scholarly journals (Des)política para corpos-política na arte, na cultura e na educação

2020 ◽  
Vol 6 (10) ◽  
pp. 1
Author(s):  
Marcos Antônio Bessa OLIVEIRA
Keyword(s):  
Sixteenth Century ◽  
Art Education ◽  
Sono State ◽  
Abstract Art ◽  
Federal State ◽  
The West ◽  
Education Politics ◽  
Western Art ◽  
The Arts ◽  
The World

RESUMOArte, Educação, Política compõem uma tríade compreendida historicamente no Ocidente como interdependentes. Entretanto, arte, educação e políticas ocidentais não estão compreendidas para corpos aquém dos padrões de raça, gênero e classe edificados pelo pensamento que arquitetou o projeto moderno europeu levado à expansão em todo mundo no século XVI. Igualmente, histórico e contemporaneamente, políticas têm definido, no caso do Brasil em níveis federal, estaduais e municipais, atuações e ações de corpos e sobre os corpos na arte, na educação e na própria política. Considerando a histórica indissociação entre a tríade arte, educação e política, mas também a atual e fascista dissociação das políticas em relação aos corpos que atuam nas artes e na educação em contexto brasileiro contemporâneo, este artigo discuti, por uma perspectiva descolonial de abordagem bi(os)bliográfica, a falta de arte em política, educação em política e corpos em política que consideram as diferenças culturais e coloniais porque não contemplam o padrão de arte, educação, corpo e política modernos. Arte. Educação. Política. (Dis) politics for political bodies in art, culture and education ABSTRACT  Art, Education, Politics make up a triad historically understood in the West as interdependent. However, Western art, education and politics are not understood for bodies below the standards of race, gender and class built by thought that architected the modern European project led to expansion around the world in the sixteenth century. Similarly, historically and contemporatically, policies have defined, in the case of Brazil at federal, state and municipal levels, actions and actions of bodies and on bodies in art, education and politics itself. Considering the historical indissociation between the triad art, education and politics, but also the current and fascist dissociation of policies in relation to the bodies that work in the arts and education in a contemporary Brazilian context, this article discussed, for a decolonial perspective of bi(os)bliographical approach, lack of art in politics, education in politics and bodies in politics that consider cultural and colonial differences because they do not contemplate the standard of modern art, education, body and politics.Art. Education. Politics. (Des) política para cuerpos-políticos en arte, cultura y educación RESUMENArte, educación, política producen un trío históricamente entendido en el Occidente como interdependientes. Pero, el arte, la educación y las políticas occidentales no están incluidas para cuerpos con padrones inferiores a las normas de raza, género y clase construidas por el pensamiento que he producido el proyecto moderno europeo expandido en todo el mundo desde el siglo XVI. Asimismo, se han definido políticas históricas y contemporáneas, en el caso de Brasil, a nivel federal, estatal y municipal, actividades y acciones de cuerpos y sobre los cuerpos en el arte, en la educación y en la política. Considerando la indisociación histórica entre el trío arte, educación y política, pero también la actual y fascista desagregación de las políticas con relación a los cuerpos que actúan en las artes en la educación en el contexto brasileño contemporáneo, este artículo discutió, bajo un enfoque descolonial de abordaje bi(os)bliográfica, la ausencia de arte en política, educación en política y cuerpos en política que consideran las diferencias culturales y coloniales, porque no contemplan el estándar del arte, educación, cuerpo y política modernos.Arte. Educación. Política.(Des) politica per gli organi politici nell'arte, nella cultura e nell'educazioneSINTESE Arte, educazione, politica producono un trio storicamente inteso in Occidente come interdipendente. Ma l'arte occidentale, l'istruzione e la politica non sono incluse per gli organismi con standard inferiori agli standard di razza, genere e classe costruiti dal pensiero che ho prodotto il moderno progetto europeo ampliato in tutto il mondo dal XVI secolo. Allo stesso modo, le politiche storiche e contemporanee sono state definite, nel caso del Brasile, a livello federale, statale e municipale, attività e azioni di corpi e di corpi nell'arte, nell'istruzione e nella politica. Considerando la dissociazione storica tra arte, istruzione e trio politico, ma anche l'attuale e fascista disaggregazione delle politiche in relazione agli organismi che agiscono nelle arti nell'educazione nel contesto brasiliano contemporaneo, questo articolo discute, sotto un approccio decoloniale approccio bi-os, assenza di arte in politica, educazione in politica e corpi politici che considerano le differenze culturali e coloniali, perché non contemplano lo standard dell'arte moderna, dell'educazione, del corpo e della politica.Arte. Istruzione. Politica.

Mondrian, Piet (1872–1944)

2018 ◽  
Author(s):  
Peter Jones
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
Urban Life ◽  
Abstract Art ◽  
The Arts ◽  
The World ◽  
Geometric Abstraction ◽  
Early Influence ◽  
De Stijl ◽  
Made In

The Dutch artist Piet Mondrian was one of the pioneers of abstract art, producing some of the most radical painting of the 20th century. The early influence of Cubism led him to adopt a semi-abstract linear style, as in the paintings of trees and buildings he made in Paris and Holland over 1912–1914. During the inter-war years, Mondrian developed an esoteric theory of art and an austere style of geometric abstraction he called Neo-Plasticism. In this work, for which he is best known, Mondrian abandoned all reference to nature and aimed to express a higher reality beyond the world of appearances. He reduced his painting to basic elements and their interplay: black horizontal and vertical lines, planes of primary colors, grey and white as exemplified in Composition C (III) with Red, Yellow and Blue from 1935. His final paintings, made in America in the early 1940s, are characterized by vibrant grids animated by small colored squares reflecting an interest in the syncopated rhythms of popular music and urban life. Mondrian was also a consummate draughtsman, prolific writer and member of the influential De Stijl [The Style] group, which sought to reform the arts and society.

Abstract Art and Left-Wing Politics in the Weimar Republic

2004 ◽  
Vol 37 (1) ◽  
pp. 49-90 ◽  
Author(s):  
Vernon L. Lidtke
Keyword(s):  
Political Parties ◽  
Weimar Republic ◽  
Social Reform ◽  
Public Life ◽  
Abstract Art ◽  
Social Revolution ◽  
Left Wing ◽  
Visual Artists ◽  
The Arts ◽  
The World

In the midst of the upheaval created by military defeat, the collapse of the Hohenzollern and other German monarchies, and the threat of radical social revolution, a movement that had been taking shape for some time became a visible presence in German public life. Intellectuals, writers, visual artists, and numerous others declared that they would no longer remain aloof from the world of politics, social reform, and even revolution. On the contrary, they would seek to merge the arts and politics into a synthesis that would help to mold a new and greatly improved society. They issued manifestos and programs, founded organizations and journals, joined political parties — primarily on the left — and went to the streets, at least to observe if not also to act. The majority of the participants in this movement were, at some point in their careers, part of new artistic trends and, as such, contributors to the formation and advancement of aesthetic modernism in Germany.

scholarly journals KONTROVERSI DI DUNIA ORNAMEN SUATU TELAAH AWAM DAN INTELEKTUAL

CORAK ◽  
2013 ◽  
Vol 2 (2) ◽  
Author(s):  
Ahmad Zaenuri
Keyword(s):  
Information Technology ◽  
The West ◽  
Science Technology ◽  
The Arts ◽  
The World

As the growing development of science, technology and art, as well as thesophistication of today's information technology. A person can easily see the world, anytime,anywhere. And each region is so diverse culturally revealing.Of the arts in the West and the East, the more things that are almost the same, or acharacteristic associated with arts identity that are in it, there is a difference but there are alsosimilarities. Although unrelated human though, this can happen, even though such an event isoften called the cultural parallelism, this is real and never a problem.Keywords: Controversy, World, Ornament Seiring tumbuh berkembangnya ilmu pengetahuan, teknologi dan seni, sertacanggihnya teknologi informasi saat ini. Seseorang dapat dengan mudah melihat sisi dunia,kapan pun, di mana pun. Dan masing-masing daerah menampakkan budayanya yangbegitu beragam.Tentang kesenian yang ada di Barat dan Timur, semakin banyak hal-hal yanghampir sama, terkait dengan ciri khas atau identitas seni-seni yang berada di dalamnya,ada perbedaan tetapi juga ada kesamaan. Walaupun manusianya tidak berhubungansekalipun, hal ini dapat terjadi, meskipun peristiwa semacam ini sering disebut denganparalelisme kebudayaan, ini nyata dan tidak pernah dipermasalahkan. Kata Kunci: Kontroversi, Dunia, Ornamen

Scientific and Methodical Basis of the Modern Fine Arts Lessons in Primary School

2016 ◽  
Vol 4 (6) ◽  
pp. 11-18
Author(s):  
Пожарская ◽  
Alla Pozharskaya
Keyword(s):  
Primary School ◽  
Art Education ◽  
Fine Arts ◽  
Federal State ◽  
Aesthetic Perception ◽  
Educational Standard ◽  
Primary Schoolchildren ◽  
The World ◽  
Methodical Basis ◽  
State Educational

The article considers the problems of the domestic primary school art education in the field of fine arts. The problems of design and construction of modern fine arts lessons at primary school in the context of the requirements of the Federal state educational standard of the second generation are considered. The process of art education of primary schoolchildren is considered on the basis of the conceptual idea of forming of aesthetic perception of the world, the criteria and parameters of measurement are marked out.

Japanese Export Art of the Edo Period and its Influence on European Art

1984 ◽  
Vol 18 (4) ◽  
pp. 685-697 ◽  
Author(s):  
Oliver Impey
Keyword(s):  
The Other ◽  
Arts And Crafts ◽  
Edo Period ◽  
The West ◽  
Western Art ◽  
Artistic Production ◽  
The Arts ◽  
The Subject ◽  
Opening Up ◽  
Japanese Export

The opening up of Japan to the west and the consequent influences of the west and of Japan upon each other are remarkable for many reasons, not least of which is the interchange of styles and techniques of the arts and crafts one to the other. The export of Japanese works of art, and the influence upon European artistic production during the Meiji period (though often of works produced during the Edo period) have all but obscured the remarkable effects Japanese export art had upon the west during the period of self-imposed semi-isolation. Of course Japan was also greatly influenced by western art; that is not the subject of this paper, but it is a subject of great interest, worthy of considerable attention.

scholarly journals APPLICATION OF THE WESTERN ART FORM BASED ON ARTIFICIAL INTELLIGENCE

2020 ◽  
Vol 4 (2) ◽  
pp. 45-46
Author(s):  
Arif Apriyandi
Keyword(s):  
Artificial Intelligence ◽  
Abstract Art ◽  
Western Art ◽  
Art Form ◽  
The World ◽  
Form Of Expression ◽  
Art School

The western artistic school understands the world through its form of expression, images creation from the consciousness which induces illusion, deal with concretion through decomposition, synthesis, overlap, art cross thinking.it reflects subconscious progress; The art school evolution from classical to modern, based on the objectives, from concretion ,impression to abstract art expression, artificial intelligence deepen the objective, scientific, rational and artistic exploration, less considering the unity of formation and content of the art in exploring the breakthrough, but the transcendence mechanism itself will continuing to research in the art field because of art nature, It will prompts the rationalization of western art in convergence and development constantly.

scholarly journals THE IMAGE OF CHINA IN THE CORRESPONDENCE OF CATHERINE II

2021 ◽  
Vol 17 (4) ◽  
pp. 62-78
Author(s):  
Natalia G. Suraeva
Keyword(s):  
18Th Century ◽  
The Other ◽  
Official Journal ◽  
Chinese History ◽  
General Description ◽  
Literary Critic ◽  
The West ◽  
The Arts ◽  
The World ◽  
The One

In 1762, Catherine II (1729-1796), Catherine le Grand, as Voltaire called her, an extraordinary woman who was destined to undergo many reforms and establish Russia’s place in the world, ascended to the Russian throne. Her reign coincided with the reign of Emperor Qianlong (1711-1799), one of the most enlightened monarchs in Chinese history; during his time, the empire achieved many military victories and brilliant achievements in the arts. By the time of Catherine’s accession to the throne, relations between the two countries were very strained. Meanwhile, the age of Enlightenment, the century of the ardour for the philosophy and art of China, began in Europe. On the one hand, Catherine was influenced by the ideas of the West; on the other hand, she constantly had to regulate conflicts on the Russian-Chinese border, the reason for which was most often the question of extraditing Mongols and Dzungars to the Chinese who were fleeing within Russia. The purpose of this article is to determine what image of China the Russian empress formed and how she spoke about this country in her correspondence with European correspondents since it is known that Catherine II wrote a lot. To do this, first, it is necessary to characterise the personality of the empress, to understand her interests and habits. To understand what issues she had to resolve, one also needs to know the state of Russian-Chinese relations in the second half of the 18th century. Finally, the article gives a general description of Catherine II’s correspondence with various high-ranking persons, among whom Jean d’Alembert, Diderot, Voltaire, Friedrich Melchior Grimm (Franco-German publicist, artist and literary critic), Swiss scientist and philosopher Johann Georg Ritter von Zimmermann, Madame Geoffrin and Madame Bielke can be named. The letters she received very often contained diplomatic news, dynastic problems, court gossip; her answers were, for the most part, semi-official journal notes. It is noteworthy that despite the extensive correspondence conducted by Catherine the Great, she practically did not touch upon the issues of China, except for letters to Voltaire, who, as you know, admired China and tried to learn more about it from the words of the empress.

More on the Sculpture of the West Front of Bath Abbey: Christ of the Charter and Antichrist

2003 ◽  
Vol 7 (3) ◽  
pp. 299-322
Author(s):  
Julian Luxford
Keyword(s):  
Sixteenth Century ◽  
Middle Ages ◽  
The Other ◽  
The West ◽  
Intrinsic Interest ◽  
The North ◽  
Late Middle Ages ◽  
North Side ◽  
The Arts ◽  
Current Article

AbstractThe iconography of the early sixteenth century sculptural program of Bath Abbey's west front has been shown in a previous article (Religion and the Arts, 4.3 (2000), 313-36) to represent an allegory of spiritual ascent through the virtue of humility and descent through the vice of pride, as explained in chapter seven of the Rule of St Benedict. The current article focuses upon two sculptures largely overlooked by the earlier study, the iconography and positioning of which further substantiates the proposed meaning of the program. One sculpture represents Christ as the Man of Sorrows, holding the Charter of Human Redemption (a devotional text widespread in England during the late Middle Ages). The other represents Antichrist, who was a subject of much speculation during the fifteenth and sixteenth centuries. It is argued that Christ, standing on the north side of the west front, constitutes an additional symbol of humility, while Antichrist, standing on the south, makes another reference to pride. The iconography of these figures is further analyzed for its intrinsic interest, that of Antichrist being unusual, Christ holding the Charter of Human Redemption all but unique.

scholarly journals Calvyn as “praktiese teoloog”: Die bydrae van ’n teodramatiese paradigma

2011 ◽  
Vol 45 (1) ◽  
Author(s):  
I.A. Nell
Keyword(s):  
Sixteenth Century ◽  
Practical Theology ◽  
Human Existence ◽  
John Calvin ◽  
The Arts ◽  
The World ◽  
Specific Discipline ◽  
Theological Thinking

Calvin as “practical theologian”: the contribution of a theodramatic paradigmIn order to ask the question about the role and place of a specific discipline (in this case Practical Theology), one must realise where one comes from. This article seeks to answer the question about the role of Practical Theology within the field of theology in conversation with some perspectives offered by the sixteenth-century reformer, John Calvin. It is argued that Calvin lived in a century that scholars regard as one of the golden periods in which the world of the arts and theatre flourished. Hence Calvin’s age was characterised by a dramatic vision of human existence and such a vision also had an impact on his own theological thinking. Against this backdrop, the article engages the question of the role and place of practical theology by proposing a theodramatic approach in which the possibilities that the notion of “re-dramatisation” holds, come to the fore.

The World According to the Maestro

Dearest Lenny ◽  
2019 ◽  
pp. 169-176
Author(s):  
Mari Yoshihara
Keyword(s):  
Cultural Revolution ◽  
National Endowment ◽  
Leonard Bernstein ◽  
The West ◽  
The Arts ◽  
The Us ◽  
The World ◽  
Us Government ◽  
Aids Crisis ◽  
The Cultural Revolution

In the mid-1980s, as Leonard Bernstein looked ahead at what he wanted to accomplish in his remaining years, his artistic and professional priorities became clear. Along with his continued commitments as a composer and a conductor, Bernstein decided to prioritize education as his mission. He also continued his activism to address the AIDS crisis. His defiance of the US government took another phase in November 1989, when he rejected the National Medal for the Arts in protest of the National Endowment for the Arts’ withdrawal of funding for an art show dealing with the theme of AIDS. In the meantime, the end of the Cultural Revolution and the opening of China’s door to the West led many musicians to seek artistic exchanges, and Amberson began to explore the possibility of the maestro’s visit to China.

Sign in / Sign up

Export Citation Format

Share Document