Relevant bibliographies by topics / National Arts Club

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Academic literature on the topic 'National Arts Club'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "National Arts Club"

1

Milligan, Kathryn. "Social Smoking and French Fancies: The Dublin Art(s) Club, 1886–98." Journal of Victorian Culture 25, no. 3 (March 28, 2020): 365–80. http://dx.doi.org/10.1093/jvcult/vcaa009.

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Abstract ABSTRACT The Dublin Art(s) Club, which operated in the Irish capital from 1886 to 1898, offers an intriguing case study for modes of artistic networks and cultural exchange between Ireland and Britain in the closing decades of the nineteenth century. Despite this, the history of the Club has been little explored in historiography to date, often confused with other ventures by artists in the city. Examining the rise and fall of the Dublin Art(s) Club, along with its members and activities, this article retrieves its history and posits that it offers an example of an aspect of art in Ireland which was conspicuous for its cosmopolitan outlook and active engagement with the wider British art world, which then spanned across both islands. The history of the Dublin Art(s) Club poses a challenge to the extant scholarship of this period in Irish art history, which to date has been largely understood to be focused on themes of national identity, the cultural revival, and artists who left Ireland to train in Belgium and France. This article posits that by re-engaging with the activities of art clubs and societies, a more complex reading of artistic life in Victorian Dublin can emerge.
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Wagner, Anton. "Infinite Variety or a Canadian 'National' Theatre: Roly Young and the Toronto Civic Theatre Association, 1945-1949." Theatre Research in Canada 9, no. 2 (January 1988): 157a. http://dx.doi.org/10.3138/tric.9.2.157a.

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The founding of the Civic Theatre Association in Toronto in 1945, and its four-season production history until 1949, provide a microcosm of the embryonic development stage of post-World War II indigenous Canadian theatre. Created through the merger of fourteen Toronto-area amateur companies under the leadership of the film and theatre critic Roly Young (1903-48), the CTA sought to finance adequate theatre facilities and to provide work opportunities and appreciative audiences for Canadian artists and playwrights. Young's opposition to the principle of government arts subsidies to create a Canadian 'national' theatre placed him in direct conflict with the organizational work of John Coulter and Herman Voaden at the Arts and Letters Club and the Canadian Arts Council.
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Piglia, Melina. "Motor Clubs in the Public Arena: The Argentine Automobile Club, the Argentine Touring Club and the Construction of a National Roads System (1910–43)." Journal of Transport History 36, no. 2 (December 2015): 170–87. http://dx.doi.org/10.7227/tjth.36.2.3.

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The rapid spread of the automobile in the early twentieth century posed both challenges and promises to nation states. Before automobility became the object of public policies, this new mobility technology had to be socially perceived and constructed as belonging to the public sphere. Motorist associations played a decisive role in this process. This paper focuses on the Argentine Automobile Club (ACA) and the Argentine Touring Club (TCA), the two principal automobile clubs in the country and the largest ones in Latin America during the first half of the twentieth century. It argues that the ACA and TCA had a decisive influence during the 1920s in diagnosing and listing possible solutions to road and tourism challenges, and providing reference points for most of the road and tourism policies in the following decades. At the same time, both clubs actively helped to create a national network of roads through their participation in the planning agencies and made the new roadways accessible by signposting them and by providing petrol stations. Not least they formed and spread the new practices of road culture and automobility and, by organising sporting events, tours and rally drives and printing travel guides and maps, they contributed to the symbolic construction of the roads.
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Сергій. "ДІЯЛЬНІСТЬ СТУДЕНТСЬКОГО КЛУБУ: ОРГАНІЗАЦІЯ, СТРУКТУРА, ФУНКЦІЇ." УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ), no. 31 (April 15, 2020): 175–81. http://dx.doi.org/10.35619/ucpmk.vi31.276.

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Розглянуто сутність організаційного процесу в діяльності студентського клубу. Досліджено організаційну структуру та його функції. Акцентовано увагу на термінах «організація», «організаційна діяльність», «клубна діяльність» та можливості подальшого ефективного використання форм і засобів студентського клубу в системі закладів вищої освіти. Зазначено що діяльність студентського клубу полягає у забезпеченні впливу на формування внутрішнього світу його учасників, змістовного наповнення молодіжного дозвілля та розвитку художньої творчості. ACTIVITY OF THE STUDENT CLUB: ORGANIZATION, STRUCTURE, FUNCTIONS Tadlya Alexander – Art. teacher of the show business department, Kiev National University of Culture and Arts, Kiev The article considers the essence of the organizational process in the activities of the student club. The organizational structure and functions of the student club are investigated. Attention is focused on the terms «organization», «organizational activity», «club activity» and the possibility of further effective use of the forms and means of the student club in the system of higher educational institutions. It is indicated that the activity of the student club is to provide influence on the formation of the inner world of the participants, meaningful content of youth leisure and the development of artistic creativity. Key words: organization, organizational activity, functions, activities, student club, structural-functional approach.
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DUSSERE, ERIK. "Out of the Past, Into the Supermarket." Film Quarterly 60, no. 1 (2006): 16–27. http://dx.doi.org/10.1525/fq.2006.60.1.16.

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ABSTRACT This article traces film noir's conflicted place in postwar American consumer culture.Using detailed analyses of supermarket scenes in Double Indemnity, The Long Goodbye, and Fight Club, it argues that the films stage a struggle between two competing versions of the American national character: the consumer society versus the noir underworld.
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Dove, Rita. "Remembering Reetika Vazirani: National Press Club, Washington, DC, July 26, 2003." Callaloo 27, no. 2 (2004): 368–69. http://dx.doi.org/10.1353/cal.2004.0062.

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Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 2 (2017): 72–77. http://dx.doi.org/10.1525/fq.2017.71.2.72.

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The seventh edition of the Statistical Yearbook of Mexican Cinema, which covers 2016, was launched at the Guadalajara International Film Festival by IMCINE (Instituto Méxicano de Cinematografía), the national film institute. Some months later the eleventh edition of the Ibero-American Observatory of Television Fiction, also devoted to 2016, was presented by international research group OBITEL (Ibero-American Observatory of Television Fiction) at the Autonomous University of Barcelona. Both surveys compile exhaustive quantitative data and track qualitative trends in their respective media. This year, the pair offer invaluable evidence for evolution and convergence in the Mexican (and Spanish American) audiovisual field, thereby providing an account of the most important trends. Sometimes the findings can be counterintuitive, proving for example that (contrary to industry complaints) the Mexican government does indeed strongly support cinema and that (contrary to journalistic rumors of its demise) broadcast television is by no means dead in the region. But the handbooks also provide essential context for Netflix's first production in Mexico — and one of the most important and innovative series of recent years — the soccer comedy, Club de Cuervos ([Crows Club], 2015–). In keeping with this changing scene, OBITEL focused its case study of transmedia on Netflix's limited series Club de Cuervos. As noted in the handbook, the producers' aim was to avoid “telenovelizing” its content. Club de Cuervos exemplifies the trends seen in current Mexican film and television production, even as it blurs the distinction between the two in typical Netflix fashion. Mexican industry insiders still resent the U.S. domination of film distribution in theaters, and Club de Cuervos raises those stakes.
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Brantlinger, Andrew, Miriam Gamoran Sherin, and Katherine A. Linsenmeier. "Discussing discussion: a video club in the service of math teachers’ National Board preparation." Teachers and Teaching 17, no. 1 (January 13, 2011): 5–33. http://dx.doi.org/10.1080/13540602.2011.538494.

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Mayer, Sophie, and Selina Robertson. "“We Can Make Something Out of Anything”: Sally Potter's Thriller and London's History of Queer Feminist Film Spaces." Film Quarterly 70, no. 4 (2017): 39–46. http://dx.doi.org/10.1525/fq.2017.70.4.39.

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The National Trust, a British charity founded in 1895 that manages heritage buildings and open spaces for the UK, is now running daytime tours of London's queer club culture from 1918 to 1967 (when the Sexual Offences Act decriminalized private homosexual acts between men over the age of 21), ending at a version of the Caravan, a queer-friendly members' club from 1934 recreated from police records and court reports. Further, the queer activists Sexual Avengers marked 2017's LGBT History month by placing unofficial “Queer Heritage” blue plaques on London landmarks, including one that commemorated the 1988 action against Section 28 in which four lesbians rappelled into the second chamber of the UK Parliament, the House of Lords. The fiftieth anniversary of the passing of the Sexual Offences Act is being marked this summer by programming at the British Film Institute and other UK cultural institutions. With the National Trust also showcasing the portrait of the Lord Orlando, it is a time when queer histories are clearly entering the mainstream curatorial and cultural spaces and interpretations, making 2017 a productive time to offer a thick description of the complexities of labor, politics, and creative practice that may be smoothed over by this move. At the same time, current queer and feminist spaces in London (as elsewhere in the overdeveloped world) are encountering a recapitulation and intensification of the 1970s version of austerity and precarity that formed both the pretext and subtext of Potter's first film, Thriller (1979), making it an ideal text through which to examine these issues.
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BOCKETTI, GREGG P. "Italian Immigrants, Brazilian Football, and the Dilemma of National Identity." Journal of Latin American Studies 40, no. 2 (April 29, 2008): 275–302. http://dx.doi.org/10.1017/s0022216x08003994.

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AbstractThis article considers the cultural adjustment of immigrants to Brazil through an analysis of the role that association football (soccer) played in identity formation in twentieth-century São Paulo. It focuses on the city's large Italian population, in particular the experiences of a leading club, the Società Sportiva Palestra Itália, and of the first generation of Brazilian footballers who migrated abroad in order to play football professionally, many of whom were Paulistas of Italian descent. It demonstrates that through football Italians obtained agency in negotiating the process by which they became Brazilian and found a means by which to preserve a sense of discrete ethnicity within São Paulo's multiethnic community.
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Books on the topic "National Arts Club"

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Inventory of the records of the National Arts Club, 1898-1960. Washington, D.C: Archives of American Art, Smithsonian Institution, 1990.

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2

National Arts Club (New York, N.Y.), ed. A legacy of art: Paintings and sculptures by artist life members of the National Arts Club. New York: National Arts Club, 2007.

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New York Society of Etchers. and National Arts Club (New York, N.Y.), eds. The New York Society of Etchers, Inc.: First exhibition of prints : September 10th-29th, 2000, National Arts Club. New York, N.Y: New York Society of Etchers, 2000.

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Art, Damien Matthews Fine, and National Arts Club (New York, N.Y.), eds. Damien Matthews Fine Art presents J.P. Donleavy: At The National Arts Club, 15 Gamercy Park South, New York ... May 11-22, 2007. Drumroragh, Mountnugent, Co. Cavan, Ireland: Damien Matthews Fine Art, 2007.

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5

Sotheby's (Firm). Old master paintings: Including European works of art. New York: Sotheby's, 2003.

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6

Han'guk Tongnip Undongsa P'yŏnch'an Wiwŏnhoe, ed. Hanmal sun'guk, ŭiyŏl t'ujaeng. Ch'ungch'ŏng-namdo Ch'ŏnan-si: Han'guk Tongnip Undongsa P'yŏnch'an Wiwŏnhoe, 2009.

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Lowrey, Carol. A noble tradition: American painting from the National Arts Club permanent collection. Florence Griswold Museum, 1995.

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8

Bureau of spies: The secret connections between espionage and journalism in Washington. 2018.

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Miller, Martin. Augusta National Golf Club: Spring. MillerBrown, 2022.

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Hines, James R. England: The Birthplace of Figure Skating. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039065.003.0002.

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This chapter traces the early development of figure skating in England. Topics covered include the publication of the first skating book entitled The Art of Skating by Robert Jones in 1772; the first skating club, Edinburgh Skating Club; one of the earliest and most important books about skating, George Anderson's The Art of Skating, dating from 1852 and published under the pen name Cyclos; founding of the London Skating Club in 1830; the development of the English style of skating and new turns and figures; the advent of combined skating; the development of speed skating in the agricultural area of the fen country north of London; and establishment of the National Skating Association in 1879.
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Book chapters on the topic "National Arts Club"

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Gaines, M. C. "Narrative Illustration: The Story of the Comics." In Comic Art in Museums, 88–97. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0008.

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This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.
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Wheeler, Michael. "Liberal hospitality." In The Athenaeum, 133–56. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300246773.003.0007.

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This chapter assesses the Athenæum's 'hospitality' towards a wide range of ideologies and social backgrounds among candidates and members. Non-partisan politically, it accommodated both sides in the Reform debates of the 1830s, with members engaging in pamphlet wars rather than calling for resignations, as happened at the political clubs. Similarly, the pattern of early Rule II elections indicates a willingness to introduce new members of outstanding ability in science, literature, and the arts who were known to be the chief antagonists of equally prominent existing members. The chapter looks at some of the flashpoints in the club's history between 1860 and 1890, when liberal opinion in politics, religion, and science assumed the ascendancy in Britain, and the Athenæum strove to maintain its tradition of tolerance and balance. It is at these flashpoints, and at times when conservative sexual mores influenced public life, that the relationship between national developments and the life of the club, conducted on the margins between the private and the public, is most revealing.
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Katz, Wendy Jean. "A Cooperative Model for Art." In A True American, 41–53. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9780823298563.003.0003.

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This chapter argues that Walcutt’s active involvement in founding artists’ organizations along a cooperative or joint-stock model reflects the values of the same fraternal, artisan culture that other benevolent societies also tried to harness. Both groups that Walcutt founded in New York, the American Artists Association and the New York Sketch Club, offered members social benefits and trade protections. Though these were not political societies, in the very process of resisting or trying to establish alternatives to the existing and increasingly corporate art market, artists like Walcutt and Thomas D. Jones aligned themselves with those who believed that the white Protestant working class would create an egalitarian democracy. The American Artists Association had the promotion of truly American art as their goal, just as nativists promoted True Americanism in political life. And though Sketch Club members included Irish nationalists and German emigrés, their hostility to a Pope who opposed democratic change in Europe meant they found common ground with members who envisioned a nation free from the Pope’s political influence.
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Katz, Wendy Jean. "Fairies, Allegory, and the Spiritualists." In A True American, 77–107. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9780823298563.003.0005.

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Walcutt and fellow Sketch Club members like Jacob Dallas produced “fantastic” art, illustrations of supernatural or magical themes, whether elaborate allegories with demons and angels or fairies and nature spirits. Behind these lay a transcendentalist or idealist belief in the spirit, both the human spirit, which transcended matter, and the “spirit of the age.” For humanitarian and Protestant reformers like Parke Godwin, John Cole Hagen, Martin Tupper, and Carlos D. Stuart, that spirit was progress, the improvement of the human condition. Though most of the spiritualists, utopian socialists, musicians, and poets in Walcutt’s circle were liberals and internationalists, who disliked all fanaticism, they did share with nativists a belief in ethnic or cultural essentialism that helped define a national folk culture.
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Mozaffar, Omer M. "Chicago: City of the Imagination." In World Film Locations: Chicago, 6–7. Intellect, 2013. http://dx.doi.org/10.1386/9781841508016_2.

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Gone are the steel workers whose fire produced the nation’s infrastructure. Gone are the hog butchers whose muscular big shoulders gave shelter and protein to families and families of families and neighbours of neighbours. And friends. Or the stockyards, which sent along Chicago’s gifts to the world, wrapped so neatly in sweat and gruff. Or the refined jazz clubs of 47th Street, which redefined that truly American art form that makes us close our eyes and open our smiles. Or the mobsters who imposed a brutal honour among thieves without forgetting to dress respectfully for the sacraments at church on Sunday.
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Kemeny, P. C. "Introduction." In Princeton in the Nation's Service. Oxford University Press, 1998. http://dx.doi.org/10.1093/oso/9780195120714.003.0004.

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Princeton versus Harvard: this 1886 “battle of the Titans,” as one reporter described it, was not an athletic contest, and more was at stake than college pride. At a wintry February meeting of the Nineteenth Century Club at the American Art Gallery in New York City, a “large and fashionable” audience gathered to hear two combatants debate the question, “What place should religion have in a college?” Specifically, the question concerned the role of religious instruction and worship in collegiate education. Princeton College President James McCosh represented the denominational college and his counterpart at Harvard College, Charles W. Eliot, the neutral or nondenominational institution. Each president read his paper with a politeness befitting the Victorian sensibilities of the audience, yet beneath the decorum lay two very different understandings of the nature and role of religion in American collegiate education. McCosh had history on his side, but Eliot had the future on his. “Nearly all the older colleges, such as Harvard, Yale, and Princeton,” McCosh explained, “were founded in the fear of God, with the blessing of heaven invoked; they gave religious instruction to the students, and had weekly and daily exercises of praise and prayer to Almighty God.” Compulsory religious instruction and worship, McCosh insisted, were essential to the intellectual and moral well-being of students—America’s future leaders—and so, ultimately, to the welfare of the nation. Princeton, as with many other institutions established before the Civil War, was officially a nondenominational college chartered in 1746 to serve the general public. In reality, however, Princeton, was a de facto denominational college that met the educational needs and upheld the intellectual ideas of Presbyterians and the larger Protestant community. Because the older American colleges promoted a nonsectarian Protestantism, which would not give offense to any evangelical denomination, McCosh reasoned, they upheld the faith of most Americans and performed a public service. At Princeton, this traditional approach was still readily evident in the late nineteenth century.
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Doctor, Jenny. "From Forces’ Choice to Desert Island Discs: The BBC’s promotion of personal choice in wartime." In Defining the Discographic Self, edited by Julie Brown, Nicholas Cook, and Stephen Cottrell. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266175.003.0004.

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Up to 1939, the BBC followed a paternalistic music programming policy that sought to educate as well as to entertain, airing a high proportion of art music. When war was declared in 1939, the Corporation’s policies reversed, aiming to unite the nation and maintain morale. Shows focused on popular and light music, and the BBC developed alternative programming approaches, in particular the promotion of personal choice. Series like Forces Music Club, Forces’ Choice, and Forces’ Favourites, continuing after the war as Family Favourites and Two-Way Family Favourites, popularised a formula in which listeners requested gramophone recordings to be aired. Thus, when Roy Plomley’s Desert Island Discs launched in January 1942, it followed in a line of war-time, listener-led gramophone programmes; unusually, only this one featured musical choices of celebrated personalities. Little could anyone predict that DID’s programme formula would long outlast the policies and conditions of the BBC at war.
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Larson, Kate Clifford. "Reborn." In Walk with Me, 107–25. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096847.003.0008.

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This chapter explores how Fannie Lou Hamer emerged from the attack in Winona a changed woman. She recommitted herself to the civil rights movement, but it would be more on her terms. Her voice would be louder, more demanding. For the rest of the summer, the healing of her wounds took a back seat to her voter-registration efforts. Hamer filled her days organizing volunteers and encouraging local church groups, social clubs, businesses, and charitable associations to help canvas and urge people to attend meetings, Citizenship education classes, and register to vote. The goals were simple: engage eligible voters and let them experience "the art of voting," by instilling the "feeling of pride" and show Mississippi and the rest of the country that Blacks wanted to vote. The campaign quickly earned the nickname "Freedom Vote." Meanwhile, the rest of the nation took little notice of the ongoing struggles in Mississippi. The Kennedy Administration struggled with appreciating the need for comprehensive civil rights legislation and shoring up weakening southern Democratic party support.
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Goldsmith, Jack, and Tim Wu. "China." In Who Controls the Internet? Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195152661.003.0011.

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“Long live prostitutes” was the title of Wang’s posting. Fifteen years old, living in China, and full of teenage bluster, Wang had collected fifty-four reasons to think Chinese politicians worse than prostitutes. The list included:… • There is no indicator that prostitutes will disappear, but there are many indicators that the government will collapse. • Prostitutes allow others to oppose them, unlike the government which arrests opposition and “re-educates” them through labor. • Prostitutes have no power, unlike those who use their power to suppress others. • Prostitutes do not need you to love them, unlike that group which forces you to love it. • Prostitutes win customers with credibility, unlike those who maintain power with lies. • Prostitutes sell flesh, unlike those who sell soul…. Liu Di was a psychology student at Beijing Normal University who called herself the “Stainless Steel Mouse” and ran an “artist’s club” through her personal website. In 2002, in one of her many stunts, the twenty-two-year-old urged her followers to distribute Marxist literature:… Let’s conduct an experiment of behavioral art: disseminating communism on the street! We can print copies of “The Communist Manifesto.” However, we should take “Communist” out of the title. Then, like sociologists, we ask people on the street to sign their names onto the Manifesto…. Liu Di wrote an essay titled “How a national security apparatus can hurt national security.” Echoing typical criticism of governments everywhere, she called China’s security apparatus “limitless,” or possessed of “a tendency to expand, without limits, its size and functions.” Wang’s message and the writings of Liu Di appeared on obscure Internet sites. Nonetheless, they came to the attention of the Chinese authorities and provoked swift action. Soon after Wang posted his message, it was deleted. He was arrested in Henan and subjected to an unspecified punishment. Wang’s story was printed in the People’s Daily as a warning, with the headline “15-Year-Old Youth Punished For Making Reactionary Argument That the Government is Prostitute” The State Security Protection Bureau arrested Liu Di on her university campus on November 7, 2002.
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Conference papers on the topic "National Arts Club"

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Patru, Maria luminita, Negulescu Ioan, Irina Baitel, and Angelescu Liviu nicolae. "LATERALITY EMPHASIZING THROUGH CINEMATIC PARAMETERS ANALYSIS ON KARATE SHOTOKAN ATHLETES." In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-222.

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Starting from the sense that laterality represents the functional innegality of cerebral hemispheres asymmetry, and from the sumption that this functional asymmetry although can be subdued by training, it not receed completly,we will try to emphasize these aspects on advanced athletes practicing martial arts, black belt level. The hypothesis of this researchis that laterality can be highlighted bytheinstrumentalityof cinematic parameters analysys of the movements that we consider automatized. For this purpose we used MOVEN from Xsens equipment for human motion tracking using inertial navigation sensors. We have done position aquisitions for the subject's segments and these data underlied on callculation of fist's pathway and joint angles further analized. Data aquisitions took place in Biomotry department in National Institute for Sport Research from Bucharest. Equipped with MOVEN Xsens equipament, four athletes karate Shotokan practitioners, registered at Sports Club AIKO Bucharest, with an experience of 5 to 15 yearsof practice, performed Heian Nidan kata. On each athlete has been done three data aquisition sessions. Then, having an eye on the avatar recording offered by the dedicated software of the MOVEN equipment, we choose the time sequencesin which we analyzed and compared joint angles on elbow (arm - forearm) and in shoulder (arm vertical axis) and knee (upper leg - lower leg) boyh on the left and right side for emphasize the differences in identic postures (times 1, 2, 3 to the left and 4, 5 and 6 to the right). This angles has been calculated both for the right and left limbs.
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