Review Essay

2017 ◽  
Vol 51 (1) ◽  
pp. 66-70
Author(s):  
Michal Raizen
Keyword(s):  
Visual Arts ◽  
Film Studies ◽  
Middle Eastern ◽  
Melting Pot ◽  
Plastic Arts ◽  
Conflict Zone ◽  
Literature History ◽  
Critical Intervention ◽  
Systemic Practices ◽  
Blind Spots

The field of Middle Eastern Studies has seen a recent spate of publications that offer a timely and nuanced look at the intersection of language, ideology, and visual representation in Israel-Palestine. Scholars of cultural studies, comparative literature, history, film studies, and the visual arts will appreciate the breadth of perspective offered by a combined reading of Lital Levy's Poetic Trespass: Writing between Hebrew and Arabic in Israel/Palestine, Gil Z. Hochberg's Visual Occupations: Violence and Visibility in a Conflict Zone, and Yaron Shemer's Identity, Place, and Subversion in Contemporary Mizrahi Cinema in Israel. This cluster of studies, taken as a whole, offers a coherent critical intervention into the politics of a literary and visual field marked by silences, lacunas, blind spots, and elisions. Poetic Trespass sketches the contours of a Hebrew literary landscape inhabited by a tacit Arabic presence. With a purview that extends to literature, cinema, and the plastic arts, Visual Occupations probes the tension between systemic practices of concealment and strategic modes of lending visibility. Identity, Place, and Subversion, a powerfully articulated analysis of Mizrahi cinema, interrogates the notion that ethnic difference has become irrelevant in the context of a contemporary Israeli melting pot.

Creative geographies of Islam: the case of Islamic and traditional visual arts scene in Istanbul

2021 ◽  
pp. 147447402110536
Author(s):  
Hulya Arik
Keyword(s):  
Cultural Politics ◽  
Visual Arts ◽  
Urban Governance ◽  
Middle Eastern ◽  
Creative Industries ◽  
Limited Attention ◽  
The Past ◽  
Art Scene ◽  
Core Concepts ◽  
Early Republican

While research on geographies of creativity have proliferated in the last few years, there has been scant attention to religious cultural and artistic practices, particularly in the context of the Middle East. This research seeks to address such gap with a focus on the Islamic and traditional visual arts scene which has flourished in Istanbul in the past decade and a half along with the rise of political Islam in Turkey. Rendered obsolete through the Western-oriented and secular cultural politics since the early republican era, art forms such as Arabic calligraphy ( hat), miniature ( minyatür), and illumination ( tezhip) have now found currency as ‘authentically Turkish and Islamic’ in an art scene that emerged alongside Islamist politics. This paper examines the trajectory of Islamic and traditional visual arts through the lens of cultural and creative industries starting from the cultural politics of Islamic urban governance through the 1990s and 2000s, and to the emergence of an Islamist-nationalist authoritarianism in the past decade. In doing so, it aims to situate Islamic and traditional visual arts on the map in studies on geographies of creativity, particularly in the Middle Eastern and Islamic context, where limited attention has been paid to cultural and artistic practices. With ethnographic reflections from the field, it highlights the internal dynamics of an art scene and the potential it bears in unsettling the core concepts of Turkish Islamic nationalism from within.

scholarly journals Islamic Studies in the Academic Heritage of Academician A. Krymsky

2004 ◽  
pp. 183-190
Author(s):  
Yu.M. Kochubey
Keyword(s):  
Middle Eastern ◽  
Christian Tradition ◽  
Deep Insight ◽  
Islamic Studies ◽  
History Of ◽  
Literature History ◽  
Insight Into ◽  
Specific Impact

A.Yu.Krymsky is a world-renowned scholar, a well-known Orientalist who has dedicated his life to the study of Middle Eastern and Middle Eastern issues. Even the layman knows that it is impossible to study the languages, literature, history or ethnography of the peoples of the region without a deep insight into the science that is called Islamology or Islamology. The lives of people in this region, whether private or public, are closely related to religion - Islam. People familiar with the Judeo-Christian tradition often fail to understand the specific impact of the system of Islam as a universal regulator of the entire existence of a Muslim. It is quite clear that at the Lazarev Institute of Oriental Languages ​​in Moscow, he studied the position of the Muslim religion while studying the history of the medieval East, and even in Arabic lessons, students engaged in the analysis of cornic texts.

Modes of indigenous modernity

Thesis Eleven ◽  
2018 ◽  
Vol 145 (1) ◽  
pp. 3-9 ◽  
Author(s):  
Trevor Hogan ◽  
Priti Singh
Keyword(s):  
Material Culture ◽  
Visual Arts ◽  
Film Studies ◽  
The Philippines ◽  
Political Autonomy ◽  
Business Studies ◽  
Nation States ◽  
Political Struggles ◽  
Customary Laws ◽  
Regional Associations

This special issue is the outcome of a collaborative venture – a three-day workshop between La Trobe University and Ateneo de Manila University, held in Manila. It brought together indigenous and non-indigenous researchers from both the Philippines and Australia and included aboriginal researchers in business studies, history, literature and anthropology, and non-indigenous researchers working on themes of indigenous history, material culture, film studies, literature, the visual arts, law and linguistics. The ‘indigenous’ peoples of the Philippines are very different to Australian Aborigines or Torres Strait Islanders. Nevertheless, they have common quests for political autonomy, protection of indigenous customary laws, traditions and knowledge, biodiversity, and development of independent self-governance structures for health, education and community development. These concerns involve analogous and overlapping political struggles with nation-states and in the forums of the UN, regional associations, global consortia, and the international courts. The papers in this issue are based on a roundtable in which the participants showcased their own research projects and interests on indigenous pathways, cultural pluralism and national identities; socio-economic development; and representation of indigenous identities in creative and visual arts.

The Garden in the Machine: Two American Avant-Garde Films and the Nineteenth-Century Visual Arts

Prospects ◽  
1997 ◽  
Vol 22 ◽  
pp. 239-262
Author(s):  
Scott MacDonald
Keyword(s):  
Nineteenth Century ◽  
Visual Arts ◽  
Film Studies ◽  
Avant Garde ◽  
The Past ◽  
Academic Fields ◽  
The Future ◽  
Historical Periods ◽  
Logical Extension ◽  
As If

One of the primary reasons I became interested in film studies was the seeming open-endedness of the field. Cinema was new, I reasoned, and would continue to be new, unlike other academic fields, and particularly those devoted to historical periods: as a scholar and a teacher, I would face the future, endlessly enthralled and energized by the transformation of the potential into the actual. That my development as a film scholar/teacher increasingly involved me in avant-garde film seemed quite natural — a logical extension of the attraction of film studies in general: Avant-garde film was the newest of the new, the sharpest edge of the present as it sliced into the promise of the future. Scholars in some fields may empathize with the attitude I describe, but scholars in all fields will smile at its self-defeating implications: of course, I can see now how typically American my assumptions were — as if one could maintain the excitement of youth merely by refusing to acknowledge the past! Obviously, film studies, like any other discipline, is only a field once its history takes, or is given, a recognizable shape.

scholarly journals Tradition and Innovation in the Work of Bashkir Artist Talgat Masalimov

ICONI ◽  
2019 ◽  
pp. 147-156
Author(s):  
Elsa E. Purik ◽  
◽  
Akhmadullin Mars L. ◽  
Shakirova Marina G. ◽  
◽  
...  
Keyword(s):  
Visual Arts ◽  
Avant Garde ◽  
The Core ◽  
The Past ◽  
Plastic Arts ◽  
Graphic Artist ◽  
Republic Of Bashkortostan ◽  
Applied Art ◽  
The Creation ◽  
The Republic

The article is devoted to the artistic legacy of Merited Artist of the Republic of Bashkortostan Talgat Masalimov — painter, graphic artist and master of decorative applied art. his work is examined in the article in the context of the processes taking place in the contemporary visual arts, marked with an exploration of new plastic means. The authors regard the legacy of Masalimov as a vivid example of the simultaneous infl uence of folk art, its symbolism and graphic structure, Eastern (Turkic) traditions and those of the Russian avant-garde with its aspiration towards primitive, laconic, conditional forms. The article cites examples among works of the artist created in the technique of graphics, pastel and artistic felt. At the core of the creation of these works lies the knowledge of principles of construction of the composition and depictive techniques characteristic for the Russian avant-garde and Early Russian icon-painting and Iranian miniatures, with an absence of direct associations with any concrete epoch or artistic direction. The authors see in the work of the artist a vivid example of the preservation and expansion of the heritage of the past, its development and enrichment by means of contemporary plastic arts.

The Changing Face of Medieval Near Eastern Studies: Challenges and Strategies

1999 ◽  
Vol 33 (2) ◽  
pp. 164-168
Author(s):  
Josef W. Meri
Keyword(s):  
Comparative Literature ◽  
Middle Eastern ◽  
Islamic History ◽  
Near Eastern ◽  
Middle Eastern Studies ◽  
Undergraduate Enrollment ◽  
Literature History ◽  
Changing Role ◽  
Near Eastern Studies ◽  
Humanities Curriculum

As we Embrace the new millennium, the debate concerning the ever-changing role of area studies in the humanities curriculum and in funding and academic policies continues. Middle Eastern Studies is facing a new policy and funding agenda, which is forcing institutions and departments to impose changes in teaching, research and funding and meant to bring Middle Eastern Studies in line with what are perceived as more relevant fields of study. Accordingly, some Near Eastern Studies programs, which have continued to experience a decline in funding levels, have over the past decade placed greater emphasis on interdisciplinary classes in comparative literature, history and religion. Sometimes these changes have led to the marginalization of early and medieval Islamic history, culture and religion at public institutions. Why offer a class in medieval Islamic history, while classes in the modern Middle East, comparative literature, or world history might attract higher undergraduate enrollment? Faculty have not always succeeded in convincing university administration of the need to offer undergraduate seminars on various aspects of Islamic history, or devised ways of making pre-modern Near Eastern history and religion more appealing to undergraduates.

scholarly journals gazing hands and blind spots: galileo as draftsman

2001 ◽  
Vol 14 (s1) ◽  
pp. 153-192 ◽  
Author(s):  
horst bredekamp
Keyword(s):  
Visual Arts ◽  
The People ◽  
Blind Spots

the article deals with the interrelation between galileo and the visual arts. it presents a couple of drawings from the hand of galileo and confronts them with viviani's report that galileo had not only wanted to become an artist in his youth but stayed close to the field of visual arts throughout his lifetime. in the ambiance of these drawings the famous moon watercolors are not in the dark. they represent a very acute and reasonable tool to convince the people who trusted images more than words. the article ends with panofsky's argument that it was galileo's anti-mannerist notion of art that evoked a repulsion of kepler's ellipses. it tries to show that it was again an aesthetical prejudice that hindered einstein from accepting panofsky's theory.

scholarly journals Cinema e pintura em diálogo

2020 ◽  
Author(s):  
Maria Fátima Nunes ◽  
Carlos Miguel Rodrigues
Keyword(s):  
Visual Arts ◽  
Creative Process ◽  
Film Studies ◽  
Research Project ◽  
Work Of Art ◽  
The Public

Being the cinema, heir of painting, among other arts, it is natural that these two forms of representation have been theorized either by researchers in the field of film studies (Aumont, 2004), visual arts (Manovich, 2005), by filmmakers (Eisenstein, Godard...). Much of this theorization has had the object of studying biographical films of painters (cf. the work organized by Thivat, 2011). The question of the dialogue between cinema and painting has been posed by Queiroz (2012) ; by Nunes (2014). However, if we consider the example of the film Le Mystère Picasso, although Henri-George Clouzot filmed Picasso in the creative act, as spectators we do not have access to the genesis of the creative process, we only see the gestures and features of Picasso. This is, the cinema has functioned as a technology of recording, memory and digital composition, as a translator of the creative process of a work of art. Hence, as part of the research project “Cinema and painting in dialogue”, we intend to question film writing (cinematographic editing) as “translator” of the genesis of the creative process of a work of art; to establish, through filmic writing, the process of creating a work of art: drawing, painting, sculpture... And bringing cinema and painting closer together in the dialogical process of receiving and appropriating the work by the public.

scholarly journals The Melody of Form and Space: Music as a Source of Inspiration

ICONI ◽  
2020 ◽  
pp. 97-107
Author(s):  
Elsa E. Purik ◽  
◽  
Marina G. Shakirova ◽  
Mars L. Akhmadullin ◽  
Vilur R. Shakirov ◽  
...  
Keyword(s):  
Visual Arts ◽  
Folk Songs ◽  
Abstract Art ◽  
Rhythmic Structure ◽  
Ethnic Music ◽  
Form Generation ◽  
Plastic Arts ◽  
Art Works ◽  
The Republic ◽  
Artistic Image

The article is devoted to the artistic legacy of Bashkir sculptor Ruslan Nigmatullin, one of the leading masters of contemporary visual arts in the republic. The relatedness of artistic expressive means of music with those in the plastic arts, their expressive elements become more apparent in the comparison of music and abstract art in the process of generation of the artistic image. The authors examine the artist’s oeuvres in the context of the particularity of sculpture as a peculiar art which requires from the viewer the knowledge of the laws of artistic form-generation and an understanding of their language, based on such elements as mass and space. The article presents an analysis of the artist’s works made of stone, metal or wood, while the artist himself sees their source as being connected with music. During the course of his entire artistic path Ruslan Nigmatullin has created sculptures in different directions: realism, decorative plastic and abstract art. The master’s art works, according to the authors of the article, are all unified by an inner figurative idea: when looking at the sculptor’s works it is possible to observe their inherent qualities: contemplation, abstraction and pure sound — natural, ethnic and sometimes purely songrelated, enhancing their relatedness to music. The artist considers one of the sources of his inspiration to be the historical Asian melodies, which share common roots with the ethnic music of the Bashkirs, Kazakhs and Tuvans. The authors provide an analogy between the folk songs of these peoples and their instrumental tunes, the latter being marked with a concise, measured rhythmic structure, and the artist’s works, his ability to create new forms, frequently just as abstract as the melodies with which it is associated.

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