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Books on the topic 'Sete Artes'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Vilor, Klavdii︠a︡ Denisovna. Povestʹ o sebe. GITIS, 2005.

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2

Kochergin, Andreĭ. Absol︠i︡utna︠i︡a besposhchadnostʹ-- k sebe. Izd-vo "Krylov", 2008.

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3

La casa de Jerónimo Pinelo: Sede de las Reales Academias Sevillanas de Buenas Letras y Bellas Artes. Colegio Oficial de Aparejadores y Arquitectos Técnicos de Sevilla, 2006.

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4

Chŏng, Hŏn-il. Munhwa yesul pumun seje kaesŏn pangan yŏnʼgu. Munhwa Kwanʼgwangbu, 2007.

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5

Abreu, Carla. A sede do IAP: Uma arquitetura conceitual. Instituto de Artes do Pará, 2001.

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6

Paris, Tony. The Canals of the Midi: Canal du Midi from Toulouse to Sète, Canal du Rhone a Sete, from Sète to Beaucaire & Arles. 4th ed. Enterprise Pubns., 1995.

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7

O sebe a o svojej práci: About me and my work. Slovenské centrum dizajnu, 2009.

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8

Schwarz, Werner Michael, and Ingo Zechner. Die helle und die dunkle Seite der Moderne: Festschrift für Siegfried Mattl zum 60. Geburtstag. Verlag Turia + Kant, 2014.

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9

Sylvain, Catherine. Images et e crits: Te moins des oeuvres pre sente es a Expression = Images and writings : lasting traces of works presented at Expression. Dalhousie Art Gallery, 2000.

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10

Tot samyĭ Krasnov. AST, 2007.

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11

Cirlot, Lourdes. El grupo "Dau al Set". Cátedra, 1986.

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12

Graziani, Michela, ed. Trasparenze ed epifanie. Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-473-2.

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Il volume Trasparenze ed epifanie. Quando la luce diventa letteratura, arte, storia, scienza riunisce trenta contributi presentati al convegno interdisciplinare organizzato all’Università degli Studi di Firenze in occasione dell’International Year of Light 2015. Studiosi delle scienze, della storia, storia dell’arte e del cinema, della filosofia, della filologia e della teoria della letteratura e delle letterature italiana, straniere e comparate, provenienti da sette dipartimenti dell'ateneo fiorentino, introducono alle varie accezioni e rappresentazioni simboliche della luce in epoca antica,

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13

The Coen brothers. Phoenix, 2001.

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14

Herbert, Jocelyn. Jocelyn Herbert: A theatre workbook. Applause, 1997.

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15

Puig, Arnau. Històries de dau al set: Cinquanta anys. Thassàlia, 1998.

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16

Wood, Michael. Alfred Hitchcock: The man who knew too much. New Harvest/Houghton Mifflin Harcourt, 2015.

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17

McKittrick, Casey. Hitchcock's Appetites. Bloomsbury Academic, 2016.

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18

Sōhō, Takuan. The unfettered mind. Shambhala, 2012.

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19

See it now confronts McCarthyism: Television documentary and the politics of representation. University of Alabama Press, 1994.

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20

Fasora, Lukáš, Jan Čermin, Jana Čerminová, Jiří Hanuš, and Michaela Máliková. Sto tváří, sto příběhů. Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.m210-9605-2020.

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The book commemorating the centenary of the establishment of the Faculty of Arts is also a contribution to the anniversary of the whole Masaryk University. Its aim is to walk through the history of the faculty by means of a biographical method, i.e., using short biographies that introduce representative, prominent or interesting personalities whose fates and work were connected with the faculty. There was certainly no lack of biographical views in the research of the faculty history, still, such a complex set of biograms has not been collected so far. And the publication offers much more: the

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21

Palm, Rainer. Model based fuzzy control: Fuzzy gain schedulers and sliding mode fuzzy controllers. Springer, 1997.

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22

Annarita, Puglielli, and Università degli studi Roma tre. Dipartimento di linguistica., eds. Barashada Naxwaha af Soomaaliga =: A Somali school grammar. HAAN Associates, 1999.

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23

Erwin, Köstler, and Zauner Anne, eds. Die Andere Seite: Bild, Klang, Text : Grenzgänge in der österreichischen Kunst des 20. Jahrhunderts. Haymon, 1996.

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24

Die Andere Seite: Bild, Klang, Text : Grenzgänge in der österreichischen Kunst des 20. Johrhunderts. Zirkular, 1996.

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25

Giancarlo, Pignataro, ed. Le fabbriche dei Borbone di Napoli: Appunti di viaggio tra le sete di San Leucio, le porcellane di Capodimonte e i coralli di Torre del Greco. A. Pellicani, 2002.

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26

Schrag, Brian, and Kathleen J. Van Buren. Celebrate and Integrate for Continuity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878276.003.0008.

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Step 7 is the final step in the Make Arts process. It includes suggestions for promoting continual creativity within communities and for celebrating both new and older arts forms. It describes results-based management (RBM) and demonstrates how to create arts-related results chains. The focus, however, is not so much in providing a new set of activities, but in urging readers to continue applying all seven of the Make Arts steps. Embedding the Make Arts cycle in community life will result in the best chance for better lives to continue to emerge and endure. This section also includes a case st

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27

Grant, Jane, John Matthias, and David Prior, eds. The Oxford Handbook of Sound Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190274054.001.0001.

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The Oxford Handbook of Sound Art is a collection of new essays by artists and thinkers exploring the uses of sound in contemporary arts practice. Between them these chapters bring together a wide variety of perspectives and practices from around the world into the six overarching themes of Space, Time, Things, Fabric, Senses, and Relationality that form the structure of the book. These themes were chosen to represent some of the key areas of debate and development in the visual arts and music during the second half of the twentieth century from which Sound Art emerged. Emerging from a liminal

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28

E, Komendant August, Tenreiro Oscar 1939-, Sesto Francisco 1943-, and Galería de Arte Nacional (Venezuela), eds. Proyecto nueva sede, Galería de Arte Nacional, Caracas =: New National Gallery of Art project, Caracas. La Galería, 1986.

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29

Volz, Jim. Introduction to Arts Management. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474239820.

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Introduction to Arts Management offers a unique, dynamic and savvy guide to managing a performing or visual arts organization, be that an arts center, theatre, museum, art gallery, symphony orchestra, or other arts company. For those training to enter the industry, workers in arts administration, or those seeking to set up their own company, the wealth of expert guidance and direct, accessible style of this authoritative manual will prove indispensable. Gathering best practices in strategic planning, marketing, fundraising and finance for the arts, the author shares practical, proven processes

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30

Wolf, Benjamin. The British symphony orchestra and the Arts Council of Great Britain. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0016.

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This chapter explores the relationship between British symphony orchestras and the Arts Council of Great Britain. Combining archival research with institutional sociology and cultural economics, it describes how the Arts Council’s demands changed between 1946 and 2000, and how financial and ideological constraints prevented the successful execution of some of these demands. Between 1946 and 1980, symphony orchestras were encouraged to focus on professional performances of the ‘fine arts’ and the performance of music by living composers. Subsequently the 1980s and 1990s witnessed a collapse in

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31

Crawford, Margo Natalie. The Politics of Abstraction. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041006.003.0003.

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The second chapter shows that the Black Arts Movement called upon abstraction as the movement hailed blackness. Crawford argues that the black abstract art of the 21st century is a direct continuation of the Black Arts Movement working of abstraction for its blackest possibilities. The paintings of the Afri-COBRA collective are as central to this chapter as the 21st century sculpture of Barbara Chase-Riboud and the 21st century paintings of Kerry James Marshall. This chapter argues that we have failed to see the connections between strategic essentialism and what Crawford names “strategic abst

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32

Fair, Alistair. ‘An Instrument of Policy and Something Socially Desirable’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0002.

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This chapter sets the post-war theatre-building boom in a national context by outlining the emergence of a system of public support for the arts. Though only ever one source of income for theatres (and one which was limited in its extent), the advent of subsidy had important consequences. The creation of the Arts Council of Great Britain in 1946 and the Local Government Act of 1948 transformed certain kinds of theatre from an essentially commercial activity into something that could be considered a public amenity, a cultural arm of the welfare state. The ways in which this development was just

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33

Crawford, Margo Natalie. Introduction. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041006.003.0001.

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This introduction presents the theory of “black post-blackness” as a way of rethinking the mood of the 1970s, second wave of the Black Arts Movement. Crawford uncovers the inseparability, during the second wave of this cultural movement, of the hailing of blackness and the questioning of blackness. This introduction shows that this holding on to a blackness that keeps sliding away is the black post-blackness that shapes the 1970s second wave of the Black Arts Movement and resurfaces in the early years of the 21st century as writers and visual artists shape blackness into an unbelonging that cr

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34

Crawford, Margo Natalie. Who’s Afraid of the Black Fantastic? University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041006.003.0008.

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This chapter uncovers the overcoming of the binary of surface and depth in the Black Arts Movement mobilization of the substance of style. Crawford shows that when we put the visual and literary art of the Black Arts Movement and the 21st century together, we can see the often unrecognized use of surface as surface (in both movements). This chapter argues that black post-blackness teaches us that the external must stop being pathologized and depth must stop being celebrated as the rejection of play and performance. This chapter analyzes the art and performances of Erykah Badu, Nikki Giovanni,

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35

Stevenson, Jane. Baroque between the Wars. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.001.0001.

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This book re-examines the arts in the 1920s and 1930s, arguing that rather than being dominated by modernism, the period saw a dialogue between modern baroque—eclectic, playful, and open to influence from popular culture—and modernism, which was theory-driven, didactic, and exclusive, features which suggest that it was essentially a neoclassical movement. Thus the period is characterized by the ancient competition between baroque and classical forms of expression. The author argues that both forms were equally valid responses to the challenge of modernity by setting painting and literature in

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36

Forster, Michael N. Aesthetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199588367.003.0007.

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Aesthetics, or the philosophy of literature and art, was one of Herder’s main focuses. By valorizing these areas of culture (in comparison with others such as science and religion) and in several other ways he prepared the ground for German Romanticism. He also established many principles of great intrinsic importance: rejecting apriorism and systematization in aesthetics in favor of an empirical, non-systematic approach; insisting that arts such as sculpture and painting express meanings and therefore require interpretation; recognizing the central role of genre not only in literature but als

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37

Quevedo, Marysol. Experimental Music and the Avant-garde in Post-1959 Cuba. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0014.

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This chapter examines how experimental music in the 1960s in Cuba reached wider audiences as a product of the cultural policies of the Cuban Revolution and of the aesthetic goals of a particular set of individuals who took advantage of the new cultural institutions to promote experimental music under the banner of vanguardia. As music advisor of the Orquesta Sinfónica Nacional, Juan Blanco programed new music by international and Cuban composers. As music director of the Instituto Cubano de Artes e Industrias Cinematográficas, Leo Brouwer recruited composers who shared his interest in experime

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38

Francesca, Mazza. Ch.9 Assignment of rights, transfer of obligations, assignment of contracts, s.3: Assignment of contracts, Art.9.3.6. Oxford University Press, 2015. http://dx.doi.org/10.1093/law/9780198702627.003.0198.

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This commentary analyses Article 9.3.6 of the UNIDROIT Principles of International Commercial Contracts (PICC) concerning defences and rights of set-off with respect to assignment of contracts. Transfer of contracts typically involve the transfer of both rights and obligations. With regard to defences and set-off, Art 9.3.6 makes reference to the respective provisions in Sections 9.1 and 9.2 of the PICC. Accordingly, Arts 9.1.13 and 9.2.7 apply when a contract is transferred. With regard to the terminology when applying Art 9.2.7 to the transfer of a contract, the assignor of the contract is r

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39

Humphrey Jennings: Film-maker, Painter, Poet. British Film Institute, 2014.

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40

Neil Jordan: Interviews. 2013.

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41

Jennings, Marie-Louise. Humphrey Jennings: Film-Maker, Painter, Poet. BFI Publishing, 2014.

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42

O'Shea, Janet. Risk, Failure, Play. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190871536.001.0001.

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Decried as mere brutality on display and celebrated as viscerally real, combat sport has escaped nuanced reflection. Risk, Failure, Play addresses this gap, signaling the many ways in which competitive martial arts differentiate themselves from violence through risk-based play. Despite its association with frivolity and ease, play is not the opposite of danger, rigor, or failure. Indeed, Risk, Failure, Play demonstrates the ways in which physical recreation allows us to manage the complexities of our current social reality. This book suggests that play gives us the ability to manage difficult

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43

Courtney, Cathy, and Jocelyn Herbert. Jocelyn Herbert: A Theater Workbook: Paperback Book. Applause Books, 2000.

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44

Herbert, Jocelyn. Jocelyn Herbert: A Theater Workbook. Applause Books, 2000.

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45

Bergan, Ronald. Coen Brothers. Skyhorse Publishing Company, Incorporated, 2016.

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46

Yaari, Nurit. The Classical Tradition in University Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0011.

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This chapter surveys the history of classical Greek drama productions at the Department of Theatre Arts of Tel Aviv University as the basis for an exploration of the issue of theatre and art education. By analysing the students’ approach to classical Greek drama, we can see how they deal with the interpretative reading, translation, and performance of such texts on stage. We also see how the ancient works invite the students to delve more deeply into their distinctive content and forms; to draw links between theory and practice, and between text and context; to gain a deeper understanding of t

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47

Antiguo Arsenal de la Marina Española (San Juan, P.R.) and Instituto de Cultura Puertorriqueña, eds. Muestra nacional de artes plásticas, 2003: Antiguo Arsenal de la Marina Española, La Puntilla ; Antiguo Asilo de Beneficencia, sede del ICP, Ballajá ; Compañía de Turismo de Puerto Rico, Sala de Exposiciones Paseo de la Princesa : Viejo San Juan, 20 de septiembre al 14 de diciembre de 2003. Instituto de Cultura Puertorriqueña, 2003.

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48

Sze, Julie, ed. Sustainability. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479894567.001.0001.

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This book seeks to contextualize sustainability in three key ways: interdisciplinary formations, specifically the sciences, arts, societies, scale, and social justice. “Situating” sustainability suggests an analytic that can be applied to any of the individual contributions in this book: it implies an awareness as to the multiple ways that sustainability is marshalled and lack of sustainability/ justice experienced in social and political life. Each section has an “anchor” or framing chapter that will set the stage for the individual chapters to follow as well as a praxis-oriented contribution

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49

Parker, John, and Richard Reid, eds. The Oxford Handbook of Modern African History. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199572472.001.0001.

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This book critically reflects upon the current state of the field of modern African history. It focuses on the history of the continent in the nineteenth and twentieth centuries, although also looks back to the era of the Atlantic slave trade. Its aim is to consider the evolution of the field and to set out where, after fifty years of sustained research, it has arrived. To do so, each of its twenty-six chapters explores a particular theme, organized in five sections: Key Themes in African History; The Colonial Encounter; Religion and Belief; Society and Economy; and Arts and the Media.

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50

Brown, Sonia Mara Ruiz. Riqueza Literária. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-264-3.

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Ao longo dos anos tenho publicado vários artigos em diferentes revistas acadêmicas, fruto do meu fervor pela literatura e interesse de compartilhamento. Tenho, contudo, sete artigos não publicados que, no conjunto, compõem um cenário bastante interessante em relação ao universo literário: A poesia engajada de Drummond, Definições de si mesmo em O Bicho Harmonioso de Vitorino Nemésio, Dor e Música em Clepsidra de Camilo Pessanha tratam de poesia, dos recursos empregados; Diálogo entre Florbela Espanca e Antero de Quental, aborda a intertextualidade entre os poetas; A mulher declamada na Literat

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