results. The artistic approaches to the creation of 25 books of the series “Fairy Tales from Around the World“ (1978–2016) have been analyzed, the stages of creating the book design of this series have been studied with the help interview of the main artist of the publishing house “Veselka“ (1975–2015), national artist of Ukraine M. Pshinka; the image and stylistic features of this series design have been revealed, which allowed synthesizing the verbal, figurative and architectonic levels of books, ensured the integrity of the book as an artistic object, contributed to the emotional and aesthetic expressiveness of illustrations. Scientific novelty. The image and stylistic features of the decoration of the series “Fairy Tales from Around the World“, founded in 1978 by the National Children's Literature Publishing House “Veselka“, have been analyzed for the first time. The analysis of the books` design in this series as a synthesis of text, illustrations, and layout design has been presented. The sequence of the artistic and production process and the designer`s role in achieving the synergy of visual and verbal images has been traced. The constructive elements of the layout have been analyzed and introduced to ensure the serial stylistic unity of the books, which illustrations were made by different artists, keeping their own bright individual style. Practical significance. The study allowed analyzing the design features of the layout, which due to the creative approach of designers and collaboration with leading Ukrainian illustrators ensured the continued popularity of the books “Fairy Tales from Around the World“ among several generations of young readers, success and awards at numerous international and national competitions over four decades. The construction and serial elements of the layout design, which provided the stylistic unity and recognizability of all books of the series, have been described. The results of the research can be used for further study of the traditions of the art school of illustration and design of Ukrainian books, and also serve as theoretical and visual material in the educational process specializing in “graphic design“.
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Yeromenko, Andrii, and Nataliya Yeromenko. "CREATIVE PATH OF THE OUTSTANDING ARTIST ANATOLIY HAIDENKO." Aspects of Historical Musicology 22, no. 22 (2021): 101–20. http://dx.doi.org/10.34064/khnum2-22.06.
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Anatoliy Haidenko’s creative path lasts for about sixty years, during which this outstanding musician has been working fruitfully as a composer, performer, teacher, scientist, methodologist, music and public figure. The versatility of his personality, the diversity of talents, the relentless search for new ideas or means of expression, interest in a wide range of current issues of today are fully manifested in each of these areas. The desire to keep up, not to miss any opportunity to do something for people and at the same time to find time to «create» music in the silence of the cabinet led to a fair recognition of the achievements of Anatoliy Haidenko, currently an honored artist of Ukraine, professor, winner of numerous prestigious awards, permanent member of the jury of national and international festivals and competitions. Background. The figure and work of Anatoly Haidenko often attracts the attention of music scholars. In the field of view of researchers there were, above all, the issues of biographical and aesthetic nature, which are the necessary foundation for a thorough study of the artist’s work. Genre searches and stylistic principles of creativity are another important vector of research, based on analytical observations of Anatoliy Haidenko’s music. However, unfortunately, there are few special works dedicated to the creative work of the Kharkiv composer. Separate pieces of information about some of his opuses, as a rule, are contained in works aimed at highlighting certain trends in modern Ukrainian, especially accordion music. Thus, in order to establish the worldview of the composer, his creative and aesthetic principles, it is necessary to review the available in domestic musicology knowledge about Anatoliy Haidenko and his music. The purpose of the article is to highlight the figure of the artist and his contribution to the Ukrainian academic music art. The material of this research. Analyzing the scientific sources that cover the figure of the outstanding artist A. Haidenko, it is necessary to single out the meaningful work of the monographic type by A. Semeshko (2010) from the series “Portraits of modern Ukrainian composers” about the life and career of A. Haidenko. T. Bolshakova’s textbook (2007) “Concert works for accordion by A. Haidenko” is, in fact, a detailed preface to the publication of musical texts of accordion works of the composer, which had not been published before. The scholar focuses on the artist’s inherent synthesis of modern compositional writing and Ukrainian folk music tradition, emphasizing their subordination to the symphonic thinking of the master. T. Bolshakova’s opinion is also important regarding the “neo-pantheistic concept of existence”, the manifestos of which in A. Haidenko’s works are “the figurative content and semantics of the musical language of his works” (Bolshakova, 2007). The author of the candidate’s dissertation on the topic: “Bayan creativity of Anatoliy Haidenko: aesthetic and genre-style aspects” (Yeromenko, 2019) of Sumy, defended in 2019, thoroughly researches the creative way and accordion work of A. Haidenko. Tracing the evolution of the artist’s compositional path, the researcher A. Stashevsky (2013) identifies the most significant works from his point of view, briefly characterizing them. This opinion is asserted by A. Stashevsky in fundamental work “Modern Ukrainian music for accordion: means of expression, compositional technologies, instrumental style” (2013). In this work, the composer’s work is considered in the section devoted to one of the main vectors of development of modern accordion music – folklore and neo-folklore. Conclusions. During the sixty years of his creative path A. Haidenko has been fruitfully working in various spheres of activity: composition, performance, pedagogical, scientific, methodical, musical and public ones. Performing activities began with a trip as part of a student concert. The activity, which began with travels as part of concert student brigades and continued during the work in Sumy, demonstrated the talent of A. Haidenko as a bayan soloist and ensemble player. However, later the leading role was played by the compositional and pedagogical areas of activity. As a composer, A. Haidenko went through a difficult path from the status of “amateur author” to a recognized master of large forms and exquisite miniatures. Four works, submitted by him before joining the Union of Composers of Ukraine, identified the main directions of his further creative activity: symphonic music, music for folk instruments, choral and chamber and vocal music. A. Haidenko’s teaching activity – ten years of work at the Sumy Music School, four years at the Kharkiv Institute of Culture and more than forty years of hard work at the Department of Folk Instruments at the Kotlyarevsky Kharkiv National University of Arts – contributed to the formation of their own pedagogical principles, proved by the students of A. Haidenko: Y. Alzhnev, V. Geiko, A. Zhukov, E. Ivanov, S. Kolodyazhny. A. Haidenko’s research interests are connected with the history of the Kharkiv school of composition and instrument science. The textbook “Instrumentology and Fundamentals of Instrumentation Theory”, published in 2010 and addressed to teachers and students of folk instruments departments of higher musical educational institutions, is the result of many years of experience teaching the relevant course at KhNUA named after I. P. Kotlyarevsky. A significant place in the life of A. Haidenko is occupied by musical and public activities. In the National Union of Composers of Ukraine, he has served as Deputy Chairman and Executive Secretary of the Kharkiv Organization, a member of the UWC Board and Audit Committee, and Chairman of the Music Fund. Anatoliy Pavlovych Haidenko is also a member of the National All-Ukrainian Music Union, the Supervisory Board of the Ukrainian Cultural Foundation, and regularly participates in the jury of various competitions and festivals.
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Holzman, Philip S., David J. Kupfer, and Nancy C. Andreasen. "On Preserving the National Institute of Mental Health Career Scientist Award." Archives of General Psychiatry 55, no. 1 (1998): 12. http://dx.doi.org/10.1001/archpsyc.55.1.12.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.
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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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Baldessarini, Ross J. "The National Institute of Mental Health Career Scientist Awards." Archives of General Psychiatry 55, no. 1 (1998): 19. http://dx.doi.org/10.1001/archpsyc.55.1.19.
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Mcquillan, Julia, and Nestor Hernandez. "Real-Life Conundrums in the Struggle for Institutional Transformation." Gender & Society 35, no. 3 (2021): 300–329. http://dx.doi.org/10.1177/08912432211013147.
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Intersecting systems of inequality (i.e., gender and race/ethnicity) are remarkably resistant to change. Many universities, however, seek National Science Foundation Institutional Transformation awards to change processes, procedures, and cultures to make science, technology, engineering, and mathematics (STEM) departments more inclusive. In this article we describe a case study with observations for eight years of before (2000–2007), five during (2008–2013), and seven after (2014–2020) intensive efforts to increase women through reducing barriers and increasing access to women. Finally, we reflect on flawed assumptions built into the proposal, the slow and uneven change in the proportion of women over time, the strengths and weaknesses of numeric assessments, and the value of a longer view for seeing how seeds planted with promising practices initiated during the award may end with the funding but can reemerge and bear fruit when faculty who engage in equity work are in positions of authority later in their careers.
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Shevtsova, Maria. "‘Small Forms’ and Large: the Russian Case at the Golden Mask, 2019." New Theatre Quarterly 35, no. 03 (2019): 275–85. http://dx.doi.org/10.1017/s0266464x19000277.
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Every year at the Golden Mask National Theatre Award and Festival in Moscow, the Russian Case has its special characteristics, and 2019 clearly reflected the selection made by the many critics who travel far and wide across Russia to choose shows for the Festival. In this overview Maria Shevtsova gives some idea of the work in the category generally described as ‘small forms’, which dominated the Russian Case, and breaks the category down into the different genres gathered under its name. She also refers to several productions that are ‘large forms’, notably those directed by Konstantin Bogomolov and Yury Butusov, who are major directors in the field acclaimed nationally and internationally. Shevtsova's The Cambridge Introduction to Theatre Directing (2014, co-authored) is a landmark in research on European directors and her Rediscovering Stanislavsky is forthcoming (2019). She is co-editor of New Theatre Quarterly.
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Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.
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Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.
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Julien, Martin. "From There to Here: Canadian Stage’s Production of London Road." TDR/The Drama Review 59, no. 3 (2015): 161–68. http://dx.doi.org/10.1162/dram_a_00479.
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The award-winning verbatim musical London Road received critical praise and audience interest when it was first produced in London by the National Theatre in 2011. What might a transplanted British verbatim concoction tell a post-colonial Canadian audience about their own localized concerns and prejudices?
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Altman, Dana. "Contemporary Romanian Art in the United States." American, British and Canadian Studies Journal 22, no. 1 (2014): 87–93. http://dx.doi.org/10.2478/abcsj-2014-0023.
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Abstract The article discusses the recent international interest in contemporary Romanian art and its growth in market share, with a focus on the United States. The theme is followed thorough in numerous museum exhibitions, increased collector following, art fair presence, gallery representation and auction activity initially in Europe and the United States. The phenomenon is discussed both in the context of the larger international movement conducive to the contemporary art price bubble, and in that of the local socio-economic changes. My chief interest lies in the factors leading up to the entry of post 1989 Romanian art in the global arena as a manifestation of market forces in the field. The analysis follows its grass roots local emergence through non-profit institutions, individual artists, small publications, low budget galleries, as well as the lack of contribution (with few notable exceptions) of state institutions, while pointing out the national context of increasing deregulation of social support systems resulting in lack of focus on cultural manifestations. The conclusion is that the recent ascent of contemporary Romanian art (and coincidentally, the award winning contemporary Romanian cinematography) is a fortuitous convergence of various factors, among which, increased international mobility and sharing. At the same time, it is also the result of the evolution of various individual artists that pursued a form of art rooted in Romanian artistic tradition but with a focus on the symbolic figurative. The result is a personal semiotics of raising the mundane to extraordinary levels that reconfigured the anxiety of entering a new system into an unmistakable and lasting visual language.
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Yellen, John E., and Mary W. Greene. "Archaeology and the National Science Foundation." American Antiquity 50, no. 2 (1985): 332–41. http://dx.doi.org/10.2307/280491.
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In 1954, nineteen years after the founding of the Society for American Archaeology and four years after President Harry S Truman signed its enabling legislation, the National Science Foundation (NSF) inaugurated a Program of support for ”Anthropology and Related Sciences,” which expended its entire research budget for that year on two awards. Dr. Gordon Willey of Harvard University received a one year grant of $11,500 to examine “Prehistoric Settlement Patterns in the Maya Area” and Dr. Robert Braidwood, University of Chicago, was provided with $23,500 to be expended over a three-year period to conduct “Human Population Studies in the Fertile Crescent.”
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Travis, Cheryl Brown. "2004 Carolyn Sherif Award Address: Heart Disease and Gender Inequity." Psychology of Women Quarterly 29, no. 1 (2005): 15–23. http://dx.doi.org/10.1111/j.1471-6402.2005.00163.x.
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Individual patient records from the National Hospital Discharge Survey for 1988 and 1998 comprising approximately 10 million cases were the basis for a binary logistic regression model to predict coronary artery bypass graft. Patterns in 1988 and in 1998 indicated a dramatic and pernicious gender discrepancy in medical decisions involving bypass surgery. Overall, men were twice as likely to have bypass as were women with comparable medical profiles. This result was particularly evident for women in their 40s and 50s, when angina was a primary diagnosis, and in the presence of any comorbid condition (e.g., diabetes or hypertension). Failure to pursue proactive case management of women with heart disease costs women's lives.
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Tan, Kay C., and Hsien H. Khoo. "The Relevance of Confucianism to National Quality Awards in Southeast Asia." International Journal of Cross Cultural Management 2, no. 1 (2002): 65–82. http://dx.doi.org/10.1177/1470595802002001089.
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Polisenska, Veronika. "News and Announcements." European Psychologist 19, no. 4 (2014): 290–93. http://dx.doi.org/10.1027/1016-9040/a000215.
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In this issue, we present varied news from Cyprus, the Czech Republic, Germany, Slovenia, and the UK. Cyprus reports on the new National Awarding Committee for EuroPsy and changes in professional regulations. From the Czech Republic, we have reports on lectures by Comenius award winner Wilhelm Hofmann and the Prague Symposium on Crisis and Disaster Psychology. In Germany, the Communicator Award was awarded to Onur Güntürkün, and there are new developments in the field of legal psychology. The Slovenian Psychologists’ Association summarizes its annual conference and from the UK we have news on the new British Psychological Society president, as well as on the First World War Centenary Project, behavior change advice, and interviews with prominent psychologists.
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McCONCHIE, JOHN, and KAREN ORR VERED. "The Emperor's New Clothes: The Logie Awards, Australian National Identity, TV and Popular Culture." Continuum 17, no. 2 (2003): 119–34. http://dx.doi.org/10.1080/10304310302748.
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King, Amy. "Rome Award supported by the Roger and Ingrid Pilkington Charitable Trust: Performing national sacrifice: commemorating the Nasiriyah Massacre." Papers of the British School at Rome 86 (October 2018): 353–54. http://dx.doi.org/10.1017/s0068246218000284.
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Kuppers, Petra. "Moving Bodily Fantasies: Medical Performances and Modes of Communication." Dance Research Journal 37, no. 2 (2005): 73–88. http://dx.doi.org/10.1017/s0149767700008573.
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This article investigates the relationship between movement, communication, and medical presentation in three contemporary dance performances. In particular, I wish to present three instances of collaborative work: of work where boundaries between specialists and “lay people,” between different kinds of expertise, and different kinds of knowledges become questioned, dismantled, and (re)erected through performance. My argument hinges on the ongoing creative work involved in the translations between embodiment, phenomenological experience, narratives of self, medical stories, and cultural context. Living as a body in the world means a constant readjustment of these frames, a productive and often painful emergence of life through tensions. What it means to be a (gendered) specialist or a lay person, a patient, or a spectator, emerges in the call-and-response of everyday life, as roles are taken on, re-created, changed, and discarded.A celebrated U.K. dance performance (winner of the Critic's Circle National Dance Award 2004), a U.K. exploratory sci-art experiment by medical experts, writers, and performers, and an Australian music theater piece are at the heart of this analysis: the article explores alignments between semiotic and phenomenological knowledges in these performances. In all of these performances, women are center stage, sometimes as informers, sometimes as playwrights and visual artists, sometimes as main performers.
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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.
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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.
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Shim, Jung-Soon. "The Shaman and the Epic Theatre: the Nature of Han in the Korean Theatre." New Theatre Quarterly 20, no. 3 (2004): 216–24. http://dx.doi.org/10.1017/s0266464x04000119.
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The distinctively Korean concept of Han evokes a pervasive sense of sorrow, traditionally in need of shamanistic purging in the spirits of the dead, but also describing the sense of national trauma induced first by the Japanese occupation, then by the post-war division of the country. Han has also become an important feature of modern Korean drama, and in this article Jung-Soon Shim describes how Park Joh-Yeol's play The Toenails of General Oh (1974) revisits the concept, integrating indigenous cultural traditions – notably the shamanic ritual Gut – and how, in the production by Sohn Jin-Chaek, the director utilized a western style of epic theatre to create a ‘distanced’ style of Gut on the proscenium stage. Jung-Soon Shim is Professor of English at Soongsil University in Seoul, and a founding member of the Korean Association of Women in Theatre (KAWT), of which she is currently President. Her books include the two-volume Globalization and Korean Theatre (2003), which won the Best Book of the Year Award of the Korean Ministry of Culture. She also received the Best Critic Award for 2004 from the Korean Association of Theatre Critics. Her research for this article was supported by Soongsil University.
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Barkai, Sigal. "Neurotic Fantasy: The Third Temple As a Metaphor in the Contemporary Israeli Art of Nira Pereg and Yael Bartana." Contemporary Review of the Middle East 6, no. 3-4 (2019): 238–51. http://dx.doi.org/10.1177/2347798919872586.
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In the political reality of Israel, some symbols lie at the heart of the political, religious, national, and historical discourse that characterize the peoples and cultures living on the Israeli-Palestinian soil. Among these, the Temple Mount in Jerusalem is one of the most complex and conflictual symbols. The multiple religious claims to the Temple Mount—Jewish, Christian, and Muslim—are the subject of extensive study, but this article focuses on their reflection in contemporary Israeli art. In traditional Jewish art, the visual representations of the Temple or of Jews praying nearby expressed the longing of the Jews for generations to return to the Mount. In contrast, Yael Bartana and Nira Pereg view the multiple socio-political currents and religious rituals surrounding the Temple Mount as a reflection of the internal public debate regarding the face of the Israeli society today. This article discusses the contribution of their visual art to a conscious and aware discourse about the Israeli society and the underground currents that shape its contemporary identity. The analysis of their work tracks a “politics of aesthetics”—interpretation of the images within a socio-political context—and draws upon Israeli sociology, art history, and visual culture. In-depth personal interviews with the artists also inform the analysis.
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Skinner, Heather. "Representations of rural England in contemporary folk song." Arts and the Market 7, no. 2 (2017): 137–58. http://dx.doi.org/10.1108/aam-05-2016-0006.
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Purpose The purpose of this paper is to explore aural representation of the countryside and English rurality through the contemporary cultural product of folk song. Design/methodology/approach A textual analysis was undertaken of the sleeve notes and lyrics of Steve Knightley, songwriter and founder member of the folk/roots band Show of Hands. Findings The concept of the rural idyll is thoroughly debunked in the majority of these lyrics. Many songs make specific reference to place, and these, in the main, focus on the historical and contemporary hardships of living in rural England, in many cases also making explicit reference to the historical or contemporary social issues deemed by the lyricist to be at the root of the problems faced by people living in English rural communities. Research limitations/implications This paper analyses data obtained in lyrics of only one songwriter within only one music genre, but the artist is one of the most respected within the contemporary folk genre, and Show of Hands have won a number of prestigious nationally recognised folk awards. Originality/value The extant literature contains little concerning aural representations of place identities through song. The contribution this paper makes is therefore in presenting a conceptual framework that shows how folk song, as a contemporary cultural product contributes to the construction and communication of rural place identities.
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Cummings, Patricia, Rita Alajajian, Larissa May, Russel Grant, Hailey Greer, and Massoud Dezfuli. "Utilizing Behavioral Science to Improve Antibiotic Prescribing in Rural Urgent Care Settings." Infection Control & Hospital Epidemiology 41, S1 (2020): s506—s507. http://dx.doi.org/10.1017/ice.2020.1187.
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Background: The rate of inappropriate antibiotic prescribing for acute respiratory tract infections (ARTIs) is 45% among urgent care centers across the United States. To contribute to the US National Action Plan for Combating Antibiotic-Resistant Bacteria, which aims to decrease rates of inappropriate prescribing, we implemented 2 behavioral nudges using the evidence-based MITIGATE tool kit from urgent-care settings, at 3 high-volume, rural, urgent-care centers. Methods: An interrupted time series (ITS) analysis was conducted comparing a preintervention phase during the 2017–2018 influenza season (October through March) to the intervention phase during the 2018–2019 influenza season. We compared the rate of inappropriate or non–guideline-concordant antibiotic prescribing for ARTIs across 3 urgent-care locations. The 2 intervention behavioral nudges were (1) staff and patient education and (2) peer comparison. Provider education included presentations at staff meetings and grand rounds, and patient education print materials were distributed to the 3 locations coupled with news media and social media. We utilized the CDC “Be Antibiotics Aware” campaign materials, with our hospital’s logo added, and posted them in patient rooms and waiting areas. For the peer comparison behavioral intervention, providers were sent individual feedback e-mails with their prescribing data during the intervention period and a blinded ranking e-mail in which they were ranked in comparison to their peers. In the blinded ranking email, providers were placed into categories of “low prescribers,” those with a ≤23% inappropriate antibiotic prescribing rate based on the US National Action Plan for Combating Antibiotic-Resistance Bacteria 2020 goal, or “high prescribers,” those with a rate greater than the national average (45%) of inappropriate antibiotic prescribing for ARTI. Results: Our results show that fewer inappropriate antibiotic prescriptions were written during the intervention period (58.8%) than during the preintervention period (73.0%), resulting in a 14.5% absolute decrease in rates of inappropriate prescribing among urgent-care locations over a 6-month period (Fig. 1). The largest percentage decline in rates was seen in the month of April (−35.8%) when compared to April of the previous year. The ITS analysis revealed that the rate of inappropriate prescribing was statistically significantly different during the preintervention period compared to the intervention period (95% CI, −4.59 to −0.59; P = .0142). Conclusions: Using interventions outlined in the MITIGATE tool kit, we were able to reduce inappropriate antibiotic prescribing for ARTI in 3 rural, urgent-care locations.Funding: NoneDisclosures: Larissa May repo, Speaking honoraria-Cepheid Research grants-Roche Consultant-BioRad Advisory Board-Qvella Consultant-Nabriva
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Barton, Bruce. "Redefining Community: The Elusive Legacy of The Dramatists' Co-op of Nova Scotia." Theatre Research in Canada 21, no. 2 (2000): 99–115. http://dx.doi.org/10.3138/tric.21.2.99.
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By many indications, playwriting in the Canadian Maritime provinces (Nova Scotia, New Brunswick, and Prince Edward Island) has never been more accomplished, diverse, and energetic. At the same time, however, many dramatists in this region experience a distinct and, for some, defining sense of isolation and disconnection from the rest of the country, particularly in terms of production opportunities beyond the East Coast. Aware of the limitations of local production, however enthusiastic the support of regional theatre companies and groups, a significant number of Maritimes playwrights lament the absence of vehicles—such as publication with national distribution—that may lead to increased profile for Maritimes drama within this country and internationally. At this juncture, it is particularly intriguing to consider the precedent of the Dramatists' Co-op of Nova Scotia. A boisterous offspring of the Nova Scotia Writers Federation, the Co-op took upon itself the challenge to foster, promote, distribute, and generally champion Nova Scotian and, ultimately, Atlantic Canadian (including Newfoundland) drama for two decades following its inception in 1976. A fundamental difference between the dominant (although not exclusive) philosophy of Co-op members and their contemporary counterparts, however, is in the definition of the concept of ‘community.' For, unlike the distinctly national and international interests regularly expressed in the current context, the Co-op placed a significant (although, again, not exclusive) emphasis on the establishment of a local community of theatre artists and, even more fundamental, of local theatre audiences. The contrast, while neither simple nor absolute, provides a productive point of entry into the complex reality of contemporary Maritimes dramatic practice.
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Decent, Campion. "The Ambiguous Table: Dramatic Representations of Women at Dinner." New Theatre Quarterly 32, no. 2 (2016): 181–94. http://dx.doi.org/10.1017/s0266464x16000075.
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An actual dinner party is nearly always characterized by the presence of three central elements: a meal, a table, and a gathering of people, who usually converse. In this article Campion Decent considers the dinner party as a social event and questions how artists draw on its elements to inform artistic representations of dinner. He examines the use of dining events in drama, notably in five texts authored by women between the late 1970s and the present day–Tina Howe's The Art of Dining (1979) and One Shoe Off (1992), Caryl Churchill's Top Girls (1982), Moira Buffini's Dinner (2002), and Tanya Ronder's Table (2013). These texts share an emphasis on the symbolic idea of food or dining, feature tables with a woman at their centre and offer dialogue allied to the experiences of women. While the dining events that they depict are populated with vastly different characters and distinct conversations, the tables nevertheless function as potent yet ambiguous symbols both of women's oppression and of the potential for creative freedom. This article draws on research in anthropology, sociology, food studies, theatre and performance studies, and women's studies to illustrate the fertile complexity of ideas involved in the symbolic dinner. Campion Decent has recently completed his doctoral studies at La Trobe University, Melbourne. He is an award-winning playwright, with productions at Sydney Theatre Company, the Griffin Theatre, and the National Institute of Dramatic Art, Sydney. He has presented papers at Stanford University, Shanghai Theatre Academy, and Victoria University of Wellington.
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Baram-Tsabari, Ayelet, and Elad Segev. "Global and local “teachable moments”: The role of Nobel Prize and national pride." Public Understanding of Science 27, no. 4 (2018): 471–84. http://dx.doi.org/10.1177/0963662518768410.
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This study examined to what extent Nobel Prize announcements and awards trigger global and local searches or “teachable moments” related to the laureates and their discoveries. We examined the longitudinal trends in Google searches for the names and discoveries of Nobel laureates from 2012 to 2017. The findings show that Nobel Prize events clearly trigger more searches for laureates, but also for their respective discoveries. We suggest that fascination with the Nobel prize creates a teachable moment not only for the underlying science, but also about the nature of science. Locality also emerged as playing a significant role in intensifying interest.
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Shevtsova, Maria. "On Directing: a Conversation with Katie Mitchell." New Theatre Quarterly 22, no. 1 (2006): 3–18. http://dx.doi.org/10.1017/s0266464x06000261.
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One of Britain's foremost directors, Katie Mitchell's career embraces a formidable repertoire of play and opera productions. She has a taste for Greek tragedy – her Phoenician Women (1995) won the Evening Standard Best Director Award – and takes in Gorky, Chekhov, Genet, and Beckett, as well as such contemporaries as Kevin Elyot, whose Forty Winks she directed at the Royal Court in 2004. She has worked in Dublin, Milan, and Stockholm, and is an Associate Director at the National Theatre. This interview with NTQ co-editor Maria Shevtsova shows Mitchell's lucid and passionate engagement with her craft. It took place in London in several stages from December 2004 to July 2005, during a period of intense activity for Mitchell. Maria Shevtsova wishes to thank her for so generously giving her time.
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Doliwa, Urszula. "Transformacja systemu radiofonii w Polsce w kontekście zmian w Europie Wschodniej. Analiza pierwszego procesu koncesyjnego." Przegląd Wschodnioeuropejski 12, no. 1 (2021): 399–413. http://dx.doi.org/10.31648/pw.6484.
Full textAbstract:
This article analyses the first licensing process carried out after the adoption of the Broadcasting Act in Poland in 1992. Great excitement surrounded the award of the first television licenses – especially nationwide licenses. However, this article focuses on an analysis of this process in the case of radio broadcasting. It is based on documents gathered in the Archives of the National Broadcasting Council, particularly on reports of meetings with the candidates for radio broadcasting. The analysis also includes articles published in newspapers. A personal interview with the Vice-Chair of the National Broadcasting Council was also used. The study aimed to determine the shape of the Polish radio market desired by the National Broadcasting Council and the focus of this institution during the first licensing process. The author noted that the Council concentrated on the financial aspects of the submitted applications. This thesis corresponds well with the trend observed by media experts in the transformation of media systems in Eastern Europe in the early 1990s and how market logic prevailed when shaping the new media system.
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Toporišič, Tomaž. "Myth and Creolisation of Cultures and Performing Arts in the Mediterranean." Ars & Humanitas 9, no. 1 (2015): 104–16. http://dx.doi.org/10.4312/ah.9.1.104-116.
Full textAbstract:
Theatre today speaks for a new type of cultural manifoldness, for a broad range of new differences that are developing. Creolisation is the intermingling of two or several formerly discrete traditions or cultures; it is an interweaving of similar and different threads of various colours, deriving from myths shared throughout the Mediterranean basin. Within such an understanding of culture theatre needs to speak out not only against domination but also needs to highlight the importance of marginality, otherness, and local contexts. It should not be hemmed in by literary-minded applications.As Benjamin Lee writes, “we have reached a time when no values from any single cultural perspective can provide frameworks adequate to understanding the changes affecting all of us”, which entails the decolonisation of cultural practices. We must think globally and act locally, be aware of universal myths, while remaining aware of the local circumstances and myths that surround us. In other words, a fruitful dialectical relation can ensue. In Slovenia, scholars often complain that, aside from specialists, nobody is “internationally” interested in local myths or national topics. This is not true: what is necessary is to find an appropriate way to present local or national topics within an international and global setting.
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Toporišič, Tomaž. "Myth and Creolisation of Cultures and Performing Arts in the Mediterranean." Ars & Humanitas 9, no. 1 (2015): 104–16. http://dx.doi.org/10.4312/ars.9.1.104-116.
Full textAbstract:
Theatre today speaks for a new type of cultural manifoldness, for a broad range of new differences that are developing. Creolisation is the intermingling of two or several formerly discrete traditions or cultures; it is an interweaving of similar and different threads of various colours, deriving from myths shared throughout the Mediterranean basin. Within such an understanding of culture theatre needs to speak out not only against domination but also needs to highlight the importance of marginality, otherness, and local contexts. It should not be hemmed in by literary-minded applications.As Benjamin Lee writes, “we have reached a time when no values from any single cultural perspective can provide frameworks adequate to understanding the changes affecting all of us”, which entails the decolonisation of cultural practices. We must think globally and act locally, be aware of universal myths, while remaining aware of the local circumstances and myths that surround us. In other words, a fruitful dialectical relation can ensue. In Slovenia, scholars often complain that, aside from specialists, nobody is “internationally” interested in local myths or national topics. This is not true: what is necessary is to find an appropriate way to present local or national topics within an international and global setting.
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KEHRER, LAURON. "A Love Song for All of Us?: Macklemore's “Same Love” and the Myth of Black Homophobia." Journal of the Society for American Music 12, no. 4 (2018): 425–48. http://dx.doi.org/10.1017/s1752196318000354.
Full textAbstract:
AbstractAccording to theNew York Times, white rapper Macklemore and his DJ partner Ryan Lewis's “Same Love” was “the first song to explicitly embrace and promote gay marriage that has made it into the Top 40.”1In 2013, as the Supreme Court of the United States prepared to rule on challenges to the Federal Defense of Marriage Act and California's Proposition 8, which banned same-sex marriage, the track quickly climbed the charts and became a nationally recognized anthem for marriage equality. Despite this generally positive reception, however, the song does not reflect all queer-identified listeners. Macklemore raps, “If I were gay, I would think hip hop hates me,” an assertion that positions black communities as a significant threat to (white) LGBTQ rights. Much like the backlash against black voters following the 2008 passing of Proposition 8, this claim relies on an invented black pathology that locates homophobia in black American culture specifically rather than American culture at large. This article offers a close reading and contextualization of “Same Love” and demonstrates that, rather than combating homophobia in hip hop, Macklemore's lyrical claims actually bolster his strategic performance as a socially and politically aware white rapper, while erasing queer and trans hip hop artists of color from the discourse.
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CURRELL, SUE. "You Haven't Seen Their Faces: Eugenic National Housekeeping and Documentary Photography in 1930s America." Journal of American Studies 51, no. 2 (2017): 481–511. http://dx.doi.org/10.1017/s0021875817000366.
Full textAbstract:
This essay explores the relationship between welfare, eugenics and documentary photography during the New Deal in order to explain how a set of government photographs taken by Arthur Rothstein in the Shenandoah became entwined in the rhetorical structure of eugenic ideology. The photographs discussed portray victims of forced sterilization before their incarceration, yet there is no evidence to show that the photographer was aware of, or complicit with, this fact. This essay responds to the questions this raises about the images: what historical and social contingencies were behind their production? What is the relationship between the photographer, the photographs, the New Deal and the subjects depicted? How did efforts to help America's poorest lead to their incarceration and sterilization? Why is the full picture impossible to see? And how do we read and understand them today?
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Shevtsova, Maria. "Revolutions Remembered: the Golden Mask in Moscow 2017." New Theatre Quarterly 33, no. 3 (2017): 288–98. http://dx.doi.org/10.1017/s0266464x1700032x.
Full textAbstract:
The 2017 Golden Mask and National Theatre Award and Festival in Moscow offered, as it usually does, a wide range of large- and small-scale theatre, musical theatre, opera, ballet, contemporary dance, and puppetry – a month and more of intensive activity that keeps its annually changing jury on its toes. Maria Shevtsova provides an overview of the Russian Case: a concentration of productions for foreign producers and critics that reflects quite accurately the Golden Mask's complete spoken theatre selection (as distinct from other forms of theatre such as dance). She observes that a cluster of productions refers to rebellions and revolutions that preceded the 1917 October Revolution, though none deals directly with that event. Remaining works allude in various ways to more recent Russian and global history, showing how its makers are sensitive to a past that filters through the more than troubling present. Maria Shevtsova, Professor at Goldsmiths, University of London, is co-editor of New Theatre Quarterly.
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Soini, Helena. "Literary reminiscences and the symbols of modern Finland in Ismo Alanko’s poetry." Scandinavian Philology 18, no. 2 (2020): 356–71. http://dx.doi.org/10.21638/11701/spbu21.2020.210.
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The article discusses the imagery system in the work of the modern Finnish poet Ismo Alanko. Literary and folklore traditions in his poetry are well researched. The poet has created a rather critical image of Finland as a Lutheran country full of national markers, but well-aware of its literature: “Martti Luther ja muovipussi” (Martin Luther and a plastic bag). Images of Finnish architecture, gray buildings in glass and metal, and a heavy gray northern sky connect Alanko’s poetry to Russian culture, to the name of Isaak Levitan who negatively described Finland as a kingdom of gray. Alanko clearly knows about Levitan’s words “Gray water and gray people, gray life”, but he gets into a debate with the artist, proving that gray has many shades of joy. One of the leaders of Finnish expressionism, Uuno Kailas, associated the nature and people of Finland with gray. But Kailas’ gray is clearly negative and lifeless. Alanko, on the other hand, distinguishes in gray all kinds of positive signs of life. His poems are characterized by the description of the lyrical hero’s irrational states against the background of the fantastic landscapes of Lapland, creating mythological images not immediately amenable to interpretation. For example, in the image of Mooneye from the North (kuusilmä pohjoisesta), there is a motif of turning a girl into a fish, typical for Finnish and Karelian epic songs, also familiar to us from Kalevala and Eino Leino’s poetry. Alanko comprehends serious worldview problems with poetic elegance, with the power of poetic word removing the contradiction between religious and common, rational, and irrational. Alanko revives Kalevala meter not in a “museum” form, but with modern accents and in his native Finnish language.
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Luckett, Josslyn. "Searching for Betty Chen: Rediscovering the Asian American Filmmakers of UCLA in the Seventies." Film Quarterly 73, no. 3 (2020): 34–40. http://dx.doi.org/10.1525/fq.2020.73.3.34.
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Of the group of filmmakers of color who arrived at UCLA in the late 60s and 70s, as part of an affirmative action initiative called the Ethno-Communications Program, a growing body of award-winning scholarship has been devoted to the black filmmakers now known as the L.A. Rebellion. There is also an important body of work on the Asian American men who founded the nation's oldest and still vibrant Asian American media organization, Visual Communications (VC). This essay aims to expand this scholarship by centering the contributions of the group of Asian American women who trained at UCLA film school during this period, highlighting in particular the activist work of Betty Chen and Laura Ho.
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Achenbaum, W. Andrew. "Dr. Robert Butler’s Legacy in Defining and Fighting Ageism." University of Toronto Quarterly 90, no. 2 (2021): 80–95. http://dx.doi.org/10.3138/utq.90.2.02.
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Robert N. Butler, MD (1927–2010), coined the term “ageism” in 1969 to define an age-driven bigotry that disengaged older persons from virtually all sectors of American life. As founding director of the National Institute of Aging, as head of the first geriatrics department in a US medical school, and as a trailblazing idea broker, Dr. Butler continually sought to make Americans aware about the insidious effects of ageism. He accomplished much in promoting education and research, but Dr. Butler’s personal and professional campaign to extirpate ageism remains his greatest legacy.