scholarly journals The Ideological Concept of the Monograph “Theatrical and Dramatic Collections of the World”

2020 ◽  
Vol 3 (1) ◽  
Keyword(s):  
Works Of Art ◽  
The World ◽  
Archival Documents ◽  
The Creation ◽  
Reference Tools ◽  
Theatrical Culture ◽  
Private Collections ◽  
Written Sources ◽  
Comprehensive Study

This monograph presents the first comprehensive study of museums and private collections of theatrical and dramatic profile. Addressing the origins of the creation and the process of formation of collections, the author focuses on the peculiarities of works and objects displayed in the exhibitions and stored in the collections of theatre museums of the world. The author devotes attention to the most interesting and significant collections of different countries. The presented rarities range from the rarest, unique things and works of art acquired in the time of the creation of the museum funds to the monuments of theatrical culture coming to museums these days. The author considers the specifics of theatrical collections, classifying them by type: theatre museums, museums in theatres, private theatrical collections, and dramatic museums. The majestic and chamber architecture of the museums located in the central squares and old streets of the cities leads the readers to the museum halls, where they can get acquainted with the theatrical heritage, touch the expressive and picturesque nature of the theatre language reflected in documentary photos, portraits, sketches of costumes and scenery, personal belongings of artists, written sources, and other materials. The monograph is written in the genre of review with extensive use of illustrative and reference tools, providing analytical conclusions for each chapter. The study is based on the use of art materials, archival documents in private collections, domestic and foreign museums, as well as catalogues of various collections and exhibitions.

The Creation of Art

2021 ◽  
pp. 163-186
Author(s):  
Tom Cochrane
Keyword(s):  
Human Activities ◽  
Cognitive Theory ◽  
Social Role ◽  
Living Well ◽  
Works Of Art ◽  
The World ◽  
Functionalist Account ◽  
Vital Component ◽  
The Creation ◽  
Aesthetic Values

This chapter presents Aestheticism as a general approach to life. It is argued that a dedicated aestheticist will be inspired to create works of art. In alignment with this view an aesthetic functionalist account of art is defended, incorporating aspects of the expression theory of art and the cognitive theory of art. It is then suggested that the way an artist creatively responds to the value of the world is an ideal of living well. Moreover, although there are other such ideals, the artistic paradigm can apply to a variety of human activities, including the pursuit and expression of one’s understanding (as in philosophy). In the latter part of the chapter it is then argued that, in distilling aesthetic values, the artist has an important social role to play. Artworks help us to discern value ideals, and our capacity to discern values is a vital component of virtue.

scholarly journals Specifics of sponsorship as a technology of ensuring access of population to works in art marketing

2020 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Fine Arts ◽  
Public Access ◽  
Art Collections ◽  
Works Of Art ◽  
The World ◽  
Museum Exhibitions ◽  
Anglo American ◽  
Tax Benefits ◽  
Art Marketing ◽  
Private Collections

The purpose of the article is to investigate the mechanisms of sponsorship in the marketing of art in the art market in order to expand the opportunities for the population to visit institutions and events in the field of culture and art, where works of fine art are displayed. It is determined that in the field of fine arts sponsorship has certain features, because the sponsor provides assistance, strengthening its image, receiving advertising and PR. In addition, the desire of sponsors to make their own demands on the content and conditions of placement and demonstration of art collections is becoming a trend. The research methodology is to apply empirical and comparative methods. This approach allows us to reveal and analyze the possibility of applying the specifics of sponsorship as a technology to ensure public access to works of art in art marketing. The scientific novelty of the article is to identify marketing mechanisms that make it possible to make sponsorship in the field of fine arts comprehensively justified, regulated, fair and legal. Conclusions. We analyzed the conditions and opportunities for sponsorship, as well as opportunities for broad sections of the population to access works of art in Ukraine and other countries. It should be noted that there is a tendency in the world to "settle" famous works of art in private collections, to which only a limited number of spectators have access. Collections of state museums remain freely available to the general public, most of whom do not now have the opportunity to purchase very expensive works of art at auctions and galleries. Sponsorship in the field of art has its own specifics, because often the sponsor often not only demonstrates his help to museums, strengthening his image, reputation, but also tries to "dictate" museums and galleries their requirements for organizing museum exhibitions, the sequence of acquisition of new works in museum collections. Marketing technologies allow to regulate the work between sponsors and cultural institutions, to make this cooperation reasonable and fair. According to the experience of the countries of the world, the most effective type of "cultural economy" depending on the mechanisms of financing culture and art can be called "Anglo-American" type, where financing is carried out by attracting private capital, including tax benefits.

The Contribution of Academician Yu. A. Shimansky to the Development of Arctic Shipbuilding

2021 ◽  
Vol 42 (3) ◽  
pp. 501
Author(s):  
Kirill Sazonov
Keyword(s):  
Sea Ice ◽  
The Arctic ◽  
New Materials ◽  
Russian Scientist ◽  
The World ◽  
Great Patriotic War ◽  
Archival Documents ◽  
Experimental Base ◽  
The Creation ◽  
Ice Model

Academician Yulian Alexandrovich Shimansky (1883–1962), an outstanding Russian scientist and shipbuilder, is known for his works in the field of structural mechanics, ship theory and ship design. His monograph “Conventional indicators of a vessel’s ice performance”, published as a separate volume of “Trudy Arkticheskogo nauchno-issledovatelskogo instituta [Proceedings of the Arctic Institute]” (ANII) in 1938, is well known to the specialists in sea ice technology. This work has played an important role in the development of sea ice technology and in designing icebreakers and ice-going vessels both in Russia / USSR and worldwide. The reviews of Shimansky’s contributions to Arctic shipbuilding are usually limited to the analysis of this work. The new materials from the archival documents and two publications that are practically unknown to the researchers allow to considerably broaden the knowledge about his role in the emergence of the studies on the vessels’ ice performance at one of the turning points in the development of sea ice technology: the creation of the first ever ice model basin. Immediately after the end of the Great Patriotic War in 1945, the ANII in Leningrad set out to implement the plans for the creation of the experimental base for studying the processes of icebreakers and ice-going vessels’ motion in ice, i. e. the ice model basin. Shimansky became actively engaged in this work from the very beginning. The archival documents demonstrate his role in the creation of the first ice model basin and the articles rediscovered by us allow to reconstruct the process of creating the theory of a vessel’s motion in ice by Shimansky that is still employed in all ice model basins across the world.

scholarly journals Reflection of civil war events as a concept of historical memory in oral ethnographic and written sources

2020 ◽  
Vol 15 ◽  
pp. 259-263
Author(s):  
L. A. Yavnova ◽  
Keyword(s):  
Civil War ◽  
Historical Memory ◽  
Local History ◽  
The Social ◽  
The World ◽  
Archival Documents ◽  
The Subject ◽  
Written Sources

The article deals with the events of the Civil War in the representations of Altai residents, as a concept of historical memory, expressed in categories «the world of man in history» and «the world of history in man». The subject of the study are the situations of intertwining of several discourses: «officially-heroic» and «living», «personal». An attempt was made to comprehend the local history heritage and materials of oral sources, as well as to correlate them with archival documents that tell about the events of 1919–1920 in the Altai, allowing to investigate the social and psychological manifestations of the Civil War.

scholarly journals Creativity as the Act of Transcending Oneself and the World: from Creativity to Transcendence

2019 ◽  
Vol 6 (2) ◽  
pp. 264-268
Author(s):  
Katarzyna Citko
Keyword(s):  
Science Education ◽  
Positive Aspect ◽  
Works Of Art ◽  
The World ◽  
The Creation

AbstractThe text aims to present how creativity and creative behaviours, understood as an act of transcending oneself and the world, can positively influence the fields of art, science, education and upbringing. A constitutional feature of creativity is its ability to transcend what is fixed, tamed and predictable, both individually and globally, at the microcosmic and macro-cosmic level; to transcend what is within us and outside us. The author of the article analyzes the following issues: is there a positive aspect to creativity understood as the act of transcendence? And, given such an understanding of creativity, are all acts of creation, whether they involve the creation of great works of art, the pursuit of science, the processes of education and upbringing, or simply the resolution of daily problems, more spiritual than intellectual?

scholarly journals Is the Whole Being of Man Created in the Image of God?

2020 ◽  
pp. 80-103
Author(s):  
Сергий Фуфаев
Keyword(s):  
New Testament ◽  
Image Of God ◽  
Orthodox Church ◽  
Original Image ◽  
Human Soul ◽  
The World ◽  
The New Testament ◽  
The Creation ◽  
The Image Of God ◽  
Comprehensive Study

В данной статье предпринята попытка ответить на вопрос «Всё ли существо человека создано по образу Божию?» в свете некоторых библейско-богословских аспектов Предания Церкви. В святоотеческой экзегезе существуют противоречивые суждения относительно того, что именно в человеке соответствует образу Божию. В этом плане святоотеческие суждения можно условно разделить на две основные позиции: 1) образ Божий заключён в душе человека и её силах; 2) образ Божий заключён во всём существе человека. Вторая позиция более проблематична. Однако и первая позиция содержит в себе проблему. В целях выяснения того, какая святоотеческая позиция является наиболее обоснованной, автор обращается к повествованию Книги Бытия о сотворении человека, некоторым местам Нового Завета, в которых говорится, в каком отношении к Богу должен находиться человек, к святоотеческим толкованиям, а также к догматам Православной Церкви. По итогам данного комплексного исследования автор пришёл к двум основным выводам: 1) образ Божий заключён во всём существе человека, которое при этом, однако, содержит в себе и образ мира; 2) образ Божий предельно похож на Первообраз. This article attempts to answer the question «is the whole being of man created in the image of God?» in the light of some biblical and theological aspects of the ecclesiastical tradition. There are contradictory judgments in patristic exegesis as to what exactly in man corresponds to the image of God. In this regard, patristic judgments can be divided into two main positions: 1) the image of God is enclosed in the human soul and its forces; 2) the image of God is enclosed in the entire being of man. The second position is more problematic. However, the first position also contains a problem. The purpose of research is to find out what patristic position is the most reasonable. To this end, the author refers to the narrative of Genesis about the creation of man, some passages in the New Testament that say in what relation to God a person should be, to patristic interpretations, as well as to the dogmas of the Orthodox Church. Аccording to the results of this comprehensive study, the author came to two main conclusions: 1) the image of God is enclosed in the whole being of man, however, the whole being of man contains the image of the world; 2) the image of God is extremely similar to the original Image.

scholarly journals Mythical Islands of Value: Free Ports, Offshore Capitalism, and Art Capital

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 100
Author(s):  
Erik Post ◽  
Filipe Calvão
Keyword(s):  
Asset Management ◽  
Art Market ◽  
Human Geography ◽  
Works Of Art ◽  
Holistic Understanding ◽  
The World ◽  
The Creation ◽  
Free Port ◽  
New Generation ◽  
Global Art

The Geneva Free Port in Switzerland has paved the way for a new generation of art and luxury free ports. These are critical spatial pivots for the management of art assets, including storage and transactions of artworks, and serve as proxy to examine mechanisms for the capture and generation of value, integral but also outside the global art market. Drawing from the trajectory of the Geneva Free Port and an interdisciplinary body of scholarship on “offshore” and other special zones of production, and value circulation in human geography, anthropology, history, and sociology, this article frames free ports in a longer genealogy of offshore capitalism. First, we claim that the emergence of the Geneva Free Port prefigures and helps illuminate contemporary transformations in offshore capitalism; second, these spaces are more deeply imbricated with public and state authorities than previously suggested. Finally, a holistic understanding of art capital—works of art for investment and asset management—requires an encompassing view of free ports not as accidental and exceptional features in the world of high art but as spaces deeply implicated in the creation and operation of the art market more generally.

scholarly journals The Photo Image of Artworks as an Instrument of Assessment and Attribution (the Case of Painting and Drawing by V. I. Shukhayev)

2020 ◽  
Author(s):  
Elena P. Yakovleva
Keyword(s):  
High Demand ◽  
Educational Work ◽  
Russian Art ◽  
Photographic Images ◽  
Works Of Art ◽  
The World ◽  
Artistic Career ◽  
Private Collections ◽  
Shed Light ◽  
Photo Image

This article explores the use of photographic images of art pieces as a tool for assessment and attribution, focusing on Vasily Ivanovich Shukhayev’s (1887–1973) paintings and drawings. Shukhayev was a famous Russian and Soviet artist, who contributed to greatly to Russian art during the six decades of his artistic career. The artist’s works are kept in many state museums and private collections in Russia and abroad, and are also in high demand on the antiques market. Assessment and attribution of his works is, therefore, a pressing issue. Previously photographs of the pieces made at the exhibitions or during the plein-air paintings by the artist himself, as well as other photographic materials showing the artist with his works or their fragments were believed to be of low importance to the experts. The most important photos are those made within the artist’s lifetime or which belonged to the artist personally, especially if they contain inscriptions on the back. Such photos help to understand what the missing pieces look like, to confirm authorship and the creation dates, to find its variations and copies, to detect fake works, to show the artist’s working style and work stages and sometimes to prove that the artist painted the painting over (typical for V.I. Shukhayev). Altogether, creating a compilation of photographic images of works lost or distributed over the world helps shed light on the painter’s artistic career, a task particularly important for research, for museums and exhibitions, for educational work for monographs and catalogues development. Keywords: photographic images, works of art, assessment, attribution, painting, drawing, V.I.Shukhayev

Artistic-professional strategies in the music sector. The case of the jazz scene in Barcelona

2020 ◽  
pp. 145-163
Author(s):  
Marta Casals Balaguer
Keyword(s):  
Research Methods ◽  
Social Dimension ◽  
Artistic Identity ◽  
Professional Musicians ◽  
Main Research ◽  
Works Of Art ◽  
The Social ◽  
The Creation

This article aims to analyse the strategies that jazz musicians in Barcelona adopt to develop their artistic careers. It focuses on studying three main areas that influ-ence the construction of their artistic-professional strategies: a) the administrative dimension, characterized mainly by management and promotion tasks; b) the artistic-creative dimension, which includes the construction of artistic identity and the creation of works of art; and c) the social dimension within the collective, which groups together strategies related to the dynamics of cooperation and col-laboration between the circle of musicians. The applied methodology came from a qualitative perspective, and the main research methods were semi-structured inter-views conducted with active professional musicians in Barcelona and from partic-ipant observation.

1968: On Social, Epistemic, and Historiographic(?) Revolutions

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Roberto D. Hernández
Keyword(s):  
Ethnic Studies ◽  
A Priori ◽  
Negative Consequences ◽  
The World ◽  
The Creation ◽  
Young Students ◽  
Historic Significance ◽  
Agent Of Change

This article addresses the meaning and significance of the “world revolution of 1968,” as well as the historiography of 1968. I critically interrogate how the production of a narrative about 1968 and the creation of ethnic studies, despite its world-historic significance, has tended to perpetuate a limiting, essentialized and static notion of “the student” as the primary actor and an inherent agent of change. Although students did play an enormous role in the events leading up to, through, and after 1968 in various parts of the world—and I in no way wish to diminish this fact—this article nonetheless argues that the now hegemonic narrative of a student-led revolt has also had a number of negative consequences, two of which will be the focus here. One problem is that the generation-driven models that situate 1968 as a revolt of the young students versus a presumably older generation, embodied by both their parents and the dominant institutions of the time, are in effect a sociosymbolic reproduction of modernity/coloniality’s logic or driving impulse and obsession with newness. Hence an a priori valuation is assigned to the new, embodied in this case by the student, at the expense of the presumably outmoded old. Secondly, this apparent essentializing of “the student” has entrapped ethnic studies scholars, and many of the period’s activists (some of whom had been students themselves), into said logic, thereby risking the foreclosure of a politics beyond (re)enchantment or even obsession with newness yet again.

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