scholarly journals From stage to brain: Montage as a new principle of scientific narrative

2013 ◽  
Vol 41 (2/3) ◽  
pp. 200-218
Author(s):  
Oksana Bulgakowa
Keyword(s):  
Expressive Movement ◽  
Sergei Eisenstein ◽  
The Arts ◽  
The Subject ◽  
New Form ◽  
Way Of Thinking ◽  
A Chain

German Dadaists, Italian and Russian Futurists and Constructivists created in their experiments multi-medial orthopedic bodies as products of collage and montage. Sergei Eisenstein, who was influenced by these experiments, organized his theatrical productions as a chain of independent fragments capable of entering any possible combination/recombination and labelled this method “montage of attractions”. He used the same montage principle not only for a new theatrical or cinematic narrative but also to conceptualize the expressive movement of the theatrical or cinematic body created on stage and on screen. Finally he conceptualized montage not only as a means of conveying movement, but also of conveying a way of thinking. This inspired him to create a new form of scientific narrative in his two unfinished books. The subject to be analysed in the first book from 1929 – montage – inspired him to look for a new structure by organizing different texts in the form of a sphere. This form defined the method of writing his second project on the theory of the arts as a hypertext. Eisenstein gave this book the title Method (1932–1948).

Fictioning disagreement: The construction of separation in the work of Jacques Rancière

Maska ◽  
2017 ◽  
Vol 32 (185) ◽  
pp. 64-74
Author(s):  
Bruno Besana
Keyword(s):  
Art And Politics ◽  
Jacques Ranciere ◽  
Natural Modes ◽  
The Arts ◽  
Key Concepts ◽  
Jacques Rancière ◽  
The Subject ◽  
New Form

Although constantly intertwining aesthetic and political considerations, the work of Rancière also forcefully stresses the absence of any evidence in the relation between art and politics. The article uses the theme of this lack of self-evident relation in order to analyse a series of key-concepts of Rancière’s work (regime, contrariété, disagreement, etc.) and, lastly, proposes to read through this reconstruction of its conceptual architecture the place – both conceptual and practical – where a subject can be thought and produced. In this sense, this article proposes to read in Rancière’s work the presence of a structured concept of the subject, the very determination of which is inseparable from the – at once collective and singular – articulation of a space of indetermination and fracture: a space articulating the absence of relation between different modes of interruption of evidences, taking place in the arts and in politics. In this way, Rancière’s work contributes to thinking the subject as groundless, irrelative to any given, specific reality (such as, for instance, ‘humanity’), as a new form connecting together, via a radically new narrative, a series of fractures operated within received, allegedly ‘natural’ modes of classifications of reality.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

The Origins of Progressive Education

2001 ◽  
Vol 41 (1) ◽  
pp. 1-24 ◽  
Author(s):  
William J. Reese
Keyword(s):  
Twentieth Century ◽  
Progressive Education ◽  
Academic Standards ◽  
Popular Press ◽  
Economic Productivity ◽  
Educational Discourse ◽  
Child Centered ◽  
The Subject ◽  
Way Of Thinking

By the dawn of the twentieth century, a new way of thinking about the nature of the child, classroom methods, and the purposes of the school increasingly dominated educational discourse. Something loosely called progressive education, especially its more child-centered aspects, became part of a larger revolt against the formalism of the schools and an assault on tradition. Our finest scholars, such as Lawrence A. Cremin, in his magisterial study of progressivism forty years ago, have tried to explain the origins and meaning of this movement. One should be humbled by their achievements and by the magnitude of the subject. Variously defined, progressivism continues to find its champions and critics, the latter occasionally blaming it for low economic productivity, immorality among the young, and the decline of academic standards. In the popular press, John Dewey's name is often invoked as the evil genius behind the movement, even though he criticized sugar-coated education and letting children do as they please. While scholars doubt whether any unified, coherent movement called progressivism ever existed, its offspring, progressive education, apparently did exist, wreaking havoc on the schools.

The ‘Pistola’ of Cerveri de Girona

Traditio ◽  
1948 ◽  
Vol 6 ◽  
pp. 161-185
Author(s):  
Kurt Lewent
Keyword(s):  
The Other ◽  
Love Affair ◽  
Other Hand ◽  
Good Taste ◽  
Moral Argumentation ◽  
The Subject ◽  
Way Of Thinking ◽  
The One ◽  
The Cost ◽  
Troubadour Poetry

Cerveri was decidedly no poetical genius, and often enough he follows the trodden paths of troubadour poetry. However, there is no denying that again and again he tries to escape that poetical routine. In many cases these attempts result in odd and eccentric compositions, where the unusual is reached at the cost of good taste and poetical values. On the other hand, it must be admitted that Cerveri's efforts in this respect were not always futile. His is, e.g. an amusing satire upon bad women. One of his love songs, characteristically called libel by the MS (Sg), assumes the form of a complaint submitted to the king as the supreme earthly judge, in which the defendant is the lady whose charms torture the lover and have made him a prisoner. This poem combines the traditional praise of the beloved and a flattery addressed to the king. Its slightly humoristic tone is also found in a song entitled lo vers del vassayll leyal. Here Cerveri, basing himself on a certain legend connected with St. Mark, gives the king advice in his love affair. Again the poet kills two birds with one stone, flattering the sovereign and pointing, for obvious purposes, to his own poverty. The latter is the only topic of a remarkably personal poem in which the author complains bitterly that, while many of his playmates have become rich in later years, the only wealth he himself did amass were the chans gays and sonetz agradans which he composed for other people to enjoy. Cerveri even tries to renew the traditional genre of the chanson de la mal mariée by adding motifs of—presumably—his own invention. This tendency towards a more independent way of thinking and greater originality in its poetical presentation could not be better illustrated than by the two poems which the MS calls Lo vers de la terra de Preste Johan and Pistola The one puts the poet's moral argumentation against the background of the medieval legend of Prester John, the other, which forms the subject of the present study, sets its teachings in a still more solemn framework, the liturgy of the Mass.

scholarly journals Speculation in the cryptocurrency market

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Paweł Milka
Keyword(s):  
Literature Review ◽  
Research Method ◽  
Listed Companies ◽  
Primary Research ◽  
Stock Indices ◽  
The Subject ◽  
Way Of Thinking ◽  
The Impact

The article analyses the impact of speculation on the cryptocurrency market. In the introduction, the author interprets the meaning of the speculation and a speculator’s way of thinking. The literature review was broken down into two aspects. The first is to analyse the literature on the subject in terms of the cryptocurrency market. The second is an analysis of the sentiment index, which becomes the primary research method. The analysis of the sentiment value shows a high correlation between the impact of sentiment on the value of cryptocurrencies. Further recommendations are to analyse the sentiment with regard to listed companies (Polish and international) and stock indices (including the forex market).  

scholarly journals Migration and art: exploring experiential and theoretical connections

2021 ◽  
Author(s):  
Eva Hellreich
Keyword(s):  
Arts Based Research ◽  
Social Construction Theory ◽  
The Arts ◽  
Canadian Art ◽  
Exploratory Investigation ◽  
Canadian Immigration ◽  
Immigration And Settlement ◽  
The Subject ◽  
Migratory Experience ◽  
The Impact

How can arts-based methodologies offer unique insights into contemporary migration and settlement experiences? Informed by qualitative research and a literature review which analyzes identity theory, social construction theory, and Canadian art organizations which support newcomer artists, this paper explores the potential for the intersection of the arts in immigration and settlement assessment. An exploratory investigation of the theory of art as linked to migration is illuminated by the experiences of a group of artists who have gone through a significant migratory experience and share their reflections on being artists in Canada. This paper argues that analyzing art created by immigrant artists offers insight into the contemporary Canadian immigration experience which quantitative data is unable to capture. Learning about the barriers which immigrant artists face through using arts-based research includes the subject in the research, thereby empowering and validating their lived experiences as valuable epistemologies and ontologies. Findings reveal the impact of acculturation on the identities of and opportunities available to immigrant artists in Canada. Key Words: Immigrant Art; Immigration and Toronto; Place-making; Acculturation; Hybridity; Identity

scholarly journals The Immense House of Postcards

1970 ◽  
Vol 21 (1) ◽  
pp. 43-71
Author(s):  
Hanoch Ben-Pazi
Keyword(s):  
Jacques Derrida ◽  
Emmanuel Levinas ◽  
Vantage Point ◽  
Cultural Significance ◽  
Ethical Thought ◽  
Religious Traditions ◽  
The Core ◽  
Textual Tradition ◽  
The Subject ◽  
Way Of Thinking

The subject of tradition engaged both Emmanuel Lévinas and Jacques Derrida in many of their writings, which explore both the philosophical and cultural significance of tradition and the particular significance of the latter in a specifically Jewish context. Lévinas devoted a few of his Talmudic essays to the subject, and Derrida addressed the issue from the perspective of different philosophical and religious traditions. This article uses the writings of these two thinkers to propose a new way of thinking about the idea of tradition. At the core of its inquiry lie the paradigm of the letter and the use of this metaphor as a means of describing the concept of tradition. Using the phenomenon of the letter as a vantage point for considering tradition raises important points of discussion, due to both the letter’s nature as a text that is sent and the manifest and hidden elements it contains. The focus of this essay is the phenomenon of textual tradition, which encompasses different traditions of reading and interpreting texts and a grasp of the horizon of understanding opened up in relation to the text through its many different interpretations. The attention paid here to the actions of individuals serves to highlight the importance of the interpersonal realm and of ethical thought.

scholarly journals The Musical Phenomenon in the Films of Sergey Parajanov

2019 ◽  
Vol 37 (2) ◽  
pp. 64-77
Author(s):  
S. K. Sarkisyan
Keyword(s):  
Silent Film ◽  
The Arts ◽  
New Type ◽  
New Form ◽  
The Spectator

Music and cinema are two arts that have shown the most varied synthesis on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film. The overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.

scholarly journals Introduction to the Groningen static reservoir model

2017 ◽  
Vol 96 (5) ◽  
pp. s39-s46 ◽  
Author(s):  
Clemens A. Visser ◽  
Jose L. Solano Viota
Keyword(s):  
Seismic Hazard ◽  
Current Paper ◽  
Reservoir Model ◽  
General Introduction ◽  
Reservoir Properties ◽  
Hazard And Risk ◽  
Modelling Techniques ◽  
The Subject ◽  
A Chain ◽  
Scientific Endeavour

AbstractThe assessment of the seismic hazard and risk associated with the extraction of gas from the Groningen field involves a chain of modelling efforts. The first step is a description of the 3D distribution of reservoir properties in the reservoir – the static reservoir model – and is the subject of this paper. Consecutive steps in the chain of models are described elsewhere in this volume. The construction of a static reservoir model is not strictly a scientific endeavour, but many of the applied modelling techniques are underpinned by extensive scientific research. This paper aims to give a general introduction to the approach followed by NAM to build static models for the Groningen field. More detailed accounts of the applied modelling techniques, the assessment of associated uncertainties or the usage of multiple modelling scenarios are beyond the scope of the current paper, but are referenced in the text.

Carmelo Bene e la decostruzione delle arti del secondo Novecento

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Cosetta Saba
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Interdisciplinary Practice ◽  
The Arts ◽  
The Sixties ◽  
First Results ◽  
Extended Field ◽  
The Subject

This essay collects the first results of a reflection launched in the context of the Conference "The Arts of the 1900s and Carmelo Bene" curated by Edoardo Fadini and based in Turin, at the Gallery of Modern Art, between 24 and 26 October 2002. The intent is to focus on how in the first phase of the interdisciplinary practice of Carmelo Bene, between the Sixties and the Seventies, an aesthetic reflection and a deconstructive attitude emerge that involve questions (such as the subject, subjectivity and singular / plural dimension of art) that were being defined in the philosophical field and in the extended field of art during the second half of the twentieth century.

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