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Relevant bibliographies by topics / Persona Volare (Group of artists)

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Academic literature on the topic 'Persona Volare (Group of artists)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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Journal articles on the topic "Persona Volare (Group of artists)"

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Griniuk, Marija. "Crossroads of Eastern Europe and the Arctic North – Artistic Personas and Creative Processes of Border-Crossing Artists." Migration Letters 20, no. 4 (2023): 97–105. http://dx.doi.org/10.47059/ml.v20i4.3196.

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This essay explores the development of an artistic persona and choices within the creative processes of border-crossing artists. Similar to the act of border crossing, the transcorporeal experience contains attempts to enter the unity of the body of the artist and the artwork with the socio-politics of the new site for artistic expression. In the action of border-crossing, artistic practice enters the holistic approach as the human, functioning in the new and unfamiliar society, and as the artist, thus continually shaping the individual’s artistic persona and artistic voice. The focus group da

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Brzobohaty, Avery. "Agency, Authenticity, and Parody in Palestinian Hip Hop." Journal of Popular Music Studies 32, no. 1 (2020): 44–56. http://dx.doi.org/10.1525/jpms.2020.32.1.44.

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Throughout the discourse surrounding the Israel-Palestine conflict many methods have emerged to examine the ways in which artists engage with the issues through popular culture. As hip hop spread globally, its universal themes and ability to constitute community led to the use of rap as a vehicle for political commentary. This paper explores how the Palestinian hip hop group DAM provides a commentary on the experiences of Palestinian-Israelis through carnivalesque methods to create shocking juxtapositions. Using an inter-textual method, we can see that humor allows DAM to freely speak “their t

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Hook, Dave. "Growing up in hip hop: The expression of self in hypermasculine cultures." Global Hip Hop Studies 1, no. 1 (2020): 71–94. http://dx.doi.org/10.1386/ghhs_00005_1.

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Recently, rappers Talib Kweli and Evidence discussed the conflict between rapper identity and individual identity as a person ages, with Kweli describing how a rapper’s persona ‘becomes like an armour’ and Evidence observing that ‘after a while that stops getting rewarding’ (People’s Party with Talib Kweli 2019: 54). These observations highlight the difficulties for artists to be able to express their own growth and development as their artist personas become ‘fixed’. This fixing or flattening of persona, combined with a hypermasculine culture that reflects a society where even the phrase ‘to

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Spivey, Virginia. "Sites of Subjectivity: Robert Morris, Minimalism, and Dance." Dance Research Journal 36, no. 1 (2004): 113–30. http://dx.doi.org/10.1017/s0149767700007592.

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Robert Morris's danceSite(Fig. 1) premiered in February 1964 at the Surplus Dance Theater in New York City. Choreographed and performed by Morris,Sitealso featured the visual artist Carolee Schneemann and several sheets of four-by-eight foot plywood. Although it may seem odd to include these wooden panels among the performers, they assumed an active role in the choreography. Ironically, it was Schneemann who provided the background scenery. Nude and covered in white paint, she sat motionless throughout the performance, recreating the pose and persona of Edouard Manet's famous 1863 painting ofO

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Barbour, Kim, P. David Marshall, and Christopher Moore. "Persona to Persona Studies." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.841.

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Sometimes a particular concept—a simple term—is the spark to a series of ideas. It might be ostentatious and perhaps hubristic that the editors of an issue on persona might imagine that their choice of the term persona has provided this intellectual spark. Fully aware of that risk, we want to announce that it has. The response to the call for papers related to persona was our first sign that something special was being initiated. The sheer number and interdisciplinary breadth of the abstracts and ultimate submissions was evidence that the term ‘persona’ was the catalyst to an explosion of idea

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LeBlanc, Carrie. "Stop Press!" M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2439.

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The plausibility of a ‘celebrity-artist’ is met with scepticism, suspicion and/or outright disdain amongst those who guard the traditions surrounding the exclusionary world of ‘High Art’. As a construct unique to the advent of media culture, the vapid and transient nature associated with contemporary celebrity negates the high-minded notion of genius retrospectively applied to a ‘hero-artist’ such as Michelangelo or Rembrandt. (Chris Rojek’s categories are useful in illustrating this difference. While the celebrity of earlier artists was based on talent, and thus, ‘achieved celebrity’, current

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Nairn, Angelique. "Chasing Dreams, Finding Nightmares: Exploring the Creative Limits of the Music Career." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1624.

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In the 2019 documentary Chasing Happiness, recording artist/musician Joe Jonas tells audiences that the band was “living the dream”. Similarly, in the 2012 documentary Artifact, lead singer Jared Leto remarks that at the height of Thirty Seconds to Mars’s success, they “were living the dream”. However, for both the Jonas Brothers and Thirty Seconds to Mars, their experiences of the music industry (much like other commercially successful recording artists) soon transformed into nightmares. Similar to other commercially successful recording artists, the Jonas Brothers and Thirty Seconds to Mars,

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Hadley, Bree. "Mobilising the Monster: Modern Disabled Performers’ Manipulation of the Freakshow." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.47.

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The past two decades have seen the publication of at least half a dozen books that consider the part that fairs, circuses, sideshows and freakshows play in the continuing cultural labour to define, categorise and control the human body, including Robert Bogdan’s Freakshow, Rosemarie Garland-Thomson’s Extraordinary Bodies, and her edited collection Freakery, and Rachel Adams’s Sideshow USA. These writers cast the freakshow as a theatre of culture, worthy of critical attention precisely because of the ways in which it has provided a popular forum for staging, solidifying and transforming ideas a

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Tomkinson, Sian. "“This kind of life has no meaning”." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3037.

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Voice synthesising software Vocaloid (Yamaha Corporation) is a popular tool for professional and amateur music production. At the time of writing, there are over 770,000 videos tagged ‘vocaloid’ on Niconico; karaoke chain Karatez displays the top five thousand tracks on its Website (Karatetsu); Hatsune Miku Wiki has over 59,000 pages, while the Vocaloid Lyrics Wiki has over 90,000. Vocaloid is part of Japan’s unique media mix, comprising of the software and music but also official collaborations and a significant amount of fan culture. However, while there is academic research on the way that

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Otsuki, Grant Jun. "Augmenting Japan’s Bodies and Futures: The Politics of Human-Technology Encounters in Japanese Idol Pop." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.738.

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Perfume is a Japanese “techno-pop” idol trio formed in 2000 consisting of three women–Ayano Omoto, Yuka Kashino, and Ayaka Nishiwaki. Since 2007, when one of their songs was selected for a recycling awareness campaign by Japan's national public broadcaster, Perfume has been a consistent fixture in the Japanese pop music charts. They have been involved in the full gamut of typical idol activities, from television and radio shows to commercials for clothing brands, candy, and drinks. Their success reflects Japanese pop culture's long-standing obsession with pop idols, who once breaking into the

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Books on the topic "Persona Volare (Group of artists)"

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Canadian club. Centre culturel canadien, 2005.

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Tomková, Denisa. Empowering Aesthetics. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350447264.

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The artistic strategies explored in this book are essential tools in fostering emancipatory consciousness in marginalized communities.Empowering Aestheticsweaves together case studies from the post-socialist Central European region (the Czech Republic, Hungary, Poland, and Slovakia) to show how art can provide critical support to gender, sexual and racialized groups. Theempowering aestheticsemployed by the artists in this book are not only urgent and critical, but also vitally personal, each chapter building a clear understanding of what social equality looks like in these specific political a

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Moskowitz, David, ed. The 100 Greatest Bands of All Time. Greenwood, 2015. http://dx.doi.org/10.5040/9798400605185.

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This one-of-a-kind reference investigates the music and the musicians that set the popular trends of the last half century in America. Many rock fans have, at one time or another, ranked their favorite artists in order of talent, charisma, and musical influence on the world as they see it. In this same spirit, author and music historian David V. Moskowitz expands on the concept of "top ten" lists to provide a lineup of the best 100 musical groups from the past 60 years. Since the chosen bands are based on the author's personal taste, this two-volume set provokes discussion of which performers

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Barkman, Adam, Ashley Barkman, and Nancy Kang. Culture and Philosophy of Ridley Scott. The Rowman & Littlefield Publishing Group, 2013. https://doi.org/10.5040/9781978732025.

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The Culture and Philosophy of Ridley Scott, edited by Adam Barkman, Ashley Barkman, and Nancy Kang, brings together eighteen critical essays that illuminate a nearly comprehensive selection of the director’s feature films from cutting-edge multidisciplinary and comparative perspectives. Chapters examine such signature works as Alien (1979), Blade Runner (1982), Thelma and Louise (1991), Gladiator (2000), Hannibal (2001), Black Hawk Down (2001), and American Gangster (2007). This volume divides the chapters into three major thematic groups: responsibility, remembering, and revision; real, alien

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Ziolkowska-Boehm, Aleksandra, and James S. Pula. Untold Stories of Polish Heroes from World War II. Hamilton Books, 2017. https://doi.org/10.5040/9780761877660.

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A full understanding of the historical process must include studies of the social and economic conditions of societies as well as biographies of the people on which a clear understanding of history is based—but not just the “great” people. Biographies of “average” individuals, who exist in a society, have their own experiences and are acted upon by their surrounding environments, are essential to a clear and complete understanding of the past and its influence on the present. In this respect, Aleksandra Ziolkowska-Boehm has made a major contribution to furthering the understanding of World War

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Peterson Jr., Bernard L. Profiles of African American Stage Performers and Theatre People, 1816-1960. Greenwood, 2000. http://dx.doi.org/10.5040/9798216001751.

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This directory includes over 500 African American performers and theater people who have made a significant contribution to the American stage from the early 19th century to the beginning of the civil rights movement of the 1960s. Entries provide succinct biographical and theatrical information gathered from a variety of sources including library theater and drama collections, dissertations and theses, newspaper and magazine reviews and criticism, theater programs, theatrical memoirs, and earlier performing arts directories. Among the professional artists included in this volume are performers

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Rink, John, Helena Gaunt, and Aaron Williamon, eds. Musicians in the Making. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.001.0001.

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Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice; instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one’s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informa

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Özpınar, Ceren, and Mary Kelly, eds. Under the Skin. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266748.001.0001.

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Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today is set out to show what is beneath the surface, under the appearances of skin, body, colour and provenance, and not the cultural fixities or partial views detached from the realities of communities, cultures and practices from the area. Through 12 chapters, Under the Skin brings together artistic practices and complex histories informed by feminism from diverse cultural and geographical contexts: Algeria, Egypt, Iran, Israel, Lebanon, Palestine, Saudi Arabia, Syria, Tunisia and Turkey. The aim is not to

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Book chapters on the topic "Persona Volare (Group of artists)"

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Detloff, Madelyn, and Brenda Helt. "Introduction." In Queer Bloomsbury. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401692.003.0001.

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This introduction explains how and why the essays of Queer Bloomsbury combine the Bloomsbury Group’s personal lives with aspects routinely elevated to a higher status – art, politics, philosophy – understanding these as inseparable aspects of the same phenomenon. Contributors to this volume neither shrink from nor capitalise on sexual details, but are primarily interested in how group members’ queer perspectives enabled their thinking and its results. Sexual intimacy between friends of either gender was not only accepted, but understood as a rich source of intellectual, artistic, and philosoph

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BINSKI, PAUL. "How Northern was the Northern Master at Assisi?" In Proceedings of the British Academy, Volume 117. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262795.003.0003.

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The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. These origins have been explored in a literature dominated by specialists in Italian and Byzantine art, and the conclusions have generally been the same, namely that the right transept was worked on by artists who were not only Italian but also French or English, and who remained content to work in distinctively native styles. This chapter argues that the case for specifically English influence at Assi

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Williams, Howard. "Firing the Imagination: Cremation in the Museum." In Archaeologists and the Dead. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198753537.003.0022.

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The displays of articulated, unburned, and fleshed human remains in European museums are often claimed to fixate and simultaneously repulse the modern viewer, and provoke all manner of varied responses in between these extremes (Brooks and Rumsey 2007: 279–80). Unused to the sights (and smells) of corpses and skeletons, the modern visitor is certainly fascinated by the uncanny nature of the archaeological dead. While bearing the signs of transformation by time and treatment, they often retain an unsettling individual persona, regularly enhanced by being posed, re-clothed, and sometimes awarded

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