scholarly journals Gogi Saroj Pal: Questioning Patriarchy, Engendering Force through Paintings

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Keyword(s):  
Contemporary Art ◽  
Indian Society ◽  
Urban Context ◽  
Indian Culture ◽  
Deep Impact ◽  
Cultural Aspects ◽  
Radical Feminist ◽  
The Everyday ◽  
Everyday Problems ◽  
The Voice

Painting has always been a reflection of society, culture, values and surroundings of the individuals. The place and people around leaves a deep impact on the artists because they usually depict their belongingness and experiences through their creation. In Indian contemporary art, various artists like Amrita Sher-Gill, M.F. Husain, F.N. Souza and many more have adopted the glimpse of their city to articulate their expressions. Gogi Saroj Pal, a contemporary Indian artist has adopted the spirit of Indian culture, where she is inculcating the mythical fables with the advancement of feministic ideology. The aim of this paper is to discuss the significance of India and its socio-cultural aspects in the paintings of Gogi Saroj Pal. Gogi Saroj Pal is considered to be the first among the radical feminist artists of India who has painted various series on woman including Hat-yogini (female practitioner of Yoga), Kamdhenu (wish-fulfilling cow), Kinnari (half-bird & half woman), Dancing Horse, Sawaymvaram (an ancient practice for choosing groom by bride) and Alter for Nirbhaya (related with the brutal rape case in Delhi). In most of her paintings, powerful female nudes have been portrayed to criticize the previous forms of woman, which were particularly related with beauty and sensuousness. Apart from feministic advancement, her artwork series are particularly based on the indigenous portrayal of her surroundings- that is Indian urban context where innumerable incidents of female oppression take place recurrently. Gogi Saroj Pal usually takes the everyday problems of woman in modern Indian society and represents it with an infusion of mythological references through her paintings in an attempt to raise the voice of protest for the oppressed womanhood to the world. Keywords: Gender Politics, Patriarchal Hegemonies, Resistance of Power, Mythology and Art, Symbolism, Portrayal of Woman

Shashi Deshpande’s Womenfolk and their Struggle of Existence

Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 601-606
Author(s):  
Dr J. Ramakrishnan
Keyword(s):  
Interpersonal Relationship ◽  
Indian Society ◽  
Inner Life ◽  
Indian Culture

The aim of writing this article is to highlight the theme of helplessness of woman in Indian society. Whether she is a mother, daughter, sister or wife, the society always desires that she should be docile, timid and submissive. Deshpane’s novels are trying to highlight the change towards which our society. Indian Women’s writings have been a delineation of inner life and understated interpersonal relationship. In Indian culture and heritage, individualism, quest for identity, protests are analised in the article.

Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics

2021 ◽  
Vol 1 ◽  
pp. 53-60
Author(s):  
Thomas Leddy ◽  
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Philosophy Of Art ◽  
Social Meaning ◽  
Surface Level ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
Deep Meaning ◽  
Definition Of ◽  
Formal Properties

Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations.

scholarly journals Lullaby: Births, Deaths and Narratives of Hope

Religions ◽  
2020 ◽  
Vol 11 (3) ◽  
pp. 138
Author(s):  
Rebekah Pryor
Keyword(s):  
Contemporary Art ◽  
Hannah Arendt ◽  
Luce Irigaray ◽  
The Voice

Guided by the hopeful possibilities of birth, breath and beginning that Hannah Arendt and Luce Irigaray variously articulate, this paper examines the lullaby as an expressive form that emerges (in a variety of contexts as distinct as medieval Christendom and contemporary art) as narrative between natality and mortality. With narrative understood as praxis according to Arendt’s schema, and articulated in what Irigaray might designate as an interval between two different sexuate subjects, the lullaby (and the voice that sings it) is found to be a telling of what it is to be human, and a hopeful reminder of our capacity both for self-affection and -preservation, and for meeting and nurturing others in their difference.

Implementing Indian Culture

2021 ◽  
Vol 14 (4) ◽  
pp. 375-387
Author(s):  
Devdutt Pattanaik
Keyword(s):  
Corporate Culture ◽  
Domain Knowledge ◽  
Religious Conversion ◽  
Far East ◽  
Indian Society ◽  
Indian Culture ◽  
The Family ◽  
New Ideas ◽  
Training Programmes ◽  
And Training

Mythologist and author Devdutt Pattanaik uses his deep domain knowledge and corporate experience to address the topic: Implementing Indian Culture. First, he reveals how changing corporate culture through workshops and training programmes is based on the idea of evangelism and religious conversion, which is alien to caste-based Indian society where aggregation of new ideas is preferred over replacement of old ideas. Then, using mythology as a toolkit, he elaborates what is common and what is different between Indian, Chinese and Western cultures. He argues that China and Japan’s success is not the result of ‘Westernisation’ but by their grounding in home-grown Confucian and Taoist myths. India’s progress needs a similar grounding in ideas that have originated, and continue to thrive, in India, hence the need to appreciate the Indian model of yagna (exchange), which is neither policy based and contractual, as in the West, nor authority based, as in the Far East. However, as it is relationship based, it demands maturity and empathy of the leader who functions as the head of the family business ( karta). It demands the karta’s personal transformation from self-indulgent to self-expansive as he gradually delegates and nurtures talent to create an ecosystem of success ( mangalya). Growth then is not just material (what you have) but also psychological/spiritual (who you are).

Translation, transformation and refiguration: The significance of Jingdezhen and the materiality of porcelain in the work of two contemporary Chinese artists1

2019 ◽  
Vol 6 (2) ◽  
pp. 207-223
Author(s):  
Luise Guest
Keyword(s):  
Contemporary Art ◽  
First Century ◽  
Chinese Art ◽  
Structured Interviews ◽  
Research Project ◽  
The Everyday ◽  
Historical Discourses ◽  
Post Cultural Revolution ◽  
Further Development ◽  
Contemporary Chinese

Abstract In December 2016 a group of researchers led by Professor Jiang Jiehong travelled to Jingdezhen as fieldwork for the Everyday Legend research project, funded by the Leverhulme Trust. Representing the White Rabbit Collection of Contemporary Chinese Art, Australia, I was invited to participate. This article developed from reflections on the fieldwork component of the research project, as well as the formal and informal discussions that took place, at the time and subsequently, in Shanghai, Birmingham, Groningen and London. In 2018, as a further development of this process of reflection, I conducted semi-structured interviews with two artists of different generations: the article examines how Liu Jianhua and Geng Xue approach the use of porcelain as a contemporary art material. Each has spent extensive periods of time in Jingdezhen and each is immersed in this particularly Chinese tradition. At the same time, each is identified (and identifies themselves) as practising in a global contemporary art context and participates in exhibitions and exchanges internationally. Considered in the context of current and historical discourses around global contemporaneity2 and its manifestations in twenty-first-century China, their work illuminates the key question that the Everyday Legend project was designed to examine: how can contemporary art and traditional Chinese craft practices intersect, informing and enriching each other? As representatives, respectively, of the generation who emerged into the first years of the post-Cultural Revolution Reform and Opening period, and of a younger generation educated partly outside China, they reveal how Chinese artists strategically negotiate local and global in positioning their work as contemporary reinventions of traditional forms and materiality.

Enhancing Students' Ability to Use Statistical Reasoning with Everyday Problems

2003 ◽  
Vol 30 (2) ◽  
pp. 107-110 ◽  
Author(s):  
Timothy J. Lawson ◽  
Michael Schwiers ◽  
Maureen Doellman ◽  
Greg Grady ◽  
Robert Kelnhofer
Keyword(s):  
Comparison Group ◽  
Psychology Students ◽  
Introductory Psychology ◽  
Statistical Reasoning ◽  
Introductory Statistics ◽  
Reasoning Ability ◽  
Statistics Course ◽  
The Everyday ◽  
Group A ◽  
Everyday Problems

We discuss a technique for teaching students everyday applications of statistical concepts. We used this technique with students (n = 50) enrolled in several sections of an introductory statistics course; students (n = 45) in other sections served as a comparison group. A class of introductory psychology students (n = 24) served as a second comparison group. We assessed students' statistical reasoning ability at the beginning of the semester as well as later in the semester. All 3 groups showed improvements in statistical reasoning, but the greatest improvement occurred in the group that read the everyday application material.

scholarly journals INTEGRATING INTERCULTURAL ASPECTS IN EFL LESSONS AT SLOVAK SECONDARY SCHOOLS

2020 ◽  
Vol 1 (9(78)) ◽  
pp. 12-20
Author(s):  
Zuzana Sándorová
Keyword(s):  
Secondary Schools ◽  
Foreign Language ◽  
Teacher Development ◽  
Teaching Practice ◽  
Further Education ◽  
Foreign Language Pedagogy ◽  
Language Pedagogy ◽  
Cultural Aspects ◽  
The Everyday ◽  
The Given

Over the last decades the importance of incorporating intercultural aspects in FL education has often been emphasized, especially by intercultural communication as well as foreign language pedagogy scholars. Yet the everyday teaching practice in Slovakia does not always reflect this viewpoint, as it has been revealed due to some research in the field.  The aim of the paper was to summarize the results of the observations carried out at secondary schools in Slovakia in order to map which intercultural aspects were developed suitably and sufficiently in the observed EFL lessons. The investigation showed that EFL courses at Slovak secondary schools tend to disregard the must of integrating cultural aspects in FL education. One of the reasons can be the lack of further education for in-service teachers in the given field; hence, the paper also includes some proposals for teacher development in terms of developing intercultural competences in FL courses

scholarly journals New Noises New Voices

2020 ◽  
Vol 20 (1) ◽  
pp. 401-432
Author(s):  
Martina Raponi
Keyword(s):  
Contemporary Art ◽  
Entry Point ◽  
Political Environment ◽  
Linguistic Minority ◽  
Entire Spectrum ◽  
Deaf Adults ◽  
The Voice ◽  
Historical References

As an artist interested in Noise, and a CODA (child of deaf adults), I will tackle the issue of noise and counterculture from the entry point of deafness and un-cultured voices. In ableist societies the voice is a cultural product, and certain voices, perceived as “other”, flawed, “noisy”, can open up discourses related to shared sonic spaces, disruption, and inclusivity. Soundscape is here described as a social and political environment, and the bodies immersed in it are considered according to the entire spectrum of their capacities, beyond listening, in rhythmanalytical terms. Soundscape, understood within the thresholds of audibility, expels and rejects communities which carry the stigma of “handicap”, such as Deaf communities. This theoretical exercise is accompanied by examples from contemporary art and technological-historical references, pointing at “acts of silencing” and “acts of noising”, while underlining the value of “deviant” bodies as resistant bodies. The paper ends with the testimony of a Deaf dancer who used my writings to produce her last two shows. I will refer to the audiological deaf using the lowercase, and capitalize the linguistic minority: Deaf. Despite being considered disabled, or deviant, Deaf bodies are the last example of countercultural agents in all-speaking and all-hearing ableist societies.

scholarly journals The conceptualization of winners and losers of transition in popular culture

2009 ◽  
Vol 4 (1) ◽  
pp. 107-121
Author(s):  
Vesna Trifunović
Keyword(s):  
Popular Culture ◽  
The Other ◽  
Ordinary People ◽  
Other Hand ◽  
The Everyday ◽  
Everyday Problems ◽  
The Given

This paper is about the reconstruction of social presentations (picture, vision) of losers and winners of transition based on the products of the popular culture such as the domestic TV series. The given picture was considered in the context of the 1990s, when those TV series were filmed and aired (broadcast), which means that they are typical, primarily, for the period of the so-called first transition. The analysis meant the abstracting one of the dominant themes in both TV series which refers to a certain family of ordinary people, faced with the everyday problems of the time their time, and those problems being mainly existential ones. The identification of the messages about losers and winners of transition, which was being sent through these TV series, was later continued by establishing a formula based on which the mentioned theme (subject) was structured, and in the end completed by putting in connection the perceived oppostitions via semiotic square. The conceptualization of losers and winners of transition, which is the result of this paper, in no way implies that this vision of theirs is the only and the dominant one in this society. On the other hand, it certainly exists (existed) in the given moment and context and as such it came to surface through domestic TV series as the product of popular culture, through which often widespread and popular attitudes of a society are expressed.

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