Advancing the Discussion on Beckett’s Theatrical Aesthetics: from Knowlson’s Artistic Vision to McMullan’s Embodied Vision

2019 ◽  
Vol 32 (3) ◽  
pp. 109-133
Author(s):  
Joo-yeup Lee
Keyword(s):  
Artistic Vision

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

Chekhov's Environmental Psychology: Medicine and the Early Stories

Slavic Review ◽  
2020 ◽  
Vol 79 (4) ◽  
pp. 709-730
Author(s):  
Matthew Mangold
Keyword(s):  
Medical Education ◽  
Clinical Medicine ◽  
Environmental Psychology ◽  
Medical Writing ◽  
Early Writing ◽  
Mental Life ◽  
Case Histories ◽  
Artistic Vision ◽  
Literary Writing ◽  
Core Issues

In light of the historical circumstances surrounding Anton Chekhov's early writing career and his own statements about the importance of medicine to it, there is surprisingly little scholarship on how medicine shaped his prose. What ideas was he introduced to in medical school and how did he apply them? Which of these drew his attention as he strove to articulate a new artistic vision? How did Chekhov draw on his experience with medicine to experiment with new themes and forms in his literary writing? This article addresses these questions by focusing on the aspects of medicine that had the most discernable influence on Chekhov as he developed his literary writing: hygiene, clinical medicine, and psychiatry. It argues that Chekhov engaged with core issues of medicine not only as a medical student who wrote case histories of his patients, but also as a groundbreaking writer. As he transcodes insights from the clinic into his prose, he creates a new conception of details that disclose relationships between settings and characters and an environmental psychology emerges across his medical writing and fiction. His stories envision relationships between physical and mental life with such originality that he becomes a new literary force not long after completing his medical education.

scholarly journals Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)

2013 ◽  
Vol 47 (2) ◽  
pp. 385-403
Author(s):  
HANNAH DURKIN
Keyword(s):  
Film History ◽  
Cross Cultural ◽  
Experimental Film ◽  
Ballet Dancer ◽  
Emotional Experiences ◽  
Avant Garde ◽  
The Us ◽  
Artistic Vision ◽  
The Individual ◽  
Ballet Dancing

A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritual (which she borrowed from Katherine Dunham's Haitian experiences after spending many years documenting vodou) while allowing a leading black male dancer to display his artistry on-screen. I show that cultures and artistic forms widely dismissed as incompatible are rendered equivocal. Study adopts a stylized and rhythmic technique borrowed from dance in its attempt to establish cinema as “art,” and I foreground Beatty's contribution to the film, arguing that his technically complex movements situate him as joint author of its artistic vision. The essay also explores tensions between the artistic intentions of Deren, who sought to deprivilege the individual performer in favour of the filmic “ritual,” and Beatty, who sought to display his individual skills as a technically accomplished dancer.

scholarly journals Single Carrot Theatre: Financial Crisis Leads to Artistic Pivot

2021 ◽  
Vol 3 (1) ◽  
pp. 12-16
Author(s):  
Stephanie Chin ◽  
Sidney Pink
Keyword(s):  
Undergraduate Students ◽  
Financial Risk ◽  
Learning Objectives ◽  
Financial Sustainability ◽  
Arts Organizations ◽  
Artistic Vision ◽  
Instructor's Manual ◽  
Business Structure

This teaching case study examines how Single Carrot Theatre in Baltimore, Maryland used adaptive capacity, leadership structures and risk assessment to implement a large organizational and artistic pivot. The case study is designed for undergraduate students to analyze how an established arts organization in financial risk can pivot from a traditional model to an innovative business structure while managing financial sustainability, audience growth and artistic vision. The Instructor’s Manual includes learning objectives, sample questions and additional resources to guide discussion around organizational culture and the important role of artistic vision in arts organizations.

The Metamorphosis of a Periplaneta Americana

Leonardo ◽  
2021 ◽  
Vol 54 (1) ◽  
pp. 12-22
Author(s):  
Daniela de Paulis
Keyword(s):  
Radio Astronomy ◽  
Philosophy Of Mind ◽  
Animal Ethics ◽  
Periplaneta Americana ◽  
Collaborative Work ◽  
Theoretical Concepts ◽  
Research And Practice ◽  
Artistic Vision ◽  
Artistic Research

The author presents her ongoing artistic research and practice at the intersection of neuroscience and radio astronomy that connects two of her current projects: COGITO in Space and The Metamorphosis. The author focuses primarily on theoretical concepts underpinning her projects, encompassing philosophy of mind and animal ethics. The artistic vision and collaborative work in COGITO in Space has been extensively addressed and presented by the author in previous papers that provide complementary reading to this text.

Mad Max

2020 ◽  
Author(s):  
Martyn Conterio
Keyword(s):  
Critical Reception ◽  
New Wave ◽  
Cultural Impact ◽  
Artistic Vision ◽  
The Creation ◽  
Rock N Roll ◽  
Action Cinema ◽  
Classical Hollywood

Mad Max (1979) is a freak picture. Too classy and well-crafted to be lumped in with low-budget Ozploitation titles, yet completely unlike other films made during the 1970s Australian New Wave, George Miller's directorial debut is a singular piece of action cinema, one that had a major cultural impact and spawned a movie icon in Max Rockatansky (played by Mel Gibson). This monograph examines the film's considerable formal qualities in detail, including Miller's theory of cinema as “visual rock 'n' roll” and his marriage of classical Hollywood editing and Soviet-style montage. George Miller is arguably the single most important filmmaker in Australia's history, bringing a commercial and artistic vision to the screen few of his compatriots have ever managed before or since. Taking in everything from the film's extremely controversial critical reception to its legacy today via a string of sequels and the creation of an entire subgenre—postapocalyptic action—this book is for film students and fans alike.

A Closer Look: Kelly Reichardt

2018 ◽  
Author(s):  
E. Dawn Hall
Keyword(s):  
Film Industry ◽  
Early Growth ◽  
Specific Model ◽  
Biographical Sketch ◽  
Independent Film ◽  
Childhood Education ◽  
Feature Films ◽  
Artistic Vision ◽  
Definition Of Success ◽  
Definition Of

This chapter focuses on Reichardt’s career, definition of success, and specific model of filmmaking. Included is a brief biographical sketch of Reichardt’s life, detailing issues related to family, childhood, education, and other filmmaking experiences in addition to her feature films and shorts. This biography gives way to a discussion of the filmmaker’s experiences in the independent film industry as a woman director and an artist who defines success as controlling her artistic vision. The overview of Reichardt’s early growth and experiences as a student and filmmaker, informs the production details and close readings of her feature films.

Bad Company: The Business of Toxicity

ReAction! ◽  
2009 ◽  
Author(s):  
Mark A. Griep ◽  
Marjorie L. Mikasen
Keyword(s):  
New York ◽  
New York Times ◽  
American Film ◽  
Corporate Structure ◽  
Civil Action ◽  
True Story ◽  
Chemical Company ◽  
Knowing That ◽  
Artistic Vision ◽  
Chemical Companies

In the movies, chemical companies maximize profits by poisoning their customers, workers, neighbors, and the environment, or they terrorize or outright kill the heroic insider who becomes a whistleblower. English professor Phillip Lopate argued in the New York Times that movies about business in general present a cartoon view of corporate structure (usually there isn’t one), making them the “fantasy villain,” a nearly faceless evil represented in the narrative by a “wall of Suits” (Lopate 2000). Business professor Ribstein goes further and asserts that the overwhelmingly negative view of business in American film narratives is fueled by filmmakers who feel their artistic vision is constrained by profit-making capitalists (Ribstein 2005). Ribstein begins his argument with a summary of nine movies about “Evil Corporations.” He doesn’t appear to realize that seven of them were companies that handle or produce chemicals: The China Syndrome (1979), Silkwood (1983), The Fugitive (1993), A Civil Action (1998), The Insider (1999), Erin Brockovich (2000), and Mission: Impossible II (2000). All of these films, and many others, were considered for inclusion in this chapter but, as the fastest growing category of chemistry in the movies, only two from this evil seven made it into the present chapter: Silkwood (1983) and Erin Brockovich (2000). The evil chemical company theme plays out in several ways. In the deeply satiric comedy Kids in the Hall: Brain Candy (1998), the pharmaceutical company’s happiness drug provides a foundation upon which the comedy troupe bases their humor. This chemical gravitas also lends weight to a number of fictional dramas that explore the theme of toxicity, such as One Man (1977), I Love Trouble (1994), and The Constant Gardener (2005). The company presidents in these movies murder, or hire thugs to murder, the individuals who choose to expose the toxicity of their products. Evil chemical companies are found in “based on a true story” dramas such as in Silkwood (1983), Erin Brockovich (2000), and Bhopal Express (2001). Knowing that the story is based on true tales of toxic chemicals lends considerable weight to these story lines.

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