Art Of Construction Research Articles

Fouad AlKhatib’s Poetry in the Saudi Era: Between Historical Moment and Poetical Moment

The research introduces Fouad Al-Khatib and his later poetry during his Saudi era. It clarifies what is meant by “historical moment”, “poetical moment” and “the aesthetic moment” through studying the relationship between these moments in the Saudi poetry of Fouad Al-Khatib to determine how each of them affect the other. A preliminary thematic classification of Al-Khatib’s Saudi poems is provided to show the aesthetic effects of these moments in the artistic construction of the poem; since the idea of the research is based on the collaboration of history and poetry, or let us say: history and art, it looks at this part of the poetry assuming its validity to represent a time period and a spatial extent. “Place” is a highly regarded component of Fouad Al-Khatib’s poetry which deserves to be considered carefully, to understand its impact on the artistic construction of the poem. Indeed, it give a deserved attention to the study of Arabic poetry in the Arabian Peninsula, past and present. Because the place - any place - is fixed, even if its meaning changes, or its form changes; while time, on the other hand, is variable, so it is made dependent on space, because the dimensions of space are multiple, and time has one dimension. In order to reach a relevant result, we raise a number of questions: Did the historical theme present in Al-Khatib’s Saudi poetry refer to history or to poetry? Or mixes them? Is it possible for Al-Khatib’s Saudi poetry to be classified objectively in a way that reveals its merits? How does the language of spatial relations create concepts of place in his poetry? How did he create an imagined existence? How time and space were combined in his poetry to express his aesthetics through a specific poem? The research methodology is based on tracking and investigating the Saudi poetry of Fouad Al-Khatib only. The analytical textual approach based on the artistic vision is considered the most useful in conducting research. To achieve our goals of revealing the aesthetic effects. It has been found that the effectiveness of the historical moment and the poetical moment appears through: relying on it, recalling it, exaggerating it, generalizing it. It was also possible to discover the netting thread of Alkatib’s Saudi poetry, which is represented by the idea of “unity and renaissance” with multiple purposes. Even if the place is real, it has an imagined existence that emerges through the language of spatial relationships. Time and place were united in forming an aesthetic image that has its own characteristics through an analytical model of Al-Khatib’s poetry.

Златното сечение в педагогиката: приложението му в сугестопедичната методика на проф. д-р Георги Лозанов и проф. д-р Евелина Гатева

The article examines the application of the golden ratio to the suggestopedic methodology of Prof. Dr. Georgi Lozanov and the contribution of Prof. Dr. Evelina Gateva to the globalized artistic construction of the entire educational process. According to the research and application of the methodology, both during the existence of the Institute of Suggestology and Suggestopedia (1966–1991) and in its application today, the golden section, acting together with the other six laws of suggestopedia, supports the calm and full-fledged assimilation of a huge volume of material, which is stored in long-term memory and is used over time as full-fledged knowledge, and at the same time participates in revealing the potential reserves of the personality. The work of the teacher in the preparation for the learning process is fundamental—the coordination of all its constituent parts so as to offer the learners harmoniously arranged content, beauty, and ease in the learning process.

The Good Shepherd. On Endre Bálint’s late photomontages

In this paper I analyse the photomontages of Endre Bálint (1914–1986) in the context of the cultural politics of the Iron Curtain period in Eastern Europe and Hungary. First, the study takes a diachronic, historical approach to photomontage as a creative method that maintained continuity between the avant-garde generations of artists, a way of thinking and a creative process accordingly, cultivated in the circles of persecuted, banned or silenced artists experimenting during the decades from the 1920s to 1970s. Second, by placing Endre Bálint’s late photomontages (made after his 1963 return from his “exodus” to Paris) in the context of contemporary artistic phenomena (e.g. Brecht’s photobook, Jean-Luc Godard’s work, David Hockney’s montages or bricoleur punk artists), I argue that, in contrast to the generally held view, they are not the withering signs of renunciation, but rather a way out of renunciation, that is, a solution. “We breathe in fragments,” Bálint wrote, and the pictorial form to fittingly reflect a fragmented way of existence (together with the psychological burdens, shadows of the past, and the social and cultural-political determinations) was the montage-technique that had flourished from the 1920s, and whose Eastern European, distinctively Hungarian variant found its guardian, its good shepherd in Bálint, in his creative practice. Bálint’s late photomontages also deserve attention from the point of view of a silent narrative of art history, which does not focus on middle-aged artists’ major works, but on the profuse production by the old masters, the masters of sprezzatura, which is characterised by an aesthetic lightness, a kind of aesthetic liberation and swiftness, and the ability to allow memories a free influx into the creative work. One of the conclusions of this study is that Hungarian photomontage, and especially the late work of Endre Bálint, can be instructively read in conjunction with the equally restrained psychoanalytic literature of the period, in which the splitting of Self as a traumatic consequence of shocking events and also a means to survive those events is a key concept. A critically productive artistic construction that is based on fragments can be seen and read as the visual counterpart of a psychological notion of Self-splitting.

Dual Play, Ethical Reconstruction, and “Utopia”: On the Artistic Construction of Lu Min’s Stories

Dual Play, Ethical Reconstruction, and “Utopia”: On the Artistic Construction of Lu Min’s Stories

Dualities of Opposition Between Artistic Construction and Aesthetic (Selected Short Maxims in Nahj Al-Balagha

تعد الحِكم القصار بمثابة منبهات مقروءة غايتها ايصال فكرة معينة إلى المتلقي لتحقيق الاقناع، فقد قام الإمام ع باتباع استراتيجية معينة للتأثير بالجمهور و استمالتهم إليه، بطريقة بنائية خاصة عبر تقنية التضاد المكثّف، يسعى هذا البحث إلى استكشاف المتتاليات التضادية التي ركّز عليها الإمام علي(ع) في إيصال متبنياته الفكرية إلى الناس، و معرفة الأثر الجمالي لها في نفس المتلقي، وقد جرت طريقة البحث على عرض النصوص وتحليلها ضمن الطرق البنائية الفنية للوصول إلى المقاصد الدلالية التي كان الإمام ع يسعى اليها، وكذلك بيان الأثر الجمالي له.

예술가교사(teaching artist) 체험에 관한 생애사 연구

The purpose of this study is to explore the identity that teaching artists construct as they experience arts and culture education. Through the life history research method, I looked in depth at the present lives of eight visual arts major research participants from their childhood to the present day as teaching artists and how the art educational experiences permeate the artists’ lives and construct their identities. First, while un-derstanding the overall life process of teaching artists, I looked into the main background of working as artists and teaching artists. Next, the period when research participants took the role of teaching artists can be described in four categories: art class process, experiences with fellow teaching artists, experi-ences with class participants, and difficulties and conflict situations in art education activities. Based on the analysis of the data, four main meanings were derived: 'a prop for artists to work as artists', 'a coor-dinate to confirm identity', 'a channel to communicate with society', and 'social contribution through art education'. The significance of this study is that it examines the process of identity construction from the perspectives of the teaching artists based on the life histories of the research participants, further expand-ing the identity discussion of the teaching artists and using it as a basis for understanding teaching artists in Korea.

Cultural Inheritance and Artistic Construction of Non-heritage Dance in Northern Anhui in the Era of Artificial Intelligence

Abstract This paper explores the integration of image processing, motion capture, and virtual reality technologies to digitize and visualize dance. We capture the core dynamics of dance movements by extracting key frames and movement features from dance videos. Our analysis of motion capture data, exemplified by the “Flower Drum Lantern” dance, reveals a maximum vertical foot displacement of 72 cm and hip displacement of 93 cm. Virtual display technology significantly enhances the visual representation and dissemination of dance performances. This innovative approach to documenting and showcasing dance not only aids in preserving and transmitting intangible cultural heritage but also boosts public awareness and appreciation for such heritage.

Evaluation and Research on the Classification Training Mode of Animation Talents Based on Teaching Dynamics from the Perspective of New Liberal Arts

The creation of new artistic forms is an important aspect of the classification of artistic construction. The training of animation talents should be based on the market demand for professionals in the animation industry. While emphasizing the training of professional characteristics, it is important to consider the cross-complementation of related disciplines. The animation major at the Zhongnan University of Economics and Law has taken the initiative to investigate the market. They started by addressing the challenges faced in the development of the animation major and focused on the classification training of animation talents within the newly established new art department. As a result, they have developed a new professional curriculum system, a system for cross-integration of different disciplines, and a practical training system. These initiatives have facilitated the classification of platforms, the integration of multiple disciplines, and the development and training of practical skills within the animation major. We are actively exploring and practicing a new training method for animation talents in the art department. Our goal is to train high-quality applied animation talents who can contribute to local economic and social development. By doing so, we aim to promote the coordinated development of the art department and the field of animation. In order to quantify the teaching effect, we introduced a dynamic method to model the teaching system. This model was mathematically established as a dynamic system. Through modeling and analysis, the data reflected the positive impact of educational innovation and reform on teaching, thereby demonstrating the effectiveness of our innovation and reform.

Apsara Aesthetics and Belonging: On Mixed-Race Cambodian American Performance

The image of the Apsara, a celestial dancer in Cambodian myth, is closely associated with Cambodian cultural preservation practices like Cambodian classical dance. The Apsara, its aesthetic features and its association with Cambodian cultural preservation have taken on new meaning in Cambodia’s diasporic communities. In the diaspora, Apsara aesthetics have come to symbolize Cambodian heritage, history and identity, becoming a major feature of performances by Cambodian diasporic artists. However, orientalist expectations of Asian performers in the diaspora, paired with both the forgotten history of colonial intervention in Cambodian arts and state-sanctioned initiatives towards Cambodian nationalism, contributes to orientalist (and thus racialized) expectations of Cambodian diasporic performance. Mixed-race artists fail to fit neatly into the dominant narratives of Cambodian performance and have been marginalized by the Cambodian diasporic community’s dominant conceptions of performance that are rooted in cultural preservation. As people that sit outside of the aestheticized markers of Cambodian-ness, mixed-race artists often struggle to have their work and their subjectivities recognized by their communities. To circumvent questions of their racial legibility, mixed-race Cambodian American artists construct performances that are strategically padded with markers of Khmer identity by engaging with Apsara aesthetics. This article will explore how three different SoCal-based artists have negotiated their Cambodian American identity and cultural politics through performance and/or performance related materials (ads, images, etc.). I will be using examples from the work of music artist and violinist Chrysanthe Tan, theater practitioner Kalean Ung, and autoethnographic engagement with my own creative projects to show how examining the work of multi-racial Cambodian American performing artists can bring forth the complex dynamics of Cambodian diasporic cultural politics and belonging.

Reader-Writer Relationship: A Rhetorical Narrative Analysis of A Tale for the Time Being

Ruth Ozekis work A Tale for the Time Being has piqued world-wide interest in its thematic extensity and unique style. Previous theme studies on one of the novels most fundamental topics reader-writer relationship, proves insightful in understanding the novels artistic construction. In light of Phelans rhetorical theory of narrative, the paper intends to build on the interpretation of the novels aesthetic value by employing three of the core concepts of Phelans theory four dimension readers, narrative progression and narrative judgements to better demonstrate the significance of readers involvement not only in building, but also propelling and revealing the dynamics of the multilayered reader-writer relationship. By analyzing various engagements readers have with characters and the implied author, the paper shows that rather than through overarching explanations, the novel preserves the relationships elusive nature through a multilayered reading experience.

Psychic trauma and a special plot of short stories as a result of the incompatibility of personality and culture

The article discusses the features of the love-passionate plot in the stories of Ivan Bunin. The question is raised why Bunin, describing the strange or immoral acts of the heroes, does not condemn them, and in general draws a bright, sometimes sad atmosphere. Analysis of L. S. Vygotsky’s short story “Easy Breathing” by Bunin allows us to express an idea about a certain strategy for building Bunin’s works. Based on this consideration, the methods by which Bunin achieves the effect of perception of the characters he needs are analyzed. There are three such techniques: the convergence of the actions and behavior of the characters with the life and breath of nature, the depiction of the life of the characters from the point of view that Bunin needs, and the endowment of the characters with personality traits that exclude ethical characteristics and problems. The scientific explanation of Bunin's artistic constructions is based on the analysis of mental trauma (caused by the departure of the first wife and the horrors of the revolution), artistic understanding of the events that interest the writer, and the peculiarities of the conceptualization of these events. In addition, it is proposed to take into account that Bunin began and became famous as a poet, and as a poet he composed his prose partly according to the laws of versification.

TERMINOLOGICAL DISCOURSE OF THE ISSUE OF PREPARING FUTURE BACHELORS OF GRAPHIC DESIGN FOR CALLIGRAPHY USAGE IN PROFESSIONAL ACTIVITIES

The review article presents the terminological discourse of the issue of training future bachelors of graphic design for calligraphy usage in professional activities, which includes such terms as “art education,” “design-education,” “design,” “graphic design,” “calligraphy,” “font,” “font design,” “national font design,” etc. The essence of design as a form of art aimed at the artistic construction of the subject space by applying the potential of artistic and industrial production, decorative and applied art with the aim of aestheticizing everyday life, the professional environment on the basis of national, ethnic, cultural identity has been clarified. The analysis of the category “graphic design” has made it possible to clarify its definition as a type of design, the purpose of which is to provide visual communication and project visual and meaningful images, and signs through simultaneous artistic, project, technical, design activities and information technologies used for the purpose of visualization and aestheticization of the environment, creation of a high-quality information space at the enterprise, in the community, at the state level, etc. The author’s definition of national font design as a process of creating and reproducing fonts based on cultural traditions and historical features of certain people with the aim of preserving national identity is substantiated.
 It has been found that in modern art education, design education, primarily in the training of designers in institutions of higher art education, the problem of updating the content, forms, and methods of using calligraphy and font design on the basis of national traditions, substantiating the methodological principles of reproduction and creation of Ukrainian typefaces is actualized forms, typography, font using samples of national culture. Today, the national preservation principles of font design require a new understanding, the affirmation of traditions, and the study of historical experience, as well as the use of modern digital technologies, which will enable the strengthening of national identity in the field of design education.

Ancient Egyptian Houses during the Period of the Pharaohs Fayha’a Kadhim Jahy

Concrete evidence showed that civilization in the old Egypt had flourished due to a number of factors, most importantly the geographic factor. Geography had the greatest effect on facilitating the necessary elements to establish a civilized and prosperous state at the political, economic and urban levels. Undoubtedly, the most important element was the Nile River, without which Egypt would have been a desert.The Egyptians created the science of geometry and were innovators in building palaces and houses, starting from tablets to building large houses and palaces. Ancient Egyptians used materials that were brought from Canaan. They used plants such as wood and papyrus, as well as clay and stone such as marble and granite. All these factors, in addition to the availability of the workforce, helped in producing artistic constructions for building houses.

Logic of Artistic Construction and Operation of Subjects Based on the Art Theory of Steiner and Dewey

본 연구는 슈타이너의 ‘교육예술’과 듀이 ‘예술론’에 기초한 교과의 예술적 구성과 학습활동의 실천적 사례를 제시하는 것을 목적으로 하였다. 교육현장에서 예술적 요소를 가장 손쉽게 경험 할 수 있는 방법, 즉 질성이 본질인 예술작품으로 교과 내용을 구성하고 예술가가 작품을 제작하는 전 과정에서의 경험을 교육활동에서도 경험되기를 희망하며, 문헌연구와 실행연구로 진행하였다. 그 결과 첫째 교과의 예술적 구성은 연관성, 객관성, 효율성에 준거하여 예술작품을 선정하고 이를 문학장르로 재구성하여 텍스트화 하였다. 둘째, 문학 형식으로 재구성된 교육내용을 스토리텔링으로 진행하였으며, 이 과정에서의 몰입 체험은 흥미 유발과 학습 동기 부여의 근거가 되었다. 셋째, 스토리텔링으로 진행되는 수업 과정에서의 학습자들의 감상과 평가는 새로운 교육적 의미와 가치의 창출로 이어지는 창조된 교육적 경험이었다. 이러한 모든 과정은 수업의 질개선을 위한 교사의 확고한 신념과 부단한 노력이 전제될 때 가능함을 깨닫게 된 성찰의 시간이었다.The purpose of this study is to present the logic of artistic construction of subjects and practical examples of learning activities based on Steiner's 'Erziehungskunst' and Dewey's 'Art Theory', focusing on subjects. The content of the curriculum is composed of works of art whose quality is the essence, that is, the most convenient way to experience artistic elements in the field of education. Literature research and action research were conducted in the hope that the artist's experience in the entire process of producing works can be experienced in educational activities. As a result, the artistic composition of the first subject was based on relevance, objectivity, and efficiency, and the artwork was selected and reconstructed into a literary genre and converted into text. Second, the educational content reconstructed in the form of literature was conducted through storytelling, and it was found that the immersion experience in this process was the basis for inducing interest and motivating learning. Third, learners' appreciation and evaluation in the course of storytelling were created educational experiences that led to the creation of new educational meanings and values. All of these processes were a time of reflection that realized that it was possible when the teacher's firm belief and constant efforts to improve the quality of classes were premised.

Categories of things and words in the works of M. P. Shishkin (based on the material of the novels "The Taking of Ishmael" and "Venus' Hair")

The author puts forward the position that the nature of M. P. Shishkin's creativity is determined by the interaction of two trends: the preservation of a perceptually perceived thing in a word (the word in this case becomes an instrument for fixing a visible image of the world) and the use of a linguistic sign referring to a thing to create verbal and artistic constructions with immanent aesthetic significance. The writer's worldview position assumes that the ethical task of art (in the light of the research topic - the task of preserving the experience of perceiving the world) stand́t above the aesthetic (i.e. the task of creating an expressive art form). The author of the article proves that the poetics of Shishkin's novels is largely characterized by an "attitude to expression" (according to R. O. Jacobson), in which artistic discourse cannot be limited to the task of preserving a thing in a word. The analysis of the means of expressiveness and rhetorical techniques of the novels "The Taking of Ishmael" and "Venus's Hair" confirms the author's idea that the speech of Shishkin's heroes, fixing the results of perceptual interaction with the surrounding world, often turns into poetic speech, the "content" of which becomes the art form itself. Shishkin's creativity, therefore, exists only at the intersection of the two trends mentioned above. The removal of the "thing - word" opposition (with the value predominance of the former) is possible only in the context of a conversation about the novel "The Letter Writer", which the author of the article considers as an artistic text created entirely in accordance with the task of preserving the individual experience of living.

«Женская генеалогия» и «память» в прозе Н. Абгарян: к вопросу о гендерной нарратологии

Аddresses and analyzes the work of the modern writer N. Abgaryan in terms of the gender-specific features of the artistic representation of the issue of memory, for instance, the actualization of the category of femininity and its aesthetic potential in the texts of the author. The undertaken analysis of narrative mechanisms, plot-compositional and pictorial features of three major works revealed the dominant role of the representation of the female genealogical connection not only in the production of the artistic construct of memory, but also in the formation of the artistic concept of the author's works. The study shows how the emphasis on building a female pedigree, a related transgenerational connection at different levels of the text determines the narrative structure of the narrative act, which in the context of studies of the relationship between the categories of memory, narrative and gender / gender allows us to judge gender specificity of the creativity of both given author and women's writing as a whole. In addition, the inclusion of perspective of the representation of women's psycho-emotional and mental experience in the feminist theoretical discourse presented in the texts makes it possible to speak about the manifestation of the aesthetic potential of women's experience in the work of N. Abgaryan.

БУМАЖНЫЕ САМОДЕЛКИ В СОВЕТСКИХ ДЕТСКИХ ЖУРНАЛАХ И КАЛЕНДАРЯХ (НА МАТЕРИАЛЕ ИЗДАНИЙ «ДЕТСКИЙ КАЛЕНДАРЬ» И «ЗВЕЗДОЧКА»)

The subject of this study is paper handicrafts, which were offered as supplements to Soviet magazines and calendars for children. They are considered in the article as a phenomenon of Soviet mass culture in the context of the development of children’s creativity and play activities. Attention is paid to the constructors in the periodicals of the 1920s-1960s (“Murzilka”, “Det- skiy Kalendar” and “Zvezdochka”); their existence is linked to the ideas of personality building of a Soviet man, his general cultural development and socialization (including initiation to reading). In addition to forming the foundations of artistic and technical creativity and work culture, paper handicrafts solved the problem of a shortage of consumer goods, in particular toys. The annual publication Detskyi Kalendar (“Children’s calendar”) for primary and secondary school age which was edited by methodologist Elizaveta Grozdova in the 1940s-1950s is discussed in detail. It was a part of a Soviet child’s reading circle and could offer its readers a variety of self-made paper models and designs. The publication Detskyi Kalendar (“Children’s calendar”) reflects the characteristic features of the development of artistic construction, namely the transition from creating a toy using an already existing blueprint, by analogy with self-made models of the pre-revolutionary period, to making a blueprint or one’s own model.

The Art Applied to Business

The article presents an overview of Russian authors’ publications, mainly from the first issues of the journal “Technical Aesthetics” of the All-Union Scientific Research Institute of Technical Aesthetics (VNIITE). The purpose of this study is to highlight the controversial issues and problems relevant at the initial stages of forming the theory of a new type of artistic and industrial activities: technical aesthetics. The study’s relevance is determined by the fact that in the theory of design, at present, the aspect of the “art — design” linking is considered systemically incomplete. While the stages of the development of Russian design in chronological and biographical perspectives are covered quite fully by K.M. Kantor, N.V. Voronov, Yu.V. Nazarov, G.V. Vershinin and a number of other authors, but the theoretical aspects require further research development.The years of the Institute’s active work (1960s—1980s) are called fruitful in conceptual, scientific and creative terms, it was then that the professional model of the service and interaction between design and the planned economy was finally formed. The article shows that, at that time, intensive discussions of the main problems of artistic design and the provisions of aesthetics were reflected in regular publications of a number of periodicals, especially the journals “Technical Aesthetics” and “Decorative Art of the USSR”; and the difficult question of the criteria for evaluating the aesthetic qualities of industrial products turned out to be paramount. The term “artistic construction” implied the solution of the problem of bringing art and science closer to industry. In this process, in the discourse of the principles of technical and aesthetic creativity, all employees of the Institute — theorists and practitioners who would become outstanding design specialists — took part.The VNIITE’s activities met the demand of the time, the task of national importance — to establish mass production of a decent aesthetic level of industrial products. The period of 1964—1969 is the first stage in the study of the Soviet design formation history and is associated with intensive studying the heritage of the 1920s, introducing new materials into scientific circulation, formulating a number of new problems, and developing criteria for an objective assessment of many phenomena. It was accompanied by a number of difficulties in the relation between the settings of artistic construction and Russian art studies. This article justifies the importance of the work of the pioneers in the field of design in connection with other fields of art, and specifically with architecture and printing.

Research on the Artistic Construction of Luxury Brands from the Perspective of Brand Culture Communication

With the rejuvenation and diversification of the luxury market, luxury brands face the challenge of maintaining economic growth while considering the challenges of brand image building and customer loyalty. There is growing evidence that the younger generation of customers will gradually become the protagonists of the luxury market. One of the customer journeys they care most about is matching personal and brand values and the consumption experience. From this perspective, this article uses case studies, comparative studies, and literature research, taking Cartier Beyond Boundaries - Cartier Palace Museum Crafts and Restoration Special Exhibition as the main case. By comparing with other luxury brands’ art exhibitions in Asia, Analyze and study why contemporary luxury brands have increased their artistic construction and the relationship between luxury brand curatorial activities in the Asian market. By implementing the recommendations in this paper, Cartier can create a digital environment within the experience of its artistic curatorial events, facilitating interaction with their products, stories, and artworks.

Surface and Depth: Zurbarán’s Saint Francis in Meditation

Zurbarán’s iconic painting Saint Francis in Meditation is subtle in its complexity. Once the star work of King Louis-Philippe’s Galerie Espagnole (1838–48), where it captured the attention of art critics, painters, and poets, the painting was acquired by the National Gallery, London, in 1853. This essay seeks to sharpen our understanding of Zurbarán’s artistic construction of the work through an exploration of its various ambiguities. It argues that the tensions between surface and depth, so prominent in the painting, operate both visually and metaphorically. Adopting the practice of “slow looking”—a sustained and engaged visual analysis to produce a nuanced interpretation—this essay illuminates how the painting shapes its own reading as a commentary on the problem of sight.