scholarly journals DAILY OBJECTS AND POPULAR CULTURE IMAGERIES IN DAVID HOCKNEY’S WORKS

2021 ◽  
Vol 9 (60) ◽  
Keyword(s):  
Popular Culture ◽  
Mass Culture ◽  
Modern Art ◽  
Andy Warhol ◽  
Art Works ◽  
Research Problems ◽  
The Subject ◽  
David Hockney ◽  
The Relationship

The aim of this research is to investigate the reasons why David Hockney addresses daily objects in his works. At the same time, it aims to reveal the nature of the relationship between popular culture and daily objects. Thus, the types of differences between Hockney and his contemporaries will be identified; while determining how pop artists reflect popular culture on their works. The scope of the research includes an analysis of David Hockney’s works. By including works from artists such as Henri Mattise, Andy Warhol, and Fikret Mualla; their relation to the subject has been presented. The subject of this research bears importance in terms of providing a criticism of current issues that are based on daily objects in art. Therefore, the research is divided into artists and eras that can serve as a reference for daily objects and popular culture imageries. The research problems can be listed as: what are the characteristics that separate David Hockney from his contemporaries, why does David Hockney require daily objects in his art works? What is the nature of the relationship between daily objects and popular culture? Are daily objects in art a product of popular culture? In what context do the works of Hockney and Matisse show similarities? What is the connection between daily objects and Duchamp? Are daily objects in art a critique of modern art? It is expected that the answers to all these questions will shed a light on popular culture imageries and art today, along with David Hockney’s works. Thus, once more, this study intends to create awareness to the association of “art and life,” which is frequently used alongside modernism. Keywords: Popular culture imageries, daily objects, David Hockney, mass culture, art and life

scholarly journals A Real Witcher—Slavic or Universal; from a Book, a Game or a TV Series? In the Circle of Multimedia Adaptations of a Fantasy Series of Novels “The Witcher” by A. Sapkowski

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 102
Author(s):  
Sławomir Gawroński ◽  
Kinga Bajorek
Keyword(s):  
Popular Culture ◽  
Mass Culture ◽  
Computer Games ◽  
Point Of View ◽  
Eastern European ◽  
Literature Analysis ◽  
National Pride ◽  
Polish People ◽  
The Subject ◽  
Eastern European Countries

A series of novels about a witcher, written by Andrzej Sapkowski almost thirty years ago, has now become an inspiration for the creation of mass productions of mainstream popular culture—film and multimedia adaptations for use in computer games. It is one of the few examples of global messages of mass culture being based on Polish creativity. The recognition of “The Witcher”, due to the Netflix production, soon contributed to building the national pride of Polish people, and at the same time sparked a discussion in Central and Eastern European countries on the consequences of the multimedia adaptation of Andrzej Sapkowski’s prose. Questions about the dissonance between the Slavic and universal dimensions of “The Witcher” in relation to the original novels and their adaptations are a part of the traditional discourse on the adaptability of literature and its consequences for the reception by the audience. This article tries to capture the specific character of the adaptations of Andrzej Sapkowski’s literature from the point of view of typology, known from the literature of the subject, as well as to answer the question about the consequences of the discrepancy between the original book and its adaptations in the form of a film, a TV series, and computer games. The considerations in the article were based on the literature analysis and the research based on the existing sources.

Afterword

2019 ◽  
pp. 229-238
Author(s):  
Carole M. Cusack ◽  
Massimo Leone ◽  
Jeffrey Sconce
Keyword(s):  
Popular Culture ◽  
Digital Media ◽  
Media Studies ◽  
Media Communication ◽  
Film And Media Studies ◽  
The Subject ◽  
Media And Communication ◽  
The Relationship

In this afterword, three leading scholars, whose work explores the intersections of media, communication, and religion from different viewpoints, enter in dialog on the subject. Carole Cusack is a historian of religion and the author of groundbreaking works about the relationship between religion, imagination, and popular culture. Massimo Leone is a semiologist whose work has stretched the boundaries between the study of religion and the study of signs, both linguistic and nonlinguistic. Jeffrey Sconce is a scholar in film and media studies whose pioneering monograph, Haunted Media (2000), placed the theme of the supernatural at the forefront of studies in media and communication. Their responses provide a map of potential trajectories to further explore the connections between digital media and the supernatural.

scholarly journals International Scientific Conference “An Artist in the Modern World: from Professional Education to Creativity” (Kursk, May 20–22, 2019)

2020 ◽  
pp. 181-185
Author(s):  
Aleksandr Reprincev
Keyword(s):  
Mass Culture ◽  
Professional Education ◽  
Spiritual Development ◽  
Modern Art ◽  
Theory And Practice ◽  
Modern World ◽  
Scientific Conference ◽  
Post Industrial ◽  
The Relationship ◽  
Aesthetic Values

The paper focuses on the results of the International Scientific Conference held in Kursk. It explored the relationship between culture and man, the dialectical connection of the theory and practice of modern art education. The participants analysed the evolution of meanings and values of culture in the conditions of a post-industrial, “digital” civilization, drew attention to the artist’s mission of promoting spiritual development, learning, preservation and enhancement of aesthetic values. They discussed issues of training talent in fine art, design, architecture. A special concern of the forum participants is the “computerization” of art, its transformation from a creative sacrament into “technology”, into the mainstream production of “mass culture” products.

scholarly journals Musik og design. Phil spector og lydfladens medialisering

2011 ◽  
Vol 39 (111) ◽  
pp. 127-149
Author(s):  
Ulrik Schmidt
Keyword(s):  
Popular Culture ◽  
Sound Production ◽  
Extensive Literature ◽  
Sound Design ◽  
Sound Recording ◽  
Musical Sound ◽  
Music Production ◽  
General Investigation ◽  
The Subject ◽  
The Relationship

MUSIC AND DESIGN. PHIL SPECTOR AND SOUNDSCAPES MEDIATIZATIONPhil Spector is often referred to as one of history’s first true music producers, and his famed ‘Wall of Sound’ has been the model for many future musical productions. However, Spector’s productions can also be seen as an early manifestation, among others, of a much more general change in the auditory popular culture around 1960 away from the conventional approach to musicalsound as something that depends primarily on a musical performance and secondarily its technical reproduction S towards a conception of music as a form of design. Hence, Spector’s productions make a favorable material for a more general investigation of the relationship between music and design. Despite the rather extensive literature on Spector and his music, and on sound recording and sound production in general, the different aspects of Spector’s design have not yet been the subject of a broader phenomenological and aesthetic investigation. “Music and Design” explores the key elements in Spector’s musical project through an analysis of his use of repetition, accumulation and synthetized sound in hit recordings such as He’s a Rebel (1962) and Be My Baby (1963). It is argued that Spector’s productions are basically characterized by a displacement of the auditory focus from external media conditions, to musical sound as simultaneously a more synthetic and mediatized as well as moremassive and ‘massified’ soundscape. This mediatization of the soundscape would later constitute a predominant aesthetic model not only in current music production, but in modern sound design in general.

scholarly journals MENGAJUKAN ANALISIS KELAS SOSIAL DALAM MEMBACA IKLAN

2020 ◽  
Vol 12 (2) ◽  
pp. 212
Author(s):  
Arizal Mutahir
Keyword(s):  
Popular Culture ◽  
Social Class ◽  
External Factors ◽  
Social Classes ◽  
Class Analysis ◽  
Semiotic Analysis ◽  
Consumption Behavior ◽  
The Subject ◽  
Lower Social Class ◽  
The Relationship

Many studies on advertising in Indonesia have been conducted. The discussions are mostly about the influence of advertising on consumers. However, such studies often slip into a deterministic understanding. Actions are understood as behaviors merely influenced by external factors. The study of advertising deals with the relationship between the subject's intentions, actions, and the meanings contained in the advertisement. Thus, it not only discusses the influence of advertising on consumption behavior, but also requires a study of representation in advertising. Unfortunately, some studies of advertising representation have not touched the theme of the representation of social classes, as if advertisements don't talk about social classes explicitly. The absence of social class analysis in advertisement study tends to disguise the actual conditions of the society. Using the method of semiotic analysis to read advertisements on television as the subject of the study, this paper aims to show that images of social class are still present in advertisements. This paper finds that social class images in advertisements are stereotyped. The lower social class is described as a social class that is dominated and is doing a class-passing. Based on the findings, this paper argues that the analysis of social classes is still required to examine any forms of popular culture such as advertising and, at the same time, can show the actual conditions of social classes in the society.

scholarly journals Holding the Whip-Hand

2021 ◽  
Vol 6 (1) ◽  
pp. 55-80
Author(s):  
Natalie Zacek
Keyword(s):  
Popular Culture ◽  
New Orleans ◽  
French Quarter ◽  
Television Shows ◽  
Historical Figures ◽  
The Subject ◽  
The Creation ◽  
The Relationship ◽  
Female Power

Abstract This article examines two female slaveholders, one real and one fictional, to explore the relationship between gender and slave management in both history and popular culture. Annie Palmer, the “White Witch of Rose Hall” plantation in Jamaica, although the creation of folklore and journalistic exaggeration, has functioned for a century and a half as a symbol not only of the evils of slavery but of the idea that female slaveholders’ cruelty threatened the system of slavery in a way in which that practiced by males did not. In New Orleans, Delphine Lalaurie, an elite woman renowned for her elegance and piety, became a figure of monstrosity after a house fire of 1834 revealed that her French Quarter mansion held a chamber of horrors for the enslaved, and offered a similar example of the dangers of female power in slave societies. Examining these women’s continuing presence both as historical figures and as characters in novels, television shows, and other creative productions, this article illuminates the strange career of the slaveholding woman, a figure execrated in her own era and misunderstood or ignored in contemporary historiography, yet simultaneously the subject over centuries of prurient cultural fascination.

The method of transit in humanistic education. Pop culture and the canon

2020 ◽  
Vol 13 ◽  
pp. 13-25
Author(s):  
Adam Regiewicz
Keyword(s):  
Popular Culture ◽  
Cold War ◽  
Pop Culture ◽  
Cultural Communication ◽  
Humanistic Education ◽  
The Subject ◽  
The Cold War ◽  
The Relationship

In Poland, a discourse on the relationship between the canon and pop culture has been going on for almost thirty years. It is dominated by the belief that these methods of cultural communication are completely divergent. The canon is understood as a bastion of tradition and values and as such is in contradiction with popular culture. This conflict has educational consequences. Creates a resonance in the relationships and teachers, who more and more often show greater knowledge of pop culture phenomena than the so-called cultural canon. The impasse that the school is currently ex-periencing requires a reaction, and this seems to be possible by drawing attention to the subject of education and turning to the “here and now”. In order to explain the possibility of breaking the “cold war” situation between the canon and pop culture, the article cites the transitive principle as a method of building a dialogue between both sides of the dispute.

A New Light on the Shadows of Heavenly Bodies

2016 ◽  
Vol 20 (1-2) ◽  
pp. 160-196
Author(s):  
Rui Oliveira Lopes
Keyword(s):  
Popular Culture ◽  
Art Criticism ◽  
Motion Pictures ◽  
Mural Painting ◽  
Indian Culture ◽  
Mutual Exchange ◽  
Indian Aesthetics ◽  
The Subject ◽  
Moving Pictures ◽  
The Relationship

The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.

Opinie studentów z wybranych państw Europy Środkowo-Wschodniej na temat stosunku do zwierząt

2019 ◽  
Vol 12 ◽  
pp. 18-37
Author(s):  
Karolina Cynk
Keyword(s):  
Eastern Europe ◽  
Central And Eastern Europe ◽  
Independent Variables ◽  
Central Eastern Europe ◽  
Chi Squared ◽  
Research Problems ◽  
History Of ◽  
The Subject ◽  
Moral Status Of Animals ◽  
The Relationship

The purpose of this article is description of perception and valuation of animals by students from selected countries of Central and Eastern Europe. In the first part of article was presented the history of the relationship between human and animal. The theoretical part of text includes also reflections on the moral status of animals. In the second part of article was presented results of the research which was conducted by author in 2015. The subject of the researches was: “Environmental values in the awareness of the students of humanities and life sciences from the selected European countries”. The project was conducted based on the quantitative method. The sample was comprised 520 students. In the article proposes the following research problems: Does the perception of animals depend on the direction the respondents study? Does gender affect how respondents perceive animals? The questions and independent variables were nominal, and their analysis required the use of a chi-squared test to examine. On the base statistical calculations can be concluded that sex and faculty of study doesn’t differentiate respondent’s opinion about animals welfare. The lack of differences in opinions between respondents is explained by the fact that it is the result of specifics of cultural Central Eastern Europe, not of gender or field of study. Obtained conclusions are pushing for further research in this area.

The relationship of the scleractinian corals to the rugose corals

Paleobiology ◽  
1980 ◽  
Vol 6 (02) ◽  
pp. 146-160 ◽  
Author(s):  
William A. Oliver
Keyword(s):  
Critical Points ◽  
Scleractinian Corals ◽  
Convincing Evidence ◽  
Early Triassic ◽  
Rugose Corals ◽  
History Of ◽  
The Subject ◽  
Relationship Of ◽  
The Relationship ◽  
Biologic Factors

The Mesozoic-Cenozoic coral Order Scleractinia has been suggested to have originated or evolved (1) by direct descent from the Paleozoic Order Rugosa or (2) by the development of a skeleton in members of one of the anemone groups that probably have existed throughout Phanerozoic time. In spite of much work on the subject, advocates of the direct descent hypothesis have failed to find convincing evidence of this relationship. Critical points are:(1) Rugosan septal insertion is serial; Scleractinian insertion is cyclic; no intermediate stages have been demonstrated. Apparent intermediates are Scleractinia having bilateral cyclic insertion or teratological Rugosa.(2) There is convincing evidence that the skeletons of many Rugosa were calcitic and none are known to be or to have been aragonitic. In contrast, the skeletons of all living Scleractinia are aragonitic and there is evidence that fossil Scleractinia were aragonitic also. The mineralogic difference is almost certainly due to intrinsic biologic factors.(3) No early Triassic corals of either group are known. This fact is not compelling (by itself) but is important in connection with points 1 and 2, because, given direct descent, both changes took place during this only stage in the history of the two groups in which there are no known corals.

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