scholarly journals Transauthorial Screendance: Stravinsky’s Exquisite Corpse, or Brief Notes on Creating an International Omnibus Project

2014 ◽  
Vol 5 ◽  
Author(s):  
Marisa C. Hayes
Keyword(s):  
Cultural Landscape ◽  
Multiple Generations ◽  
Moving Images ◽  
Rite Of Spring ◽  
History Of Art ◽  
History Of ◽  
The Individual ◽  
Exquisite Corpse ◽  
Le Sacre Du Printemps

In honor of the first centenary surrounding the pivotal composition and ballet <em>Le Sacre du Printemps (The Rite of Spring)</em> in 2013, Franck Boul&egrave;gue and I coordinated a collective screendance project entitled <em>Sacre/il&egrave;ge(s)</em>. Created in collaboration with 65 international artists, we sought to explore the ongoing presence of <em>Le Sacre du Printemps</em>&nbsp;internationally and to harness its wide reaching artistic influence in order to create an omnibus cycle of films. While hundreds of stage versions of <em>Le Sacre du Printemps</em>&nbsp;exist, it has rarely been imagined for the screen and is normally identified with an individual artist's vision (Stravinsky's music, Nijinsky or Pina Bausch's choreography, among others). Diverging from these familiar components seemed a fitting tribute to a production whose original look and sound shook the cultural landscape of its era, affecting multiple generations of artists thereafter. This provided the impetus for our first foray into transauthorial screendance and raised a number of questions on the nature of collaboration, community, and authorship: What forms of collaboration are possible for the screen today? Does collaboration itself form a community? Does collaboration represent a compromise on the part of the individual artist or does it simply construct a larger authorial composite? Despite the significance of these questions throughout the history of art&mdash;and moving images in particular&mdash;these subjects are rarely addressed or explored at screendance platforms today.

scholarly journals International Seminar on Museums and the Changing Cultural Landscape, Ladakh

Museum Worlds ◽  
2013 ◽  
Vol 1 (1) ◽  
pp. 204-205
Author(s):  
Manvi Seth
Keyword(s):  
Cultural Landscape ◽  
International Seminar ◽  
National Museum ◽  
Art Conservation ◽  
Central Institute ◽  
Buddhist Studies ◽  
History Of Art ◽  
History Of

The international seminar on Museums and the Changing Cultural Landscape, coordinated by Dr. Manvi Seth, was organized by the department of museology in the National Museum Institute of History of Art, Conservation and Museology in collaboration with the Ladakh Autonomous Hill Development Council (LAHDC) from 2–4 September 2012 at the Central Institute of Buddhist Studies (CIBS), Leh, Ladakh, India.

scholarly journals The relationship of architecture and cultural landscape on the example of the city of Almaty

2020 ◽  
Vol 78 (4) ◽  
pp. 20-28
Keyword(s):  
Cultural Landscape ◽  
Educational Process ◽  
Art And Design ◽  
History Of ◽  
Moral Qualities ◽  
Culture Design ◽  
History Of Culture ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship

The article substantiates the significance of the traditional culture of Kazakhstan in the field of art and design training. It describes the uniqueness of Kazakhstan's design, which is closely intertwined with various aspects of the theory and history of culture, and also reflects examples of integration into world culture. The author emphasizes the importance of studying the origins of national culture and its features, which are necessary for preserving the continuity of generations. The authors suggest using the potential of folk art heritage in the educational process for the development of aesthetic and moral qualities of the individual. Key words: education, traditional Kazakh culture, design, continuity.

scholarly journals DEVELOPMENT OF ART COLLECTING IN UKRAINE: HISTORICAL, CULTURAL AND SOCIAL PRECONDITIONS DURING XVII–XVIII CENTURIES

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
N. Shpytkovska
Keyword(s):  
Cultural Values ◽  
Scientific Article ◽  
Left Bank ◽  
Art Collecting ◽  
Art Collectors ◽  
History Of Art ◽  
Ruling Elites ◽  
History Of ◽  
The Individual ◽  
Geographical Context

The scientific article is dedicated to the study of the origins and features of the art collecting at the territory of modern Ukraine. Socio-cultural, geo-political and historical preconditions of the XVII–XVIII centuries became subject for consideration while making conclusions as to why and when art collecting became widespread among the ruling elites and noble families of the region.The article examines the history of such collections, their main characteristics and components at the time when Ukraine was divided into Left-bank and Right-bank.The research identifies main types of artistic practices widespread at that time in Ukraine, which served as the source of collectibles for private and primary institutional collections. The article considers differences of art collecting phenomenon caused by geographical context (Right-bank, Left-bank Ukraine) and by changes in political and religious factors, all having impact on the behaviour and preferences of collectors. The research covers names of well-known art collectors and demonstrates examples of collections, which laid the foundation for the transformation of collecting from the individual accumulation and preservation of cultural values to the formation of museum-level collections of national and worldwide importance.Keywords: collecting, art collecting, collectors, the phenomenon of art collecting, the history of art collecting.

scholarly journals Horrors of War in the Context of the Fine Arts Transformation of the XX Century

2020 ◽  
Vol 4 (4) ◽  
pp. 147-157
Author(s):  
E. O. Grantseva
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Traumatic Experience ◽  
History Of Emotions ◽  
Artistic Process ◽  
Cultural Transformations ◽  
History Of Art ◽  
History Of ◽  
Post War ◽  
The Individual

The article is dedicated to the outlook on the socio-cultural transformations of the 20th century brought by global conflicts. The main attention is paid to the problems arisen from overcoming traumas by the means of art and to the influence the traumatic experience has had on the transformation of the artistic language. The themes of the horrors of war, war and post-war experience and reflections acquire special significance in the artistic culture of the 20th century, with traumas brought by both world wars and other conflicts giving rise not only to emotional responses to ongoing disasters, but also being a catalyst for global reshaping of artistic content, form and industry, expressed in the visual revolution. In this regard, the paper turns to the essential cultural characteristics of the art of this period, to consider the similarities and differences in the individual trends that followed the general trend. Then, revealing the specifics of the artistic process, considered within the framework of the historical and cultural approach, the reasons that determined the global transformations of art were discovered. In this work, the issues mentioned above are perceived at the junction of the problems studied in the history of emotions and the history of art. So is the conceptual focus of this interdisciplinary text. Such an approach not only attempts to consider the visual revolution through the prism of personal experience, to link the transformation of visual expression with the inner state of a person and one’s perceptions of current events. It also underlines the specificities of historiography, represented both by research on the history of art and by works related to such a direction of historical science as the history of emotions. The main results of the research are as follows. Works of art related to the experience and display of the horrors of war, on the one hand, help to understand and survive the traumatic experience, telling about it in a metaphorical form, and on the other hand, embodying these goals, they radically change the artistic language in the context of the visual revolution of the 20th century.

scholarly journals The work of Pieter Post in the context of the development of classicism in Dutch painting of the 17th century

2021 ◽  
pp. 164-168
Author(s):  
Ol’ga A. Korol’kova ◽  
Keyword(s):  
Main Part ◽  
17Th Century ◽  
Russian Art ◽  
Dutch Art ◽  
History Of Art ◽  
History Of ◽  
Human Figure ◽  
The Individual ◽  
Artistic Heritage ◽  
Individual Style

The author studied the pictorial heritage of the Dutch artist and architect of the 17th century Pieter Post. In the scientific works of Russian art critics, the master’s work is mentioned in the context of his collaboration with the famous architect Jacob van Campen, even though Post is no less significant in the history of art. This article proposes to concentrate on the analysis of the artist’s canvases, tracing the evolution of his creative manner, which was formed under the influence of the art of the Italians and landscape painters of Holland, which is especially noticeable in the first paintings of Post. With the development of skill, the artist acquires his own style, characterized by an attempt to symmetrically build a composition, the predominance of line over color, the specificity of the interpretation of the human figure, which is due to the spread of the ideas of classicism in Dutch art. The main part of the artistic heritage of Pieter Post is made up of architectural monuments created in the classicist style, however, based on the study of the master’s painting, one can trace the stages of the formation of classicism in Holland in the 17th century and the formation the individual style of Post.

Investigating the Relationship Between Self-Esteem and Stigma Among Young Adults With History of Suicide Attempts

Crisis ◽  
2016 ◽  
Vol 37 (4) ◽  
pp. 265-270 ◽  
Author(s):  
Meshan Lehmann ◽  
Matthew R. Hilimire ◽  
Lawrence H. Yang ◽  
Bruce G. Link ◽  
Jordan E. DeVylder
Keyword(s):  
Young Adults ◽  
Suicide Attempts ◽  
Self Esteem ◽  
High Risk Population ◽  
High Functioning ◽  
People With Mental Illness ◽  
History Of ◽  
The Individual ◽  
The Impact ◽  
The Relationship

Abstract. Background: Self-esteem is a major contributor to risk for repeated suicide attempts. Prior research has shown that awareness of stigma is associated with reduced self-esteem among people with mental illness. No prior studies have examined the association between self-esteem and stereotype awareness among individuals with past suicide attempts. Aims: To understand the relationship between stereotype awareness and self-esteem among young adults who have and have not attempted suicide. Method: Computerized surveys were administered to college students (N = 637). Linear regression analyses were used to test associations between self-esteem and stereotype awareness, attempt history, and their interaction. Results: There was a significant stereotype awareness by attempt interaction (β = –.74, p = .006) in the regression analysis. The interaction was explained by a stronger negative association between stereotype awareness and self-esteem among individuals with past suicide attempts (β = –.50, p = .013) compared with those without attempts (β = –.09, p = .037). Conclusion: Stigma is associated with lower self-esteem within this high-functioning sample of young adults with histories of suicide attempts. Alleviating the impact of stigma at the individual (clinical) or community (public health) levels may improve self-esteem among this high-risk population, which could potentially influence subsequent suicide risk.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

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