scholarly journals PLASTER - POLYESTER CASTING TECHNIQUES IN THE ART OF SCULPTURE

2021 ◽  
Vol 9 (57) ◽  
Keyword(s):  
Formation Process ◽  
Classical Sense ◽  
The Past ◽  
Gypsum Mold ◽  
Mold Casting ◽  
Art Forms ◽  
Mold Making ◽  
Light And Shadow ◽  
Mass Volume

Sculpture art forms an integrity within itself in mass and volumetric sense in the period from the first age to the present in the classical sense. Likewise, the art of sculpture made progress by developing itself further with concepts such as mass, volume, emptiness, fullness, light and shadow, which were revealed in the medieval and baroque period. Especially the separation of the sculpture, which was created with classical materials, with different phenomena with the formation process (clay, mud, marble, wood, bronze, etc.) began to express itself as a separate definition with casting processes as well as molding with materials. In this study, mold making processes, which are indispensable of sculpture art, will be examined by using two different casting techniques from sculptures that have been molded. In this context, it is observed that gypsum mold and polyester mold technologies continue to be used today with the developments and changes that they have undergone from the past to the present. To summarize, within the scope of this study, detailed processes related to casting the work whose mold was taken over classical sculpture technology were explained. Keywords: Sculpture, mold, casting, plaster, polyester

Theorizing Adaptation in the Twentieth Century

2020 ◽  
pp. 89-138
Author(s):  
Kamilla Elliott
Keyword(s):  
Twentieth Century ◽  
Mass Culture ◽  
Film Studies ◽  
Recording Device ◽  
Medium Specificity ◽  
The Past ◽  
Copyright Laws ◽  
Art Forms ◽  
Cultural Forms ◽  
Literature And Film

Chapter 3 discusses how, just as new copyright laws were legitimizing intermedial adaptations, modernist theories drastically diminished the theoretical fortunes of adaptation with their rejection of the past and celebration of the new. Modernism shattered adaptation into allusions: studying allusions as adaptations would indubitably help to restore the theoretical fortunes of adaptation under modernism. Modernism’s hostility to mass culture was often aimed at adaptation: even theorists valorizing other popular cultural forms opposed it. Requiring film to dissociate from other art forms in order to emerge as an art in its own right, rather than as a craft or a recording device for other arts, medium specificity theory undermined adaptation in literature-and-film studies. Affecting all kinds of adaptation, the formalist turn diminished the theoretical fortunes of adaptation by rejecting the cultural theories that had valorized adaptation in prior centuries. Joined to medium specificity theories and structuralist semiotics, intermedial adaptation became not only aesthetically undesirable but also theoretically impossible under theories that content cannot separate from form to appear in another medium. With the advent of the theoretical turn in the humanities, adaptation became a battleground upon which theoretical wars were fought, battles that, paradoxically, foregrounded it. By the 1990s, adaptation was becoming an established, if divided, diasporic field, engaging a panoply of theories.

The Third Manifesto: ‘We Shall Come to See’

1988 ◽  
Vol 4 (14) ◽  
pp. 120-121
Author(s):  
John Andreasen
Keyword(s):  
Avant Garde ◽  
The Third ◽  
The Past ◽  
The Future ◽  
Art Forms ◽  
Science And Politics ◽  
The University ◽  
Changing Society

In June 1985, a fortnight's discussions on ‘The Theatre in the Future’ were held as part of the Fools' Festival in Copenhagen. The seminars discussed the position of theatre and its possibilities in a rapidly changing society, often from deeply opposed positions – socially engaged versus wildly avant-garde, verbal versus imagistic, anthropological versus robotic, and so on. Participants were an exciting mix of professional performers of many kinds, plus theatre critics and ‘ordinary’ engaged people, who for two weeks exchanged experiences and visions of theatre in conjunction with other art forms, and with science and politics. The manifesto below was the contribution to these seminars of John Andreasen, a veteran of ‘sixties happenings, who has subsequently concentrated on street and environmental theatre, and for the past twelve years has taught and directed in the Drama Department of the University of Aarhus.

Introduction: Transnational/Transartistic Journeys

2015 ◽  
Vol 15 (1) ◽  
pp. 1-5 ◽  
Author(s):  
Rosalind Silvester ◽  
Margaret Topping
Keyword(s):  
Contemporary Art ◽  
Area Studies ◽  
The Past ◽  
Art Forms ◽  
The Creation ◽  
Historically Situated ◽  
Traditional Area ◽  
Epistemological Shifts

In the past two decades we have witnessed a series of epistemological shifts, springing from traditional area studies and departing from nationally bounded fields. These moves seem to dislocate and problematize categories of identity by focusing on translocality and by calling attention to processes of displacement, dispersion, objects and ideas, and to the new cultural and imaginary territories that these mobilizations effect. Such formulations, while historically situated, illuminate flows and favour transformation, as opposed to producing ontological crystallisations. This issue will explore the view that the creation of new cultural phenomena may be achieved, in the richest of ways, through the mixing of genres and the crossing of media. It will seek to investigate how various contemporary art forms serve to express, envision, challenge and renegotiate Francophone identities that reach across cultures.

THE ROLE OF CINEMATOGRAPHY IN FORMATION PROCESS OF THE IMAGE HISTORICAL FIGURE AS NATIONAL HERO ON THE EXAMPLE OF WINSTON CHURCHILL’S PERSONALITY

2020 ◽  
Vol 2 (3) ◽  
pp. 118-123
Author(s):  
OLGA YUTSCHENKO ◽  
◽  
YULIA GAMALEEVA
Keyword(s):  
Formation Process ◽  
The Past ◽  
Historical Figure ◽  
Media Space ◽  
The Media ◽  
National Hero ◽  
New Vision ◽  
Historical Past

The purpose of research. The article deals with the general tendencies of the formation process of a historical figure as a national hero in media space. Winston Churchill’s cinematography imagery is analyzed and the features of interpretation of his role in history are defined. The purpose of research is determination of specificities in the formation process of imagery’s historical figure as national hero in cinematography. Results. Nowadays the way of representing historical space through the media sphere is one of the most popular for auditory and at the same time, it represents the new vision of the historical past. The tendency of connecting historical past and historical figure together drifts the angle from the whole epoch to «historical faces». That's the reason why historical epochs are translated through imagery of figures from the past. In this case historical space is gradually tapered to the person’s story and becomes more individual.

American and Austrian Ruins in Korngold’s Symphony in F-sharp

2019 ◽  
pp. 167-190
Author(s):  
Amy Lynn Wlodarski
Keyword(s):  
Compositional Process ◽  
The Past ◽  
Art Forms ◽  
History Of ◽  
Temporal And Spatial ◽  
Historical Moment

This chapter shows that Erich Korngold's compositional process and materials reflected a particular traumatic mode of modernism—the ruin. Here, recognizable fragments from the past recall an uncomfortable or contested history of decay and destruction. Ruinous art forms betrayed the “temporal and spatial doubts that modernity always harbored about itself.” While some manifest as a material fascination with destruction and demise, others constitute an aesthetic that enables the audience to think about the historicity of our condition and even experience hope. Korngold noted that his preference lay with the latter. But Korngold's Symphony in F-sharp, Op. 40 (1947–52), in its quiet references to earlier repertories whose musical lives were deeply entangled in the modern historical moment, signaled its own disturbing relevance to the ruins of the time—whether the crumbling facades of Korngold's beloved Vienna or his experience in America as an exile in a state of fracture and suspension.

scholarly journals Malai Mongkhon: A Case of Postmodern Thai Theatre

MANUSYA ◽  
2002 ◽  
Vol 5 (1) ◽  
pp. 50-66
Author(s):  
Kittisak Kerdarunsuksri
Keyword(s):  
Southeast Asian ◽  
The Past ◽  
Art Forms ◽  
The University ◽  
Thai Literature ◽  
Traditional Stories

Modern stage drama was introduced into Thai theatre during the mid-1960s within the university circle and later spread to the commercial level. To make their productions more attractive and accessible to popular audiences, some theatre practitioners sought to experiment with adopting indigenous sources, either traditional stories or theatrical elements, which have been found in modern Thai theatre from time to time since the early 1970s. During the 1990s, several productions made use of traditional stories and elements to a greater degree due to many factors, such as the promotion of Thainess, the demand for original Thai plays, and the trend in Southeast Asian theatre. Most of these productions can thus be considered as postmodern Thai theatre since revisiting the past, disrupting the distinction of high and low art forms, and juxtaposing unmatched elements are clearly discernible. Makhampo’m’s Malai Mongkhon, adapted from the myth of Phra Malai, was one of the works based on traditional Thai literature produced in this period. Not only was the myth used, but this production also made use of traditional theatrical elements, both court and folk, in juxtaposition with modern techniques. This production can be regarded as a representative of postmodern Thai theatre in the 1990s.

The Emotional Underpinnings of Attitudes toward Transitional Justice

2017 ◽  
Vol 66 (2) ◽  
pp. 480-502 ◽  
Author(s):  
Joan Barceló
Keyword(s):  
Transitional Justice ◽  
Formation Process ◽  
Negative Emotions ◽  
Political Regime ◽  
Emotional Engagement ◽  
Opinion Formation ◽  
The Past ◽  
Positive Feelings ◽  
Justice Studies ◽  
Citizens Attitudes

What explains citizens’ attitudes toward transitional justice? Studies that examined the support for transitional justice mechanisms identified three sets of factors: individual, socialization, and contextual. Building on the hot cognition theory, this article argues that the past political regime is an emotionally charged sociopolitical object encoded with its evaluative history with consequences in people’s opinion-formation process. Drawing on a specialized survey in Spain, the results first suggest that negative emotions, especially anger and fear, significantly influence the support for stronger transitional justice measures, even after adjusting for relevant confounders such as ideology, religiosity, or victimization. Second, the findings show that those who lack an emotional engagement toward the past regime, the so-called bystanders, hold attitudes toward transitional justice that are indistinguishable from those who report positive feelings (pride, patriotism, and nostalgia) toward the past regime. The effects of emotions are sizable relative to other important determinants, including ideology, religiosity, and family’s ideology.

Architects of fact and fiction

2015 ◽  
Vol 19 (3) ◽  
pp. 249-258 ◽  
Author(s):  
Jonathan Hill
Keyword(s):  
Eighteenth Century ◽  
Subjective Experience ◽  
Natural World ◽  
First Century ◽  
English Novel ◽  
The Past ◽  
Relevant Today ◽  
Nature And Culture ◽  
The Future ◽  
Art Forms

Conceiving a design as both a history and a fiction is not exclusive to the analogy of architecture to landscape. But it is central to this tradition because of the simultaneous and interdependent emergence in the early eighteenth century of new art forms, each of them a creative and questioning response to empiricism's detailed investigation of subjective experience and the natural world: the picturesque landscape, analytical history and English novel, which its early advocates conceived as a fictional autobiography and characterised as a history not a story. The conjunction of new art forms stimulated a lyrical environmentalism that profoundly influenced subsequent centuries, and is increasing relevant today due to anthropogenic climate change, which is now the principal means to consider the relations between nature and culture.While a prospect of the future is implicit in many histories and novels, it is explicit in a design, which is always imagined before it is built. Creative architects have often looked to the past to imagine the future, studying an earlier architecture not to replicate it but to understand and transform it, revealing its relevance to the present. Twenty-first century architects need to appreciate the shock of the old as well as the shock of the new.

scholarly journals Formation and degeneration of scaled capillary notochaetae in Owenia fusiformis Delle Chiaje, 1844 (Oweniidae, Annelida)

Zoomorphology ◽  
2021 ◽  
Author(s):  
Julian Müller ◽  
Thomas Bartolomaeus ◽  
Ekin Tilic
Keyword(s):  
Formation Process ◽  
Enamel Coating ◽  
Three Dimensional ◽  
Sister Group ◽  
Morphological Features ◽  
Apical Surface ◽  
Vast Array ◽  
The Past ◽  
Surface Ornamentation ◽  
Hooked Chaetae

AbstractPhylotranscriptomic studies of the past decade have repeatedly placed Oweniidae together with Magelonidae, as the sister group to remaining annelids. This newly established placement clearly makes them a key-lineage for understanding annelid evolution and morphology. One of the most prominent morphological features of all annelids are their chaetae. The arrangement and formation process (chaetogenesis) of these chitinous bristles have been studied extensively in hooked chaetae that are arranged in rows. However, the information on other types of chaetae is still scarce. In this study, we investigated the scaled capillary notochaetae of Owenia fusiformis, looking both into the formation process that causes the scaly surface ornamentation and into their arrangement within tight bundles. Our results demonstrate the incredible plasticity of chaetogenesis that allows forming a vast array of three-dimensional structures. The capillary chaetae of Owenia fusiformis are unique in lacking an enamel coating and the scales covering the apical surface of each chaeta are formed by a single microvillus of the chaetoblast. Furthermore, the bundle of chaetae has a peripherally located formative site and a central degenerative site and it appears to result from a secondary curling of the chaetal sac.

scholarly journals BLEND-O-RAMA: BLENDING IN THE TITLES OF EPISODES OF ANIMATED TELEVISION SERIES FOR CHILDREN

2021 ◽  
Vol 18 (48) ◽  
pp. 53-69
Author(s):  
Jelena Danilović Jeremić ◽  
Keyword(s):  
Detailed Analysis ◽  
Formation Process ◽  
Structural Characteristics ◽  
Word Formation ◽  
Rich Source ◽  
Popular Press ◽  
Television Series ◽  
The Past ◽  
Television Shows ◽  
Key Characteristics

Often defined as a marginal word-formation process whose governing principles remain a matter of controversy, lexical blending has been examined from various perspectives over the past fifty years or so. Lexical blends have thus been described as (mostly) ephemeral linguistic creations, playful and witty, that are likely to occur in popular press, advertising, and product naming (Bryant 1974; Lieber 2010). Although we can nowadays understand the key characteristics of blends, in terms of their semantic, phonological and orthographic features, corpus-based studies of blends associated with particular types of discourse remain scarce. Television discourse is no exception. It has been cited as a rich source of blends (Mattiello 2013; Sams 2016), yet few have hitherto conducted their detailed analysis (cf. Andriani, Moehkardi 2019). Having noticed that blends frequently occur in the titles of episodes of animated television shows for children (e.g. Smeldorado in Inspector Gadget, The Three Smurfketeers in The Smurfs, Pinknic in The Pink Panther), we decided to investigate their structural characteristics. For this purpose, we collected a corpus of approximately 420 blends from the titles of animated series episodes, spanning 1950-2020. The analysis has shown that haplology and hyphenation feature prominently in the collected blends, as well as that several splinters are repeatedly used in their formation.

Sign in / Sign up

Export Citation Format

Share Document