scholarly journals development of the teaching concept of musical stage art

2021 ◽  
Vol 5 (S2) ◽  
pp. 435-453
Author(s):  
Xiang Lian
Keyword(s):  
University Students ◽  
Art History ◽  
Teaching Strategy ◽  
Pedagogical Strategy ◽  
Knowledge Component ◽  
Art Form ◽  
Teaching Concept ◽  
History Of

In the work showed that the basis of teaching the history of choreographic art is the willingness of teachers and listeners to perceive choreography as an art. For this, the authors of the article have developed a concept that characterizes the approbation of teaching the history of choreographic art at the level of its perception by university students. The authors distinguish the features of teaching the history of choreographic art not only as a historical course with the formation of only the knowledge component. The possibilities of preparing listeners for practical activities are determining. The authors first of all, determining the psychological readiness, which is expressed as the level of mastering information. The authors marked that this approach allows us to form a directional approach to increasing interest in art, as well as to filling an understanding of the value not only of choreography as an art form, but also as a pedagogical strategy and practice. The novelty of the research is the formation of the concept of art history as a teaching strategy in the overall structure of the process of pedagogy and psychology. 

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

Monastery, Monument, Museum

2017 ◽  
Author(s):  
Maurizio Peleggi
Keyword(s):  
Cultural History ◽  
Art History ◽  
Social Life ◽  
Eleventh Century ◽  
Devotional Art ◽  
Cultural Legacy ◽  
Political Ideologies ◽  
Cultural Sites ◽  
History Of ◽  
Intellectual Knowledge

Monastery, Monument, Museum examines cultural sites, artifacts, and institutions of Thailand as both products and vehicles of cultural memory. From rock caves to reliquaries, from cultic images to temple murals, from museums and modern monuments to contemporary artworks, cultural sites and artifacts are considered in relation to the transmission of religious beliefs and political ideologies, as well as manual and intellectual knowledge, throughout thelongue durée of Thailand’s cultural history. Sequenced by and large chronologically along a period of time spanning the eleventh century through to the start of the twenty-first, the eight chapters in this book are grouped into three sections that surface distinct themes and analytical concerns: devotional art in Part I, museology and art history in Part II, and political art in Part III. The chapters can even be read as self-contained essays, each supplied with extensive bibliographic references.By examining the interplay between cultural sites and artifacts, their popular and scholarly appreciation, and the institutional configuration of a cultural legacy, Monastery, Monument, Museum makes a contribution to the literature on memory studies. A second area of scholarship this book engages is the art history of Thailand by shifting focus from the chronological and stylistic analysis of artifacts to their social life—and afterlife. Monastery, Monument, Museum brings together in one volume a millennium of art and cultural history of Thailand. Its novel analysis and thought-provoking re-interpretation of a variety of artifacts and source materials will be of interest to both the specialist and the general reader.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Figurines

2020 ◽  
Keyword(s):  
Art History ◽  
Greco Roman ◽  
Roman Culture ◽  
History Of ◽  
Relationship Of ◽  
Material Concept ◽  
As If

This book concerns figurines from cultures that have no direct links with each other. It explores the category of the figurine as a key material concept in the art history of antiquity through comparative juxtaposition of papers drawn from Chinese, pre-Columbian, and Greco-Roman culture. It extends the study of figurines beyond prehistory into ancient art-historical contexts. At stake are issues of figuration and anthropomorphism, miniaturization and portability, one-off production and replication, substitution and scale. Crucially, figurines are objects of handling by their users as well as their makers—so that, as touchable objects, they engage the viewer in different ways from flat art. Unlike the voyeuristic relationship of viewing a neatly framed pictorial narrative, as if from the outside, the viewer as handler is always potentially and without protection within the narrative of figurines. This is why they have had potential for a potent, even animated, agency in relation to those who use them.

scholarly journals Factors Related to Intentions to Commit Dating Violence among Taiwanese University Students: Application of the Extended Theory of Planned Behavior

2021 ◽  
Vol 18 (4) ◽  
pp. 1956
Author(s):  
Chung-Ying Lin ◽  
Ying-Hua Tseng ◽  
Mei-Ling Lin ◽  
Wen-Li Hou
Keyword(s):  
Theory Of Planned Behavior ◽  
University Students ◽  
Family Violence ◽  
Planned Behavior ◽  
Dating Violence ◽  
Safety Issue ◽  
Demographic Data ◽  
Subjective Norms ◽  
Gender Stereotyping ◽  
History Of

Dating violence (DV) constitutes a major public health and safety issue worldwide; however, only limited research into this important subject has been conducted in Taiwan. This study examined university students’ intention to commit DV, based on the expanded theory of planned behavior (TPB), with a history of family violence and gender stereotyping also included as further factors in the original TPB model. A total random sample consisting of 450 university students from four universities in four regions in Taiwan, namely, the northern, southern, central, and eastern regions, participated. Of these participants, 365 (81.1%) completed all of the parts of the questionnaires, which included a survey of demographic data, such as any history of family violence; a gender stereotyping questionnaire; and a DV behavioral intention questionnaire. The results showed that the three main variables of the TPB—that is, subjective norms, attitudes, and perceived behavioral control—significantly related to university students’ intentions to commit DV. More specifically, university students’ attitudes and subjective norms emerged as significant related factors of their intention to commit DV behaviors. Overall, the expanded TPB explained 30.4% of the variance in DV intentions, and attitude was the most significant factors after controlling the background variables. These findings can hopefully be used to help design and implement programs for the prevention of DV behaviors among university students.

Arabesques, Unicorns, and Invisible Masters: The Art Historian’s Gaze as Symptomatic Action?

2015 ◽  
Vol 32 (1) ◽  
pp. 213-232
Author(s):  
Eva-Maria Troelenberg
Keyword(s):  
Art History ◽  
Cultural Difference ◽  
Second World War ◽  
Islamic Art ◽  
Methodological Development ◽  
World War ◽  
Taxonomic History ◽  
History Of ◽  
Historical Methods ◽  
Second World

This essay takes two seminal texts of mid-twentieth-century Islamic art history as case studies for the methodological development of the scholarly gaze in the aftermath of the Second World War. Ernst Kühnel’s Die Arabeske (Wiesbaden, 1949) testifies to the continuity of a taxonomic history of styles, rooted in phenomenologist Sachforschung and apparently adaptable to shifting ideological paradigms. Richard Ettinghausen’s The Unicorn (Washington, 1950) stands for a neo-humanist approach. Its negotiation of aesthetic and cultural difference clearly is to be considered against the background of the experience of exile, but also of the rising tide of democratic humanism characteristic for postwar American humanities. Both examples together offer a comparative perspective on the agencies of art historical methods and their ideological and epistemological promises and pitfalls in dealing with aesthetic difference. Consequently, this essay also seeks to contribute exemplary insights into the immediate prehistory of the so-called “Global Turn” in art history. 


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