The Bulgarian Period in the Creative Work of Boris Schatz (1895–1906)

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Boyka Donevska ◽  
Keyword(s):  
Creative Work ◽  
Cultural Event ◽  
Artistic Life ◽  
The Creation

New idea bearers during the first two decades after the Liberation became foreign artists among whom are standing out the names of Ivan Mrkvička, Yaroslav Veshin and Boris Schatz – who binded a decade of his life with Bulgaria. And this life is filled with difficulties, unexpected twists and noble ambitions. The remarkable personality of Boris Schatz as a talented sculptor, organizer and pedagogue stands out in the context of the artistic life of his time, where no major cultural event occurs without his energetic interference. It is his efforts to promote modeling as one of the most important disciplines of the artistic education that leads to the creation of the Sculpture specialty at the National Academy of Art. When Schatz dies in 1932, the Bulgarian art has already passed a long way of development, of change of ideas and conflicts between trends and generations. The academism of the “realistic school”, which has earned the artist`s particiality, has long ago been rejected, but his personality remains among the most prominent representatives of the new Bulgarian sculpture.

Complexity as Practice: A Reflection on the Creative Outcomes of a Sustained Engagement with Complexity

Leonardo ◽  
2012 ◽  
Vol 45 (2) ◽  
pp. 106-112 ◽  
Author(s):  
Tom Davis
Keyword(s):  
Complexity Theory ◽  
Scientific Models ◽  
Creative Work ◽  
Research Practice ◽  
Creative Practice ◽  
Conceptual Problems ◽  
The Creation ◽  
The Relationship

This article presents a reflection on a body of creative work carried out during four years of Ph.D. research that explored the relationship between complexity theory and music. The article highlights conceptual problems that arose during the creation of the work, especially those associated with the exploration of scientific models for the creation of art. The author does not attempt to offer any final solutions but rather presents the journey undertaken through the combined artistic and research practice as a way of documenting the strategies he developed during this period of creative practice.

1. Inventing the Presidency

2013 ◽  
Author(s):  
Charles O. Jones
Keyword(s):  
United States ◽  
The United States ◽  
Creative Work ◽  
Policy Debate ◽  
Trial And Error ◽  
Considerable Debate ◽  
The Subject ◽  
The Creation ◽  
Law Making

The creative work involved in writing the Constitution of the United States in Philadelphia in 1787 has been interpreted and analysed in political and policy debate ever since. ‘Inventing the Presidency’ considers how the Founders of the United States tried to create unity in a separated system. Why was the title of president selected? What was the role of president going to look like? How long should the single executive serve? Should the person be term-limited? Providing a legislative or law-making role for the president was the subject of considerable debate at the beginning. Inventors solve problems: they tinker until they have a workable device. The creation of the presidency was a process of trial and error.

Hidden Creators, Silent Authors

2016 ◽  
Vol 2016 ◽  
pp. 379-385
Author(s):  
Paola Secchin Braga
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Point Of View ◽  
Main Issue ◽  
Contemporary Dance ◽  
Creative Work ◽  
Paris Opera ◽  
The People ◽  
Brazilian Version ◽  
The Creation

To be interpreter and at the same time creator seems to be the rule in contemporary dance. It is expected of the dancer to contribute to the making of the piece in which he will appear. Similarly, the choreographer's assistant (also referred as rehearsal assistant) has an active role in the process of creating a dance piece. This paper proposes an analysis of a creative process in which the question of authorship emerges—in our point of view—as the main issue. The onomastic pieces of French choreographer Jérôme Bel will serve as the basis of our analysis, and especially the piece called Isabel Torres, in which the interpreter and the choreographer's assistant had a much more important role in the creation than the choreographer himself. Premiered in 2005, Isabel Torres was supposed to be a Brazilian version of Véronique Doisneau (created in 2004, for the Paris Opera). The creative work made by the dancer and the rehearsal assistant made of it more than a mere version: Isabel Torres is an autonomous piece—so autonomous that Bel offered it to both dancer and assistant, to present it wherever they wished. Who signs Isabel Torres? In which terms is it presented in programs? Do dancer and assistant consider themselves as authors? How does the choreographer deal with it? The absence of the choreographer, the people involved in it, and the kind of work developed in the creative process makes us question the notion of authorship in contemporary dance pieces.

scholarly journals The Contributions of Immigrants to American Culture

Daedalus ◽  
2013 ◽  
Vol 142 (3) ◽  
pp. 26-47 ◽  
Author(s):  
Charles Hirschman
Keyword(s):  
High Risk ◽  
Career Paths ◽  
Performing Arts ◽  
American Culture ◽  
High Tech ◽  
Creative Work ◽  
Standard Account ◽  
Large Numbers ◽  
The Creation ◽  
American Society

The standard account of American immigration focuses on the acculturation and assimilation of immigrants and their children to American society. This analysis typically ignores the significant contributions of immigrants to the creation of American culture through the performing arts, sciences, and other cultural pursuits. Immigrants and their children are not born with more creative talents than native-born citizens, but their selectivity and marginality may have pushed and pulled those with ability into high-risk career paths that reward creative work. The presence of large numbers of talented immigrants in Hollywood, academia, and the high-tech industries has pushed American institutions to be more meritocratic and open to innovation than they would be otherwise.

scholarly journals “Sex doesn’t dominate my life at all, really. I think painting does” (David Hockney): the emergence of the queer artist biopic

2012 ◽  
Vol 5 (3) ◽  
Author(s):  
David Bovey
Keyword(s):  
Queer Cinema ◽  
Artistic Life ◽  
Derek Jarman ◽  
Sexually Explicit ◽  
The Media ◽  
David Hockney ◽  
The Creation ◽  
Innovative Techniques

In the classic tradition of artist biography there has grown up a number of myths and tropes that have encouraged a pre-ordained pattern for the portrayal of an artistic life, whether literary or cinematic. Within the sub-genre of the artist biopic must now be added the category of queer artist as already distinct tropes have emerged in this relatively new field. Where discussion of Michelangelo’s sexuality was deliberately avoided in The Agony and the Ecstasy (1965), within ten years there was a sexually explicit exploration of the gay lifestyle in 1960’s London in A Bigger Splash (1974). This openness and an aggressive style continued in subsequent British artist biopics though not without provoking censorship challenges and some outspoken critiques in the media. To make the filmic representations acceptable to cinema audiences, and to convey the feel of the artist’s paintings, the directors used very innovative techniques to present their story. The auteurs behind these films, such as Derek Jarman, saw them as distinctly political in intent. Overall the queer artist biopic has shown more interest in exploring the private sex life of the artist than in the creation of his artistic output, but through such controversial content the artist biopic finds its place within the development of both a gay and a queer cinema.

scholarly journals MUSICAL SYSTEM OF PAINTING IN THE CREATIVE WORK OF V.E. BORISOV-MUSATOV (1870-1905)

2018 ◽  
Vol 64 ◽  
Author(s):  
O.N. Filippova
Keyword(s):  
Fine Arts ◽  
Creative Work ◽  
Art Nouveau ◽  
The World ◽  
The Creation

Victor Elpidiforovich Borisov-Musatov (1870-1905) was one of the most poetic and original Russian artists of the late XIX – of the early XX century. It was a time of complete stratification of the "world of art", the emergence and activity of the "world of art", the creation of the Union of Russian artists, the highest creative achievements of V.A. Serov (1865-1911) and M.A. Vrubel (1856-1910); the time of the development of the "Moscow" in the style of art Nouveau and architecture, applied and fine arts. V.E. BorisovMusatov, who was released by the fate of only seven years of genuine creative maturity, not only lived and worked in this tense, full of events artistic era, but also largely determined her face.

scholarly journals Formation and development of Mykola Kostomarov's historiosophical views

2017 ◽  
Vol 25 (1) ◽  
pp. 16
Author(s):  
Serhii Ivanovych Svitlenko
Keyword(s):  
Creative Work ◽  
Cultural Revival ◽  
Content Structure ◽  
World Outlook ◽  
Key Factor ◽  
The Creation ◽  
Ethnic Factors

The domestic and foreign factors of formation and formation of the historiosophical views of the young M. I. Kostomarov are considered. It was shown that during the Kharkiv period the formation of the historiosophical vision of M. I. Kostomarov took place, and in Kiev the formation of the main features of his historiosophical concept. It was proved that in the mid–1830s − mid–1840s M. I. Kostomarov was formed and established as a Ukrainian philosopher of romantic, nation-loving, Slavophil and christocentric world outlook. In the creative work of the thinker found a reflection on such historiosophical problems as histogenesis of mankind, including the Slavs, the purpose, motive, content, structure and prospects of Ukrainian history. In the center of the historiosophy M. I. Kostomarov was the Ukrainian people as a motive of historical existence with their peopleʼs idea, character and needs. According to the thinker, the key factor in the progress of history was the issue of faith, which was interwoven with social, political, military and ethnic factors. The purpose of history was the realization of the main popular idea of Ukrainians, which they saw as independence and freedom. M. I. Kostomarov formulated the idea of national-cultural revival of Ukraine and the creation of a democratic and republican society within the federation of Slavic peoples, which was an alternative to the imperial regimes. Contradictions in the thinkerʼs outlook are associated with the presence of double loyalty and identity.

The Soldier Image and State-Building in Modern China, 1924-1945

2019 ◽  
Author(s):  
Yan Xu
Keyword(s):  
State Building ◽  
The State ◽  
Modern China ◽  
Political Strategy ◽  
Military Academy ◽  
Cultural Event ◽  
Start Up ◽  
The Creation ◽  
Insight Into

Yan Xu’s book The Soldier Image and State-Building in Modern China, 1924–1945 focuses on the connection between soldiers, urban publics, and party governments of wartime China in an effort to provide a nuanced analysis of the complicated state-society relations. Xu structured this work in a way that united the chapters through the multiple soldier figures in China and the imagery cast upon them due to wars. Xu scrutinizes how political, social, and literary perspectives influenced the rhetoric and ideal of the soldier figure. Xu’s book works chronologically from the initial start-up of the prestigious Whampoa Military Academy in the 1920s, to the issue and revision of compulsory conscription laws in the 1930s, to the urban intellectuals and professionals serving and writing about the soldiers during the Second Sino-Japanese War, to the students conscripted into the army during the later years of the war. Xu integrates the party struggles into the analysis of wartime China by devoting the last chapter to the creation of the soldier image by the Chinese Communists. Xu highlights how crucial the construction of the discourse on the soldier image was to the state-building processes for both Chinese Nationalists and Communists. The Soldier Image and State-Building in Modern China, 1924–1945, fosters insight into the 1920s-40s of modern China that uncovers how war operates as a cultural event rather than simply one utilized for political strategy.

scholarly journals Пейзаж в творчестве Василия Переплётчикова

2021 ◽  
pp. 32-45
Author(s):  
O.N. Filippova
Keyword(s):  
Fine Art ◽  
New Associations ◽  
The North ◽  
Artistic Life ◽  
The Creation ◽  
Characteristic Features

The purpose of this article is to reveal the creative biography of Vasily Vasilyevich Perepletchikov as an landscape lyricist. The article analyzes the difficult creative path of the artist, who was generously gifted in various fields of fine art (engaged in painting and graphics), literature (wrote prose and poetry), had a sharp mind, observation, desire for various achievements in artistic life (organized exhibitions, participated in the creation of new associations). In addition, he was a keen traveler, which is reflected in all his work, one of the main themes in which was the North. Landscape drawings, paintings and sketches of different periods of the artist's work are consistently analyzed, characteristic features are noted. The historical and biographical method was used as the main one in this study. Целью данной статьи является раскрытие творческой биографии Василия Васильевича Переплётчикова как пейзажиста-лирика. Рассмотрен творческий путь художника, одаренного в различных областях изобразительного искусства (живопись, графика), литературы (проза, стихи), обладавшего острым умом, наблюдательностью, желанием разнообразных свершений в художественной жизни (организовывал выставки, участвовал в создании новых объединений). Кроме того, В.В. Переплётчиков был увлеченным путешественником, что нашло отражение во всем его творчестве, одной из главных тем в котором был Север. Последовательно проанализированы пейзажные рисунки, картины и этюды разных периодов творчества художника, отмечены характерные черты. В качестве основного в данном исследовании использован историко-биографический метод.

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