Artistic Self Research Articles

Théâtre et Identité I: Deux Approches au Théâtre Professionnel Régional

A comparative study of two theatre initiatives, one in Quebec and the other in northern Ontario's francophone communities, uncovers a surprising degree of intertextuality in the communicative practices deployed by the artists involved as they attempt to align regional professional production with the implicit horizons of expectations specific to their target audiences. Both artistic programs of action seem oriented towards what Juri Lotman has called an "aesthetics of identity" which could explain, at least in part, the unity underlying the recurrent elements identified in the strategies developed to create and to frame the theatrical experience. This two-part study endeavors to describe the artistic practices specific to the "aesthetics of identity," which Umberto Eco associates with current trends in postmodernism. The first article documents the approaches formulated by Yvon Barrette and Martin Fournier for La Troupe du Haut Pays in the Gaspésie region and by Brigitte Haentjens during her involvement with Franco-Ontarian theatre companies. Analysis based largely on the semiotics of communication foregrounds the different types and levels of structural parallels between text and context in relation to three descriptive categories: the artistic self, the cultural interpreter and the concept of theatricality. A second article then undertakes to reformulate these parallels in light of Greimas' theory of modalities and his semiotics of signification. The subsequent model suggests that the intertextuality of the artistic approaches studied stems from the communicative dynamics specific to the paradigm of exchange.

Looking Beyond the Pieces: An Interdisciplinary, Intergenerational, Cultural Project, Resulting in Artistic, Visually-Rich Quilts

Cultural heritage ami art were integrated with various curricular topics to teach children about art, women, culture, community, intergenerational sharing, and various school and life skills. As a result. 22 children, ages 3 through 9,designed and createdfriendship quilts. Throughout the protest the children worked together in a meaningful way, and were encouraged to investigate, question, and Itmk at things creatively. Clearly, the children exercised their cognitive skills in a way that challenged their visual, intellectual, and affective thinking. This in turn, carried over into artistic self expression and through cooperative efforts, each child created a uniquely personal and visually rich, keepsake quilt.

Children's Artistic Selves: A Look at Children's Personal Relationship with Art

Children's Artistic Selves: A Look at Children's Personal Relationship with Art

Strategies towards the remaking of the artistic self

Strategies towards the remaking of the artistic self

Through the Looking Glass: I. When Clients' Tragic Images Illuminate the Therapist's Dark Side

AbstractThree art therapists utilize their own art work to explore their relationship to their clients' images of horror, the “darkside” of their lives that is exposed to art therapists. The authors seek to understand their decision to be confronted with the tragic realities their clients present. Questions are raised as to how this work serves the therapist and related cautions are given. Using one's own post-session art to process strong feelings, increase empathy, explore merging by using the client's symbols, and the impact of the work on the “artist self” are examined.

Cuba's Bola de Nieve: A Creative Looking Glass for Culture and the Artistic Self

Cuba's Bola de Nieve: A Creative Looking Glass for Culture and the Artistic Self

New Pioneering on the Prairies: Nature, Progress and the Individual in the Novels of Sinclair Lewis

sented an ambivalent and divided artistic self to his readers and critics as has Sinclair Lewis. Participant and enthusiast as well as observer and critic, the scourge of American villages, doctors, preachers, businessmen, as well asso later assured us their heartiest well-wisher, he remains a compelling figure for the student of our culture. T. K. Whipple, in his wellknown essay in Spokesmen over forty years ago, concluded that Lewis is the most successful critic of American society because he is the best proof that his charges are just.' And more recently, Mark Schorer, Sheldon

“Death in the Woods” and the Artist's Self in Sherwood Anderson

Sherwood Anderson's autobiographical works attest his continuing absorption with the incidents and the form of his short story “Death in the Woods.” In his Memoirs he says that he tried to write the story “a dozen times over as many years.” It appears in a tentative early version in Tar. Many of its episodes are used in a seldom-read fragment entitled “Father Abraham,” which supposedly developed the life of Lincoln; indeed, the story's materials occupy a dominant position in that strange, often autobiographical work. Elsewhere in his Memoirs (pp. 310–312), he relates the incident of the dogs' death ritual as having happened to himself. We may doubt the literal truth of that account, since Anderson himself repeatedly questions whether the event was fact or dream; in any case, however, the story was filled, for Anderson, with great personal and artistic significance.