scholarly journals 9. Personal Conception on the Way of Interpreting the Area from Act I of the Opera La Bohéma – Si, Mi Chiamano Mimì by Giacomo Puccini

2020 ◽  
Vol 19 (1) ◽  
pp. 71-80
Author(s):  
Doina Dimitriu Ursachi
Keyword(s):  
Giacomo Puccini ◽  
Artistic Creation ◽  
Enormous Success ◽  
The Way

AbstractGiacomo Puccini’s artistic creation spans a period of 40 years, from 1884 to 1924, during which time he composed 12 works. This small number proves once again the great artistic exigency of the composer. The enormous success that Giacomo Puccini’s works have enjoyed since his life, continues to this day and is constantly growing. We aim to analyze the area SI, MI CHIAMANO MIMÌ from LA BOHÉMA’s work with personal interpretative aspects.

The Philosophy of Artistic Creation: Phidias, the Ideas, and Cicero

Apeiron ◽  
2018 ◽  
Vol 51 (3) ◽  
pp. 325-344 ◽  
Author(s):  
Anna Motta
Keyword(s):  
Point Of View ◽  
Artistic Creation ◽  
Platonic Theory ◽  
Human Eyes ◽  
Human Hands ◽  
The Way

Abstract Since Antiquity Phidias seems to be the best sculptor of Gods, because he carved great statues with his human hands and succeeded in giving a physical look to that which is not visible to human eyes. This paper is devoted to Cicero’s attention on the imaginative creation of the artist and on the philosophical features of that demiurgical activity which the Roman philosopher links to his interpretation of the Platonic theory of the Forms. The survey led on some Ciceronian texts shows, from a philosophical and philological point of view, the way in which Cicero reconsiders the role of the phantasia, offering a revalution of the art.

An Existentialist Epistemology of the Closet: Sexuality and Art in Raymond Queneau's Zazie dans le métro

2012 ◽  
Vol 51 (2) ◽  
pp. 175-191
Author(s):  
Enda McCaffrey
Keyword(s):  
Sexual Orientation ◽  
Identity Construction ◽  
Coming Out ◽  
Choice Situation ◽  
Main Character ◽  
Artistic Creation ◽  
Verbal Utterance ◽  
The Way

This article explores how Sartean existentialism can be used to explain the sexual orientation of the main character Gabriel in Raymond Queneau's Zazie dans le métro. Drawing firstly on the novel's rich and broader philosophical roots, the article proceeds to engage with the philosophy of existentialism as a way of highlighting Gabriel's attempts to conquer himself, champion a morality of action and commitment over secular morality, and give meaning to his sexuality through concepts of choice, situation, authenticity and artistic creation. Gabriel's monologues take him out of the conversational currency of the récit's structure and into a philosophical mode of thinking. In these instances, Queneau's sub-codes and intertextual references to Sartrean existentialism gesture towards an existentialist breakthrough where Gabriel's existence is seen to coalesce with a discrete ‘coming out’ narrative that predates the politics of power, gender and identity construction of the 1970s and beyond. The situatedness and literariness of Gabriel's homosexuality is textual; this textuality is played out existentially in the way his homosexuality as verbal utterance/reality is continually deferred and connected critically to signifiers of Sartrean humanism, intersubjectivity and transcendence.

scholarly journals Progenitores del Vídeo. El Arte del Vídeo ante los Fantasmas de su Historia Familiar

2020 ◽  
Vol 8 (3) ◽  
pp. 227
Author(s):  
Arturo Rodríguez
Keyword(s):  
Video Art ◽  
Video Production ◽  
Artistic Creation ◽  
Avant Garde ◽  
Social Sphere ◽  
The Social ◽  
The Face ◽  
The One ◽  
The University ◽  
The Way

From the very beginning, museums and the audiovisual industry of television have nurtured the institutionalization process of video in the art domain.On the one hand, the influx of museums has been paramount when it comes to legitimating avant-garde discourses. However, they always showed misgivings in the face of certain practices supported on technology reproduction or “outlying” its coded space along the lines put forward by the video produced by artists.On the other hand, the domain of artistic creation, inasmuch as it belongs in the social sphere, has not been able to stay away of television’s influx and its powerful information, iconic and linguistic flow, just in the same way as contemporary creation has influenced the phenomenon of television.The paper “Coming to the terms with the frightful parent: video art and television” produced by John Wyver, historian and TV producer, as well as professor at the University of Westminster, provides the basis to study the way in which cultural criticism in the eighties exerted an influence in the development of the links between video art and television. This interaction in the form of some sort of domestic tension paved the way for the institutionalization of video production in the terms acknowledged nowadays.

scholarly journals Marx o potrebi za umjetnošću: umjetnost između političke ekonomije i samoodređenja

2019 ◽  
pp. 100-113
Author(s):  
Bojan Blagojević
Keyword(s):  
Political Economy ◽  
Labour Market ◽  
Self Determination ◽  
Artistic Creation ◽  
Human Needs ◽  
Commodity Production ◽  
Art Works ◽  
Production Relations ◽  
The Way

If we take political economy to be concerned with the way a society satisfies its needs, we would expect that an account of Marx’s critique of political economy of art should begin with a critique of the way a need for art is perceived within capitalistic production relations. We will try to provide a sketch of such a critique in this paper, taking various accounts of the place and role of art within a system of human needs as a context in which art works and artistic creation are connected with categories of commodity, production, labour, market etc. Then we will turn to an account of human needs, provided by Agnes Heller, that are not limited to political economy and aim to show that the need for art is properly located within that system of “non-alienated” needs and human self-determination.

Le Theme de l’Unite et de l’Harmonie de l’Homme chez Friedrich Schiller

1998 ◽  
pp. 41-48
Author(s):  
Petre Dumitrescu
Keyword(s):  
Friedrich Schiller ◽  
Philosophical Method ◽  
Philosophical Work ◽  
Artistic Creation ◽  
Great Time ◽  
The World ◽  
Human Understanding ◽  
Artistic Genius ◽  
The Aesthetic ◽  
The Way

This study demonstrates that Schiller's philosophical work is not limited only to the explanation of the artistic phenomenon as such, and that, for him, art represents the premise of philosophizing, of elaborating an original conception of the world and of humanity. I emphasize the way in which the poet and playwright uses art as a philosophical method with a view to penetrating meaning in the world and in life and to identifying a solution to the crisis confronted by modernity. In this context, based on the conviction that the historical and rationalistic methods are the only ones valid for human understanding and achievement, Schiller, due to his artistic genius and his beginning from Kant's ideas concerning the compatibility of the theoretical and the ethical by means of the aesthetic, advances a way of raising nature (the sensible) to the level of morality with the help of the artistic creation interpreted as a game. What radically distinguishes and confers originality on Schiller's versus Kant's conception is the modality of solving the problems of the relation between necessity and liberty, sensibility and intelligibility, and individuality and liberty, thus offering the image of a person able to aspire to resonance with the exactingness of the Great Time, when evolution may become self-evolution, and history transhistory.

Introduction: Courtly Gifts, Imperial Rewards

2017 ◽  
pp. 1-23
Author(s):  
Samuel England
Keyword(s):  
Middle Ages ◽  
Theoretical Framework ◽  
Political Crisis ◽  
Medieval History ◽  
Artistic Creation ◽  
Imperial Culture ◽  
Political Upheaval ◽  
Late Middle Ages ◽  
The Way ◽  
Cultural Developments

The book begins by exploring how we conceive of literature in the broader context of medieval history. I argue for the centrality of political crisis in cultural developments throughout the late Middle Ages. From that historical and theoretical framework, I give an overview of medieval imperial culture and the court’s techniques of representing the empire through literature. Competition, as a spectacle and an organizing principle of artistic creation, allowed members of the court to establish and exploit the parameters of culture. Just as importantly, it provided the rituals with which empires affirmed their identity during conflict, whether internal or foreign. The book’s argument opens with the image of political upheaval in the late Middle Ages and the way medieval conflicts have haunted our modern notions of culture, religion, and history.

scholarly journals La apropiación audiovisual y la autoproducción. Entre una práctica artística y una táctica cultural

2014 ◽  
Vol 12 (2) ◽  
pp. 362-394
Author(s):  
Sagrario Martín Rodríguez
Keyword(s):  
Technological Progress ◽  
Growing Media ◽  
Artistic Creation ◽  
The Media ◽  
Traditional Paradigm ◽  
The Way

La apropiación audiovisual es analizada en esta investigación como fenómeno ante la omnipresencia de los medios, la ubicuidad de la imagen, el progreso tecnológico, etc., que  han transformado nuestros hábitos visuales  y también como han afectado al mundo del arte.Se van a analizar cómo  los  paradigmas tradicionales han sido modificados en cuanto a la forma de concebir la creación artística y la manera de enfrentarse a las imágenes audiovisuales del creciente paisaje mediático.Por último se realizará un breve apunte de la apropiación audiovisual como  respuesta posmoderna a los nuevos espacios y políticas de de los medios dominantes de producción, subvertir  los roles tradicionales en la creación y desmantelar los significados impuestos.AbstractThe audiovisual appropriation is analyzed, in this investigation, like a phenomenon facing the media omnipresence, image ubiquity, technological progress, etc., that has transformed our visual habits and also affected art’s world.We are going to analyze how the traditional paradigm has been modified regarding the artistic creation perception, aswell as, the way of facing audiovisual images in the growing media landscape.Finally, we will make a brief note about the audiovisual appropriation as a postmodern response to the new dominating production media spaces and politics, that undermines the traditional creation roles and dismantles the impose meanings. 

THE DAZZLING HOUR:AN ITALIAN COMEDY ADAPTED FOR THE AMERICAN STAGE

2011 ◽  
Vol 52 (2) ◽  
pp. 251-273
Author(s):  
Daniela Cavallaro
Keyword(s):  
Mexico City ◽  
Film Adaptations ◽  
Italian Comedy ◽  
Television Film ◽  
The 1950S ◽  
Enormous Success ◽  
The Way

Judging from the number of its theatrical adaptations and the countries in which it was adapted, Anna Bonacci'sL'ora della fantasia(The Fantasy Hour) was indeed “the most successful Italian comedy of the postwar era.” After its 1944 premiere in Rome, the play was performed again in Geneva in 1949 and in Paris in 1953 under the titleL'Heure éblouissante(The Dazzling Hour). The enormous success the play received in Switzerland and France opened the way in the 1950s to numerous stagings worldwide, from Lisbon and Stockholm to Amsterdam and Mexico City.L'ora della fantasiahas also been adapted for other media, including a musical, a film, and a television film. In fact, one of its film adaptations, Billy Wilder's 1964Kiss Me, Stupid, has proved to be so well known that Bonacci's comedy is now often presented on the Italian stage asBaciami stupido!, and is sometimes even set in Climax, Nevada, the location Wilder used in his film.

The Composition Model in Music: To the Issue of Evolution of Concept

10.34690/208 ◽  
2021 ◽  
pp. 152-165
Author(s):  
Марианна Сергеевна Высоцкая
Keyword(s):  
Creative Process ◽  
Composite Model ◽  
Logical Thinking ◽  
Musical Form ◽  
Artistic Creation ◽  
Concerto Grosso ◽  
Compositional Model ◽  
Fundamental Categories ◽  
The Way

Понятие композиционной модели как структурносемантического прототипа музыкальной формы развивалось и эволюционировало вместе с понятием композиции как эстетической категории и одной из основополагающих категорий художественного творчества. В роли композиционной модели выступает художественный канон или авторский текст; она задается извне или выстраивается по индивидуально разработанному алгоритму; способом ее представления может быть вербализованная система правил, графическая схема или объективированный в звуковой форме образец. С возрастанием значимости в творческом процессе абстрактно-логического мышления область моделируемого внемузыкального неуклонно расширяется: от следования стратегическим законам ораторской речи - к расчетам на основе математических формул, от «биоморфизма» - к «техноморфизму». В статье рассмотрена эволюция понятия композиционной модели на материале сочинений, принадлежащих разным эпохам и стилям: Токкаты из органного триптиха И. С. Баха BWV 564, органной Сонаты № 6 d-moLL из цикла ор. 65 Ф. Мендельсона, Симфонии in C И. Стравинского, Concerto grosso памяти Веберна Ф. Караева и «VOI(REX)» Ф. Леру. The concept of a composite modeL as a structuraLLy semantic prototype of a musicaL form deveLoped and evoLved aLong with the concept of composition as an aesthetic category and one of the fundamentaL categories of artistic creation. The compositionaL modeL is an artistic canon or author's text, it is given from outside or is buiLt according to an individuaLLy deveLoped algorithm, the way in which it is presented can be a verbatim system of ruLes, a graphicaL diagram or an audibLe specimen. With increasing importance in the creative process of abstract and LogicaL thinking, the area of modeLLed extramusicaL is steadiLy expanding: from foLLowing the strategic Laws of oratory speech to caLcuLating on the basis of mathematicaL formuLae, from “bio-morphism” to “techno-morphism.” The articLe considers the evoLution of the concept of the composition modeL on the materiaL of works beLonging to different epochs and styLes: Toccata from the organ triptych I. S. Bach BWV 564, Sonata 6 d-moLL from op. 65 F. MendeLssohn, Symphony in C I. Stravinsky, Concerto grosso in the memory of Webern F. Karaev and “VOI(REX)” F. Leroux.

Self-sacrifice for in-group's history: A diachronic perspective

2018 ◽  
Vol 41 ◽  
Author(s):  
Maria Babińska ◽  
Michal Bilewicz
Keyword(s):  
Clinical Psychology ◽  
Historical Events ◽  
Emotional Events ◽  
Reciprocal Process ◽  
The Way

AbstractThe problem of extended fusion and identification can be approached from a diachronic perspective. Based on our own research, as well as findings from the fields of social, political, and clinical psychology, we argue that the way contemporary emotional events shape local fusion is similar to the way in which historical experiences shape extended fusion. We propose a reciprocal process in which historical events shape contemporary identities, whereas contemporary identities shape interpretations of past traumas.

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