scholarly journals Estetiska dimensioner i svenskämnets kursplaner från Lgr 69 till Lgr 11

2019 ◽  
pp. 152-182
Author(s):  
Katharina Dahlbäck ◽  
Anna Lyngfelt
Keyword(s):  
Fine Arts ◽  
Written Language ◽  
Close Reading ◽  
Full Potential ◽  
Not Given ◽  
School Subject ◽  
Multilingual Students ◽  
Sign Systems ◽  
The Subject ◽  
The Aesthetic

The possibilities young pupils have to express themselves by using verbal, written and aesthetic languages depend on the multilingual discourse at school. In this presentation, multilingualism is defined as languages with roots in different nations and cultures, linked to aesthetic languages (music, fine arts, literature, theatre, film and dance). The term multimodality is used to highlight the variety of communicative forms used by people to utilize and develop knowledge (Selander & Kress, 2010). Although people increasingly communicate by the use of different modalities in today’s society (Kress, 2003), the written language holds a unique position in Swedish as a school subject, and the aesthetic means of expression could be said to be marginalized. The study presented is a qualitative, comparative study based on close reading of curricula for the subject Swedish from 1969 (Lgr 69) to 2011 (Lgr 11). The purpose is to make clear how aesthetic perspectives of Swedish appear in the different curricula, starting with the didactic questions on what students are expected to learn, how this is told to be executed and why. Among the analysed curricula, the curriculum from 1980 (Lgr 80) represents an empirical, multimodal, communicative, democratic and creative approach to the subject Swedish, where aesthetic forms of expressions are emphasized. The analysis shows that the importance of these communicative forms is reduced in later curricula, leaving the aesthetical aspects in the background. The possibilities represented by a variety of modalities and sign systems decrease. Instead a skill oriented school subject increase that weakens the bridges between different expressions of multilingual language. The discussion, has a focus on the problems that the curriculum implicates, when young, multilingual students are not given the possibilities to use their different sign systems and communicative capacity, and therefore not the possibility to learn with their full potential.

Imagining the King’s Death: Figurative Treason, Fantasies of Regicide, 1793–1796, John Barrell, Oxford: Oxford University Press, 2000

2013 ◽  
Vol 21 (1) ◽  
pp. 196-208
Author(s):  
Danny Hayward
Keyword(s):  
Social Relations ◽  
Review Essay ◽  
Samuel Taylor Coleridge ◽  
The Other ◽  
Close Reading ◽  
Second Line ◽  
Oxford University ◽  
The Subject ◽  
The Aesthetic ◽  
The One

Abstract This review essay has two divisions. In its first division it sets out a brief overview of recent Marxist research in the field of ‘Romanticism’, identifying two major lines of inquiry. On the one hand, the attempt to expand our sense of what might constitute a ruthless critique of social relations; on the other, an attempt to develop a materialist account of aesthetic disengagement. This first division concludes with an extended summary of John Barrell’s account of the treason trials of the middle 1790s, as set out in his book Imagining the King’s Death. It argues that Barrell’s book is the most significant recent work belonging to the second line of inquiry. In its second division the review responds to Barrell’s concluding discussion, in which the aesthetic consequences of the treason trials are established by means of a close reading of some of the poetry of Samuel Taylor Coleridge. The division finishes with some more general remarks on the subject of a materialist aesthetics of disengagement.

scholarly journals 3. The Fields of Arts the General Education System the Republic of Moldova

2016 ◽  
Vol 11 (1) ◽  
pp. 20-29
Author(s):  
Marina Morari
Keyword(s):  
General Education ◽  
Educational System ◽  
Education System ◽  
Fine Arts ◽  
Aesthetic Education ◽  
Traditional Theory ◽  
School Subject ◽  
The Republic ◽  
The Aesthetic ◽  
Aesthetic Values

Abstract The general education system identifies two approaches for encompassing arts: through the curricular field and through the extracurricular and extra-scholastic aesthetic education. The fields of arts are assigning a sector, an area of activity, a branch or a compartment. In the general education system, the fields of art have been differently formed. As a school subject, art is being studied through literature, music and fine arts. Some of them are not included in the educational plan (theatre, choreography). The statute of arts (literature, music, fine arts) in the educational system is outlined from two perspectives: art as a school subject and art as an artistic activity. The area of art shall not be reduced to a school subject or a type of arts. The artistic education in the educational system corresponds to the aesthetic education compartment and it happens in the extracurricular and extra-scholastic educational framework. According to the classic, traditional theory, the aesthetic education often is reduced to the level of artistic education. An efficient perspective in capitalizing the fields of art through education may be the extension of the artistic education borders outside the aesthetic values, by extra-aesthetic values – behavioral, moral, spiritual, social etc.

scholarly journals Poetizing Everyday Life in the Works by Wilhelm Genazino

2021 ◽  
pp. 108-125
Author(s):  
Svitlana Macenka
Keyword(s):  
Everyday Life ◽  
Close Reading ◽  
Cultural Significance ◽  
Everyday Objects ◽  
Underlying Principle ◽  
Inner World ◽  
The Subject ◽  
Narrative Skill ◽  
The Aesthetic ◽  
Everyday Reality

Increased interest in everyday life and routine explains a new and relevant perception of the creative agenda of contemporary German writer Wilhelm Genazino (1943-2018), known as “poetizing everyday life”. The article, thus, aims to offer a comprehensive view into the poetics of the German novelist to identify ways in which everyday life is poetized, which is an example of linguistic mastery, narrative skill, and philosophical generalization. A close reading method is used to analyze specific scenes from the novels (An Umbrella for One Day, Happiness in Unhappy Times, The Foolishness of Love, If We Were Animals), in which the characters actively practice the “extended gaze”, theoretically validated in W. Genazino’s essay, to reveal a system of special ties important to their inner world behind the routine situations and worn clothes. The writer believes that in such a way, characters experience an epiphany, which provokes further musing about art and the mystery of everyday life. In this connection, it is established that Genazino’s characters manage to avoid the negative influences of society by distancing from it via self-invented aesthetic processes. They are constantly searching for individual vision. It is also noted that the writer focuses on prolonged disappearance scenes, works with time accumulated in objects, and projects distancing from one’s own self to clothes. The extended gaze which the protagonists use to watch their own portrayals helps them overcome identity crisis and generate art, which promises salvation, through simple observance. It is concluded that W. Genazino talks about the aesthetic link between the subject and object perceived as individual “cultural significance”. It enables the protagonists to discard the routine and enter a space outside the limits they have themselves created. Everyday objects and familiar situations have the capacity to stimulate memories and boost creative perception. Their fleeting nature provides for compensatory narration, which means dropping the inessential and petty and is, consequently, perceived as a productive narration. Everyday reality emerges as something that may be perceived as visible existence, which upon some consideration may reveal unique dimensions and gain particular significance based on intermediary space between what is perceived by the eye and the invisible, actualized by the inner vision. Such reflexive vision transcends the limits of things, transforming them and constituting new reality. Such is the underlying principle that the writer used to recreate everyday life in his works.

scholarly journals The Evaluation of curriculum and methods of teaching public book According to the Teachers of Fine Arts Institute

2018 ◽  
Vol 224 (3) ◽  
pp. 143-194
Author(s):  
Azhar Qassm Mohammed Ameen
Keyword(s):  
Teaching Methods ◽  
Fine Arts ◽  
Not Given ◽  
Male And Female ◽  
Second Stage ◽  
Female Teachers ◽  
Percentage Weight ◽  
The Subject ◽  
Scientific Accuracy ◽  
Academic Year

The current research aims at evaluating the Book of curriculums and Genera- Teaching Methods according to the view of male and female teachers in the Fine Art Institute. The sample of the research includes all male and female teachers for the academic year 2015-2016 in the general directorate of Education/ Karkh/1 / morning   study.  The society of research amounted 30 teachers for the subject of general teaching methods.The researcher  has used a tool for exposing the research ; she has prepared and developed it  in form of  questionnaire  concerning with  male and female teachers ; it includes 57 items  concerning  with the rectification of  the general teaching methods of  second-  stage   students of Fine  Arts . The items have included  the fields  ( introduction, goals , content , activities  and methods of teaching , questions  ( end of every chapter)  and the artistic form  of the book).  In respect to exposing the results, it has been considered percentage weight after responding inquiries of teachers for every item.  Results of the research   are as follows: The content of the book is exposed in form of chapters where scientific accuracy prevails ; it includes diverse activities  that help the students boost  their understanding  toward the subject. Means and activities have not given an opportunity of participation of all students.

Dionysius, Lucian, and the Prejudice against Rhetoric in History

2001 ◽  
Vol 91 ◽  
pp. 76-93 ◽  
Author(s):  
Matthew Fox
Keyword(s):  
Rhetorical Theory ◽  
Close Reading ◽  
Aesthetic Theory ◽  
Moral Issues ◽  
Dionysius Of Halicarnassus ◽  
The Subject ◽  
The Aesthetic ◽  
The Relationship ◽  
Do So ◽  
Historical Theory

This article will explore the familiar polarity between history and rhetoric by comparing two rather different accounts from the early Empire. The treatment of history in the rhetorical theory of Dionysius of Halicarnassus and the curious work of historical theory by Lucian will be contrasted to open up some new areas of debate. Although the relationship between rhetoric and history has been the subject of numerous studies, none have given much weight to one central aspect of the juxtaposition: the dialectic between rhetoric and aesthetics, and the place of that dialectic in ancient historical theory. Since scholars generally agree that ancient historiography exists, like all other forms of ancient writing, within a culture where rhetoric provides all educational resources, and thus acts as a substitute for aesthetic theory, this is not in itself surprising. A close reading of these particular texts, however, produces a more differentiated view of what rhetoric might mean to those seeking to define historiography. Dionysius and Lucian are both concerned with the relationship between rhetoric and wider issues of moral and social education. But because rhetoric is not philosophy, but rather a system concerned above all with the formal qualities of spoken utterance, these moral issues become closely implicated with aesthetic concerns. More startlingly, they do so in each author in a significantly different way. The interweaving of moral and aesthetic may at first sight seem strange; we are accustomed to think of the aesthetic and the moral as operating in rather different spheres, at least when it comes to literary production.

Social innovation for modified consumption by means of the school subject Art and craft

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Anita NEUBERG
Keyword(s):  
General Education ◽  
Primary Schools ◽  
Social Innovation ◽  
School Subject ◽  
Art And Design ◽  
The Core ◽  
Causal Mechanisms ◽  
The Subject

In this paper I will take a look at how one can facilitate the change in consumption through social innovation, based on the subject of art and design in Norwegian general education. This paper will give a presentation of books, featured relevant articles and formal documents put into context to identify different causal mechanisms around our consumption. The discussion will be anchored around the resources and condition that must be provided to achieve and identify opportunities for action under the subject of Art and craft, a subject in Norwegian general education with designing at the core of the subject, ages 6–16. The question that this paper points toward is: "How can we, based on the subject of Art and craft in primary schools, facilitate the change in consumption through social innovation?”

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

scholarly journals Skriftsprogskompetence og skriftsprogsvalg hos to kommandanter på Kronborg i 2. halvdel af 1600-tallet

2016 ◽  
Vol 52 ◽  
Author(s):  
Birgit Christensen
Keyword(s):  
Empirical Study ◽  
Language Skills ◽  
Written Language ◽  
German Language ◽  
Construction Work ◽  
Command Language ◽  
Vital Importance ◽  
The Subject ◽  
Professional Writers ◽  
Selection Of

It is a rule of thumb that the army’s command language was German until 1773 andafter that Danish. But along with the language of the army, the army’s administrationalso had a written language, and that is the subject of this brief empirical study. Thestudy will discuss the written language skills and the choice of written language by twocommandants of the same age at Kronborg, who were otherwise very different people,each holding the position of commandant at the fortress for a number of years in thesecond half of 17th century, in a selection of letters from them to the king and thecentral administration. The letters are often about the construction work, which tookplace at Kronborg at the time. The following questions are asked: Which language wasused when writing to whom? And what language did they allow to be written to whom,when they used professional writers? In what situations did they use professional writers?Was the choice of language determined by the recipient? The first is the Danishnobleman Eiller Holck (1627–1696). The letters examined are from 1660–1664. EillerHolck, who was quite well-educated, was skilled at writing in both Danish and German,but mostly used a writer, and when writing himself, he seldomly wrote more than ashort text near his signature. When he himself wrote to the king, he wrote Danish,but when writing to the king using a writer, the writer used German. This was also thecase when writing to the Danish/Norwegian nobleman Jørgen Bielke. This is perhapslinked with the language skills of the writer that was available. Holck took into accountthe fact that his superior, Danish Field Marshall Hans Schack, preferred German. BothHans Schack and Eiller Holck used translations in communications with their troops.The second is Jacob Geueke, son of a commoner from Burg on the German island ofFemern (1617–1699). The letters examined are from 1688–1692. He used German language writers, only wrote amendments on the letters himself and only in Germanand was not satisfied with his own standard of writing. Perhaps he understood Danish.It is of vital importance that many of the recipients of the letters in the central administrationwere from Holsten. Perhaps the delivered correspondence would have beenin Danish to a greater extent had Jørgen Bielke been more involved in the administration?

scholarly journals “Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism

2020 ◽  
pp. 44-50
Author(s):  
Marina Aleksandrovna Neglinskaya
Keyword(s):  
New York ◽  
Fine Arts ◽  
The United States ◽  
Oil Painting ◽  
Chinese Tradition ◽  
State Museum ◽  
International Audience ◽  
The Subject ◽  
Traditional Paradigm ◽  
Artistic Tradition

The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.

scholarly journals An attempt at clarifying Maximus the Confesor’s remarks on (the fate of) sexual difference in Ambiguum 41

2021 ◽  
Vol 32 (2) ◽  
pp. 194-203
Author(s):  
Sotiris Mitralexis
Keyword(s):  
Sexual Difference ◽  
Human Person ◽  
Close Reading ◽  
Church Fathers ◽  
Male And Female ◽  
The Subject ◽  
The Difference ◽  
Maximus The Confessor ◽  
As If

Maximus the Confessor?s Ambiguum 41 contains some rather atypical observations concerning the distinction of sexes in the human person. There is a certain ambiguity as to whether the distinction of the sexes was intended by God and is ?by nature? (as found in Genesis and asserted by most Church Fathers) or a product of the Fall. Namely, Christ is described three times as ?shaking out of nature the distinctive characteristics of male and female?, ?driving out of nature the difference and division of male and female? and ?removing the difference between male and female?. Different readings of those passages engender important implications that can be drawn out from the Confessor?s thought, both eschatological implications and otherwise. The subject has been picked up by Cameron Partridge, Doru Costache and Karolina Kochanczyk-Boninska, among others, but is by no means settled, as they draw quite different conclusions. The noteworthy and far-reaching implications of Maximus? theological stance and problems are not the object of this paper. In a 2017 paper I attempted to demonstrate what Maximus exactly says in these peculiar and oft-commented passages through a close reading, in order to avoid a two-edged Maximian misunderstanding: to either draw overly radical implications from those passages, projecting decidedly non-Maximian visions on the historical Maximus, or none at all, as if those passages represented standard Patristic positions. Here, I am revisiting this argument, given that the interest in what the Confessor has to say on the subject seems to be increasing.

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