scholarly journals From Print to Digital: Reappropriation of the Ready-Made Image in Works of Margit Sielska and Weronika Gęsicka

2021 ◽  
Author(s):  
Karolina Koczynska
Keyword(s):  
Women Artists ◽  
Creative Process ◽  
Family Life ◽  
Digital Culture ◽  
Time Changes ◽  
Representations Of Women

between print and digital photomontage practices through theworks of two women artists, Margit Sielska (1900-1980) and Weronika Gęsicka (1984-),addressingthe way these lesser-known, non-Anglophone artists reveal a continuity ofinterests across time. Changes in technology have allowed the cut and pastetechnique of photomontage to evolve from the use of scissors and glue to the useof software. Byreappropriating and manipulating the ready-made image of women andstereotypical family life from printed and photographic materials, both artistschallenge assumptions about a woman’s role in society while constructing newsettings and realities for their subjects to occupy. In both instances, thecombinatory process of montage serves to question and disrupt traditional andnormative representations of women and domesticity. By drawing on theparallels between artworks made with different techniques but deriving from theshared creative process of appropriating and manipulating the ready-made imageto create new, unexpected situations, the article reveals a continuity betweencertain modernist practices and contemporary digital culture. 

Divorce: Consequences for Children

1995 ◽  
Vol 16 (8) ◽  
pp. 306-310
Author(s):  
Robert E. Emery ◽  
Mary Jo Coiro
Keyword(s):  
Family Life ◽  
Psychological Functioning ◽  
Developmental Process ◽  
Physical Separation ◽  
The Social ◽  
The Face ◽  
Extensive Body ◽  
Time Changes ◽  
Definition Of ◽  
Divorce Consequences

An extensive body of research exists on the consequences of divorce for children. The conclusions of this research are captured by the concept of resilience, children's ability to "bounce back" in the face of stress. Most children from divorced families cannot be distinguished from children from married families on objective measures of psychological functioning, including assessments of conduct, depression, anxiety, and school performance. Nevertheless, it is clear that divorce often creates many dramatic stressors for children, including involvement in their parents' conflicts, decreased contact with one parent, strained relationships with the other parent, and economic problems. Coping with these substantial changes can tax children's emotional resources and may leave them with lingering feelings of hurt, resentment, and longing for a parental reconciliation. The concept of resilience highlights both children's ability to cope with change and some of the painful consequences of coping with unwanted changes in family life. Definition Despite its familiarity, several considerations should be noted about the definition of divorce. First, divorce is a developmental process that unfolds over time. Changes in family life typically begin long before the physical separation and continue long after the legal divorce. Second, because divorce reaches into many areas of people's lives, theorists often talk about the "legal divorce," the "emotional divorce," the "emotional divorce," the "economic divorce," and the "social divorce."

scholarly journals Penciptaan Teater “Hikayat Cantoi”: Adaptasi dari Konsep Teater Tutur Aceh Adnan PM TOH

2020 ◽  
Vol 3 (1) ◽  
pp. 26
Author(s):  
Sulaiman Juned
Keyword(s):  
Social Interaction ◽  
Social Behavior ◽  
Creative Process ◽  
The Body ◽  
Cultural Shift ◽  
Time Changes

AbstractCreating the monologue theater is based on Teater Tutur Aceh, PM TOH. The author did not start from the saga script but wrote a monologue script entitled “Hikayat Cantoi” and was performed in Indonesian. The show combined the modern convention, especially in movement and blocking of actors on stage, setting (decoration), props, make-up, and clothing by using the wealth of the body as music (body percussion music), such as: pat the chest, thighs, stomach, and fingertips in the Seudati, Didong, and Guel dance. This work presents a character who has historical and psychological complexities. Cantoi, an Acehnese man who works as a teacher, is forced by the situation to become “Pak Turut” to save his soul. The author chose this imaginary character because in Aceh, the term for someone who is smart but looks stupid, and is called Cantoi. Between 1996-2003, Acehnese society experienced a cultural shift or change. It happens because of social interaction through the pressures that are experienced at any time. Changes in social behavior lead to the birth of ideology and the restructuring of people’s behavior.Keywords: creative process; monologue; speech theater; Adnan PM TOH; Acehnese locality

scholarly journals Constituting the 'Woman Artist': A Feminist Genealogy of Aotearoa New Zealand's Art History 1928 - 1989

2021 ◽  
Author(s):  
◽  
Kirsty Baker
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Women Artists ◽  
Art History ◽  
Power Dynamics ◽  
Discursive Analysis ◽  
Alternative Approach ◽  
Starting Point ◽  
Cultural Power ◽  
Representations Of Women

<p>This thesis considers the ways in which the figure of the ‘woman artist’ has been constituted in published sources in Aotearoa New Zealand’s art history, between 1928 and 1989. Most of the texts dedicated specifically to women artists in this country were written in the latter half of the twentieth century, and were produced with the intention of writing women artists back in to the histories from which they had been excluded. This thesis operates from a different perspective. Rather than assuming a starting point of women’s absence from a national art history, it traces instead those written representations of the ‘woman artist’ as they exist in the published literature. Through the construction of a genealogy of such representation, this thesis examines the ideologies which are both embedded in, and perpetuated by them. In doing so it makes evident and interrogates the gendered power dynamics which have shaped the writing of Aotearoa New Zealand’s art history.   This thesis is structured chronologically, charting the formation and expansion of a coherent national arts discourse against shifting notions of national and cultural identity. The trajectory of this discourse was shaped by a canonical impulse, constructing an unfolding narrative which centres upon a succession of key artistic figures. This thesis argues that the structuring of this – largely male, Pākehā – narrative, acted to subsume gendered difference, rendering women increasingly peripheral within its pages. The model of subsumed difference is also apparent in feminist critiques of this dominant art history, which are critically interrogated in the latter half of this thesis. As women sought to challenge the relative exclusion of women artists from this dominant narrative, they also perpetuated their own exclusions, often in terms of culture or sexuality.   Through discursive analysis of both ‘mainstream’ art history, and the feminist writings which addressed it, this thesis presents two significant arguments. First, that stereotypical representations of women artists play a structural role – to marginalise women – within Aotearoa New Zealand’s art history. Secondly, that feminist interrogations of such histories failed to account for the multiplicity of women’s subjectivity. I conclude by instantiating and calling for an alternative approach that challenges the subsuming of such difference within a single, homogenous narrative. Such an approach will produce histories that interrogate, rather than perpetuate, the gendered and cultural power dynamics embedded within society.</p>

scholarly journals Constituting the 'Woman Artist': A Feminist Genealogy of Aotearoa New Zealand's Art History 1928 - 1989

2021 ◽  
Author(s):  
◽  
Kirsty Baker
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Women Artists ◽  
Art History ◽  
Power Dynamics ◽  
Discursive Analysis ◽  
Alternative Approach ◽  
Starting Point ◽  
Cultural Power ◽  
Representations Of Women

<p>This thesis considers the ways in which the figure of the ‘woman artist’ has been constituted in published sources in Aotearoa New Zealand’s art history, between 1928 and 1989. Most of the texts dedicated specifically to women artists in this country were written in the latter half of the twentieth century, and were produced with the intention of writing women artists back in to the histories from which they had been excluded. This thesis operates from a different perspective. Rather than assuming a starting point of women’s absence from a national art history, it traces instead those written representations of the ‘woman artist’ as they exist in the published literature. Through the construction of a genealogy of such representation, this thesis examines the ideologies which are both embedded in, and perpetuated by them. In doing so it makes evident and interrogates the gendered power dynamics which have shaped the writing of Aotearoa New Zealand’s art history.   This thesis is structured chronologically, charting the formation and expansion of a coherent national arts discourse against shifting notions of national and cultural identity. The trajectory of this discourse was shaped by a canonical impulse, constructing an unfolding narrative which centres upon a succession of key artistic figures. This thesis argues that the structuring of this – largely male, Pākehā – narrative, acted to subsume gendered difference, rendering women increasingly peripheral within its pages. The model of subsumed difference is also apparent in feminist critiques of this dominant art history, which are critically interrogated in the latter half of this thesis. As women sought to challenge the relative exclusion of women artists from this dominant narrative, they also perpetuated their own exclusions, often in terms of culture or sexuality.   Through discursive analysis of both ‘mainstream’ art history, and the feminist writings which addressed it, this thesis presents two significant arguments. First, that stereotypical representations of women artists play a structural role – to marginalise women – within Aotearoa New Zealand’s art history. Secondly, that feminist interrogations of such histories failed to account for the multiplicity of women’s subjectivity. I conclude by instantiating and calling for an alternative approach that challenges the subsuming of such difference within a single, homogenous narrative. Such an approach will produce histories that interrogate, rather than perpetuate, the gendered and cultural power dynamics embedded within society.</p>

scholarly journals Heroínas de una Sociedad Misógina. Hildergard von Bingen y la Revelación de lo Oculto. Visionarias en el Arte Contemporáneo.

2021 ◽  
Vol 9 (2) ◽  
pp. 133
Author(s):  
Natividad Navalón Blesa ◽  
Alejandro Mañas García ◽  
Teresa Cháfer Bixquert
Keyword(s):  
Women Artists ◽  
Creative Process ◽  
Creative Work ◽  
Hildegard Von Bingen ◽  
Artistic Work ◽  
Selection Of ◽  
Arte Contemporáneo

This is the second article of a whole series of reflections in which our main objective is to recover the space that the women should never have lost. In them we review those heroines, combatants in a misogynistic society, who have been influential thinkers in the creative work developed by contemporary women artists. This article is centered on the figure of Hildegard von Bingen, a versatile and visionary nun, who left her legacy in different disciplines such as writing, painting, music, science, among others. A heroine, in which many artists have set their sights as a benchmark for empowerment and have directed their artistic work towards mysticism, generating a connection between art and spirituality. We collect a selection of artists who have used mysticism, silence and visions in their creative process to give voice to a gender problem in this society and to work in the fight for the recovery of a space that should always have belonged to the woman. Artists who, through their work, claim a place in a phallocentric society. Hildegard is a clear example of what we call female heroines in a misogynistic society.

scholarly journals On Being a Female Entrepreneur in the Arts: Comparative Experiences

2020 ◽  
Vol 2 (1) ◽  
pp. 57-64
Author(s):  
Katherine Annett-Hitchcock
Keyword(s):  
Venture Capital ◽  
Women Artists ◽  
Family Life ◽  
Contemporary Music ◽  
Entrepreneurship Education ◽  
Research Data ◽  
The Arts ◽  
Female Entrepreneur ◽  
International Women

This essay explores some of the issues facing female arts entrepreneurs by establishing findings from research data and comparing these findings with the experiences of two established international women artists from the culinary world and contemporary music, respectively. Themes such as revenue inequality, struggles by women to find and maintain venture capital and the dilemma of how to label women in the arts are joined by emerging conversations about the role of art in business, the importance of giving and receiving support, the dilemma of balancing family life, especially with partners who are also artistically engaged, and the role of motherhood. Implications and recommendations for further discussions in arts entrepreneurship education are provided as channels for change. 

scholarly journals Heroínas de una Sociedad Misógina. Teresa de Jesús Atrincherada en la Morada. Mística en el Arte Contemporáneo

2017 ◽  
Vol 5 (1) ◽  
pp. 17
Author(s):  
Natividad Navalón Blesa ◽  
Alejandro Mañas García ◽  
Teresa Cháfer Bixquert
Keyword(s):  
Contemporary Art ◽  
Women Artists ◽  
Creative Process ◽  
Creative Work ◽  
Teresa De Jesus ◽  
Selection Of ◽  
Arte Contemporáneo

This article is the first in a series of reflections in which our main objective is the recovery of space that should never lose women. We review those heroines women in a misogynist society, who have been influential thinkers in the creative work of contemporary art. This text is dedicated to Saint Teresa of Jesus, a heroine, in whom many artists have set their sights as a benchmark for empowerment and they have directed their work toward mysticism, creating a connection between art and spirituality. We collect a selection of artists who have used the mystical, pain, purple, silence, visions, and finally, ecstasy, in their creative process, to give voice to a gender problem in this society and to work in the struggle for the recovery of a space that had always belonged to women. Artists who, through their work, claim a place in a society culturally articulated by man. They are a clear example of what we have called heroines women in a misogynist society.

From Separation to Displacement: The Problem of Women in Sefer Hasidim

AJS Review ◽  
1994 ◽  
Vol 19 (1) ◽  
pp. 1-18
Author(s):  
Judith R. Baskin
Keyword(s):  
Social Norms ◽  
Social History ◽  
Family Life ◽  
Gender Analysis ◽  
Material World ◽  
Marital Relations ◽  
Objectification Of Women ◽  
German Jewish ◽  
Representations Of Women

A gender analysis of some of the representations of women in Sefer Hasidim and related texts finds that the German-Jewish pietiests of the twelfth and thirteenth centuries express a profound ambivalence toward women. While Sefer Hasidim places great importance on happy marital relations, its authors also see potential adulteries at every turn. Moreover, in their mystical yearning to transcend the physical pleasures of the material world, they go beyond rabbinic norms in their displacement of women in favor of devotion to the divine. This essay suggests that situating this ambivalence, and the frequent objectification of women which results from it, within the larger context of medieval social history can expand and enhance our knowledge of Jewish social norms, family life, and spirituality in medieval Ashkenaz.

The Moment of Change

2020 ◽  
pp. 55-70
Author(s):  
Lina M. Kattan
Keyword(s):  
Women Artists ◽  
Experimental Techniques ◽  
Cultural Traditions ◽  
The Real ◽  
Saudi Women ◽  
Identity And Agency ◽  
Cultural Boundaries ◽  
Islamic Identity ◽  
The Moment ◽  
Representations Of Women

Saudi women artists challenge cultural boundaries to document change in the notions of identity and agency. These artists employ many experimental techniques through unconventional themes while balancing cultural traditions, Saudi heritage, and Islamic identity. This chapter seeks to identify in what ways artists disrupt the commonly–known prohibition regarding figuration as relegated to the art of painting vis–á–vis photography, particularly in figurative depictions. It suggests two types of reality: the spiritual Real that is connected to painting, and the technological real, which is comparable to reality without a soul. It thus demonstrates how the interrelated concepts of art, reality, and the Real can impact values attached to representations of women in Saudi art. The chapter draws upon the frameworks of feminism, postcolonialism, Post–Panofskian iconography, and deconstruction.

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