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This chapter provides a critical review of the blossoming of Linguistic Landscape (LL) as a research field in the early 21st century. Arguing that the LL itself is at least as old as written language, the chapter examines the multiple sources of contemporary LL research in such fields as onomastics, the visual arts, language policy and planning, and examinations of the social and linguistic outcomes of multilingualism, globalisation, and population movement. The chapter argues that the field of LL research did not stem from any one source, but instead developed from bringing together researchers from different interests and parts of the world. The chapter reviews terminology in the field from English and French, and argues for the use of LL as one which is broad enough to include a wide range of modes of expressing meaning, but retains a focus on language that gives it a distinct conceptual identity.
This article presents a conceptual model of the labour of visual art developed from the analysis of qualitative data collected from interviews with professional visual artists in Western Australia. The labour discussed relates to the exertions of artists to make places for themselves and their practices within the field of cultural production. It is what Bourdieu has described as a ‘specific labour’ in relation to milieu. Drawing on Florian Znaniecki’s philosophical and sociological work as a means of engaging with the multidimensional cultural values involved, this study found that the interviewed artists laboured across four realms of cultural production. Artists laboured in order to (1) define their practices, (2) create the conditions under which they can continue to practice, (3) attract validations of their practices and artistic identities and all the while they actively laboured to (4) maintain their integrity as an important creative and social resource. These four realms of production are integrated in a dynamic system where artists’ efforts in each impact on and influences the products of the others. Over the course of this article, it will be argued that the labour of professional visual art practice can be, and must be, understood across a number of dimensions and systems of cultural values.
This chapter presents the exemplary curricula of five academics whose work reflects some of the key ideas in decolonization: Even if some of them are reluctant to use the term itself as an adequate descriptor for their efforts at transforming knowledge at their universities. The disciplines in focus are political science (politics), philosophy, psychology, media studies, and the visual arts. A key finding is that these innovations existed in institutional enclaves before the decolonization moment and that they remain exceptional rather than commonplace in the university curriculum.
Learning in the arts is distinct from most other subjects for three reasons. First, the arts are centrally a representational domain and learning in the arts involves becoming aware of how representational choices communicate meaning to different audiences. Second, form and meaning are integrated; artistic representations are saturated with meaning, and subtle variations are consequential to that meaning. Third, work in the arts involves examining identify and culture, because artistic cognition is intertwined with both. This chapter argues that these three distinct features of arts learning have implications for our understanding of learning more generally. The chapter reviews four types of research: (1) how the arts have been studied in educational settings; (2) how learning occurs in different arts including music and visual arts; (3) the key features of arts learning: the role of the audience, critique, authentic assessment, and role taking; (4) how an arts-based perspective can contribute to our understanding of learning in all subjects.
Examines the reception of the canonical gospels and of their ‘effects’ in particular times and places. Here, the first part gives an account of reception history as a relatively new discipline in gospel studies, while the second part offers as a case study some of the ways in which the synoptic stories of the women who visit the tomb of Jesus have been represented in the visual arts.
This Keynote offers a brief overview of an artistic and activist editorial project based in São Paulo City, the magazine O Menelick 2° Ato, as well as presents a portrait of some Black contemporary women artists, some of them interdisciplinary, and articulates modes of interrogating political and symbolic violence and subjugation from Brazilian colonially, creating an artistic presence rooted in the search for self-determination, autonomy, and modes of existence ignited by Black diasporas’ ways of self-writing. Their creative work also disrupts hegemonic epistemologies and calls us to look at what is going on in the Black South America.
Hamit Bozarslan, Ecole des Hautes Etudes en Sciences Sociales, Paris,Cengiz Gunes, The Open University, Milton Keynes,Veli Yadirgi, School of Oriental and African Studies, University of London
“This chapter analyses Kurdish cultural and artistic work. For much of the twentieth century, Kurdish cultural and artistic productions were repressed by the assimilationist policies the states of Iraq, Iran, Turkey and Syria adopted with respect of their Kurdish population. One of the most intriguing contributions of this chapter is its emphasis on artistic and cultural production within the actual political arena, interrogating how it contributes to the transformation of the new Kurdish subjectivity that situates itself across borders. The questions underpinning this research investigate how through counter-cultural and artistic efforts create or rather recreate a cognitive territory of an oppressed people.
Artistic production for Kurds signifies the memory of a stateless people and a decolonial aesthetic trying to survive amids the hegemony of the dominant national cultures and the traumas of the repression of Kurdish micro-culture. Hence, analysing the participation of contemporary artists and producers in the Kurdish area in the midst of conflict and violence enables us to highlight the emancipatory capacity of their work. During the 1990s and 2000s, theatre, music, cinema festivals began to be held in European countries, which also extended to the four parts of the Kurdish territories, leading to the propagation of both intergenerational and trans-border artistic and cultural activities. This reterritorialization of Kurdish counter-cultural memory may not be a renaissance of Kurdish cultural production but instead should be considered a cultural serhildan.”
Ibsen, who originally wanted to be a painter, came of age at a time when theatre and painting were still considered closely connected art forms. Throughout most of the nineteenth century, painters would paint scenes from plays, and playwrights would create plays inspired by paintings. In their salons, the aristocracy admired pictorial performances known as ‘attitudes’ or ‘living sculptures’ and staged tableaux vivants, theatrical enactments of famous paintings. The constant interaction between the ‘sister arts’ created an aesthetic environment in which it felt natural to think about paintings in dramatic terms and about drama in painterly terms. Thus Ibsen was inspired by painters such as the English Pre-Raphaelites and the Swiss Arnold Böcklin.
Throughout his career, from relatively early works like ‘Terje Vigen’ and Peer Gynt to modern plays like The Wild Duck, The Lady from the Sea, Hedda Gabler, John Gabriel Borkman and When We Dead Awaken, Ibsen included traditional painterly tableaux in his works. But modernism swept away the idea of ‘sister arts’. Although Ibsen never abandoned his traditional understanding of painting, this chapter shows that in his contemporary plays his traditional visual aesthetics emerges as a seamless part of a new, radically modern vision.
Stanislavsky’s artistic development is tracked in its various phases during the years preceding the 1917 Revolution and according to his strongest affinities and the most important influences that he absorbed into his guiding principles for the Moscow Art Theatre. Attention is focused on Abramtsevo, the artistic colony and utopian community founded by Savva Mamontov, a family friend and significant part of the habitus that shaped Stanislavsky’s cultural attitudes and tastes. It is at Abramtsevo and also at Mamontov’s Private Opera Theatre in Moscow that Stanislavsky saw communal artistic aspirations in action and how leading visual artists, composers and singers, notably Chaliapin, combined their different talents and skills, providing him with reference points for his ensemble theatre and its aim for harmoniously integrated productions.
Related inspiration to do with Old Believer Orthodoxy and its values, Tolstoy’s beliefs, Sulerzhitsky’s Tolstoyan perspectives, Vrubel’s mystical paintings and Scriabin’s ecstatic music, along with numerous other experiences of the Russian Silver Age, not least Mikhaïl Chekhov’s stage experiments, contextualize and illuminate Stanislavsky’s theatre work in its fullest sense. Sociopolitical factors similarly situate Stanislavsky’s endeavours in the first ‘half’ of his life in art.
The visual arts have played an increasingly important role in examining and critiquing past and present human activities in Antarctica as governed by the Antarctic Treaty and its Protocol on Environmental protection. This paper analyses the work of six artists who have contributed to this scrutiny, awakening us to fabrications and helping to enrich Antarctic cultures beyond the scientific and the environmental. It encourages all signatory nations to the Antarctic Treaty System to embrace and empower a more diverse artistic engagement with Antarctica and suggests that artists find new ways to address threats to the Antarctic, whether they come from within and from without.
This qualitative study explores the experiences of older adults participating in a creative visual arts program at a residential care facility in Victoria, British Columbia. A narrative inquiry approach was used to conduct face-to-face interviews with 10 residents and three program staff in addition to the systematic observations of program activities and an arts exhibit. The findings reveal the program fostered a sense of community among participants and enhanced their sense of self-worth as artists. A public art exhibition at a community centre underlined the value of residents’ artwork and gave meaning and purpose to their involvement in the program. Findings show the importance of arts programs in fostering creativity in later life and illustrate how people living in institutions can experience multiple dimensions of the self through artistic forms of expression. This study highlights the need to increase access to arts programs for individuals living in residential care.
A common goal of ethics education is to equip students who later become health practitioners to not only know about the ethical principles guiding their practice, but to also autonomously recognize when and how these principles might apply and assist these future practitioners in providing care for patients and families. This article aims to contribute to discussions about ethics education pedagogy and teaching, by presenting and evaluating the use of the visual arts as an educational approach designed to facilitate students’ moral imagination and independent critical thinking about ethics in clinical practice. We describe a sequence of ethics education strategies over a 3 year Doctor of Physiotherapy program, focusing on the final year professional ethics assessment task, which involved the use of visual arts to stimulate the exploration of ethics in healthcare. The data (in the form of student essays about their chosen artwork) were analyzed using both thematic and content analysis. Two key themes centered on emotional responses and lateral thinking. The use of artwork appeared to facilitate imaginative, emotional, and conceptual thinking about ethics and clinical experience (both past and future). This study provides some evidence to support the effectiveness of the use of the visual arts in promoting students’ recognition of ethical dimensions within their clinical experience and reflection on their emerging professional identity. As one student noted, she left the museum “somewhat changed.”
Focusing on material culture, this article considers a range of issues concerning the cultural policies, ideologies, and identities that have underlain Serbian development since the Middle Ages, and tests some widely held yet previously uncontested views. In particular it questions the Serbs' perceived affiliation with the Byzantine Empire and challenges the view that this affiliation was so pervasive that it influenced Serbian development and national formation in the modern age. It is argued that Byzantium had little if any role in the Serbs' cultural development - neither in historical memories nor in surviving traditions. Serbia's Byzantine culture is largely a myth developed in the 1930s by the Serbian clergy as a corollary of the Russian-inspired Svetosavlje ideology. This myth was meant to dislocate Serbia's cultural identity from its secular European sources and reposition it closer to Orthodox Russia.
This essay examines changes in apparatuses of visual and performing arts, taking as an example a museum presentation of Trisha Brown's project Floor of the Forest. The ontology of both the work of art and the dance exhibited in the museum, where presence and absence interact, is explored against criteria of temporality and theatricality. The position of the recipient is a focus of particular attention, undergoing transformations between the status of visitor (beholder) and audience (spectator) and as such actively involved in bringing forth art as such. Furthermore it is proposed, in particular in this example, that the interrelationships between recipients and actors or art objects can generate haunting choreographies which emphasize the indeterminate nature and progressive disintegration of artistic genres and attempt to intertwine divergent modes of presence in visual and performing arts.
We present a 10 day-long astronomical discovery class for children from 10 up to 12 years old. “Classical” workshops dealing with constellations, sky maps, sundiala, rocket construction and launching, Sun and deep sky observations are proposed to children. In addition, we present our own workshops that can be achieved by children as research projects in a scientific, literary or in an artistic way. In this context, the rôle of astronomy is both educational and social for children. Scientific rudiments are passed on from scientific educators to pupils and from pupils to their families. Astronomy is an unifying science for everyone.
The gap between history and art history is enshrined in the stylistic labels that art historians still use for the subdivisions of their subject. This chapter discusses Romanesque and early Gothic. Romanesque was the creation of a later age. It emerged in the early nineteenth century as the main French candidate in a competition to find an adequate name for the sort of architecture which preceded Gothic. The rise of architecture to parity of esteem with the so-called minor arts, which took place in the eleventh and twelfth centuries, was the truly momentous event in the art history of the middle ages. The image of the church became a compound of all the visual arts. It brought together architecture, sculpture and painting at their highest levels of attainment, and projected them upon the attention of the world at large with the single-mindedness of a marketing exercise.
This chapter discusses the traditional approach of Islamic art of Iran, first architecture and architectural decoration, then the so-called minor arts whose importance is far greater than their slightly pejorative name suggests. Northeastern Iranian ceramics provide examples of figural representations. The subjects are riders, dancers, standing or seated personages holding flowers and pitchers, as well as a number of unidentified activities. The greatest originality of these representations lies in their style. A sketchy line outlines the main subjects with very little consideration for bodily proportions and at times with distortions which could be considered as folk caricatures or as wilful modifications of visual impressions. There is a fairly large number of objects in metal which are commonly assigned to the period between the fall of the Sāsānian dynasty and the middle of the 5th/11th century.
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