scholarly journals LIFE PATH AND CREATIVITY OF PROPERZIA DE ROSSI IN THE CYCLE OF CONCEPTS “MEDIEVAL WOMAN”, “ART”, “SOCIETY”

2018 ◽  
pp. 35-41
Author(s):  
L. Ivanytska
Keyword(s):  
Contemporary Society ◽  
Social Discrimination ◽  
Artistic Practice ◽  
Way Of Life ◽  
Giorgio Vasari ◽  
Social Stereotypes ◽  
The Arts ◽  
History Of ◽  
Life Path ◽  
Creative Self

The article raises questions about the role and place of women in medieval society and the artistic space. The possibilities for realizing the artistic potential of female artists and female sculptors are explored. The historiography of the outlined problem is analyzed. It is noted that the main obstacles to full creative self-realization of the female artists were numerous social stereotypes, limited access to professional artistic education and artistic practice, lack of social and economic independence, social discrimination and harassment in the process of becoming part of the androcentric professional elite. An example of an analysis of the way of life and the creative work of the first famous sculpture woman of the Renaissance Properzia de Rossi era demonstrated the intolerance of the medieval society and the artistic community to the possibility of self-realization of the medieval female artist as a sculptor. The main source for research is the monumental work of the Italian architect, theorist and first historian of art, Giorgio Vasari, «The Lives of the Most Excellent Painters, Sculptors, and Architects». Propperzia de Rossi is one of the four female artists whom Vasari is paying attention in his stories. The author of the article has shown that Vasari belted the biography of Propercia de Rossi, as he strengthened his contemptuous attitude to the mistress. Vasari used the life and work of de Rossi as an example of the fact that all women, albeit very talented and capable of creating interesting work, are not in a position to escape certain female character traits in their writings. Finally, Vasari recognizes the talent of Properzia de Rossi and states the lack of understanding and worthy support from the contemporary society. At the end of the article, the author concludes on the urgent need for a critical analysis of the rather tendentious present-day presentation of the history of the arts and the need to revisit previously unobserved gender aspects in canonical Western-European art.

G.B. Itelson as a Prototype of Albert Lichtenberg. To the History of Writing the Story of Andrey Platonov’s Garbage Wind

2021 ◽  
pp. 112-122
Author(s):  
Konstantin A. Barsht ◽  
Keyword(s):  
Strong Influence ◽  
Outer Space ◽  
World History ◽  
Special Theory ◽  
Theory Of Relativity ◽  
Special Theory Of Relativity ◽  
Way Of Life ◽  
History Of ◽  
Life Path ◽  
The Universe

The article analyzes the life path and tragic death of the philosopher Grigory Borisovich Itelson (1852–1926) emigrated from Russia. According to the as­sumption put forward in the article, he became the prototype of Albert Lichten­berg, the hero in the story of Andrey Platonov Garbage Wind (1933), which de­scribes the fate of a lonely German scientist, “the physicist of outer space”, who was killed by the Nazis for protesting against fascism. The article analyzes a number of coincidences between the fate of G.B. Itelson and the philosopher Lichtenberg described in the story Garbage Wind, in particular, the way of life and the circumstances of death. The author of the article finds in the text of Platonov’s story some allusions to G.B. Itelson – features of the worldview, pub­lication by the hero of the story of the book The Universe as a desolate space, burned in the square by the fascists, which is seen as a hint of the book by Felix Eberti Stars and World History. Thoughts about space, published by G.B. Itelson in 1923. The author analyzes the reason for Platonov’s appeal to the personality of Itelson, who was a personal friend of A. Einstein and the main translator of his books into Russian. Through these publications in the 1920s, A. Platonov got acquainted with the General and Special Theory of Relativity, which had a strong influence on the writer’s worldview and largely shaped the poetics of his works. The article argues for the possibility of Platonov’s acquaintance with the obitu­ary of G.B. Itelson, written by A.A. Goldenweiser and published in the Berlin Russian newspaper Ruhl, which describes in detail the life and tragic death of the philosopher at the hands of the Nazis

scholarly journals Towards astroembodied choreostructions: Deviating from choreographing to choreoreading

På Spissen ◽  
2020 ◽  
Vol 6 (1) ◽  
pp. 12-24
Author(s):  
Simo Kellokumpu
Keyword(s):  
Performing Arts ◽  
Research Centre ◽  
Artistic Practice ◽  
Reading Practice ◽  
Site Specific ◽  
Doctoral Research ◽  
The Arts ◽  
History Of ◽  
The University ◽  
Important Shift

In this article, I introduce the notion of choreostruction, which has emerged during my doctoral research projectChoreography as Reading Practice in the Performing Arts Research Centre at the University of the Arts, Helsinki (2013–2019). The term stems from studying the French philosopher Jean Luc Nancy’s notion struction, which heexamines in depth in dialogue with the French astrophysicist and philosopher Aurélien Barrau in the book What’s these Worlds Coming to? (2015). In the book, the concept of struction is introduced as one of the concepts that could help us understand how “ we are not living in one world but worlds” , and how we “ no longer create, but appropriate and montage” (quotes from the book cover). I approach the notion and its operative potential by exposing one experimental choreographic work that I am still processing and in which the operative move in my choreographic practice from composition to attention is one important shift that connects my practice to the notion of struction. The term choreostruction is an attempt to materialize the dialogue between my artistic practice and my understanding of Nancy’s notion of struction. Other influencing references of this process come from the writings of philosophers Thomas Nail and Jaana Parviainen and artworks from the history of site-specific art.

scholarly journals A Critical Introduction to Arts Behind Bars

2017 ◽  
Author(s):  
Aylwyn Walsh
Keyword(s):  
Criminal Justice ◽  
Literacy Outcomes ◽  
The Arts ◽  
Art Form ◽  
Wide Range ◽  
History Of ◽  
Critical Pedagogies ◽  
Creative Self ◽  
Professional Artists ◽  
Participatory Arts

This article proposes a focus on some of the arguments in the field—what is “arts behind bars”? What are some of the intentions, and why would people do it? It also signals the range of practices that are to be found—from the development of needlework in male prisons through to participatory arts projects with young people in prisons to collaborative stage shows. Artists working in criminal justice have a wide range of intentions. For a few, there might be a frisson of the danger and caged energy behind bars that is stimulating to creativity and could add something to their own creative process. The model of art for prisoners—professional artists staging a show or doing an unplugged music event in a prison—can raise the profile of prisons and punishment. However, there are a great number of projects that move towards forms of art created with and by prisoners, thereby aligning them with a long history of social and participatory arts. Theoretically, then, the arts behind bars are informed by critical pedagogies as much as the specific disciplinary approaches. This model seeks to build critical consciousness and confidence in mastery as well as induction into the discipline of learning any skill for the purposes of liberating through knowledge. In arts behind bars, the knowledge base might include literacy outcomes, but the learning is often communal, and about creative self-expression. The practitioners of arts behind bars have two driving intentions. Either they seek to engage more people with their art form and are willing to work in a range of contexts, or they are committed to social justice and hope to use the art form towards additional aims of generating understanding and redressing some of the inequalities experienced by prisoners. It is necessary to consider what new perspectives are offered to the subject of arts in criminal justice by thinking about how wider resources, culture, and artistic paradigms affect perceptions of the value of interventions. This highlights the need for awareness of those artists who choose to work in prisons of the moral and ethical questions raised by bringing art to the system.

scholarly journals SituatingThe South Bank Show: Continuity and Transition in British Arts Television

2015 ◽  
Vol 12 (3) ◽  
pp. 364-382
Author(s):  
David Lee ◽  
John Corner
Keyword(s):  
Cultural Landscape ◽  
Artistic Practice ◽  
The Arts ◽  
Social Positioning ◽  
Successful Series ◽  
The Social ◽  
Programme Design ◽  
History Of ◽  
Relationship Of ◽  
The Way

This article examines aspects of The South Bank Show (SBS), the UK's long-running and successful series over 35 years, closely associated with its editor and presenter Melvyn Bragg and since 2010 broadcast on the channel Sky Arts 1 rather than on its previous home, the ITV network. After placing this series in the broader history of arts television, the article examines aspects of programme design and address, the diversity of topics treated, and the way in which it has reflected some of the changes at work in the social positioning and evaluation of the arts in Britain. It explores questions about the documentary methods and forms used, the relationship of programme design to different kinds of artistic practice, the way in which artists themselves figure in expositions of their work and the forms of engagement both with the high/popular divide and the playoff between the established and the new. The series is seen to be defined not only by its attempts to be ‘accessible’ but also by its ‘sociability’, often grounded in the settings, informality and tone of the interview exchanges. The article pays attention to the continuation of SBS on Sky Arts 1, including the SBS Specials, before concluding with some more general observations on arts coverage within a changing television economy and an increasingly diverse cultural landscape.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

Reuniting the Arts: Notes on the History of an Idea

1994 ◽  
Vol 18 (1) ◽  
pp. 3-9 ◽  
Author(s):  
Wolfgang Domling
Keyword(s):  
The Arts ◽  
History Of

Saving Abstraction

2019 ◽  
Author(s):  
Ryan Dohoney
Keyword(s):  
Altered States ◽  
Artistic Practice ◽  
Spiritual Orientation ◽  
Late Modernity ◽  
Religious Feeling ◽  
Religious Sensibility ◽  
History Of ◽  
Spiritual Intervention ◽  
Musical Modernism

Saving Abstraction takes up the conflicted history of Morton Feldman’s most important collaboration—his work with Dominique and John de Menil on music for the Rothko Chapel in Houston. These collaborators struggled over fundamental questions about the emotional efficacy of artistic practice and its potential translation into religious feeling. At the center of this study is the question of ecumenism—that is, in what terms can religious encounters be staged for fruitful dialog to take place? And how might abstraction (both visual and musical) be useful to achieving it? This was a dilemma for Feldman, whose music sought to produce sublime “abstract experience,” as well as for the de Menils, who envisioned the Rothko Chapel as a space for spiritual intervention into late modernity. Saving Abstraction develops two central concepts: “abstract ecumenism” and “agonistic universalism.” The former characterizes a broad spiritual orientation within postwar musical modernism and experimentalism that aspired to altered states of ego-loss. This emerged as a renewed religious sensibility in late modernist experimentalism. The latter concept describes the particular religious form that Feldman’s music achieves within Rothko Chapel—an ascetic mode of existence that endures hopefully the aporia of postwar modernization’s destructiveness and modernism’s failure to effectively counter it.

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

Impact of the 2020 crises on the arts and culture in the United States: The effect of COVID-19 and the Black Lives Matter movement in historical context

2020 ◽  
Vol 27 (4) ◽  
pp. 449-465
Author(s):  
Stanley N. Katz ◽  
Leah Reisman
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Cultural Organizations ◽  
Black Lives Matter ◽  
The Arts ◽  
Arts And Culture ◽  
History Of ◽  
Cultural Sector ◽  
The Impact

AbstractThis article discusses the impact of the COVID-19 pandemic and the Black Lives Matter movement on the arts and cultural sector in the United States, placing the 2020 crises in the context of the United States’s historically decentralized approach to supporting the arts and culture. After providing an overview of the United States’s private, locally focused history of arts funding, we use this historical lens to analyze the combined effects of the pandemic and Black Lives Matter movement on a single metropolitan area – Philadelphia, Pennsylvania. We trace a timeline of key events in the national and local pandemic response and the reaction of the arts community to the Black Lives Matter movement, arguing that the nature of these intersecting responses, and their fallout for the arts and cultural sector, stem directly from weaknesses in the United States’s historical approach to administering the arts. We suggest that, in the context of widespread organizational vulnerability caused by the pandemic, the United States’s decentralized approach to funding culture also undermines cultural organizations’ abilities to respond to issues of public relevance and demonstrate their civic value, threatening these organizations’ legitimacy.

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