Digest and Review: A Seminar on the Role of the Arts in Meeting the Social and Educational Needs of the Disadvantaged

1969 ◽  
Vol 11 (1) ◽  
pp. 34
Author(s):  
Frances K. Heussenstamm
Keyword(s):  
Educational Needs ◽  
The Arts ◽  
The Social

Imagination and Art

2014 ◽  
Author(s):  
Richard Swedberg
Keyword(s):  
Social Theory ◽  
Social Scientist ◽  
Modern Society ◽  
Basic Knowledge ◽  
Social Scientists ◽  
The Arts ◽  
The Social ◽  
Relationship Of ◽  
The Relationship

This chapter examines the role of imagination and the arts in helping social scientists to theorize well. However deep one's basic knowledge of social theory is, and however many concepts, mechanisms, and theories one knows, unless this knowledge is used in an imaginative way, the result will be dull and noncreative. A good research topic should among other things operate as an analogon—that is, it should be able to set off the theoretical imagination of the social scientist. Then, when a social scientist writes, he or she may want to write in such a way that the reader's theoretical imagination is stirred. Besides imagination, the chapter also discusses the relationship of social theory to art. There are a number of reason for this, including the fact that in modern society, art is perceived as the height of imagination and creativity.

Dislocation as method

2019 ◽  
pp. 7-14
Author(s):  
David MacDougall
Keyword(s):  
Empirical Data ◽  
Visual Anthropology ◽  
Ethnographic Fieldwork ◽  
The Arts ◽  
Alternative Approach ◽  
The Social ◽  
New Knowledge ◽  
The World ◽  
Research Questions

Research in the sciences, including the social sciences, is usually supposed to be conducted in a systematic way, working from research questions to the gathering of empirical data, to conclusions. But in an analogy drawn from the art of fencing, the author argues for an alternative approach in visual anthropology. Films look at the world differently from the ways we conventionally see, and these differences have optical, social, and structural origins. To overcome these differences, filmmakers may have to voluntarily ‘dislocate’ themselves in order to put themselves in a position to view their subject from a different perspective, and so uncover new knowledge. The argument is supported by a discussion of the realities of ethnographic fieldwork, the processes of filmmaking, and the role of play and improvisation in the arts and other human endeavours.

Archive Fevers

2020 ◽  
pp. 24-41
Author(s):  
Albena Yaneva
Keyword(s):  
Social Sciences ◽  
Jacques Derrida ◽  
Paul Ricoeur ◽  
Architectural Practice ◽  
The Arts ◽  
The Social ◽  
Paul Ricœur ◽  
Empirical Turn

This chapter reviews several developments in the social sciences and the arts that date back to the 1990s and motivated this study of archives as practice. It refers to Jacques Derrida and Paul Ricoeur as key protagonists that led to the rethinking of the role of archiving as a tool of memory. It also details the emergence of the trend of “archival ethnography,” which witnessed the advent of the archival turn in anthropology. The chapter elaborates how archival scholarship took an empirical turn in the mid-1990s, coinciding with the “archive fever” in the arts and the “archival turn” in anthropology that opened venues for investigating architectural archiving. It explores the realm of architectural practice wherein the computer radically changed working dynamics and led to the practice's own archival turn in the mid-1990s.

Mutual aid for the arts in nineteenth- and twentieth-century Milan: The ‘Pio Istituto Teatrale’

2019 ◽  
Vol 25 (4) ◽  
pp. 602-624
Author(s):  
Mariarita Pierotti ◽  
Alessandro Capocchi ◽  
Paola Orlandini
Keyword(s):  
Twentieth Century ◽  
Social Role ◽  
Accounting System ◽  
Mutual Aid ◽  
Dual Nature ◽  
Theatre Arts ◽  
The Arts ◽  
The Social ◽  
The World

In the nineteenth century, when the theatre arts were at their peak, Milan was considered the intellectual and artistic capital of Italy. This article explores the objectives and the functioning of an important mutual aid company based in Milan – the Pio Istituto Teatrale – through its accounting system. These accounting documents clearly convey the dual nature of this organization, which was dedicated to protecting both social welfare and the arts. This study confirms the social role of accounting and its implications. In recent years, the attention paid to accounting in artistic institutions has been increasing. However, while many studies have explored Italian mutual aid societies in general, few have considered those in the artistic field specifically. This article attempts to rectify this oversight by examining a mutual aid society functioning in the world of theatre via its accounting records.

The Arts in Education and Cultural Participation: The Social Role of Aesthetic Education and the Arts

1980 ◽  
Vol 14 (4) ◽  
pp. 55 ◽  
Author(s):  
Paul Di Maggio ◽  
Michael Useem
Keyword(s):  
Social Role ◽  
Aesthetic Education ◽  
Cultural Participation ◽  
Arts In Education ◽  
The Arts ◽  
The Social

scholarly journals The activities of the social teacher in psychological and pedagogical support of children with special educational needs in the adaptation to society

2020 ◽  
Vol 133 (4) ◽  
pp. 114-122
Author(s):  
Z. Sagatbekkyzy ◽  
Keyword(s):  
Low Income ◽  
Children With Disabilities ◽  
Educational Needs ◽  
Special Educational Needs ◽  
State Monitoring ◽  
Regular School ◽  
The Social ◽  
Inclusive Schools ◽  
Degrading Treatment

The article describes measures to improve the situation of social groups and children with disabilities who are subjected to violence, discrimination, and degrading treatment by able-bodied, healthy, sane people in society. The study has been written in order to describe the role of the social educator and the types of psychological and pedagogical support for the adaptation of children with special educational needs to societyAccording to the results of a scientific study, in some cases, a discriminatory and abusive attitude towards people with disabilities, representatives of other nationalities, members of low-income society has been revealed. It is indicated that there is the necessity of teaching children with disabilities in inclusive schools in order to make them feel as a full members of society; it is revealed that there is the need for special psychological and pedagogical support for children with disabilities for learning in a regular school. The authors have considered the functions of psychological and pedagogical support (disclosure, development, stimulation, compensation, disclosure - correction), the levels of psychological and pedagogical support, regular monitoring of the child’s mental state; monitoring the learning process of a disabled child individually and in groups. Applicable methods of the study are description, analysis, control methods.

‘Comunicare con il popolo’: Novel, Drama, and Music in Mazzini’s Work

2008 ◽  
Author(s):  
Carlotta Sorba
Keyword(s):  
20Th Century ◽  
Active Power ◽  
The Public ◽  
Political Role ◽  
The Arts ◽  
Close Analysis ◽  
The Social ◽  
Social Art ◽  
The Aesthetic

This chapter observes and relocates the role of the arts in Mazzini's political reflections, seeing in it a kind of prelude to the aesthetic dimension of politics generally explored in the 20th century. Through a close analysis of his large output of literary and musical criticism (1826–44), it shows how the language of the arts, and especially drama as ‘the social art par excellence’, was considered by the Italian thinker to be the main means to communicate to the public – in a forceful and emotional way – political and national goals. Mazzini believed that, in the specific case of Italy, opera, with its active power to move, thrill, and provoke enthusiasm in Italian theatres, could play a crucial political role.

scholarly journals Art-repreneur: an examination of the role of entrepreneurial self-identification and technique in the success of creative ventures

2021 ◽  
Author(s):  
Marissa Cristiano
Keyword(s):  
New Media ◽  
Entrepreneurial Intention ◽  
Digital Art ◽  
Economic Resources ◽  
New Media Art ◽  
Inherent Risk ◽  
The Arts ◽  
Multimedia Production ◽  
The Social

The following paper positions independent, creative producers and businesses in the creative sector as entrepreneurial. It also assesses how prior knowledge of entrepreneurship may contribute to the success of creative ventures. Through a sample of nine interviews with creative producers in the visual arts (namely digital art, multimedia production, painting, photography and new media art), this papers assesses 1) current conceptions of creative process and creative personalities 2) how entrepreneurial orientation and entrepreneurial intention has helped them achieve social or capital gain. While some artists have used bootstrapping and lean methodologies to increase their incidences of success, they were not exposed to these methodologies prior to embarking on a career in the arts. Knowledge of bootstrapping can give artists ways to maximize the social and economic resources available to them. Knowledge of lean methodology can help artists decrease the inherent risk of creating artistic products while letting them better understand their value within a marketplace.

scholarly journals “There’s No Way That You Get Paid to Do the Arts”: Unpaid Labour Across the Cultural and Creative Life Course

2020 ◽  
Vol 25 (4) ◽  
pp. 571-588
Author(s):  
Orian Brook ◽  
Dave O’Brien ◽  
Mark Taylor
Keyword(s):  
Working Conditions ◽  
Unpaid Work ◽  
Career Stage ◽  
The Arts ◽  
The Social ◽  
Unpaid Labour ◽  
Creative Workers ◽  
Negative Impacts ◽  
Creative Life

Unpaid labour is an important element of how precarity has been theorised. It is also an issue that is often seen as endemic to cultural and creative work. Questions as to the role of unpaid work, including but not limited to unpaid internships, have become central to understanding how the social exclusiveness of many cultural and creative jobs is reinforced through their precarity. This article uses survey and interview data to outline the differing experiences of unpaid labour in cultural jobs. It contrasts the meaning of ‘free’ work over the life courses of a range of creative workers, showing how it is stratified by social class, age, and career stage. By exploring the stratification of unpaid work as a form of precariousness in cultural jobs, and of who describes their experiences of unpaid work as benign, the article offers new empirical evidence for those challenging the negative impacts of precarious working conditions.

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