scholarly journals Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]

2019 ◽  
Vol 19 (1) ◽  
pp. 108-123
Author(s):  
Laura Otilia Vasiliu
Keyword(s):  
Subject Matter ◽  
Video Transmission ◽  
Reference Points ◽  
Major Theme ◽  
Greek Mythology ◽  
Poetic Form ◽  
Avant Garde ◽  
Television Broadcasting ◽  
Significant Step ◽  
The Sacrifice

Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.

Jeff Wall’s Picture for Women (1979) and The Destroyed Room (1978): colonizing the space of gendered discourse

2018 ◽  
Author(s):  
Leah Modigliani
Keyword(s):  
Subject Matter ◽  
Geographic Area ◽  
Critical Discourse ◽  
Cultural Narratives ◽  
Avant Garde ◽  
Territorial Conflicts ◽  
Anthropological Research ◽  
History Of ◽  
Gendered Discourse

This analysis of two of Jeff Wall's most important early photographic transparencies highlights the fact that his subject matter can be understood as a male artist's control of what is imagined as female-gendered physical and theoretical space. The initiation and subsequent extension of this operation in European and American critical discourse about his work is discussed in relationship to anthropological research on settler colonial societies’ territorial conflicts; specifically settlers’ need to develop cultural narratives that rationalize their control over other populations within a given geographic area. Such an approach contrasts with the prevailing commentaries by other critics, some of which are discussed at length (Donald Kuspit, Arielle Pélenc, Kaja Silverman and Michael Fried). These critics’ analyses of Wall’s work downplay or ignore the feminist subject matter in the work in favour of discussing the images' relationship to the avant-garde potential of technical reproduction or to the history of modern painting.

‘Making Strange’: Non-Translation in The Waste Land

2019 ◽  
pp. 117-136
Author(s):  
Jason Harding
Keyword(s):  
Collective Trauma ◽  
Poetic Form ◽  
Russian Formalism ◽  
The Waste Land ◽  
Avant Garde ◽  
Waste Land ◽  
The Social ◽  
Post War ◽  
Reading Key

This chapter employs concepts and terms drawn from Russian Formalism to assist reading key moments of non-translation in The Waste Land. Treated as avant-garde linguistic ‘shifts’ that disrupt and estrange the poetic form, particular instances of non-translation in the poem—from the epigraph to the wild cacophony of different languages at the end of the poem—are seen as covert and coded expressions of powerful affect. This chapter considers these experimental disruptions of form in the social and political contexts of post-war avant-garde revolt and recognition of individual and collective trauma.

Portocarrero, René (1912–1985)

2018 ◽  
Author(s):  
Lisandra Estevez
Keyword(s):  
Cultural Identity ◽  
Subject Matter ◽  
Second Generation ◽  
Visual Language ◽  
Avant Garde

Part of the Cuban vanguardia (or vanguard movement), René Portocarrero broke with the academic style of art that prevailed in Cuba in order to create a modern visual language that expressed his cultural identity. Born in Havana on 24 February 1912, René Portocarrero was one of the great second-generation artists of the Cuban avant-garde movement. Multi-talented, he was a painter of easel pictures, ceramicist, illustrator, muralist and set designer. Portocarrero’s early works were expressionist in style and explored a varied body of subject matter that was inspired by his native country.

Application of Tree-Based Solutions

2011 ◽  
pp. 260-271
Author(s):  
David Paper ◽  
Kenneth B. Tingey
Keyword(s):  
Subject Matter ◽  
Subject Matter Expert ◽  
Major Theme ◽  
Working Environments ◽  
Compliance Requirements ◽  
Environmental Laboratory ◽  
History Of ◽  
Directed System ◽  
Design Projects ◽  
Computerized System

This case is a study of the application of tree-based solutions to Idaho National Engineering and Environmental Laboratory (INEEL) challenges in the development of a computerized system to meet complex, yet exacting compliance requirements extended to thousands of employees in a largescale organization. We rehearse the history of the project and include information on the theoretical structure of the tree-based solution used. Using primary research documentation, we use a constructivist approach to the issue of subject matter expert empowerment, a major theme of the case. Of particular interest is how the engineer in question was able to modify his work paradigm to incorporate a new role as digital content designer and overseer of the project. Additionally, the study concentrates on the overall effects of the project on other INEEL systems and working environments at the INEEL. Implications of management- and subject matter expert-directed system design projects using tree-based tools are considered with respect to all aspects of enterprise systems development.

scholarly journals Even as We Keep Trying: An Ethics of Interculturalism in Jérôme Bel's Pichet Klunchun and Myself

2014 ◽  
Vol 55 (2) ◽  
pp. 185-201 ◽  
Author(s):  
SanSan Kwan
Keyword(s):  
Subject Matter ◽  
The Body ◽  
Set Design ◽  
Art Making ◽  
Classical Dance ◽  
Avant Garde ◽  
The World ◽  
Spatial Composition ◽  
Concert Dance ◽  
East West

In 2004, Singaporean presenter Tang Fu Kuen commissioned French avant-garde choreographer Jérôme Bel to create a work in collaboration with classical Thai dancer-choreographer Pichet Klunchun. The resulting piece is unlike most intercultural collaborations. In the world of concert dance, East–West interculturalism takes place in a variety of ways: in costuming or set design, in theme or subject matter, in choreographic structure, in stylings of the body, in energetic impetus, in spatial composition, in philosophical attitude toward art making. Bel's work, titled Pichet Klunchun and Myself, does not combine aesthetics in any of these ways. In fact, the piece may more accurately be described not as a dance but as two verbal interviews (first by Bel of Klunchun and then vice versa) performed for an audience and separated by an intermission. There is no actual intermingling of forms—Thai classical dance with European contemporary choreography—in this performance. The intercultural “choreography” here comprises a staged conversation between the artists and some isolated physical demonstrations by each.

scholarly journals Wittgenstein on ethics: Working through Lebensformen

2020 ◽  
Vol 46 (2) ◽  
pp. 115-130 ◽  
Author(s):  
Juliet Floyd
Keyword(s):  
Subject Matter ◽  
Language Game ◽  
Philosophical Method ◽  
Philosophical Investigations ◽  
Form Of Life ◽  
Working Through ◽  
Significant Step

In his Tractatus Logico-Philosophicus, Wittgenstein conveyed the idea that ethics cannot be located in an object or self-standing subject matter of propositional discourse, true or false. At the same time, he took his work to have an eminently ethical purpose, and his attitude was not that of the emotivist. The trajectory of this conception of the normativity of philosophy as it developed in his subsequent thought is traced. It is explained that and how the notion of a ‘form of life’ ( Lebensform) emerged only in his later thought, in 1937, earmarking a significant step forward in his philosophical method. We argue that the concept of Lebensform represents a way of domesticating logic itself, the very idea of a claim or reason, supplementing the idea of a ‘language game’, which it deepens. Lebensform is contrasted with the phenomenologists’ Lebenswelt through a reading of the notions of ‘I’, ‘world’ and ‘self’ as they were treated in the Tractatus, The Blue and Brown Books and Philosophical Investigations. Finally, the notion of Lebensform is shown to have replaced the notion of culture ( Kultur) in Philosophical Investigations. Wittgenstein’s spring 1937 ‘domestication’ of the nature of logic is shown to have been fully consonant with the idea that he was influenced by his reading Alan Turing’s 1936/1937 paper, ‘On computable numbers, with an application to the Entscheidungsproblem’.

Perception as Transcendence: Interview with Paweł Wojtasik

2011 ◽  
Vol 65 (2) ◽  
pp. 52-58
Author(s):  
Scott MacDonald
Keyword(s):  
Subject Matter ◽  
Avant Garde ◽  
Sewage Plant ◽  
The World

An interview with an avant-garde filmmaker who combines a Buddhist sensibility (emphasizing detached contemplation of the world) with sometimes shocking or disgusting subject matter (a sewage plant, autopsy). Paweł Wojtasik is a cine-alchemist whose quest is to turn the disgusting, the horrifying, the taboo into gold, using perception as a means to transcendence.

The symbiosis of images and non-diegetic sound in Lynne Ramsay’s Brigitte

2021 ◽  
Vol 11 (2) ◽  
pp. 161-166 ◽  
Author(s):  
Anna Batori
Keyword(s):  
Documentary Film ◽  
Textual Analysis ◽  
Narrative Structure ◽  
Poetic Form ◽  
Face To Face ◽  
Avant Garde ◽  
Black And White ◽  
Close Textual Analysis ◽  
Set Up

The article investigates the poetic and intertextual narrative structure of Lynne Ramsay’s short documentary film Brigitte. Based in a factory in London, Ramsay’s work carefully captures the well-known photographer Brigitte Lacombe in a narrative set-up, which avoids face-to-face interviews. In this postclassical storytelling structure, black-and-white still photographs and voice-over narration melt into a poetic form that narrates personal and interpersonal histories. The article analyses this very avant-garde symbiosis of images and non-diegetic narration through a close textual analysis, while it also investigates the very form of postclassical short documentary set-ups.

Toulouse-Lautrec, Henri de (1864–1901)

2018 ◽  
Author(s):  
Kara Blakley
Keyword(s):  
Subject Matter ◽  
Physical Disabilities ◽  
Working Life ◽  
Social Practices ◽  
Avant Garde ◽  
Untimely Death ◽  
The Media

Few names are as synonymous with the freethinking associated with the French avant-garde as Henri de Toulouse-Lautrec. Born into an aristocratic family, Toulouse-Lautrec chose to spend much of his working life in bohemian Montmartre, which would influence his modernist artistic tendencies. Toulouse-Lautrec chose to reject the academic-style in which he was trained; favoring scenes of nightclubs and theaters to grand histories and mythology, he helped to expand the purview of painting beyond the limits of what was considered acceptable subject matter. Furthermore, Toulouse-Lautrec employed prominent lines, flattened surfaces and ghoulish colors, which would become the hallmarks of later modernist painters. Toulouse-Lautrec frequently worked in oils, watercolor, charcoal, pastel, ink and colored pencils, but was open to using any technique that allowed him to achieve his artistic goals. This openness allowed him to create not only paintings, but lithographs, posters and commercial prints, thus further expanding the media and methods available to avant-garde artists. Perhaps owing to the fact that he was ostracized from elite society because of his physical disabilities, extravagant self-characterizatio, and underclass acquaintances, Toulouse-Lautrec became masterful at depicting psychological authenticity and revealing innate social hypocrisies in bourgeois social practices. Although his career was cut short due to his untimely death, Toulouse-Lautrec helped provide the blueprints for later modernist painting.

Barthes and Love

2018 ◽  
pp. 130-158
Author(s):  
Calum Gardner
Keyword(s):  
Subject Matter ◽  
Degree Zero ◽  
Emotional Life ◽  
New Approach ◽  
Avant Garde ◽  
Kristjana Gunnars ◽  
Anne Carson

In the late 1980s a new approach to Barthes begins to emerge, centred around the use of his work to approach the emotional life. Although this is more traditional poetic subject matter, Barthes still inspires innovative and avant-garde approaches. This chapter demonstrates the relevance of Barthes’s work on love to Anne Carson and Deborah Levy, and also shows how his other texts can be applied to these purposes, showing how Kristjana Gunnars uses the more technical Writing Degree Zero to write about grief. The chapter also uses Chris Kraus’s notion of ‘lonely girl phenomenology’ as part of the critical framework with which it approaches alternative creative engagements with theory.

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