scholarly journals TÃO FELIZES, NUNCA FOMOS: LITERATURA E CINEMA EM TEMPOS DE AUTORITARISMO

2009 ◽  
Vol 2 (27) ◽  
Author(s):  
João Manuel Dos Santos Cunha
Keyword(s):  
Short Story ◽  
Military Dictatorship ◽  
The Arts

RESUMO: O texto examina a tradução intersemiótica operada pelo cineastamurilo Salles para o conto de João Gilberto Noll “Alguma coisa urgentemente” (1980), denominada Nunca fomos tão felizes (1984), considerando o contexto da ditadura civil-militar brasileira (1964- 1985), período em que as duas narrativas foram criadas. Reflete, ainda, sobre o fato de que as representações literária e fílmica, em conjunto ou separadamente, podem ser lidas como “lugares de memória” (lieux de mémoire, conceito proposto por Pierre Nora, 1991): textos que, ao cumpriremoofício de lembrar, revelam o possível papel das artes como sendo o de traduzir em discurso fatos que resistem à apreensão até mesmo pelo enunciado explicativo e relativizante da história. PALAVRAS-CHAVE: literatura e cinema, literatura e autoritarismo, tradução intersemiótica, transtextualidade. ABSTRACT: This article examines the intersemiotic translation of a short story by João Gilberto Noll (“Alguma coisa urgentemente”, 1980) into a film by murilo Salles (Nunca fomos tão felizes, 1984), considering the context of the civil and military dictatorship in Brazil (1964-1985), when the story was written and the film made. It also reflects on the fact that the literary and the filmic representations, seen both together and separately, may be read as lieux de mémoire (according to a concept proposed by Pierre Nora, 1991). Those are texts that, as they perform the task of remembering, may be seen as a comment on the possible role of the arts in translating into discourse facts that resist understanding, even by the explanatory and relativizing enunciation of history. KEYWORDS: literature and cinema, literature and authoritarianism, intersemiotic translation, transtextuality.

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.

ART STUDIOS – A WAY TO DEVELOPE CHILDREN’S IMAGINATION

2020 ◽  
Vol 11 (1) ◽  
pp. 144-148
Author(s):  
Liuba Zlatkova ◽  
Keyword(s):  
Fairy Tale ◽  
Psychological Effects ◽  
Complete Product ◽  
The Arts ◽  
The Creation ◽  
Role Of Parents

The report describes the steps for creating a musical tale by children in the art studios of „Art Workshop“, Shumen. These studios are led by students volunteers related to the arts from pedagogical department of Shumen University, and are realized in time for optional activities in the school where the child studies. The stages of creating a complete product with the help of different arts are traced – from the birth of the idea; the creation of a fairy tale plot by the children; the characterization of the fairy-tale characters; dressing them in movement, song and speech; creating sets and costumes and creating a finished product to present on stage. The role of parents as a link and a necessary helper for children and leaders is also considered, as well as the positive psychological effects that this cooperation creates.

POLIVARIABILITY OF THE BASTARD MOTIF IN THE SHORT STORIES BY GUY DE MAUPASSANT: CHARACTER IN SEARCH OF SELF-IDENTIFICATION

2018 ◽  
pp. 20-27
Author(s):  
Oksana Galchuk
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Social Institutions ◽  
Point Of View ◽  
Guy De Maupassant ◽  
Traditional Values ◽  
The Social ◽  
Role Of It ◽  
Structural Methods

The theme of illegitimacy Guy de Maupassant evolved in his works this article perceives as one of the factors of the author’s concept of a person and the plane of intersection of the most typical motifs of his short stories. The study of the author’s concept of a person through the prism of polivariability of the motif of a bastard is relevant in today’s revision of traditional values, transformation of the usual social institutions and search for identities, etc. The purpose of the study is to give a definition to the existence specifics of the bastard motif in the Maupassant’s short stories by using historical and literary, comparative, structural methods of analysis as dominant. To do this, I analyze the content, variability and the role of this motive in the formation of the Maupassant’s concept of a person, the author’s innovations in its interpretation from the point of view of literary diachrony. Maupassant interprets the bastard motif in the social, psychological and metaphorical-symbolic sense. For the short stories with the presentation of this motif, I suggest the typology based on the role of it in the structure of the work and the ideological and thematic content: the short stories with a motif-fragment, the ones with the bastard’s leitmotif and the group where the bastard motif becomes a central theme. The Maupassant’s interpretation of the bastard motif combines the general tendencies of its existence in the world’s literary tradition and individual reading. The latter is the result of the author’s understanding of the relevant for the era issues: the transformation of the family model, the interest in the theory of heredity, the strengthening of atheistic sentiments, the growth of frustration in the system of traditional social and moral values etc. This study sets the ground for a prospective analysis of the evolution the bastard motif in the short-story collections of different years or a comparative study of the motif in short stories and novels by Maupassant.

The Music Therapist: Creative Arts Therapist and Contemporary Shaman

2016 ◽  
Vol 2 ◽  
Author(s):  
Joseph Moreno
Keyword(s):  
Native American ◽  
Creative Arts ◽  
Indian Culture ◽  
Music Therapist ◽  
Psychotherapy Practice ◽  
The Arts ◽  
Contemporary Psychotherapy ◽  
The World ◽  
Traditional Healing Practices

While much of contemporary psychotherapy practice often focuses primarily on verbal exchange between therapists and clients, it is important to recognize that verbal expression is just one mode of expression, and not necessarily the deepest or most profound. Many clients in therapy may be more comfortable in expressing themselves in other ways through the modes of music, art, dance and psychodrama. The sources of the arts in healing extend back for many thousands of years and their modern expression through the creative arts therapies are now widely utilized in the mainstream of modern psychotherapy. Traditional healing practices are still widely practiced in many indigenous cultures around the world today and an appreciation of these practices can deeply enrich our understanding of the essential role of the arts in human expression. The aim of this paper is to consider the roots of the arts therapies and really all of psychotherapy, going as far back as pre-historic evidence, followed by an overview of living indigenous healing practices in such settings as Bushman culture in Namibia, Native American Indian culture, as well as in Kenya, Bali, Malaysia, Mongolia and more.

Modernism and American Ballet

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
Mass Culture ◽  
American Culture ◽  
Modern Dance ◽  
The Political ◽  
Cultural Conditions ◽  
The Arts ◽  
Wide Range ◽  
Political Economic

This chapter explores the international and interdisciplinary backdrop of Lincoln Kirstein’s efforts to form an American ballet in the early 1930s. The political, economic, and cultural conditions of the Depression reinvigorated the search for an “American” culture. In this context, new openings for a modernist theory of ballet were created as intellectuals and artists from a wide range of disciplines endeavored to define the role of the arts in protecting against the dangerous effects of mass culture. Chapter 1 sheds new light on well-known critical debates in dance history between Kirstein and John Martin over whether ballet, with its European roots, could truly become “American” in contrast to modern dance. Was American dance going to be conceived in nationalist or transnationalist terms? That was the deeper conflict that underlay the ballet vs. modern dance debates of the early 1930s.

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.

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