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1
Clifton, Glenn. "Critical-Creative Literacy and Creative Writing Pedagogy." University of Toronto Quarterly 91, no. 1 (February 1, 2022): 51–66. http://dx.doi.org/10.3138/utq.91.1.04.
Повний текст джерелаАнотація:
This article builds on psychological research that claims critical thinking is a key component of the creative process to argue that critical-creative literacy is a cognitive goal of creative writing education. The article also explores the types of assignments and prompts that might contribute to this goal and simultaneously build bridges between creative writing education and other humanities disciplines.
2
Williams, Ronald D., and Amber R. Williams. "Creative Writing In Alcohol, Tobacco, And Other Drug Education." Contemporary Issues in Education Research (CIER) 5, no. 4 (September 20, 2012): 327. http://dx.doi.org/10.19030/cier.v5i4.7276.
Повний текст джерелаАнотація:
Health educators in elementary and secondary schools should seek collaborations with teachers of other subjects to enhance health education curriculum. The strategy described in this article details a potential collaboration between health education and language arts units. The activity enhances both drug education knowledge gains and creative writing skills among junior high/middle school students.
3
Stukenberg, Jill. "Deep habits: Workshop as critique in creative writing." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 277–92. http://dx.doi.org/10.1177/1474022216652770.
Повний текст джерелаАнотація:
The creative writing workshop, involving peer critique of manuscripts in progress, is deeply connected to many writerly habits of mind. As such, this article examines workshop as a signature pedagogy in creative writing. Through workshop, students develop awareness of their readers, understanding of how texts are created by readers and through process, and abilities to problem-solve in drafts and hone their personal tastes while encountering contemporary aesthetic values. At the same time, examination of the writerly habits of mind transmitted through workshop also reveals other key skills and ways of thinking that can be shortchanged when workshop is too much the sole methodology; one deleterious habit of mind, that of being overly self-critical, may even result.
4
Everington, Shanta. "Through the looking glass: Biographical writing as self-reflection." Journal of Writing in Creative Practice 12, no. 1-2 (April 1, 2019): 29–43. http://dx.doi.org/10.1386/jwcp.12.1-2.29_1.
Повний текст джерелаАнотація:
Combining creative writing excerpts from my Ph.D. work-in-progress, ‘The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing’, with reflective commentary, this article will discuss the ways in which writing the lives of others can serve as a process of self-reflection. Inspired by my personal experience as a biological and adoptive mother, my Ph.D. project involves creative practice as research, alongside critical approaches, to culminate in the production of a multi-subject biographical narrative of women who have become mothers through adoption, surrogacy and egg donation, and their silent partners – birth mothers, surrogates and egg donors – whose stories remain largely untold.
5
Adji, Alberta Natasia. "The fragmentation of the writing self: Using dialogic reflection to explore the writing process of an autobiographical novel." Journal of Writing in Creative Practice 14, no. 2 (September 1, 2021): 143–59. http://dx.doi.org/10.1386/jwcp_00019_1.
Повний текст джерелаАнотація:
In this article, the author-researcher presents three intertwined texts: excerpts from an autobiographical novel, extracts from a reflexive journal written during the writing of that novel, as well as a theorized account and analysis of the overarching creative process. These texts talk to each other as a form of intertextuality in the similar way that the three generations of a Chinese Indonesian family depicted in the novel interact with one another and present differing perspectives and fresh insights. The issues of the writer’s inner voices and multiplicity of the self feature prominently in this work, the result of a deep and critical engagement with the author-researcher’s creative writing and reflective thinking processes. Together, these three interrelated texts capture and explore multiple perspectives interacting during the writing process while at the same time present how the self and sites of meaning-making can be constructed through writing.
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Johnson, Clare. "Editorial." Journal of Writing in Creative Practice 15, no. 2 (September 1, 2022): 105–11. http://dx.doi.org/10.1386/jwcp_00032_2.
Повний текст джерелаАнотація:
This Editorial charts the journey from an initial conversation amongst visual culture colleagues at the University of the West of England to this Special Issue on ‘Ways of Writing in Art and Design’. It describes our intention to imagine forms of writing in/through/ alongside/with creative practice, as opposed to writing ‘about’ it, in the context of visual culture pedagogy. This is the desire to treat the artwork or other type of creative practice as a fellow subject, not an object to be written about. The Editorial explains the process through which we came together as a research network, describes a series of workshops that enabled our thinking, and situates the project within the context of the COVID-19 pandemic. Finally, it introduces each of the contributions in this collaborative constellation of articles, polemic, reflection, visual essay and illustration.
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Runco, Mark A. "Predicting Children's Creative Performance." Psychological Reports 59, no. 3 (December 1986): 1247–54. http://dx.doi.org/10.2466/pr0.1986.59.3.1247.
Повний текст джерелаАнотація:
The predictive validity of the fluency index of divergent-thinking tests was evaluated, with extracurricular creative performance in seven domains as the criteria. The unique aspects of this project were (a) that gifted and talented children were represented in the sample of 150 subjects, (b) that both performance quantity and quality scores were used as criteria, and (c) that fluency, fluency2, and an interaction of IQ X fluency were tested as predictors. Hierarchical regression analyses indicated that fluency has predictive validity; however, this is limited to certain areas of performance, e.g., writing and crafts. IQ was significantly related to other areas of performance, e.g., science and performing arts, but there was little indication of a quadratic relationship or an interaction of IQ X fluency.
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Gilbert, Francis, and Miranda Matthews. "Affective digital presence: How to free online writing and drawing?" Journal of Writing in Creative Practice 14, no. 2 (September 1, 2021): 209–37. http://dx.doi.org/10.1386/jwcp_00023_1.
Повний текст джерелаАнотація:
Online learning can be an alienating experience; students can feel their emotions are disregarded, marginalized or even viewed as hindrances as they try to motivate themselves to learn, staring at the dancing pixels of their illuminated screens. They feel at a remove from other students, trapped in other rooms, far away from them. The closeness of bodies in a shared physical space is raised as an absence. And yet, we contend in this article that connecting with affect in online learning spaces could build connectivity that counteracts the alienation of social distancing. Raw creative affective discourses can be challenging, and uncomfortable for others to take in but they are necessary online. We show that using non-digital practices such as drawing and writing freely, without inhibitions, can immeasurably enhance the online experience, giving a space for affect to be expressed in a safe but emancipatory learning architecture.
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Gillam, Tony. "Enhancing public mental health and wellbeing through creative arts participation." Journal of Public Mental Health 17, no. 4 (December 17, 2018): 148–56. http://dx.doi.org/10.1108/jpmh-09-2018-0065.
Повний текст джерелаАнотація:
PurposeThe purpose of this paper is to explore how participation in creative arts activity can enhance public mental health and wellbeing. It is informed by both the author’s clinical practice with service users and carers and by research.Design/methodology/approachThe approach taken is to draw selectively on research in the field of creativity, creative arts and wellbeing, focusing in particular on the use of music and creative writing, and to incorporate learning from clinical experience to explore what is understood about the health and wellbeing benefits of creative arts activity.FindingsThere is evidence that creative arts activity is beneficial to mental health and wellbeing. Arts activities that involve active participation appear to offer the greatest benefits. Creative arts participation can help people with diagnosed mental health difficulties to recover from mental illness. Moreover, creative arts activities can also promote wellbeing in the general population.Research limitations/implicationsThe paper does not provide a comprehensive review of the literature in this field.Practical implicationsThe paper suggests that if nurses and other mental health professionals are to play a full role in facilitating flourishing then they will need to learn more about using creative arts in practice and will need to become involved and encourage others to do so.Social implicationsThe paper suggests it is important that creative arts activities should be participatory, so they become a vehicle not only for self-expression but also for participation in groups and communities, increasing connectedness and social inclusion.Originality/valueThis paper fulfils a need for a wider understanding of the health and wellbeing benefits of creative arts activity.
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McEvoy, William. "Finding the Balance: Writing and Performing Ethics in Théâtre du Soleil’s Le Dernier Caravansérail (2003)." New Theatre Quarterly 22, no. 3 (July 11, 2006): 211–26. http://dx.doi.org/10.1017/s0266464x0600042x.
Повний текст джерелаАнотація:
Théâtre du Soleil’s latest production, Le Dernier Caravansérail (The Last Caravanserai), staged the stories and experiences of immigrants, refugees, and asylum-seekers from around the world. In this article, William McEvoy argues that the company was motivated both by a political agenda to make migrants more visible and a concern to investigate the ethical implications of its own creative processes. This led to a potential conflict between representing migrants directly on stage and a performance that reflected the company’s worries about turning migrants’ traumatic narratives into theatre and spectacle. Focusing on the concept of balance in the production, the article shows how Théâtre du Soleil presented the ethical negotiations between creative self and represented other through exploring the links between text and performance, writing and the body, and manipulation and resistance. William McEvoy is a lecturer in the English Department at the University of Sussex, specializing in contemporary theatre and performance. He has published work on Peter Brook and Ariane Mnouchkine, and his current research deals with the shifting role of the text in experimental and physical theatre.
11
Kirschenbaum, Matthew. "Lucid Mapping: Information Landscaping and Three-Dimensional Writing Spaces." Leonardo 32, no. 4 (August 1999): 261–68. http://dx.doi.org/10.1162/002409499553406.
Повний текст джерелаАнотація:
This paper documents an interactive graphics installation entitled Lucid Mapping and Codex Transformissions in the Z-Buffer. Lucid Mapping uses the Virtual Reality Modeling Language to explore textual and narrative possibilities within three-dimensional (3D) electronic environments. The author describes the creative rationale and technical design of the work and places it within the context of other applications of 3D text and typography in the digital arts and the scientific visualization communities. The author also considers the implications of 3D textual environments on visual language and communication, and discriminates among a range of different visual/ rhetorical strategies that such environments can sustain.
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Duggan, Jo-Anne, and Enza Gandolfo. "Other Spaces: migration, objects and archives." Modern Italy 16, no. 3 (August 2011): 315–28. http://dx.doi.org/10.1080/13532944.2010.507931.
Повний текст джерелаАнотація:
Other Spaces is a collaborative creative arts exhibition project that explores visual and material expressions of cultural identity with a particular focus on museum collections. This project aims to provide a rich examination – visual, emotional and intellectual – of the multiple cultural narratives that contribute to the social fabric of Australia through a unique marriage of contemporary photomedia and creative writing practice. This project explores the ways that migrants and refugees have found to express their cultural identity through the material objects they have brought with them to Australia. Many of these objects are not only of great personal value but often of cultural, historical and religious significance. Some are very ordinary everyday objects but they can be highly evocative and symbolic of the relationship between culture and identity, and between the places of origin and an individual's present home in Australia. This article, through a combination of photography, creative text and scholarly discussion, will focus specifically on Italo-Australian migrants and on some of the material objects that they have donated to museum collections, and use these objects to explore notions of cultural belonging and identity.
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Mees, Cleo. "Letters to Sheila: Improvisational scores in creative practice research." Choreographic Practices 11, no. 1 (July 1, 2020): 9–27. http://dx.doi.org/10.1386/chor_00009_1.
Повний текст джерелаАнотація:
This article argues that improvisational scores can function as valuable scaffolds to support creative practice research. Drawing on existing literatures about creative practice research, and the practices and scores of artists, including Simone Forti, Rosalind Crisp, James Hazel and Nancy Stark Smith, the article proposes seven different ways in which improvisational scores might help to focus, sustain and evolve research methods. Importantly, the author not only discusses the ways improvisational scores support research; she also uses a score to write the article itself, thus enacting the method she describes. The score she uses is based around a task – to write a series of letters to non-fiction author Sheila Heti. The resulting letters focus especially on the ways scores are used in improvised dance, and on the ways they might be applied in other fields such as writing and filmmaking. In doing so, the letters show how creative methodologies can be moved across disciplines and artistic forms to invigorate practice. They also give expression to and seek to better understand the embodied and affective dimensions of scholarship.
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Fisk, Catherine, and Michael Szalay. "Story Work: Non-Proprietary Autonomy and Contemporary Television Writing." Television & New Media 18, no. 7 (June 10, 2016): 605–20. http://dx.doi.org/10.1177/1527476416652693.
Повний текст джерелаАнотація:
Based on interviews with three dozen working writers in American television, this paper argues that TV writers assert their status as labor to guarantee their shared craft identity with novelists, dramatists, and authors of other conventional literary material. The tension between writers’ desire for literary prestige on one hand, and their recognition that they create at the behest of company executives, on the other, emerges, alternately, in the imagined difference between writers and producers and, most basically, between autonomous creators and corporate hacks. Our novel observation is that writers’ identification with labor, including their commitment to their union, the Writers Guild of America, plays a central role in resolving these tensions. Union membership solves a problem at the heart of contemporary TV writing insofar as it transforms a necessity into a virtue; opposing management as labor, the writer registers her opposition to creative input that might otherwise compromise her sense of artistic integrity. That opposition allows writers to imagine themselves at odds with the studios and networks that employ them, and at the same time to commit to artistic over and against corporate values.
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Sligo, Frank. "Reading against and writing back." English Teaching: Practice & Critique 14, no. 3 (December 7, 2015): 350–65. http://dx.doi.org/10.1108/etpc-06-2015-0049.
Повний текст джерелаАнотація:
Purpose – The purpose of this paper is to explore how student learning materials, such as textbooks, are becoming more oriented toward multi-modal approaches using visuality and orality. While such approaches may help students to understand and then to reproduce taught materials, the objective of this paper is to question whether they are serving to promote students’ critical literacy. Design/methodology/approach – The paper assesses the character of current textbooks and other means of student support, such as online learning management systems, and assesses how well they seem able to promote the critical literacy that requires ability in “reading against” and “writing back”. The paper goes on to identify ways in which some parts of the university see orality as preliminary and subordinate to literacy-focused communication, but elsewhere, the pinnacle of students’ work is artistic or creative attainments with lesser need to write complexly literate textual works. Findings – As a means of trying to resolve inherent tensions between differing pedagogical assumptions and methods in the university, the paper proposes ways in which Ong’s (1982, p. 36) nine communication characteristics of “orally based thought and expression” may be able to offer insights into challenges of improving students’ critical literacy. Research limitations/implications – The inherent academic tensions within the university still remain insufficiently theorized. For example, the humanities and social sciences (still) place much store on developing students’ abilities in critical writing, while disciplines such as design or creative arts are much more focused on students’ creative outputs. The paper contributes to a better understanding of such scholars talking past one another. Practical implications – Scholars in different academic camps often note the discrepancies in how their relative pedagogical tasks are to be understood, but typically, it is not clear to them how they might better relate to other parts of the university. The paper aims to elucidate the nature of academic differences that often appear to exist to provide insights into possibly new ways of seeing everyday teaching and learning. Social implications – Ong’s insights into literacy and orality when viewed through a prism of tertiary teaching and learning provide a practical means whereby students and other university stakeholders can develop a better appreciation of the character of the modern university. Originality/value – The novel use of Walter Ong’s model of literacy and orality provides fresh ways of seeing challenges and disputes within the academic community and suggests new ways of seeing students’ work and their teachers’ expectations of them.
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Mason, Stephanie. "Keep Candy in the House." Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 442–67. http://dx.doi.org/10.18432/ari29578.
Повний текст джерелаАнотація:
My mother’s love of Tootsie Rolls was the only fact I could grasp after her sudden passing. I wanted to share this and other memories of her through a eulogy that was whimsical, far-ranging, and entertaining, but I struggled to write one. My struggles reminded me of other writing challenges, such as my recent dissertation proposal, although there I was partly guided by my arts-informed research methodology framework. Gradually, I found some of those methodological elements could illuminate parts of eulogy writing: formal concerns, audience, presence and engagement, subjectivity, and meaning-making all resonate with arts-informed research’s commitment to form, audience, creative enquiry, researcher presence, and holistic quality. These connections show arts-informed research affords lifelong learning opportunities apart from academic practice; in this case, arts-informed research is a resource tool for navigating lived experiences of grief and grief writing. Moreover, arts-informed research encourages affective narratives and socially-constructed meanings to produce new understandings, which I realize here by including eulogy excerpts to produce an artistic representation of “research” about my mother (including her undying love of chocolate).
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Schwarz, Clair. "Iris in, Iris out: Reflections on the production, exhibition and viewing of a bisected-eyeball hand-puppet." Journal of Writing in Creative Practice 15, no. 2 (September 1, 2022): 276–94. http://dx.doi.org/10.1386/jwcp_00042_1.
Повний текст джерелаАнотація:
This article reflects upon my short visual recording Eyedrops: A Monoculogue (2021). It describes the thinking process of creative avoidance (both making something new, but recycling ideas and materials which already exist, both in the mind and close to hand); pleasure in making (the haptic joy of production); considerations of performance; being audience to one’s own work when exhibited alongside other work responding to the same initial call; re-presenting the work in a workshop context. While it draws upon interdisciplinary theoretical writing to provide phenomenological and ekphrastic considerations of the work, moving between the three-point dynamic which links and divides viewing positions: the image (screen), subject (eye) and the object (puppet), it employs an immediacy of writing, which resists the usual considerations of academic scholarship in a move to free up thinking and to expose the emotional and experiential, questioning what it is to ‘see’.
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Quinn, James. "Reflecting on reflection: Exploring the role of writing as part of practice-led research." Journal of Writing in Creative Practice 13, no. 2 (February 1, 2020): 243–58. http://dx.doi.org/10.1386/jwcp_00007_1.
Повний текст джерелаАнотація:
The phrase ‘writing up’ is often framed as the point where a research project is nearing its end, with only a summarizing thesis between a student and their completion. This text seeks to interrogate this dichotomy between research practice and writing. Instead, the text engenders reflective writing as a constant undercurrent of dialogue that continually shapes research through reflective thought. The text implements concepts from two key texts to meet these ends: Kamler and Thompson’s Helping Doctoral Students Write: Pedagogies for Supervision and Bolt and Barrett’s Practice as Research: Approaches to Creative Arts Enquiry. The first of the texts problematizes the notion of a formal ‘writing up’ stage often cited by students and supervisors in research study, arguing instead for a shift towards a more dynamic role for writing in research, or indeed writing as research. The second of the contributing texts presents Barbara Bolt’s notion of the ‘exegesis’ as ancillary to this thought – outlining written practice in arts research as an intrinsic, generative process, married to any practical outcome. Using the rhetoric outlined in these two references, this article then summarizes with an application of the notion of the ‘exegesis’ to an assortment of personal written texts, such as reflective journal entries and assessed written works across three years of postgraduate study. Herein lies the key claim of this article – that exegesis permeates every meaningful or developmental step of practice-led research, forming a crucial reciprocal relationship between visual and written work not unlike other hybridized methodologies outlined by authors such as Mieke Bal in her text, Travelling Concepts in the Humanities: A Rough Guide.
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Harris, Danielle Arlanda, and Mary Lynn Fitton. "The Art of Yoga Project: A Gender-Responsive Yoga and Creative Arts Curriculum for Girls in the California Juvenile Justice System." International Journal of Yoga Therapy 20, no. 1 (January 1, 2010): 110–18. http://dx.doi.org/10.17761/ijyt.20.1.w33375003846vt18.
Повний текст джерелаАнотація:
As girls enter the juvenile justice system, they stand on the precipice of a lifelong cycle of crime and incarceration, yet still have the opportunity to turn toward healing and rehabilitation. With this in mind, The Art of Yoga Project (AYP) has designed a gender-specific intervention that combines Yoga, visual arts, and creative writing to help girls learn how to create a positive future for themselves. This article introduces AYP and shares the goals, objectives, and experiences of the program. A thorough description of AYP's comprehensive Yoga and Creative Arts Curriculum is provided, including a sample class plan and overview of the entire course. Eight principles of best practices are presented and discussed. We hope that this blueprint will inspire and empower other Yoga therapists to develop similar programs that serve this important and underserved population.
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Geshta, Hisham. "Those Who Shaped the Future." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 120–31. http://dx.doi.org/10.1215/10757163-9435723.
Повний текст джерелаАнотація:
Author Hisham Geshta, literary and art critic and editor of Al Kitaba Al Ukhra (Other Writing), Cairo, Egypt, reminisces about his meeting and long-term relationship with writer and activist Anwar Kamel and their united efforts to publish established and emerging surrealist writers and poets in Al Tatawwur (Evolution) magazine in 1940 and after. Later, when Kamel is in his late seventies, in 1991, the author establishes and publishes Al Kitaba Al-Ukhra to continue the commitment. The author provides numerous excerpts from these and earlier publications that include the writings of Georges Henein, Ramses Younan, Kamel Telmisany, and era poets, illuminating the ideology and creative output of Egyptian surrealist artists and thought leaders across more than five decades.
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Somerville-Wong, Anastasia E. "Secular Liturgies." Secular Studies 1, no. 2 (October 10, 2019): 229–70. http://dx.doi.org/10.1163/25892525-00102005.
Повний текст джерелаАнотація:
Abstract This paper, by the founder of the UK based Secular Liturgies Network and Forum, explores the concept and purpose of secular liturgy, and the potential for liturgical events in modern secular societies. It examines the practice of writing secular liturgy, discusses potential contributions from atheists, agnostics, humanists and religious progressives, and considers the new pastoral roles that may evolve alongside a secular liturgies movement. The author argues that secular liturgies and liturgical events have the potential to enrich secular culture, nurture community, facilitate healthy social interaction, advance ethical thought, promote creative writing and other arts, and galvanise people in their efforts towards sustainability and the creation of cultures and environments of health.
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Hanley, Natalia, and Elena Marchetti. "Dreaming Inside: An evaluation of a creative writing program for Aboriginal and Torres Strait Islander men in prison." Australian & New Zealand Journal of Criminology 53, no. 2 (February 26, 2020): 285–302. http://dx.doi.org/10.1177/0004865820905894.
Повний текст джерелаАнотація:
Arts-based prison programs are often viewed as hobbies or as activities that have little impact on prisoner rehabilitation according to conventional understandings of the term. This is despite growing evidence that arts-based programs can assist with learning retention and can improve self-confidence and ways of coping with emotions. Generally, arts practices have been found to assist Aboriginal and Torres Strait Islander people who have grown up or live in urban areas with asserting and strengthening their cultural identity, but we know little about the effects of arts-based prison programs on Aboriginal and Torres Strait Islander prisoner wellbeing. This article focuses on a creative writing program for Aboriginal and Torres Strait Islander prisoners at Junee Correctional Centre, New South Wales. The program, Dreaming Inside, has produced seven volumes of poetry and stories. This article combines and reports findings from two evaluations of the program, one using program feedback forms and the other using semi-structured interviews with prisoners who participated in the program. The themes that emerged from both evaluations affirm the program’s efficacy in improving prisoner self-esteem, confidence and wellbeing, and in reigniting and strengthening cultural engagement.
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Gontarski, S. E. "Tennessee Williams’s Creative Frisson, Censorship, and the Queering of Theatre." New Theatre Quarterly 37, no. 1 (February 2021): 82–99. http://dx.doi.org/10.1017/s0266464x20000810.
Повний текст джерелаАнотація:
The world around Tennessee Williams in the 1960s, 1970s, and into the 1980s was changing at an astonishing pace, the cultural revolution of the period rendering most of his themes of sexual closeting and repression almost inconsequential. At least the entrenched cultural taboos against which he wrote seem to have disappeared by the mid-1960s and 1970s. In the 1980s, Broadway productions of his work grew infrequent, while those mounted tended to have short runs. He told interviewers from Theatre Arts magazine: ‘I think my kind of literary or pseudo-literary style of writing for the theatre is on its way out.’ European productions of his work, on the other hand, seemed regenerative: Howard Davies’s Cat on a Hot Tin Roof (1989), in which the director used Williams’s original third act and not the version rewritten by Elia Kazan for the New York premiere; Peter Hall’s revival of Orpheus Descending (1989–91); Benedict Andrews’s A Streetcar Named Desire (2014), followed by his 2017 Cat on a Hot Tin Roof – a revival deemed ‘so courageous’; and in Italy, Elio De Capitani’s productions of Un tram che si chiama desiderio (1995) and Improvvisamente, l’estate scorsa (2011), both in fresh, new, up-to-date translations by Masolino D’Amico – all these have maintained an edge to Williams’s theatre lost in so many American productions. All seem to suggest the continued vitality of Williams’s work in Europe by directors willing to probe and rediscover Williams’s depths, who consider him ‘a playwright worthy of further artistic investigation’, as European audiences, correspondingly, seem less inclined to dismiss him as an artist whom history has overtaken. S. E. Gontarski is Robert O. Lawton Distinguished Professor of English at Florida State University. His critical, bilingual edition of Tennessee Williams’s A Streetcar Named Desire was published as Un tram che si chiama desiderio / A Streetcar Named Desire (Pisa: Editioni ETS, 2012). His Włodzimierz Staniewski and the Phenomenon of ‘Gardzienice’, co-edited with Tomasz Wiśniewski and Katarzyna Kręglewska, is forthcoming (Routledge).
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Gibbs, Leah, Kim Williams, Sarah Hamylton, and Lucas Ihlein. "‘Rock the Boat’: song-writing as geographical practice." cultural geographies 27, no. 2 (November 19, 2019): 311–15. http://dx.doi.org/10.1177/1474474019886836.
Повний текст джерелаАнотація:
Climate change science is unequivocal on the link between fossil fuels and climate change. Yet, some governments – including those in Australia – fail to meet agreed targets and continue to invest in the coal industry. Scientists and other scholars have expressed concern that the science is not prompting shifts in policy adequate to address current and future effects of climate change. Many have called for other tools – specifically, the arts and social sciences – to investigate and communicate about the environmental and social changes underway. In this context, this article explores the potential of interdisciplinary collaborative song-writing as research practice. Beginning on a boat on Australia’s Great Barrier Reef, the research team adopted singing and song-writing as a method for coming together to reflect upon our research aims and motivations, to explore and express the delight and grief we were experiencing in this climate-changing land and seascape and potentially to reach new audiences and create different affects. Our multidisciplinary expertise offered impetus to pursue a hybrid form: an original song written, professionally recorded and vinyl pressed; scholarly notes to expand on our song lyrics; visual presentation of our music as annotated score; and written reflections on the process and its contribution to knowledge. Here, we present and explore the possibilities of song-writing as creative geographical practice.
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Demirtoka, Sezin. "My quarantine landscapes: A personal inquiry into the COVID-19 lockdown experience through drawings." Journal of Applied Arts & Health 13, no. 2 (July 1, 2022): 213–29. http://dx.doi.org/10.1386/jaah_00103_1.
Повний текст джерелаАнотація:
This article presents an art-based personal inquiry into the author’s experience of the COVID-19 lockdown in 2020. Drawing was used as a way to document, process and regulate feelings during the lockdown. The author revisited these drawings over the course of the following year, engaging with them through imaginative dialogues and creative writing, and looking for patterns to make meaning of them. This inquiry highlighted themes of existential issues around death and life, longing for connectedness to nature and other humans, and the toll of home confinement on the lived body. The author reflects on how artistic inquiry helped her approach an anxiety-provoking situation with curiosity, become aware of existential issues that the pandemic had brought up and treat them with intentionality and authenticity.
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Chow, Yiu-Fai. "Connecting Memories, or the Making of an Inverted Archival Tree." Cubic Journal 5, no. 5 (December 17, 2022): 52–61. http://dx.doi.org/10.31182/cubic.2022.5.48.
Повний текст джерелаАнотація:
Collect. Connect. I was intrigued by the correspondence between these two words, when I, primarily as a creative writer, started my residency at the Asia Art Archive (AAA) in Hong Kong, where I was invited to focus on AAA’s Ha Bik Chuen Archive (H.B.C Archive). Ha (1925–2009) was a well-known artist, a fervent collector of exhibition catalogues, documentations, and the photographs he took at these exhibitions, among other things. Visiting the HBC Archive and his old home, I started to think of Mrs. Ha, of the impossibility of a collection without connection. We collectively remember; we connect for memories. If we can’t know of what, we can at least know with whom. This essay documents my – or our – project titled Connective Memories , or the making of an inverted archival tree, a project that brought me into contact with six young people and over to the field of music. I end with a song on faith and letter-writing.
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Robbins, Trina, and Jennifer K. Stuller. "Focus on Trina Robbins." Feminist Media Histories 4, no. 3 (2018): 119–34. http://dx.doi.org/10.1525/fmh.2018.4.3.119.
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This interview with Trina Robbins took place during a panel at the 2016 Comics Arts Conference conducted by Jennifer K. Stuller. Robbins, known both for her work as a groundbreaking cartoonist and for her histories of female comics creators, discusses her early days in New York during the 1960s, owning a clothing boutique and writing comics for the East Village Other; the creation of It Ain't Me, Babe, the first all-female comic compilation, and Wimmen's Comix, the long-running feminist underground comix series; and her work both as a “herstorian,” uncovering the overlooked role of women in comics production, and as a mentor to female creators. Fashion provides a through-line in Robbins's histories, underpinning her creative work and her feminist critiques.
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CHRISTIDOU, SOFIA, and STAVROS E. KAMAROUDIS. "Seeking new paths by attempting avant-garde teaching methods through translation and creative writing for classes of English for Academic Purposes (EAP) . The cases of the Schools of Engineering, Departments of Mechanical Engineering, Informatics and Tele." International Journal of Language, Translation and Intercultural Communication 4, no. 1 (June 24, 2016): 110. http://dx.doi.org/10.12681/ijltic.10341.
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<p><em>The aim of our paper is to discuss how the courses of English Language of the Department of Applied and Visual Arts of the School of Fine Arts and of the Departments of Mechanical Engineering, Informatics and Telecommunications Engineering of the School of Engineering of the University of Western Macedonia were taught during the academic year 2014-5 and how students reacted towards the teaching approaches that were adopted. For reasons of economy of space we present here only the experiment that was conducted in the School of Fine arts. These teaching methods we attempted to implement based on bibliographic research, both during the teaching sessions and in the final assessment, were a) translation and b) creative writing. On the one hand, we tried to familiarize students with the meaning and appropriate use of the terminology of their own scientific fields in both the English and the Greek language and on the other hand we attempted to stir their imagination and create an interest in writing. Our aim was to encourage them to produce their own texts by using knowledge from their own scientific field, express their thoughts, feel more confident when communicating in the foreign language and improve their language skills.</em></p><p> </p>
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Blasing, Molly Thomasy. "Through the Lens of Loss: Marina Tsvetaeva's Elegiac Photo-Poetics." Slavic Review 73, no. 01 (2014): 1–35. http://dx.doi.org/10.5612/slavicreview.73.1.0001.
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Marina Tsvetaeva is often described as a poet of keen aural sensibilities, while the visual world has been thought to be of secondary importance to her. This study of the influence of photography on Tsvetaeva's poetic writing contributes new evidence of the role of visual culture in her creative world. In detailing Tsvetaeva's experiences with the material and metaphysical properties of photographic imagery, Molly Thomasy Blasing argues that photography played a significant role in shaping the poet's elegiac writings on death, loss, and separation. The article makes available a number of previously unpublished archival photographs taken by Tsvetaeva—images that are directly linked to her cycle of poems dedicated to Nikolai Gronskii, Nadgrobie. Blasing contextualizes this discovery within a network of other photo-poetic encounters in Tsvetaeva's life and works, revealing the extent to which the poet's thinking about photography relates to the goals of her poetic practice.
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Zipes, Jack. "The art of daydreaming: How Ernst Bloch and Mariette Lydis defied Freud and transformed their daydreams through writing and art." Book 2.0 10, no. 2 (December 1, 2020): 217–31. http://dx.doi.org/10.1386/btwo_00031_1.
Повний текст джерелаАнотація:
We all dream. Even my dog dreams; he whines when he dreams, perhaps because his dreams are as filled with anxiety as my own sometimes are. Dreams – bad dreams and nightmares, particularly – can be profoundly unsettling and disturbing. They can shock and terrify us because they cannot be controlled: they are their own narrators, and the only way we can resolve their penetrating stories is by attempting to interrupt them. Only by jolting ourselves and waking up, we can enlighten ourselves and come to light, and only by generating daydreams, we can counteract the malign influences of bad dreams and nightmares and take charge of our lives. Bad dreams and nightmares can bring dread and devastating realizations: they can leave us marooned in our past. Daydreams, by contrast, can generate options, and perhaps a renewed joy in life as well: they demand that, despite obstacles and despair, we move onwards into the future. They are artful stories; they are the art of utopia and are filled with our wishes and anticipatory illumination. They appeal to us to become artists and narrators of our lives. Participating in the creative arts – writing, painting, acting and making music – is to envision dream-like visions of where we want to go with our lives. Without the arts, without writing especially, and without our conscious picturing the ideal other life, there is little possibility that our desires will be fulfilled. We need hope, and we need daydreams to map our destiny. I believe we need to act on our daydreams, and not slumber into nocturnal nightmares. These beliefs and ideas have been informed by studying the work of Ernst Bloch and his notions about daydreams (not nocturnal dreams). He is a neglected, iconoclastic philosopher, and I believe brilliant. In this article, I propose to discuss his theories about daydreams and then turn to the neglected, Austrian-Jewish painter Mariette Lydis, who in her various works offers proof that daydreams play an immense and important role in our creative lives. Contemporaries, both Bloch (1885–1977) and Lydis (1887–1970) wrote and/or painted during the same century as Freud (1856–1939) and Jung (1875–1961). Both were of Jewish origin. Both survived the First World War, the Nazis and the Second World War. Both kept realizing their desires for a better world through writing and picturing their writing.
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Bizhga, Denis. "The Influence of Folklore on the Cultivated Albanian Music of the XX Century." European Journal of Multidisciplinary Studies 5, no. 3 (December 12, 2020): 47. http://dx.doi.org/10.26417/237vbd89w.
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Folklore is one of the components and transmitters of a nation's national identity and its spiritual heritage. The great folkloric wealth of Albanian people shows its antiquity and creative genius. As the first creation of folklore, it is the basis for the creation and continuous functioning of other cultivated arts, such as: music, literature, choreography or other visual arts. Albanian folklore also represents a vital, early, stable and rich tradition. It is not a memory of the past, but it is alive and full of life and day by day it comes and is practiced articulated emotionally, developing, enriching and growing together with the Albanian people themselves, despite the many changes that are noticed in the realities of Albanian folklore in general. Through folklore, our people over the centuries manifested outstanding talent, spiritual expressive potential, great promotional skills. Albanian folk music tradition is generally an oral tradition based on the memory of the people; she did not feel the need for writing because she was born, spread and selected to live word of mouth and generation after generation, adapting to the needs and requirements of life.
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Belozerova, Vera G. "Analysis of the Scroll “Ba Bridge in the Snow”: The Results of the Creative Journey of Shen Zhou (1427–1509)." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 186–203. http://dx.doi.org/10.21638/spbu15.2021.202.
Повний текст джерелаАнотація:
Shen Zhou is the founder of the Wumen-Pai movement, which was prominent in southern China in the XV–XVI centuries. Shen Zhou became famous as a poet, painter, and calligrapher. In the article, the late stage of his creative work is investigated by the example of the vertical scroll “Ba bridge in the snow”. The technique of monochrome writing and the composition of the winter landscape are analyzed. The article examines the influence of biographical and social factors, Confucian teachings and Taoist practices on Shen Zhou’s painting. A comprehensive study of the scroll makes it possible to reveal the master’s worldview. The scroll, without any topographical accuracy, depicts an imaginary view of the bridge on the Bashui River. The study of the poetic inscription demonstrates the discrepancy between the poetic rhyme and the rhythm of calligraphic forms. The gradations of ink tone in calligraphy combine it with the color of painting. Shen Zhou transfers the calligraphic technique of working with the wrist and holding the brush to painting. The scroll uses the composition type “one river three banks”, in which the elements mirror each other upside down. The artist creates a dynamic balance of empty and filled spaces. The most valuable quality of Shen Zhou painting is considered by Chinese experts to be its “desalination” (tribute), which implies a balanced mental attitude, sublime clarity of thoughts and heartfelt sincerity of their expression. Behind the simplicity and naturalness of Shen Zhou’s painting are effective energetic practices and a high mastery of hidden stylistic quotations from masterpieces of previous eras. By the end of his life, Shen Zhou realized the utopian ideal of unlimited longevity and, as the analysis of the scroll shows, found humility before the inevitability of death. Shen Zhou’s art has made his name famous for centuries.
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Chin, Matthew, Izumi Sakamoto, Jane Ku, and Ai Yamamoto. "(Re)storying Japanese Canadian Histories: Artistic Engagements." Cultural Studies ↔ Critical Methodologies 21, no. 3 (January 19, 2021): 264–75. http://dx.doi.org/10.1177/1532708620987260.
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This paper examines how Japanese Canadian (JC) artists challenge discursive limitations of constructing representations of JC pasts. Their interventions into JC history-making are significant given the rise of interest in and proliferation of JC historical accounts, partly as a result of the accelerated passing of the remaining survivors of JC incarceration within a broader context of unsettled and unsettling discourses around incarceration in JC families and communities. Contrary to narratives of JC history premised on the conventions of academic history writing, we explore how JC artists engage with the past through their creative practices. Focusing on JC artist Emma Nishimura’s exhibit, The weight of what cannot be remembered, we suggest that JC creative history-making practices have important implications for processes of ethno-racial and-cultural identity formation. In so doing, we decenter state-bound history-making processes that reproduce colonial frameworks of JC subjectivity, temporal linearity, and “objectivity.” Instead, we focus on the temporally circuitous way that Nishimura and other JC artists engage with the past through the idiom of personal intimacy in ways that facilitate a more expansive notion of JC identity and community. Though Nishimura’s work is indexical as opposed to representative of contemporary JC art-making, it is significant in tapping into a common structure of feeling among JC artists that emphasizes a notion of JC’ness rooted in the active struggle to establish a relationship with the past. In attending to Nishimura’s work, we highlight the productivity of art-making as a method of (re)storying to expand meaning-making endeavors within and across communities.
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P Woodrich, Megan, and Yanan Fan. "Google Docs as a Tool for Collaborative Writing in the Middle School Classroom." Journal of Information Technology Education: Research 16 (2017): 391–410. http://dx.doi.org/10.28945/3870.
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Aim/Purpose: In this study, the authors examine how an online word processing tool can be used to encourage participation among students of different language back-grounds, including English Language Learners. To be exact, the paper discusses whether student participation in anonymous collaborative writing via Google Docs can lead to more successful products in a linguistically diverse eighth-grade English Language Arts classroom. Background: English Language Learners (ELLs) make up a considerable portion of elementary and secondary public school students, as language and ethnic diversity has become the norm in the United States. The research literature finds that ELLs are statistically behind their monolingual peers on such key language and academic development indicators as writing. Educators and researchers then turn to collaborative writing with the assistance of online technology. Although it is shown in literature to be a worthwhile endeavor for students of all ages and ability levels, no studies have investigated the differences it makes, namely, in comparison to traditional face-to-face collaboration in the classroom, and to anonymous online collaboration in the virtual space. Methodology: Through face-to-face, online, and anonymous writing activities, a rubric, and a survey, this quantitative study asks if anonymous collaborative writing, com-pared to other modalities, equalizes participation among students of varying language fluencies, and if anonymous collaborative writing, compared to other modalities, affect student comfort levels. Contribution: This builds on research of online collaborative writing tools and suggests that using such tools (Google Docs in particular) is beneficial, especially for students who are building their language abilities. The study further reveals varied degree of success and student comfort level in participating writing tasks in three modalities. Findings: We ascertain that students of varying language fluencies participated more equally when they were able to remain anonymous. Face-to-face writing exhibited the highest overall scores, and students enjoyed working on Google Docs. Recommendations for Practitioners: Future and current teachers are encouraged to be open to new technologies and be creative in the use of technology to facilitate student learning. They should have the opportunity to participate in the discussion on how, not if, integrating technology impacts the cognitive, social, and cultural dimensions of teaching. Recommendation for Researchers: After this initial quantitative study on students’ reactions to various modalities of technology-supported writing formats, the next questions to ask may be how students were engaging in dialogues during face-to-face sessions or chat features of Google Docs trials, and what types of edits students are making. Researchers should turn their focus on secondary school classrooms where there is an increasing impact of technology-assisted collaborative writing on student learning and teaching pedagogy. Impact on Society: As online technology has become an integral part of daily life, it is beneficial to educators, policy makers, and classroom teachers to understand how technology can be integrated in writing programs and to what extent the integration can help boost student motivation and participation. Future Research: More longitudinal research on online assisted collaborative writing and addi-tional quantitative data are needed to further understand the complexities of the writing process in-group online writing and the nature of collaboration.
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Boychuk, Vitaliy, Volodymyr Umanets, and Fu Guan. "PREPARATION OF FUTURE TEACHERS OF ART AND ART DISCIPLINES WITH THE HELP OF INNOVATIVE TECHNOLOGIES IN EDUCATION." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 10 (2021): 33–42. http://dx.doi.org/10.28925/2414-0325.2021.104.
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During the writing of the article, we analyzed the domestic and foreign experience in implementing STEAM approaches in the educational process of educational institutions. The article considers the issues of modern STEAM strategy - education, which is successfully developing in our time, which is the result of the integration of science and art, as a result of which scientific technologies are born. Some historical and pedagogical aspects of this problem are analyzed. Attention is drawn to the five components of STEAM-education: S - science (natural sciences), T - technology (technology), E - engineering (engineering art), A - art (creativity) and M - mathematics (mathematics) and emphasis on the importance of the artistic component in the interdisciplinary formation of a holistic personality. The results of separate researches of domestic and foreign scientists are covered. Approaches to the implementation of such educational standards in the United States and Austria, other EU countries are analyzed. It is determined that for pedagogical representatives, in particular, future teachers of art disciplines, the introduction of STEAM helps to increase their own level of professionalism, improve the quality of the educational process, reduce preparation time, allows to make a radically new job. Artistic and creative activity is an important indicator of the formation of the creative personality of the student, a special role in relation to artistic activity is played by the development of artistic perception when acquainted with works of painting, graphics, sculpture, arts and crafts. This acquaintance can take various forms, including the use of modern information technology and STEAM-approaches. We concluded that a comprehensive understanding of scientific problems, creative and engineering approach to their solution, critical thinking, the ability to process data representing figurative and symbolic objects; the ability to analyze several data streams simultaneously, the integrated application of scientific and artistic methods of cognition contributes to the development of all important competencies of future professionals.
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Leymarie, Frederic Fol, and Prashant Aparajeya. "Medialness and the Perception of Visual Art." Art and Perception 5, no. 2 (June 5, 2017): 169–232. http://dx.doi.org/10.1163/22134913-00002064.
Повний текст джерелаАнотація:
In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. Our focus is towards the description of 2D objects in visual art, such as found in drawings, paintings, calligraphy, graffiti writing, where approximate boundaries or lines delimit regions associated to recognizable objects or their constitutive parts. We motivate this exploration on the one hand by considering how ideas emerging from the visual arts, cartoon animation and general drawing practice point towards the likely importance of medialness in guiding the interaction of the traditionally trained artist with the artifact. On the other hand, we also consider recent studies and results in cognitive science which point in similar directions in emphasizing the likely importance of medialness, an extension of the abstract mathematical representation known as ‘medial axis’ or ‘Voronoi graphs’, as a core feature used by humans in perceiving shapes in static or dynamic scenarios. We illustrate the use of medialness in computations performed with finished artworks as well as artworks in the process of being created, modified, or evolved through iterations. Such computations may be used to guide an artificial arm in duplicating the human creative performance or used to study in greater depth the finished artworks. Our implementations represent a prototyping of such applications of computing to art analysis and creation and remain exploratory. Our method also provides a possible framework to compare similar artworks or to study iterations in the process of producing a final preferred depiction, as selected by the artist.
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Gugganig, Mascha, and Sophie Schor. "Teaching (with) Postcards: Approaches in the classroom, the field, and the community." Teaching Anthropology 9, no. 2 (April 16, 2020): 56–65. http://dx.doi.org/10.22582/ta.v9i2.560.
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This article showcases the pedagogical possibilities of working with postcards for teaching anthropology and related disciplinary fields by introducing a set of multifaceted tools and examples. It provides a framework for tangible reflexive teaching practices and a research methodology that supports, both intellectually and emotionally, a vibrant and mobile community of scholars. We commence with the emergence of the postcard, and its (widely undervalued) role as a research subject in the social sciences. Examples from the arts, literature, teaching and research offer inspiration for engaged and creative teaching formats. These cases support our claim that as seemingly ‘anachronistic’ object of communication, postcards are useful for teaching in the classroom, for teaching ethnography, and for community-based work and teaching. In fact, as a traveling communication device, the repurposed postcard lends itself to connect the oft-physically and conceptually divided spaces of the classroom and the ethnographic ‘field.’ Concurrently, the opening of postcards allows for a critique of the medium’s historical use in exoticization the ‘other.’ In other writing [anonymized], we explore in more detail the multimodal qualities of working ethnographically on, within, or through postcards. We here extend the pedagogical potentials to use postcards for innovative approaches in ethnographic research, public anthropology, and applied community work.
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Comuzzi, Ludmila V. "Joyce’s Literary Tradition in Mikhail Shishkin’s Prose and Its Evocation in the Story “The Blind Musician”." Tekst. Kniga. Knigoizdanie, no. 26 (2021): 40–59. http://dx.doi.org/10.17223/23062061/26/3.
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In this article, Mikhail Shishkin is presented as a literary successor to James Joyce’s modernist tradition of writing. The nature of the ties connecting his creative method with that of Joyce is considered in two aspects which also qualify the narrative structure of his texts, namely the autobiographical and intertextual ones. While the autobiographical features of Joyce’s works can be estimated by his numerous biographies and archives, the facts from Shishkin’s life, the writer being our contemporary, can mostly be judged on by their creative interpretations in his own literary works. However, in its degree of truthiness, Shishkin’s autobiographical prose is in large excess over that of Joyce’s who would rather tend to aesthetic transformations of his life in the art forms. The two writers’ life stories themselves demonstrate a noticeable parallelism: both are linguistically sensitive; both did similar jobs along with their primary, literary occupation (a teacher, a journalist, a lecturer, a translator); for both, mother’s death of cancer and the child’s illness are reflected in recurrent literary motifs; both left for Switzerland to write about homeland from the meta-distance of the artist. Shishkin follows Joyce’s strategy of interlacing the intimate, painful episodes of his personal life into the literary texture of his writings. The very episodes of the lives of the two writers belonging to different national and historical cultures are quite identical, too. It is only that Shishkin goes further than Joyce in directness and candour, thus putting Joyce’s principle of mimesis on edge. This ultimate autobiographicity makes Shishkin, on the one hand, a successor to the tradition of Russian classical literature (remember his “love for Akaki Akakievitch”), as well as the tradition of truth in the 20th-century literature. On the other hand, it attaches him to the postmodern trend of transforming text into reality. Anyway, unlike postmodernists who are destroying literary discourse together with the characters articulating it, Shishkin “plays” with it in order to bring the novel back to life. Aesthetically, Shishkin reproduces and expounds Joyce’s theory of the “rhythm of beauty”, his technique of radical intertextuality and anastomosis connections of “all in all”. The story “The Blind Musician” has every trait of modernist poetics outlined above. The plays with light and darkness set by the cyclic rhythm of the day/night alternation and by regular shifts from mimetic to mythopoetic (intertextual) discourse are the structural narrative devices similar to those used by Joyce. Joyce’s characters, like Minotaurs, are wandering blindly through the labyrinth of Dublin until they arrive at the visionary moment of epiphany, when the beauty of a trivial truth lights up in their minds. Shishkin’s ideology is also modernist in character, since his “new linguoworld” is created as a mode of reconciling man with this world’s imperfections and as a mode of clarifying its sense.
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Chychkanov, Ihor. "The creative personality of Grigory Sokolov in the piano art of the XX–XXI centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 171–84. http://dx.doi.org/10.34064/khnum1-59.12.
Повний текст джерелаАнотація:
Problem statement. Piano art of the XX–XXI centuries is extremely colorful and, perhaps, provocative phenomenon, whose uniqueness is determined primarily by the coexistence of numerous creative principles and individual preferences. This determines the constant relevance of questions of the interpretation of performance and identification of factors influencing the formation of the performance concept of a musical piece. The system of causation, which is the basis for the interpretation of a particular piece of music toughts such factors as school, nationality, era, style, personality of the artist and even the condition of the instrument, the acoustics of the hall, etc. All these parameters affect the formation of individual performance style. Several aspects of the formation of the pianist’s style are analyzed: the development of personality and character, the piano school, the attitude to musical text, the inclination towards some composers and styles. Objectives. The purpose of this article is to determine the parameters that influenced the formation and development of individual performance style of G. Sokolov. Theoretical background. In this article, we rely on scholar sources, the subject of which are the main categories of performing musicology, especially a category of musical style. The concept of style has been substantially developed by many scholars who have proposed authorial definitions. In this paper we will rely on what was proposed by S. Skrebkov: “Style in music, as in all other arts, is the highest kind of artistic unity”. (Skrebkov, 1973: 10) This understanding of style as a certain integrity, in our opinion, correlates with the point of view of domestic scientist V. Moskalenko (1998, 2012), who emphasizes that the specificity of the musician’s musical thinking determines the uniqueness of his musical language, which, among other things, is the key to its cognition. Thus, the methodological basis of this study is the concept of the style in music by S. Skrebkov (1973), V. Moskalenko (1998, 2012), M. Lobanova (1990). Results for discussion. G. Sokolov is a rather closed person, he has not given interviews for years, he is increasingly concentrating exclusively on his solo career, practically giving up performing with the orchestra. Moreover, this is not a sign of late style, or a certain consequence of personality development, the pianist’s classmates claim that he was like that all his life. So, the only way to determine what influenced the formation and development of individual performance style of G. Sokolov is detailed comparative analysis of the stages of his formation as a musician. In our opinion, later, this closeness, some emotional detachment of G. Sokolov, not only influenced the basic parameters of his individual performance style, but also allowed the pianist to avoid the problems associated with overstrain. We also emphasize that the pianist is characterized by attention to details. G. Sokolov since childhood was interested in butterflies, transport and air routes, rational planning of routes and flights, he was a perfectionist in everything. Let us also mention his child’s passion for conducting, which began his acquaintance with music. It is known that sometimes the repertoire chosen to participate in the competition reveals some secrets of the pianist’s stylistic preferences, but in the case of G. Sokolov it did not happen. The pianist can be called universal. His repertoire includes works of different styles, due to the tendency to present a variety of compositional sound concepts of the world, which is the uniqueness and significance of the art of music. In this regard, the pianist himself says the following: “I think in the art of all who interest us, unites their dissimilarity” (from interview, Sokolov, 2016). Over the years, G. Sokolov increasingly gravitated to miniature forms. Trying to move away from pathetic and epic works, pianist, obviously, prefers the aesthetic dimension of the phenomenon of piano playing. Such a subtle understanding of music characterizes him more as a philosopher than a virtuoso. In a sense, he can be called an artisan, because he just does his job well, it is also an art. It is necessary to disassemble the structure of the work, find a balance, take into account the peculiarities of the sound of the instrument at the time of writing, the style of the author and many other small (but very important) aspects. This jewelry work shows the true style. Conclusions. So, can we call G. Sokolov a pianistic phenomenon? Positive answer can be fortified with factors such as isolation, alienation from many modern trends in culture, while retaining the ability to perform repertoire of completely different styles. For him, the art of music is a very intimate, thoughtful process of understanding meaningful content of each sound. Taking as a basis the thesis of S. Skrebkov that style is the highest form of artistic unity, we can say that G. Sokolov’s style is holistic, convincing and has an impact on modern performing arts precisely because of its uniqueness.
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Bulavs, Vilnis. "Kārlis Cemiņš – mākslinieks un pedagogs." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 12 (December 21, 2020): 89–113. http://dx.doi.org/10.37384/sm.2020.12.089.
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Kārlis Celmiņš (1894–1973) is one of the less famous Latvian artists. He was born in Cēsis as the fifth, the last child in his family, the only son. He received an artistic education at Stroganov School of Arts in Moscow. Still studying at this school, Celmiņš took part in the IV Exhibition of Latvian Art in Riga in 1914. After he had finished school, he was drafted into the Russian Empire’s army, where he was assigned a painter decorator of his regiment. Celmiņš returned to Latvia in 1918. After working as a teacher of drawing in Madona for two years, he moved to Jelgava. There he worked as a teacher of arts in Jelgava Classic Gymnasium. During the time of independent Latvia, Celmiņš actively took part in Jelgava’s artistic life. He regularly displayed his works at society’s “Zaļā Vārna” and other exhibitions and organized exhibitions himself together with students of the gymnasium. Celmiņš had many-sided artistic interests. He was not only painting and drawing but also doing graphics, applied arts, making silver jewelry, and writing poems in his leisure time. The monument devoted to the Latvian soldiers who fell in action in 1916–1917 was made after the artist’s project. Almost all works of the master were destroyed in the ruins of Jelgava during the war in 1944. Celmiņš felt very sorry about this loss. The artist and his wife and children moved to Dundaga after Jelgava was destroyed, but when the war was over, they settled in Tukums. There Celmiņš worked in a ceramics workshop as a decorator of ready-made plates and dishes. In 1946 the artist was invited to work at the School of Applied Arts in Liepāja. The rest of his life Celmiņš spent in this city. The artist painted portraits, landscapes, still-lifes, and decorative compositions with plants, flowers, and the sea all his creative life. He did his works with oil, watercolours, colour chalks, and pencil. The life of the free-thinking artist was not easy during the Soviet occupation. Many people did not understand the art of Celmiņš. At the end of his life, the master organised several personal exhibitions in Liepāja, Jelgava, Cēsis. Many interesting paintings of flowers done with watercolours, pastel, and colour oil chalks were displayed in his last exhibition, “Flowers” in 1973. Those were the paintings of gladioli, irises, calla lilies, and other flowers made during the last years of his life. Celmiņš died in Liepāja on 16 October 1973, leaving a wide range of works of his individual, unique style.
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Lian, Yuanmei. "“Zwei Venetianische Lieder” by R. Schumann in the tradition of Austro-German romantic song." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 73–88. http://dx.doi.org/10.34064/khnum2-18.05.
Повний текст джерелаАнотація:
Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of the song cycle “Myrthen” (1840). How do these two vocal miniatures, that are one of the first in the composer’s vocal creativity, reflect the individual style of his writing? Do they correlate with the nature of the “true” Schumann, who is known for his famous works, such as the cycle “A poet’s Love”? Objective. The purpose of the article is to comprehend composer methods of Venice image embodiment in “Zwei Venetianische Lieder” in the context of creative tradition of the Austro-German romantic song. Methods used in the research: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the 19th century; 2) intonational method, which involves the study of vocal melody in terms of melodic reactions to figurative content; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. The results of the study. “Zwei Venetianische Lieder” were grown up in the artistic climate of its era. The popularity of traveling in the circles of well-educated youth was a practical realization of spiritual impulses and the inner need to push the boundaries of the information space for awareness of the nature of self-own identity through a meeting with a different culture and worldview. Italy, and the entire Mediterranean areal, as the cradle of the Christian humanist culture, was a center of attraction for the German romantics. The creation of the artistic and aesthetic archetype of Italy and Venice by J. W. Goethe in “Italian Travels” and “Epigrams” has created a tradition of perception these themes not only in German literature, but also in music. R. Schumann was one of the first to respond to this creative idea. He was also the first among German composers to turn to the “poetic” Venice of the Englishman Thomas Moore and initiated the appearance of a series “Venetianische Lieder” in Austro-German music of the 19th century. A number of authors were involved in the creation of this series – F. Mendelssohn Bartholdi, A. Fesca, С. Dekker, and others. The melancholic mood of the many “Venetianisches Gondellied” written by German composers was the result of the process of mythologizing the image of Venice. The creative people (poets, writers, composers, painters) were involved in this process. They perceived this city through the prism of artistic relations, associations, and sought in its canonical symbols (channels, gondolas, sea, mirror, mask) new semantic dimensions, means of the expression of self-reflection. “Zwei Venetianische Lieder” from the song cycle “Myrthen” by R. Schumann stand apart on this list as not only the first, but also as the works distinguished by its originality. 1840 year is considered as the “song year” in the composer’s work. In this year 138 songs and the best of song cycles were written by the composer: “Liederkreis” ор. 24, “Myrthen” ор. 25, “Liederkreis” ор. 39, “Frauenliebe und Leben” ор. 42, “Dichterliebe”, ор. 48. After the “piano decade” (1829–1839) Schumann’s appeal to the song came a surprise, in particular, for the author himself. This led to the change in his musical aesthetics, to the revision of the hierarchy entrenched in the consciousness, about the primacy of music over other arts and the instrumental music over the vocal. Although the cycle “Myrten” op. 25 (1840) is one of the first in the vocal works by R. Schumann, it is distinguished by the maturity of style writing. R. Schuman’s psychological sensitivity to the poetic word is conveyed in the intonational nature of the songs, careful selection of harmonic means, finely tuned tonal plans that can emphasize both, contemplation and rebelliousness. Musical and poetic integrity is also ensured by the increased importance of the accompaniment and the piano part in whole that include the expressive instrumental introductions and postludes aimed at revealing of an image. Conclusion. The study of R.Schumann’s “variations” on Thomas Moore’s “Venice” as a separate scientific topic makes it possible to realize the scale of the creative competition established by the outstanding composer in his “Zwei Venetianische Lieder” from the vocal cycle “Myrthen”.
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Zylevich, Dina P. "The Author’s Book in the Modern Repertoire of Belarusian Publications." Tekst. Kniga. Knigoizdanie, no. 26 (2021): 143–63. http://dx.doi.org/10.17223/23062061/26/9.
Повний текст джерелаАнотація:
The modern Belarusian author’s book still rarely attracts researchers’ attention. At the same time, the 21st century, with its attention to the form of any work, brought both “writing artists” and “drawing authors” into literature. The article aims to review author’s books presented in the repertoire of modern Belarusian publishing houses in 2014–2019. The author’s book is usually understood as an edition in which the text and design are created by one person. From the point of view of the interaction of text and illustrations, the article analyzes 20 modern author’s books issued by Belarusian authors: S. Stelmashonk, E. Popova, L. Speranskaya, V. Starikov, S. Volkov, Babushka Ira (Irina Chursina-Bednarska), V. Tkach, K. Pashkevich, A. Balzhak, K. Shtalenkova, G. Labodenko, V. Komarov, K. Mizin, T. Lisitskaya, L. Miklashevich, and others. Author’s books are included in the repertoire of the publishing houses Registr, Medyyal, Kolorgrad, Zvyazda, Entsyklapedyya imya P. Broyki, Zmitser Kolas, and Altiora – Zhivye kraski. Most of the author’s books are addressed to children of preschool and primary school age; Babushka Ira wrote her story “Virtual Brain Eater” for readers of secondary school age; K. Shtalenkova’s fantasy novel The Other Side of the Mirror is for high school students; G. Labodenko and S. Stelmashonok offer their collections to children and adults; V. Komarov, K. Mizin, L. Miklashevich, T. Lisitskaya count on an adult reader. Separately, the author discusses the book of the repressed Belarusian poet Larysa Hienijuš … To Grandchildren. Poems and Letters. Uncensored, which is decorated with illustrations by the author and released 35 years after her death. The book has an original conception, a rich reference apparatus and a highquality printing performance. The author notes that some of the modern Belarusian author’s books represent a creative experiment; however, in most publications, the text dominates the illustration both in terms of space and semantic load. The analysis of the repertoire of publications shows that the most interesting author’s books belong to the pen of those people who have an art education degree (L. Speranskaya, E. Popova, S. Stelmashonok), or are active in the field of culture and art (T. Lisitskaya, G. Labodenko). The material presented in the article suggests that the artistic and graphic genre of the author’s book is actively developing in Belarus today and is waiting for further research by art historians, philologists and publishing specialists.
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Marsling, Steve, and Chris Smith. "London Recruits: How a story of anti-apartheid activism can serve teachers today." FORUM 63, no. 2 (July 1, 2021): 141–47. http://dx.doi.org/10.3898/forum.2021.63.2.12.
Повний текст джерелаАнотація:
This year sees the release of London Recruits, a film chronicling the anti-apartheid activism of young men and women volunteers who, from 1967, travelled from the UK to South Africa. The recruits were invaluable to the campaigning work of the African National Congress and the wider international anti-apartheid movement because as white tourists, which is all the South African authorities saw them as, they were free to travel unmonitored in ways impossible for black citizens. To coincide with the release of the film, an education pack, comprising the testimonies of the recruits as well as other source material, has been compiled for use in schools. The pack was funded by the National Education Union and coordinated by Steve Marsling, a former recruit, who writes the opening section of this article. Chris Smith, who writes the rest of the article, was a serving history and politics teacher at the time of writing this article. He helped provide learning activities and exemplar lesson plans so teachers can straightforwardly make use of the pack in their classrooms. Work to create these educational resources started just before the upsurge of Black Lives Matter campaigning in the UK sparked calls for 'decolonising the curriculum'. It is hoped this pack shares and complements that goal. As the story of the recruits makes clear, there have always been those who have needed to resort to direct action to have their voices fairly heard. Institutional racism is an undeniable feature of life in all nations whose pasts are closely entwined with imperialism. It is hoped this pack will form part of the continuing work in our schools to teach a more diverse curriculum, not only in subjects such as history, but also in citizenship, creative arts and even during pastoral time. Teachers are struggling with unprecedented and seemingly endless demands: may this pack help them tell a story that until now had been largely untold.
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Болотнова, Нина Сергеевна. "REVIEW OF THE MONOGRAPH BY L. G. KAIDA “BUNIN’S CRYPTOGRAPHIC WRITING. INTEGRAL COMPOSITION OF ARTISTIC SPACE” (Moscow, Flinta Publ., 2021. 152 p.)." Tomsk state pedagogical university bulletin, no. 6(218) (November 19, 2021): 152–55. http://dx.doi.org/10.23951/1609-624x-2021-6-152-155.
Повний текст джерелаАнотація:
Введение. Необходимость развития культуры чтения у современного читателя, важность разработки новых методов и методик анализа художественного текста, включая выявление содержащейся в нем подтекстовой информации, неослабевающий интерес к творчеству И. А. Бунина обусловили актуальность исследования художественной прозы писателя в монографии Л. Г. Кайда. Методы исследования. Использовался описательный метод, включая приемы анализа, синтеза, сравнения и обобщения. Результаты и обсуждение. Научная новизна рецензируемой монографии обусловлена комплексным подходом автора к исследованию глубинного смысла 17 известных произведений разных жанров И. А. Бунина. Предпринятый Л. Г. Кайда комплексный характер исследования связан с многоаспектным рассмотрением содержательного плана текстов в русле философского, психологического, филологического, семиотического подходов к изучению художественной прозы классика русской литературы на основе анализа интегральной композиции художественного пространства рассматриваемых текстов. Интегральный подход и расширенная трактовка композиционной поэтики как эстетической категории позволили автору монографии выявить характерные для писателя закономерности на уровне его индивидуально-авторской манеры письма, определить особенности психологизма Бунина, его эстетическое «я», анализируя творчество писателя на основе сопоставления произведений разных лет. В отличие от других исследователей творчества И. А. Бунина автор монографии сделал акцент на разгадке «тайнописи» писателя, рассмотрении подтекстовой информации его произведений. Это было успешно реализовано на основе изучения интермедиальной композиции художественных текстов, отражающей идею синтеза искусств. Разработанная автором монографии концепция получила воплощение на практике в глубоком анализе композиционной поэтики произведений И. Бунина и детальном исследовании динамики композиционно-речевой формы текстов и их элементов. Анализируя художественное пространство творчества писателя, Л. Г. Кайда выделяет и обосновывает интегральную композицию как «новую категорию филологических исследований авторского текста». К несомненным достоинствам книги можно отнести выявление различных «затекстовых нюансов» в известных произведениях И. А. Бунина, что дает возможность нового, глубокого проникновения в творческую лабораторию автора и разгадыванию его интенций и мотивов. Заключение. Новая книга Л. Г. Кайда в силу ее актуальности, теоретической и практической значимости будет востребована специалистами в области теории и методики анализа текста, в вузовской практике преподавания стилистики декодирования и филологического анализа текста, а также всеми, кто интересуется творчеством И. А. Бунина. Предложенная автором методика комплексного анализа художественного текста в русле композиционной поэтики может быть использована для изучения текстов других авторов. The relevance of research. The requirement to develop a culture of reading among the modern reader, the importance of elaborating new methods and techniques of a literary text’s analysis, including identifying the subtextual information contained in it, an intense interest in the work of I. A. Bunin determined the relevance of the study of the writer’s fiction in the monograph by L. G. Kaida. Methods of research. A descriptive method was used, including techniques of analysis, synthesis, comparison and generalization. Results and discussion. The scientific novelty of the monograph under review is due to the author’s comprehensive approach to the study of the deep meaning of 17 well-known works of different genres by I. A. Bunin. The complex nature of L. G. Kaida’s study is associated with a multifaceted consideration of the content plan of texts in line with the philosophical, psychological, philological, semiotic approaches to the study of fictional prose of the classic of Russian literature based on the analysis of the integral composition of the artistic space of these 17 texts. An integral approach and an expanded interpretation of compositional poetics as an aesthetic category allowed the author of the monograph to identify patterns characteristic of the writer at the level of his individual author’s manner of writing, to determine the features of Bunin’s psychologism, his aesthetic “I”, analyzing the writer’s work on the basis of comparing works of different years. In contrast to other researchers of Bunin’s works, the author of the monograph focused on solving his “secret writing”, considering the subtext information of Bunin’s literary works. This was successfully implemented on basis of the study of the intermedia composition of literary texts, reflecting the idea of the synthesis of arts. The concept developed by L. G. Kaida was embodied in practice in a deep analysis of the compositional poetics of I. Bunin’s works and a detailed study of the dynamics of the compositional and speech form of texts and their elements. The analysis of the artistic space of the writer’s work allows L. G. Kaida to single out and prove integral composition as “a new category of philological studies of the author’s text”. The evident advantages of the book are the identification of various “behind-the-text nuances” in the well-known works of I. A. Bunin, which makes it possible for a new, deep penetration into the author’s creative laboratory and unraveling his intentions and motives. Conclusion. New book by L. G. Kaida, owing to its relevance, theoretical and practical significance, will be in demand by specialists in theory and methods of text analysis, in the university practice of teaching the stylistics of decoding and philological analysis of the text, as well as by everyone who is interested in the work of I. A. Bunin. The author’s method of complex analysis of a literary text towards compositional poetics can be used to study the texts of other authors.
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Yastrub, Olena. "Musical and educational activities of Mykola Lysenko as a phenomenon of self-identification of the national culture." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 92–104. http://dx.doi.org/10.34064/khnum1-55.07.
Повний текст джерелаАнотація:
Formulation of the problem. In the globalized time-space of the 21st century, the musical heritage left by M.V. Lysenko motivates to comprehend at a new level the phenomenon of the creative universalism of the artist, the multiple manifestations of his musical-social, educational, ethnographic and composing activities. Given the importance of the choral singing for nurturing the national consciousness of young musicians, the role of M. Lysenko’s opera heritage for children and adolescents should be noted. The choice of the theme was actualized by the iconic premiere of M. Lysenko’s children’s opera called “Winter and Spring” (2017) at the Great Hall of Kharkiv National University of Arts named after I.P. Kotlyarevsky,performed by young performers, which coincided with honouring the memory of the great Kobzar (the 175th anniversary since his birthday). In particular, the orchestration was performed by Yelizar Pashchenko, the stage director – Sofia Melnikova; the conductor –the author of the article. Thus, M. Lysenko’s children’s opera is still relevant for young artists in terms of their professional and national self-growth. The purpose of the article is to systematize the manifestations of artistic universalism in the activities of M.V. Lysenko in the aspect of phenomenology of the creativity of the composer on the example of the genre of children’s opera. The object of the study is the Ukrainian music tradition; the subject – music-educational activity of M. Lysenko in the aspect of its actualization in the contemporary cultural and artistic space. The analysis of recent publications on the topic. The reflection of M.V. Lysenko’s creative heritage in its aspects was performed in the studies by the classics of Ukrainian studies (K. Kvitka (1986), M. Rylsky (1927), O. Pchilka (1913a, 1913b), L. Arhimovych, M. Gordiychuk (1992)), and by the modern scholars (L. Corniy (2011), S. Grytsa (2007)). One of the fundamental editions is the book-album called “Mykola Lysenko’s World. National identity, music and politics of Ukraine of the 19th– the beginning of the 20thcenturies»(compiled by T. Bulat and T. Filenko (2009)). However, there is no phenomenological approach to the master’s creative work in these sources. The presentation of the main material. M. Lysenko was a personality gifted with many talents, at that time he was presenting the figure of a universal personality – on the one hand, an intellectual, and on the other – an educator. He read in the original language the works by Russian, Polish, German, French writers (Dumas, Eugene Sue), independently studied the works by R. Schuman and R. Wagner, Y.S. Bach, performed virtuosic compositions by F. Liszt. The manifestations of the artistic universalism of M.V. Lysenko as a criterion of the composer’s activity in the light of the problem of self-identification of Ukrainian culture at the stage of its formation have been systematized. The composer’s outlook and aspects of his creative life have been characterized. Lysenko’s music-educational activities began the process of democratization of music education in Kyiv. So, in 1904 he opened the School of Drama and Music. He focused on the programs of Moscow and St. Petersburg Conservatories. Therefore, on the stage of the educational institution the authors of the modern version of the opera “Winter and Spring” take the ideas of the founder of the national musical culture. Their purpose was to preserve the holistic concept of the development of the musical form of the opera. The ancient folk intonations, the expressive and difficult in the technical performancesub-voices, the varied and original use of the fret, reflected in the melody of children’skolyadka (carols) and vesnyanka (spring songs), helped the young performers to achieve some level of the performing skills. It should be noted that the final choir (vesnyanka) “And it’s spring already, and it’s already good”, as well as the choral scenes of carolling and spring celebrations are in low demand in the modern choral performance and need to be popularized. For example, the choral scene that begins with the kolyadka called “Herod Is Damned” can be performed as a compulsory piece at children’s choral competitions in Ukraine. The opera is quite technically difficult to perform. Children’s mass scenes “cement” the opera’s musical material. The choir of the younger age children performed the first choral song “Go, Go, Let’s Meet”, built on the invocative intonation of the big tertiary, there are jumps on octave and the fifth; by means of harmonization, the composer gives a colourful sounding to the choir’s kolyadka and shchedrivka (New Year Ukrainian song). Conclusions. In the choral scene of the children’s opera called “Winter and Spring”, the composer applied such techniques as: the combination of shchedrivka and kolyadka in the choir “New Joy Began”; the techniques of folk polyphony: unison chants (vesnyanka “Cuckoo in the Meadow”), the tertiary doubles and octave thickenings (the ancient kolyadka “Herod Is Damned”); the original means of vocal-choral writing (the final choir “And it’s spring already, and it’s already good”). Thus, M. Lysenko’s creativity is filled, on the one hand, with the love to Ukrainian folklore, and on the other, with the perception of the European spiritual values of the music world, where Ukraine should take its rightful place. This is the phenomenon of self-identification of the professional activity of the great composer and figure of musical culture, which is inherited by the modern musicians of Kharkiv
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Ivlieva, Yuliia O. "POETICS OF COLLECTION “FREE HANDS” BY PAUL ELUARD AND MAN RAY." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 36–49. http://dx.doi.org/10.32342/2523-4463-2022-1-23-3.
Повний текст джерелаАнотація:
This article is part of a more detailed study of “pictopoetry” as a phenomenon, where we define its place in the genre system of surrealism on the example of Paul Eluard and Man Ray collection “Les Mains libres” (“Free Hands”). The activities of the surrealists expanded the artistic vision of the world to previously unknown boundaries. In particular, we observe these innovative achievements in the field of poetry, where A. Breton, W. Browner, P. Eluard and other representatives of this trend continued to search for new poetic intermediate forms, genre paradigms. The genre repertoire of surrealists is characterized by unusual diversity, exploratory nature and freedom from restrictions, and the short existence of new genres that did not mature in time, complicates the study of the genre system of this art direction, so it remains an unexplored field in literature. Forms and genres of poetry created within the framework of surrealism did not acquire a broad enough scientific understanding that would allow them to be systematized. Among contemporary French literary critics, more and more scientists turn to P. Eluard`s creative heritage, but some of them focus on the specifics of his collection “Free Hands”. In particular, in the few works of French scientists (S. Caron, J.-L. Benoit, M.F. Leudet, C. Leconte) considered only some aspects of the nature of the synthesis of graphic and textual components of the collection “Free Hands”, and the problem of P. Eluard and Man Ray pictopoetry’s poetics as a phenomenon significant for genre researches of surrealists is not staged at all. As for the specifics of the poetics of P. Eluard`s “pictopoetry”, it remains almost unexplored today. In the works of I. Ehrenburg and S. Velykovsky, the main attention is focused on the general analysis of P. Eluard`s poetry, his experience in the use of free verse and automatic writing. P. Eluard’s contribution to the development of visual poetry and the intermediate nature of his works are only partially considered by T. Balashova, Y. Dovga, I. Medvedeva, and the experience of poet’s work in tandem with illustrators became the subject of E. Miroshnikova special analysis. In Ukrainian Eluard`s studies, the attention of scinetists is focused on the study of biography, some techniques of the poet, for example, the use of free verse and automatic writing (O. Benina, V. Soloveychik), but not on the pictpoetry’s poetics as important sign of poetry of surrealism and it’s genre innovations. This fact necessitates the filling of the gaps that currently exist in the study of surrealist poetry in its innovative, revolutionary forms, including the “pictopoetry” of the master of surrealism – the French poet Paul Eluard. “Pictopoetry” as a concept developed theoretically by W. Brauner and revealed by P. Eluard in the collection “Free Hands” (created in collaboration with the artist Man Ray), embodies the intermedia research for surrealists of the twentieth century in general, as well as the unique experience of co-creation of two surrealist artists on a fundamentally new level, which goes far beyond the traditional collaboration of poet and illustrator. Therefore, P. Eluard`s “pictopoetry” is understood as an innovative form of surrealist poetry, built on the principle of synthesis of arts, on the intermediality. It seems relevant both in terms of understanding the work of surrealist poets, and in the context of Eluard’s studies, where the figure of the poet as an innovator, the practice of intermedia art, still remains insufficiently revealed. Thus, the purpose of this study is to identify the originality of the poetics of Paul Eluard’s “pictopoetry” in the collection “Free Hands”. The article analyzes both literary and psycholinguistic means of expressing the double code in the collection on the example of duopoems. It is determined that the intermedia research method of the boundary state image, in which surreal images are intertwined at the level of poetic word and image, creating new meanings, defines the poetics of “Free Hands” as a collection created “in four hands”. This fact will allow us to analyze more thoroughly both the phenomenon of “pictopoetry” in particular and the contribution of the poet and artist in its development.
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Алябьева, Людмила Анатольевна, and Анна Фёрс. "FASHION MEETS PERFORMANCE: COSTUME, CLOTHING AND THE PERFORMING BODY." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3(33) (May 5, 2022): 153–68. http://dx.doi.org/10.23951/2312-7899-2022-3-153-168.
Повний текст джерелаАнотація:
В этой совместной междисциплинарной работе мы рассматриваем, как повлияли друг на друга исполнительские искусства и модные практики, и обсуждаем конкретные примеры, в которых выразило себя это взаимное влияние. Тело как присутствие, материя и смысл давно находятся в центре искусства как на творческом, так и на теоретическом уровне, а сенсорному повороту способствовала, например, теория аффекта. В работе мы прослеживаем разворот теории моды в сторону перформанса и тела, вместе с тем наблюдая, как присутствие костюма придало свободу театральному действу — на британском материале, включая раннее творчество Майкла Кларка, работавшего с такими художниками, как Ли Бауэри, эстетику, пронизанную духом панка, и наследие этих новаторских идей. Мы рассматриваем переход от доминирующего взгляда (режиссера как сверхавтора) к более инклюзивному подходу, предполагающему осознание, что все участники, включая художника по костюмам, вместе участвуют в создании перформанса — театрального или подиумного. Мы рассматриваем и недавний переход от костюмов, изготовленных с нуля, к «найденным объектам» (порой адаптированным). Это переход совершен, благодаря экологическому движению, и означает переход от нового, покупного к подержанному, приспособленному под конкретные нужды, переработанному или переосмысленному. Мы остановимся на том, как некоторые современные театральные художники по костюмам стремятся выйти на первый план, утверждая, что костюм не подчинён остальному действию и обладает собственной агентностью. Наконец, мы размышляем о трудном и медленном становлении дискуссии об эмансипации тела, благодаря которой в модельный бизнес проникают новые и многообразные нормы тела, разные типы лица и фигуры, несуразные позы, прежде вытесненные за рамки модной нормы, и сопоставляем этот случай с примерами инклюзивного кастинга для участия в театральном представлении. Наконец, мы рассматриваем практику как исследование в интерпретации, принятой в британских университетах. Эта модель позволяет понять, что составляет суть практики, требующей серьезного к себе отношения в академической среде: создание «нового знания» посредством мимолетного действия и продолжительного, вдумчивого — и желательно аргументированного — анализа.Совместно работая над этим текстом, рассуждая о сценической моде, о практике, о практике как исследовании, авторы не могли не сказать о сопротивлении изоляции: обособленности отдельных дисциплин, стене между художниками и теоретиками, взаимной изолированности разных стран и необходимости выражать свои мысли так, чтобы говорить на одном языке, понимать друг друга и работать сообща. This interdisciplinary collaborative paper looks at the ways performing arts and fashion practices have impacted each other, such as the performative nature of some of the recent catwalk shows, including Dries van Noten’s 2021 collection and the late work of Alexander McQueen. The Body as presence, matter and meaning has become central to the arts both creatively and theoretically, with a sensory turn being emboldened by, for example, Affect Theory. Our paper notes the performative and body turn in fashion studies, and the way theatrical performance has emancipated the presence of costume – thinking of, in the UK, for example, the way Michael Clark’s early work collaborated with artists such as Leigh Bowery, the ethos of punk as an aesthetic, and the legacy of this innovation. We consider the move from the dominant gaze (director as uber author) to a more inclusive model, which recognizes that all participants, including costume designer, contribute to the ensemble creation of a performance – theatrical or catwalk. We also discuss the more recent move from made-from-scratch costume to the (adapted perhaps) found object as sustainable practice, from new and bought to second-hand, customised, recycled and upcyled. We include in our discussion the way some current theatrical costume designers have insisted on bringing their presence in the creative process to the fore, arguing for an insubordination of costume; and finally, we reflect on the difficult and slowly emerging issue of body emancipation, with changes in the modelling business including more faces and body types, and contrast this with examples of inclusive casting in theatrical performance. Finally, we consider practice as research as understood in UK universities. This model is used to capture what constitutes practice that should be taken seriously by the academic environment: the creation of “new knowledge” in ephemeral practice and durable reflective – and possibly argumentative – analysis. In writing this collaborative piece, speaking about performance fashion, about practice, and practice as research, the authors have inevitably mentioned resistance to isolation: isolation between disciplines, isolation between artists and theorists, isolation across boundaries, and the necessity of articulating ourselves so that we can speak the same language, understand each other and work together.
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Botunova,, H. Ya. "Organizational-pedagogical, scientific-research and theatrical-critical activity of A. V. Pletniov through the prism of time." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 9–40. http://dx.doi.org/10.34064/khnum1-51.01.
Повний текст джерелаАнотація:
The article deals with the main aspects of organizational-pedagogical, scientific- research and theatrical-critical activity of the candidate of art studies A. V. Pletniov. Little-known biographical data on the life of the theater scientist and the creative environment, in which his professional formation took place, are presented. It is noted that A. V. Pletniov was one of the first graduates of the State Institute of Theatrical Arts named after A. V. Lunacharsky (now – RUTM). He studied there in 1934–1938, surrounded by highly-qualified students, many of whom subsequently became the pride of Russian theater studies. A. V. Pletniov entered the history of the theatrical culture of Kharkiv as a talented scientist-researcher, a well-known theater critic and teacher. He stood at the origins of theater studies in Kharkiv and for almost 30 years he headed the department of the History of the Theater (now – the Department of Theater Studies) of the higher theater educational institution in the city. However, the value of his activity is much wider. The formation of the Kharkiv State Theater Institute is closely linked with the personality of A. V. Pletniov, since 1963 he wax also connected with the theater department of the Kharkiv Institute of Arts named after I. P. Kotliarevsky, and in general – with the theatrical culture of our city. However, until this time his organizational-pedagogical, scientific-research, and theatrical-critical heritage has not been properly investigated and objectively not covered. The purpose of the research is to analyze the organizational, pedagogical, scientific, research and theatrical-critical activity of A. V. Pletniov, writing it into the socio-political and artistic context of time and, at the same time, into the history of theater studies of Ukraine. A. V. Pletniov started his pedagogical activity in 1938 at the Kharkiv Theater School as a teacher of the history of the theater and the head of the educational department. With the beginning of the war, the school, which merged with the Kyiv State Theater Institute, was evacuated to the city Saratov, where A. Pletniov as a teacher worked until January 1942. From this time until the end of the war he was on the front in the field force. In 1945 he returned to the newly founded Kharkiv State Theater Institute and was immediately appointed Deputy Director of Educational and Scientific Work and a senior lecturer at the Department of History of the Theater. Together with the director of the institute Z. Smoktiy, A. Pletniov was making considerable efforts to organize the educational process in the time of economic trouble, lack of staff with the corresponding education, and provided basic conditions of work and education in the newly created higher education. Existing and new departments were supplemented and opened, the prominent artists from Kharkiv theaters and leading scientists from other universities were invited to work. Among them: D. Antonovych, O. Serdiuk, M. Krushelnytsky, O. Kramov, L. Dubovyk, V. Chystiakova and others. The peculiarity of the organization of research and methodological work was its focus on providing educational process. Several comprehensive topics on the methodology of actor education, stage language teaching, encyclopedic dictionary of theatrical terms, and a study on the history of theater development in Kharkiv were planned. It was at that time that several dissertations were planned, including A. Pletniov’s “Kharkiv Theater of the Second Quarter of the 19th Century”, which he successfully presented in 1952 in his alma mater – State Institute of Theater Art after A. V. Lunacharsky, and he was awarded a degree Doctor of Arts. In 1960, the completed dissertation study was published in the form of a monograph titled “At the Origins of the Kharkiv Theater”, which until now has not lost its relevance and is actively used in the educational process. In 1947, while being the Deputy Director of the Institute, A. Pletniov also headed the Department of Theater History. It was with him as the head of the department, the actual renewal of the department as a theatrical research center and methodological center began, it largely determined the main directions of its activities for the future. Under the direction of A. V. Pletniov, the department trained a lot of talented theatrical scholars who successfully worked and work as teachers of higher educational institutions, heads of literary units of creative groups, heads of leading theaters, heads of cultural management, members of mass media staff, well-known theatrical critics. A. Pletniov headed the department for almost 30 years – until 1976 (with a brief break in 1961–1962), giving a significant impetus to the development of theater studies in Kharkiv, in particular, theatrical criticism. He himself was actively involved in the illumination of the theatrical process in Kharkiv, leaving after himself dozens of highly professional reviews, articles, notes, sometimes controversial, bearing the imprint of time. The article emphasizes that A. Pletniov was one of the most skilled and highly educated teachers. He taught a whole range of theater studies disciplines: the history of Russian theater, the history of foreign theater, the theory of drama, theatrical criticism. Until the last years of his life, A. Pletniov conducted active scientific research, methodological, theatrical-critical and public activity. In 1968–1972, he was the Vice-Rector of the Kharkiv State Institute of Arts named after I. P. Kotliarevsky for the scientific work and theatrical department. In 1975, he finished a doctoral dissertation “From the History of the Establishment of the Soviet Theater in Ukraine”, in which he for the first time thoroughly recreated the extremely complex and multifaceted theatric life of Kharkov in the October decade (1917–1927) in the socio-cultural context, but he did not have time to defense this study. Nowadays this scientific work is striking by its multidimensional and enormous amount of material. Conclusions. As a result of the research was established that with A. Pletniov personality as a well-known teacher, a scientist and theater critic, one of the leaders of the Kharkiv Theater Institute (1945–1953), later the Kharkiv Institute of Arts named after I. P. Kotliarevsky, more than thirty years of theater education in Kharkiv were connected. Particularly remarcable the role of A. Pletniov was in the development of theater studies and theater education in such a significant theatrical center as Kharkiv, where he nearly thirty years was heading the specialized department of the history of theater (now the department of theater studies). It was under his leadership that a methodology for preparing theatrical scholars of a broad profile was formed, based on a high level of general culture and education of future specialists, on the possession of a wide spectrum of theatrical research tools. Despite some contradictions inherent in A. Pletniov’s scientific and theatrical- critical activity and reflected in his heritage, that was typical for most scholars of the humanitarian sphere of the 1930–1970s, he remains one of the decisive figures in the development of theater education and theater researches in Kharkiv. All the above motivates for a further, more profound study of the scientific-pedagogical and theatrical-critical activity of A. Pletniov and, more broadly, the development of theater studies in Kharkiv.
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Clifton, Glenn. "Critical-Creative Literacy and Creative Writing Pedagogy." University of Toronto Quarterly Forthcoming (July 16, 2021). http://dx.doi.org/10.3138/utq.91.1.004.
Повний текст джерелаАнотація:
This article builds on psychological research that claims critical thinking is a key component of the creative process to argue that critical-creative literacy is a cognitive goal of creative writing education. The article also explores the types of assignments and prompts that might contribute to this goal and simultaneously build bridges between creative writing education and other Humanities disciplines.
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Kaushal, Urvashi. "Writing and Space: Writing the City by Stuti Khanna." Rupkatha Journal on Interdisciplinary Studies in Humanities 13, no. 4 (December 5, 2021). http://dx.doi.org/10.21659/rupkatha.v13n4.23.
Повний текст джерелаАнотація:
Writing the City, a collection of essays edited by Stuti Khanna is a noteworthy publication as it includes 13 engaging essays by critically acclaimed contemporary mostly Indian writer. The book has an attractive cover with an infographic map of cities — the theme around which Khanna assembles this collection. This book with only 114 pages can be a treasure trove for researchers of the contemporary Indian writing as “it explores the symbiotic relationship between form and content” (Khanna, 2020, p. xi) as each of these 13 writers present in their introspective mood, “the relationship of their writing to place and space” (Khanna, 2020, p.xi) of their upbringing. Hence, the apt title, Writing the City. The book validates Tim Creswell and other Humanist Geographer’s reverberations that: “Place is the raw material for the creative production for identity” (Cresswell, 2004, p.39)