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Journal articles on the topic 'Western art canon'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Citron, Marcia J. "Women and the Western Art Canon: Where Are We Now?" Notes 64, no. 2 (2007): 209–15. http://dx.doi.org/10.1353/not.2007.0167.

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Мельничук, М. С. "РЕЛІГІЄЗНАВЧО-ФІЛОСОФСЬКА ТРАНСКРИПЦІЯ СИМВОЛУ ТА КАНОНУ В КОНТЕКСТІ РЕЛІГІЙНОГО МИСТЕЦТВА". Humanities journal, № 3 (22 грудня 2018): 72–77. http://dx.doi.org/10.32620/gch.2018.3.07.

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The article makes an attempt to reveal the peculiarities of influence of such components of religious art as symbol and canon, in the context of the impact on man as a whole. The researcher is interested in the process of their functioning in religious art, both from the side of religious-philosophical analysis and from the point of view of art studies.The symbol, as an integral part of religion, serving both a liturgical and ritualistic function, is the embodiment of the existential meaning of the divine world, immutable and eternal. The symbols clearly demonstrate the presence in the earthly

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ZASLAW, NEAL. "THE NON-CANONIC STATUS OF MOZART’S CANONS." Eighteenth Century Music 3, no. 1 (March 2006): 109–23. http://dx.doi.org/10.1017/s1478570606000510.

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Mozart's canons are rather inadequately represented in the Köchel catalogue and the Neue Mozart Ausgabe. The same may be said about other music for his immediate circle of friends, colleagues and patrons, as well as his dance music and his contributions to pasticcios. Neglect of these ‘minor’ genres perhaps arises at least in part from anachronistic paradigms, for instance ‘masterpieces for posterity’. And the canons suffer additionally from the peculiar nature of their sources and transmission, from uncertainty about the position of canons in the ‘canon’ of Western art music and probably also

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Barak, Noa Avron. "The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art." Arts 9, no. 2 (March 26, 2020): 42. http://dx.doi.org/10.3390/arts9020042.

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This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Art

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Schefold, Reimar. "Stylistic canon, imitation and faking: Authenticity in Mentawai art in Western Indonesia." Anthropology Today 18, no. 2 (April 2002): 10–14. http://dx.doi.org/10.1111/1467-8322.00109.

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Lahoda, Vojtech. "Cubism Translated? The Western Canon of Modernism and Central/Eastern European Art History." Art in Translation 2, no. 2 (June 2010): 223–38. http://dx.doi.org/10.2752/175613110x12706508989532.

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Bauduin, Tessel M., and Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)." Journal of European Periodical Studies 4, no. 1 (June 30, 2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.

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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art

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D'Souza, Aruna. "In the Wake of “In the Wake of the Global Turn”." ARTMargins 1, no. 2–3 (June 2012): 176–85. http://dx.doi.org/10.1162/artm_r_00027.

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This article looks back on the consequence, for a scholar of the art of the western canon, of a two-day conference held at the Clark Art Institute titled “In the Wake of the Global Turn: Propositions for an Exploded Art History Without Borders.” The author reflects on the pedagogical challenges of the ethical and political project of reimagining the limits of the discipline in both geographic and theoretical terms in order to accommodate issues of the untranslatable, incommensurable, and irresolvable when it comes to visual cultures from around the world. As well, the article touches on the wa

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Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (November 16, 2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.

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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on ca

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West, Julia Maurine. "Canonized repertoire as conduit to creativity." International Journal of Music Education 37, no. 3 (April 17, 2019): 407–24. http://dx.doi.org/10.1177/0255761419842417.

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Evidence found throughout the history of Western European art music reveals traditions that encompassed improvisation. This furthers the idea that without improvisation, music education based on canonized works of Western European art music is incomplete. When the goal of music education is to preserve works exactly as notated, improvisation occupies a marginal role in representations and practices commonly associated with the canon. Drawing upon participant observation and semi-structured interviews, this ethnographic case study investigates narratives of experience and pedagogical strategies

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Ayres, Isabel. "Viewpoint: Art information in Latin America." Art Libraries Journal 40, no. 3 (2015): 3–4. http://dx.doi.org/10.1017/s0307472200000286.

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Several museums and libraries in North America and Europe house in their collections expressive works of art from Latin America. An understanding of the source of such collections requires study of their history and of the background from which they come, even if, as a matter of fact, collecting works of art and bibliographical assets on such a theme is not new. The interest in studying artworks which do not belong to the so-called western canon enables a wider knowledge of the art in Latin America. Notwithstanding the reasons behind such interest, it is worth noting that some facts related to

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Hetrick, Jay. "Machinic Animism in Japanese Contemporary Art." Deleuze and Guattari Studies 16, no. 4 (November 2022): 545–78. http://dx.doi.org/10.3366/dlgs.2022.0494.

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At the core of Félix Guattari’s ethico-aesthetic paradigm is a conception of subjectivity that somehow relies upon the notion of animism. Even though this apparently Romantic return to animism may seem vague and perhaps even naive, it forms the very framework that Guattari asks us to pass through, at least provisionally, in order to fully grasp his last project. I will therefore attempt to demystify this important concept theoretically before showing how the aesthetic machines of Japanese contemporary art – and more specifically, the conceptual art of Yoko Ono – stage one key aspect of Guattar

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Junge, Sophie. "Art Is Still Not Enough. Bilder von AIDS im Spannungsfeld zwischen Kunstanspruch und politischer Mobilisierung." Zeitschrift für Kunstgeschichte 79, no. 2 (December 30, 2016): 261–75. http://dx.doi.org/10.1515/zkg-2016-0020.

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Abstract The paper examines the reception of HIV/AIDS-related artworks from the 1980s by comparing four New York exhibitions from the early 1990s and 2010s. It argues that to this day artworks dealing with AIDS are bound to political and moral demands of former activists from the AIDS movement in New York. This politicization of historical images of AIDS is striking since the disease has lost its fatal threat in Western countries and political constellations have changed. Yet current exhibitions focus only on activist, politically motivated responses to the epidemic in order to represent an “a

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Molodin, V. I., J. M. Geneste, L. V. Zotkina, D. V. Cheremisin, and C. Cretin. "The “Kalgutinsky” Style in the Rock Art of Central Asia." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 3 (September 21, 2019): 12–26. http://dx.doi.org/10.17746/1563-0110.2019.47.3.012-026.

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On the basis of petroglyphic sites Kalgutinsky Rudnik (Kalgutinsky mine) on the Ukok Plateau, Baga-Oigur and Tsagaan-Salaa in northwestern Mongolia, a distinct “Kalgutinsky” style of rock art of the Russian and Mongolian Altai is described. The distance between these sites is about 20 km. This group is marked by very specifi c stylistic features, common technological properties, a narrowly defi ned motif, featuring only animals, and a very intense desert varnish. All these features and the proximity of the sites suggest that they should be regarded as a special group, which we term the “Kalgut

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Lang, Jacob, Despina Stamatopoulou, and Gerald C. Cupchik. "A qualitative inquiry into the experience of sacred art among Eastern and Western Christians in Canada." Archive for the Psychology of Religion 42, no. 3 (June 27, 2020): 317–34. http://dx.doi.org/10.1177/0084672420933357.

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This article begins with a review of studies in perception and depth psychology concerning the experience of exposure to sacred artworks in Roman Catholic and Eastern Orthodox contexts. This follows with the results of a qualitative inquiry involving 45 Roman Catholic, Eastern and Coptic Orthodox, and Protestant Christians in Canada. First, participants composed narratives detailing memories of spiritual experiences involving iconography. Then, in the context of a darkened room evocative of a sacred space, they viewed artworks depicting Biblical themes and interpreted their meanings. Stimuli i

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Volskaia, Tatiana V. "Vitae as a Subject Source in the West European Pictorial Art of the 14–17th Centuries (On the Example of the Image of Saint Jerome of Stridon)." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 437–66. http://dx.doi.org/10.21638/spbu15.2021.305.

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For many centuries, Western European art drew its subjects from ancient history, mythology and the Bible. The artists paid great attention to the depiction of saints, for each of whom, over time, a pictorial canon with its own attributes and certain subjects was formed. As a result, the viewer not only easily recognized a particular saint, but he could also get acquainted with the facts of his biography and the role he played in the history of the church. Saint Jerome of Stridon was one of the most popular among artists, of all the Fathers of the Church he was portrayed more often than others.

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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.

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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.

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Sara Amber and Dr Shahid Rasool. "WESTERN POETIC INFLUENCES ON MAJEED AMJAD'S POETRY." Tasdiqتصدیق۔ 4, no. 2 (January 10, 2023): 245–65. http://dx.doi.org/10.56276/tasdiq.v4i2.129.

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Majeed Amjad is a great poet of the 20th century who primarily loved his fellow humans, and who expressed this love through his account of deep affection for nature. His poetic grandeur has long been denied, and his artistic status has not been acknowledged the way he deserved it, yet he continued working his own way. Despite facing serious financial hardships, he utilized his artistic abilities aptly and stamped an unerasable shadow of his artistic self on Urdu Literature that will remain with it till the point time this literature will exist. Majeed Amjad, who had been ignored through the ef

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Kyrchanoff, Maksym W. "Femine Body in the Mass Culture of Iran: between Nudity and Marginalization." Corpus Mundi 2, no. 3 (November 9, 2021): 70–124. http://dx.doi.org/10.46539/cmj.v2i3.42.

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The author analyses the problems of visualisation and marginalisation of female corporeality in developments of Iranian political and cultural identity from the early modernisation project of the 19th century and the radical modernisation of the 1920s – 1970s to the Islamic Revolution of 1979, which changed significantly the vectors and trajectories of the visualisation of the female body in public spaces and the discourse of Iranian culture. The author believes that Iran / Persia in the 19th century belonged to the number of Muslim countries that were under stable European influences. Russia

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Llamas, Regina. "Wang Guowei and the Establishment of Chinese Drama in the Modern Canon of Classical Literature." T'oung Pao 96, no. 1 (2010): 165–201. http://dx.doi.org/10.1163/156853210x515675.

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AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthe

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Quiñones-Otal, Emilia. "Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean." Arte, Individuo y Sociedad 31, no. 3 (July 1, 2019): 677–93. http://dx.doi.org/10.5209/aris.61786.

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Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women’s lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a c

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Kursova, Marina, and Evgeniya Repina. "CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA." INNOVATIVE PROJECT 4, no. 10 (December 2019): 20–25. http://dx.doi.org/10.17673/ip.2019.4.10.2.

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The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transf

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Aceves Sepulveda, Gabriela, and Matilda Azlisadeh. "Alternative Beginnings." Media-N 14, no. 1 (September 26, 2018): 1–10. http://dx.doi.org/10.21900/j.median.v14i1.57.

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In this paper, we discuss three alternative approaches to the dominant histories of techniques of illusion and interaction that emerged in the context of the panel “Alternative Beginnings: Towards an-Other history of immersive arts and technologies” sponsored by the New Media Caucus presented at the 2018 College Art Association Conference. Bringing together recent insights by media archaeologists (Huhtamo and Parikka 2011, Parikka 2012), decolonial thinkers (Mignolo 2011a, b), feminist and indigenous media scholars (Zylinska 2014, Todd 1996, Todd 2015) we invited papers that gave visibility to

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Marrero Henríquez, José Manuel. "The Identity of Hispanic Literatures: One Breath, a Million Words." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (September 25, 2020): 74–81. http://dx.doi.org/10.37536/ecozona.2020.11.2.3496.

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Nothing can stop the tides of innovation in art: it is this idea that a captive, dirty, weak, and hungry Don Quixote embraced to affirm himself as the heroic referent for the emerging Romance literatures. Indeed, this adaptability has been the secret of his longevity in the Western canon. Like Don Quixote, Hispanic literatures cannot build their identity on a pristine, metropolitan, and uniform Spanish language elevated by its exclusivity. If literary Hispanism is to be alive, it needs to evolve into a complex cultural construction that binds together the oral and literate languages of Americ

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Mantzourani, Eva. "HANS KELLER, NIKOS SKALKOTTAS AND THE NOTION OF SYMPHONIC GENIUS." Tempo 67, no. 263 (January 2013): 33–59. http://dx.doi.org/10.1017/s0040298212001040.

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AbstractIn his writings on music Hans Keller includes Skalkottas among the few great twentieth-century composers of ‘symphonic thought’, and considers him to be the only ‘symphonic genius’ after Schoenberg whose ‘genius’ remains to be discovered. Although during the time of his writings, Keller was in a minority in his appreciation of this relatively minor composer in the Western art music canon, he did not analyse any of Skalkottas's music in support of his views, as he did with the works of other composers who, although important to him, are not elevated to such a high plane. This paper firs

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Mokgosi, Meleko, and Ashleigh Barice. "Painting historiography: Meleko Mokgosi's Democratic Intuition." Soundings 79, no. 79 (November 1, 2021): 153–64. http://dx.doi.org/10.3898/soun.79.10.2021.

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This interview focuses particularly on Democratic Intuition (2013-20), Meleko Mokgosi's epic, eight-chapter painting cycle, the title of which references Gayatri Spivak's lecture on the necessary relationship between education and democracy. Education, reflection on theory and practice and engagement with young practitioners are all important parts of Mokgosi's work. The interview discusses the way the chapter format of Democratic Intuition is influenced by film processes, and the research and critical analysis on which his work is based; this includes historiography; the western genre of hist

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Wagner, Keith B., and Michael A. Unger. "Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture." Visual Communication 18, no. 1 (January 3, 2018): 83–106. http://dx.doi.org/10.1177/1470357217742333.

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As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim app

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PERCHARD, TOM. "Growing Old Together: Pop Studies and Music Sociology Today." Twentieth-Century Music 14, no. 2 (June 2017): 335–43. http://dx.doi.org/10.1017/s1478572217000251.

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Popular music and society had been thought inseparable long before the union was made official, at first in the title of pop's original academic journal (1971), later in that of a much-taught textbook (1995). In many minds at late century, sociologies of music were sociologies of pop: Western art music's true believers could still easily imagine that repertoire existing on another plane – the historical literature was devoted to the minute detailing of its mucky creative contexts, but that didn't have to matter – and critically minded, social science-trained pop scholars usually didn't care en

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Stefanowska, Lidia. "Антитези і парадокси у поезії. До 110 роковин з дня народження Б. І. Антонича". Studia Ucrainica Varsoviensia 7 (27 листопада 2019): 137–47. http://dx.doi.org/10.5604/01.3001.0013.6192.

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Bohdan Ihor Antonych was one of the most remarkable modernist Ukrainian poets of the twentieth century. He left an extraordinary lite rary legacy with just a handful of books of published poetry despite his premature death at the age of twenty-eight in 1937. He was a poet, literary critic, translator, and journalist. From the outset of his literary career, in the context of western Ukrainian literature, his poetry had a diﬀ erent sound and texture to it. Antonych’s literary interests were unconventional for his milieu: he concerned himself with the metaphysical, philosophical, and metapoetic i

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Daher-Nashif, Suhad, and Tanya Kane. "A culturally competent approach to teaching humanities in an international medical school: potential frameworks and lessons learned." MedEdPublish 12 (May 11, 2022): 6. http://dx.doi.org/10.12688/mep.18938.2.

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Background: This paper describes the development of a culturally competent medical humanities course for second and third-year medical students at the ethnically diverse College of Medicine at Qatar University. First taught in 2016, the elective seminar “Medicine and the Arts” was restructured in 2017 to cultivate an appreciation of the symbiotic relationship between medicine, art, and humanities, and to foster cultural competence among the students. Methods: Results and tips are based on our experiences and past reports. Results: In designing a course for students immersed in an Arab-Muslim c

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Daher-Nashif, Suhad, and Tanya Kane. "A culturally competent approach to teach humanities in international medical school: potential frameworks and lessons learned." MedEdPublish 12 (February 3, 2022): 6. http://dx.doi.org/10.12688/mep.18938.1.

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Background: This paper describes the development of a culturally competent medical humanities course for second and third-year medical students at the ethnically diverse College of Medicine at Qatar University. First taught in 2016, the elective seminar “Medicine and the Arts” was restructured in 2017 to cultivate an appreciation of the symbiotic relationship between medicine, art, and humanities, and to foster cultural competence among the students. Methods: Results and tips are based on our experiences and past reports. Results: In designing a course for students immersed in an Arab-Muslim c

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Navetnaya, Anna P. "The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets." Observatory of Culture 17, no. 6 (February 10, 2021): 626–37. http://dx.doi.org/10.25281/2072-3156-2020-17-6-626-637.

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This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, wh

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Taxel, Joel. "Multicultural Literature and the Politics of Reaction." Teachers College Record: The Voice of Scholarship in Education 98, no. 3 (March 1997): 417–48. http://dx.doi.org/10.1177/016146819709800302.

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The social climate of the United States of today is dramatically different from that which gave birth to multicultural children's literature. Conservatism's rise to political ascendancy has sharpened the contentious “culture wars” that surround virtually all aspects of American culture. One important dimension of today's conservative movement is a backlash against the multicultural movement. Conservative defenders of the traditional literary canon, for example, see multicultural literature as a threat to the very fabric of Western civilization. Within children's literature circles, charges abo

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Markov, Alexander. "Rubens in Russian poetry: from ecfrasis to ideology and vice versa." Literatūra 61, no. 2 (December 15, 2019): 150–61. http://dx.doi.org/10.15388/litera.2019.2.11.

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Although the name of Rubens was included in the canon of well-known Western European artists in the Russian 18 century and his style was quite recognizable, an appeal to the artistic poetics of Rubens was rare, and Rubens’s eccentricities, created by Valery Bryusov and Nikolai Oleinikov, are full of ambiguities and obscure places. The article clears up all these obscurities based on the enlightening notion of Rubens as an artist capable of only a local mimesis, of portraying the life of Flanders, but not of a classic imitation of nature. This thesis was adopted by Pushkin and Dostoevsky and gr

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Kodres, Krista. "Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case." Artium Quaestiones, no. 30 (December 20, 2019): 211–23. http://dx.doi.org/10.14746/aq.2019.30.10.

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The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found n

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Kalynych, Kateryna. "Foreign / World Literature: The Problem of Nominative Definition." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2021): 165–81. http://dx.doi.org/10.31861/pytlit2022.106.165.

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The terminological load of the phrase “foreign / world literature” is outlined. The attention is focused on the semantic, cultural-historical, epistemological features of this concept. Literature as a verbal art, being formed since the time of oral folk creativity, reflects the corresponding established canon in the national expression, accordingly, the dynamics of the world literary process. It is emphasized that the development of national literatures had strengthened the nature of explicit-implicit literary relationships. It contributed to the formation of new genres, artistic tastes, as we

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Ignatenko, Galina. "Clothing Design and Ornament Function in the Constructivist Fashion of the 1920s-1930s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 56–69. http://dx.doi.org/10.36340/2071-6818-2020-16-2-56-69.

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The development of clothing of the 1920s-1930s and its role in the formation of new productivist art are considered in the article. At the beginning of the 20th century, the world underwent not only enormous changes but also the loss of self-identification, both on a personal level and on a social level. The Russian Avant-Garde of the early 20th century became the prototype of not only new art but also claimed to have created a unified system of values. Artists turned their attention to clothing as a new widespread form of language. At the same time, finding a functional application to their c

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Chouati, Yassine. "La poética de la espiritualidad y lo introspectivo en la obra de Younes Rahmoun. Hacia una lectura del arte distanciada de los cánones historicistas." Arte y Políticas de Identidad 22 (June 23, 2020): 11–34. http://dx.doi.org/10.6018/reapi.433791.

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El presente estudio se formula en una situación saturada de imágenes fijas y esencialistas sobre el individuo árabe y musulmán, que intenta tipificar la diferencia en absolutos, sin tener en consideración las diversidades existentes. En este sentido, planteamos como principio a seguir, ir más allá del canon historicista habitual para poder desarrollar un análisis específico sobre el trabajo de un artista extra-occidental, que contradice la razón moderna para reflexionar, a partir del arte, sobre la experiencia espiritual en la fe musulmana. A partir de una aproximación a la obra del artista ma

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Marrouchi, Ramzi B. Mohamed, and Mohd Nazri Latiff Azmi. "Deconstructing Post-Industrial American Ethos: Decline of Civility and Agony of Artists in Bellow’s Later Novels." International Journal of English Linguistics 9, no. 4 (July 3, 2019): 152. http://dx.doi.org/10.5539/ijel.v9n4p152.

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This paper sheds light on the way Saul Bellow&rsquo;s (1915&ndash;2005) intellectual protagonists deconstruct post-industrial American ethos which are dominated by the hegemony of capitalism and the values of democracy. These heroes are deeply immersed in European liberal education, the &lsquo;Western Canon&rsquo; to recall Harold Bloom; however, they are marginalized, alienated, degraded and eventually rejected by the masses, junk culture, the dictatorship of the commonplace, and the unqualified individual. Bellow&rsquo;s heroes predict that American culture will be overwh

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Kulakevych, Lyudmyla. "Art features of the Y. Smolych's novel «the Last Edgewood» as the first ukrainian «action»." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 42–48. http://dx.doi.org/10.34079/2226-3055-2019-12-21-42-48.

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The scientific development of the term «action» has been investigated and its clarified definition has been suggested in the article. The genre features of Y. Smolych's novel which allow to classify this work as the first Ukrainian action have been analyzed: the protagonist performs an important mission, his doings include, first of all, fleeing, chasing, hiding, searching and stealing; there is a strict time limit that forces the characters to be extremely active. Because of accentuation of the action plan, the protagonist's character is the most schematic and devoid of personality, which in

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Carter-Ényì, Aaron, and Quintina Carter-Ényì. "“Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity." Music & Science 3 (January 1, 2020): 205920432094906. http://dx.doi.org/10.1177/2059204320949065.

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Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consist

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Kruglova, Tatyana A. "Intellectual Map of Domestic Aesthetics: To the Results of the Work of the Second Russian Congress of Aesthetics." Koinon 2, no. 3 (2021): 194–212. http://dx.doi.org/10.15826/koinon.2021.02.3.036.

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The article is an overview of a prominent scientific event — The Second Russian Congress of Aesthetics (Yekaterinburg, July 2021). The paper assesses the state of aesthetics as a scientific and educational discipline throughout its history of the Soviet and post-Soviet periods. The article highlights four stages of the Soviet history of aesthetics. The first stage, the 1930s, received following K. Clark, the nomination “return of aesthetics”, which was associated with the general conservative turn of the Stalinist cultural policy, the creation of the socialist realist canon, the program of bui

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Davidson, James. "A Proposal for the Future of Vernacular Architecture Studies." Open House International 38, no. 2 (June 1, 2013): 57–65. http://dx.doi.org/10.1108/ohi-02-2013-b0006.

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Given the broad scale and fundamental transformations occurring to both the natural environment and human condition in the present era, what does the future hold for vernacular architecture studies? In a world where Capital A (sometimes referred to as ‘polite’) architectural icons dominate our skylines and set the agenda for our educational institutions, is the study of vernacular architecture still relevant? What role could it possibly have in understanding and subsequently impacting on architectural education, theory and practice, and in turn, professional built environment design? Imagine f

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Wienberg, Jes. "Kanon og glemsel – Arkæologiens mindesmærker." Kuml 56, no. 56 (October 31, 2007): 237–82. http://dx.doi.org/10.7146/kuml.v56i56.24683.

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Canon and oblivion. The memorials of archaeologyThe article takes its point of departure in the sun chariot; the find itself and its find site at Trundholm bog where it was discovered in 1902. The famous sun chariot, now at the National Museum in Copenhagen, is a national treasure included in the Danish “Cultural Canon” and “History Canon”.The find site itself has alternated between experiencing intense attention and oblivion. A monument was erected in 1925; a new monument was then created in 1962 and later moved in 2002. The event of 1962 was followed by ceremonies, speeches and songs, and a

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Ben-Porat, Ziva. "The Western canon in Hebrew digital media." Neohelicon 36, no. 2 (September 29, 2009): 503–13. http://dx.doi.org/10.1007/s11059-009-0019-z.

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Pennington, Bob. "The Cardijn Canon." Praxis: An Interdisciplinary Journal of Faith and Justice 1, no. 2 (2018): 85–103. http://dx.doi.org/10.5840/praxis20181211.

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The author situates the question of praxis in theological methodology and Catholic Social Teaching in relation to teaching ethics courses in Catholic higher education. The author uses a genealogical strategy to show that Cardinal Joseph Cardijn’s See-Judge-Act methodology of theological praxis has become canonical in Catholic Social Teaching. The author shows that advocates of Cardijn’s methodology include Pope Pius XI, Pope Pius XII, Saint Pope John XXIII, Pope Paul VI, and Pope Francis. In addition, the author shows that Cardijn’s methodology is used by the committee that drafts Schema XIII,

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Asoyan, A. A., and A. Yu Asoyan. "Shakespeare & Pushkin." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 139–45. http://dx.doi.org/10.25205/2410-7883-2019-1-139-145.

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Modern researchers pay attention first of all to the typological connections of Pushkin's works, but it seems to us that the productive method of studying the similarity of English-Russian communications in this context is not associated with specific figurative-thematic or genrethematic calls, not with the commonality of individual motifs and, finally, not with the concepts of the Russian poet’s responses to specific works of the English bard, but with the genetic textand meaning-generating links of the Russian poet’s creativity with Shakespeare’s poetics in nuce. No wonder M. P. Alekseev not

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Kersey, Kristopher W. "The Afterlife of the Western Canon: Archive and Eschatology in Contemporary Japan." Art Bulletin 102, no. 4 (October 1, 2020): 121–45. http://dx.doi.org/10.1080/00043079.2020.1765639.

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Honey, David B., and John B. Henderson. "Scripture, Canon, and Commentary: A Comparison of Confucian and Western Exegesis." Journal of the American Oriental Society 113, no. 1 (January 1993): 102. http://dx.doi.org/10.2307/604202.

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Hunter, W. R., A. Jamieson, V. A. I. Huvenne, and U. Witte. "Food quality determines sediment community responses to marine vs. terrigenous organic matter in a submarine canyon." Biogeosciences Discussions 9, no. 8 (August 22, 2012): 11331–74. http://dx.doi.org/10.5194/bgd-9-11331-2012.

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Abstract. The Whittard canyon is a branching submarine canyon on the Celtic continental margin, which may act as a conduit for sediment and organic matter (OM) transport from the European continental slope to the abyssal sea floor. In situ stable-isotope labelling experiments were conducted in the eastern and western branches of the Whittard canyon testing short term (3–7 day) responses of sediment communities to deposition of nitrogen-rich marine (Thallassiosira weissflogii) and nitrogen-poor terrigenous (Triticum aestivum) phytodetritus. 13C and 15N labels were traced into faunal biomass and

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