Examples Of Art Research Articles

Is There an Aesthetics of Political Song?

Abstract Some think politics and art should not mix. The problem with this view is that politics and art were always entwined. Human experience is structured politically, even if much of it is not. Here, I illustrate this with a series of artistic examples that take us from work songs in a Mississippi 1940s forced labour camp to a desolate dead forest landscape in a former Krasnoyarsk gulag, evocative of a Paul Nash World War I painting. Powerful artworks help us to come to grips with human experience, more than merely “expressing emotion”. I treat songs as representations, looking for a way their political significance is part of their aesthetic value. To do this, I defend James Young’s (2001) concept of “illustrative representation” as bridging the gap between formalism and contextualism. But instead of Young’s “Wollheimian” (resemblance between experiences) approach to how such representation works I draw on Kulvicki’s (2020) notion of “syntactic parts”, combining it with Carroll’s (2016) concept of form as the “ensemble of artistic choices”, and Black’s (1954-55) frame-and-focus model of meaning in metaphor. Hopefully, in the end I will have clarified the ways in which (some) songs are both politically and aesthetically meaningful.

Landscape in the figure

This article asks whether we can make embodied sense of the Anthropocene, and if so, how we might locate ourselves in a more empathic relationship with the non-human world? By feeling, at the personal scale, the part we play in the natural systems that support life, we may become more able to make the necessary changes in our actions to address the global-scale degradation of nature. I discuss somatic and creative practices that offer tools for cultivating a sense of presence in and as nature, giving examples of artists’ creative practices, including some of my own choreographic explorations aiming to embody the ‘landscape in the figure’.

Проблема репрезентации травмы и роль искусства в свидетельстве невыразимого опыта

The article discusses approaches to the problem of traumatic experience and its representation, describes the discussions in trauma studies related to unpresentable and evidence, and the problems of the photographic image. The article reviews the theory of affect in connection with the analysis of the art of trauma. The author examines the meaning of dialogue and comes to the conclusion that art can become a place where it is possible to hear the voice of a wound, to share the pain of Another. The author analyzes the transitive role of art in the experience of the past on the example of conceptual artists — Doris Salcedo and Alfredo Jaar. Alfredo Jaar’s installations, which include documentary photographs, are analyzed from the point of view of the concept of punctum and correlate with the idea of affect.

AZERBAYCAN ŞİİR DİLİNDE ZAMAN KONSEPTİNİN SANATSAL FELSEFİ VE BİLİMSEL TEORİK MESELELERİ

Azerbaycan şiir dilinde zaman konseptinin stilistik özellikleri, sanatsal felsefi düşüncenin ifadesinde zamanın metin konstrüksiyonlarındaki ifade imkȃnları, sanatsal yaratıcılık sürecinde zamanın kognitif kategori gibi kavranılması meseleleri incelenmiştir. Bedii düşünce tarihinin tüm aşamalarında – eski folklor örneklerinden çağdaş bedii örneklere kadar bedii (sanatsal) fikrin estetik, emosyonel ekspresif, poetik dil katmanında zamanın stilistik semantik imkânlarına rastlayabiliriz. Somut sanatsal örnekler üzerinde zaman bedii konseptinin ifade araçlarının gözlemlenmesi, zamanın ifade araçlarının fonksiyonel (işlevsel) stilistik imkânlarının incelenmesi zamanın kognitif kategori olarak görünümlerini belirlemekle yanı sıra Azerbaycan şiir dilinin gelişim eğilimlerini, etno-psikolojik faktörleri, duyguların ifadesinde bireyin kognitif psikolojik doğrultularını araştırmaya olanak sağlıyor. Araştırma istikameti çok yönlü olduğu gibi elde olunan sonuçların uygulama doğrultuları da çeşitli oluyor ve bu yönler hayatın, doğanın, toplumun çizgisinden kenarda değil. Zaman, mekân və hareket gibi kategoriler (ulamlar) kavram ve düşünceye ait tüm bilgi yükünü semantik içeriğinde taşımaktadır. Algının bir kavrama dönüştürülmesi sürecinde, zamanın kavramsal olarak anlaşılması, bilimsel yaratıcılıkta ayrı bir yöndür. Bilimsel yaratıcılık sürecinde, zamanın dilsel içeriğinden ziyade zamanın felsefi içeriğinin anlaşılması öncü bir rol oynamaktadır. Aslında zamanın bilişsel bir kategori olarak algılanması, zamanın felsefi algısı ile başlar. Zamanın dil katmanındaki ifade araçları, dilbilimsel araştırması için koşullar yaratır. Bundan şu sonucu çıkarabiliriz, bilişsel bir kategori olarak zamanın incelenmesinin, zamanın felsefi ve dilsel bir yönde incelenmesini içeren daha genel bir konu olduğu sonucuna varabiliriz.

Arts of Living on a Damaged Planet: Ghosts and Monsters of the AnthropoceneAfter Extinction

Arts of Living on a Damaged Planet: Ghosts and Monsters of the AnthropoceneAfter Extinction

FEATURES OF THE ARTISTIC LANGUAGE OF THE SIXTIES IN EASEL GRAPHICS

The study highlights the features of the artistic language of artists of the sixties in easel graphics of the second half of the XX century in Ukraine. The influences of the artists' worldview principles formation and works of graphic art on the example of several artists of the sixties, namely A. Gors'ka, A. Zubko, Y. Logvin, and others are characterized. We made a reappraisal of the factors and origins of the art formation that differ from socialist realism, and the circle of like-minded people who formed Ukrainian culture in their worldview. The period of the sixties of the last century in Ukraine can be described as a nationwide rise of national self-consciousness, the development of new visions and views. Artists sought to embody ideas, to realize their visions on canvases already departing from the ideological guidelines of the ruling regime. However, this path was often thorny for the artist. It worth noting that during the so-called "thaw" the works of individual artists and their position had a duty to reveal the essence of what was happening in culture, art, society, and the state as a whole.The purpose of the study is to identify and trace the features of the artistic language of the artists of the sixties in easel graphics.Keywords: Artists of the sixties, artistic language, Ukrainian culture, graphics, XX century.

HARMONY AND DIFFERENCES BETWEEN RELIGIOUS STUDIES AND RELIGIOUS EDUCATION

The article describes the connections and differences between the concepts of religious studies and religious education. It has been analyzed that religious studies and religious education are separate forms of approach to the study of religion and the methods used in this regard. The views of representatives of the field of religious studies and religious education on the understanding of universe are interpreted through mental and artistic examples.

Reasoning God

In this Presidential Address I consider the vocation of the theologian. In the busy-ness of teaching, research and especially administrative work, our calling to the discipline of theology is easily overlooked. I offer examples of theologians and artists who speak of their vocation as more than career or even profession. Teaching the essential hard work of hope and theological diligence sets up our students to make constructive difference in their own fields. Maintaining a robust, encouraging, professional association in the Canadian Theological Society ensures the enhancement of our vocation. The occasion of this address, the sixty-fourth Annual General Meeting of the Canadian Theological Society (CTS), is an opportunity to honour this vocation.

(Not an) ambivalence toward Michelangelo in Federico Borromeo’s De pictura sacra and Musaeum

This article discusses the role of Michelangelo Buonarroti in the Seventeenth-century art theory treatises of Cardinal Federico Borromeo De pictura sacra and Musaeum. In the referred text we can notice an ambivalent approach to the artistic genius of Buonarroti. In several cases Borromeo mentions Michelangelo as an artistic example who equalled or even exceled the great artists of Antiquity, albeit in other paragraphs the author criticises the artist for his aesthetic fallacy. A close reading of De pictura sacra and Musaeum, as well as an analysis of Borromeo’s didactic programme in the newly established Accademia del disegno in Milan allows to heed that Cardinal was rather an admirer of Michelangelo’s personality and talent. In De pictura sacra Buonarroti and other Renaissance Masters serve a rhetoric function and allow to conceptualise the theological and aesthetic framework for a post-Tridentine Catholic religious art.

The textological analysis of the “Menakib-i Ibrahim Gulshani”(on the basis of scientific-critical text)

The literary and linguistic activity of Muhyi Gulshani, one of the ancient poets and linguists were analyzed. His work called "Menakib-i Ibrahim Gulshani" is one of the examples of ancient art giving some information about the development of literature science in the Middle Ages and compare it with the current state of science as a whole can give us a basis to determine the development of science in the ancient times and its modern level. Without knowing the past it is not easy to step up to future. The basic aim of this study is: 1) to carry out a textological analysis of the work, 2) to make a tour to the creative activity of Ibrahim Gulshani, 3) to study his life through "Menakib", 4) to introduce him to the people of the Azerbaijani where he was brought up, 5) to analyze his artistic examples in the literary-stylistic direction, derived from his poetic ability, 6) to promote the poet’s literary heritage, and figurative-emotional creative talent in the context of entire East. One of the most highly cultered and most intelligent people of his time Ibrahim Berdei was known in the literary history of Turkey under his makhlas of Gulshani. Great murshid or spiritual guide Gulshani`s teachings and doctrinal foundations of the Gulshaniyya, socio-political events circulated in Egypt were narrated in “Menakib”. This study investigated İbrahim Gulshani`s poetic style along with an observation of his taking advantage of his predecessors, his truthfulness to the traditions of devoting poems to his penpals, and citing the creative activities of prominent poets, to discover his true coordination with elements of folk literature. Based on scientific-paleographic description and graphic peculiarities of the manuscript, this study are also aimed at doing textological analysis of the critical text of the literary monument, its literary linguistic structure, and individual professional style, its literary creative method, its use of traditions and innovative tendencies.

Gender and “Race” Enigmatic Signifiers: How the Social Colonizes the Unconscious

ABSTRACT This article highlights the process by which cultural messages relating to the contingent categories of gender and “race” manage to infiltrate the individual unconscious. The author first discusses the introduction of gender into French psychoanalysis by Jean Laplanche and its original expression with the sexual drive theory. He thus explores the ambivalent gender assignments implanted in the child’s body ego by a constellation of seducing caregivers and other invested adults who, as cultural purveyors, inscribe the social. These prescriptions, which are contaminated by the adult’s drive-fueled and overknowing unconscious, are enigmatic for both the sender and the receiver. Hence, they need to be deciphered through the psychic work of translation by drawing on relational, anatomical, and social codes. The author subsequently calls on the contributions of feminist and gender studies as well as contemporary American psychoanalysts in order to propose an “overinclusive” model of the enigmatic messages “to be translated.” This model underscores an intersectional approach to identity categories by considering power relations and cultural patterns of oppression. The suggested analytic grid is then extended to the paradigm of “race” by reading skin-color bias in the light of clinical, artistic, and theoretical examples.

Vera Lynn, 1917-2020

KEYWORDS: Vera Lynn“We’ll Meet Again”“the Forces’ Sweetheart”“Sincerely Yours, Vera Lynn”“Auf Wiederseh’n, Sweetheart”British nostalgia

Leonardo e il ghiaccio: l’interesse di Leonardo per l’arte fiamminga e viceversa

Leonardo and ice: Leonardo’s interest for the Flemish art and vice versa The aim of the article is to underscore the importance of cultural exchange: on the one hand Leonardo’s knowledge of Flemish oil painting techniques at the beginning of his career made it possible for him to improve his style; on the other hand his influence extended in an early stage to the Low Countries, and concerned thematical choices. The first part of the article focuses on the period in which Leonardo, during his apprenticeship in the workshop of Andrea del Verrocchio, became aware of the significance of the new oil technique, which had been imported in Florence due to economic contacts with Bruges in the fifteenth century and the role of Florentine families such as the Medici, the Portinari and the Pagagnotti. The possibilities of the new oil painting technique were explored in Florence in the workshops of Verrocchio and the Pollaiolo brothers. A signature in the Codice Atlantico testifies that Leonardo himself was acquainted with members of the Portinari family, active in Bruges. Knowledge of Flemish art became essential in technical and formal aspects of his first female portrait, the Portrait of Ginevra Benci, which had been ordered by Bernardo Bembo as a pendant to his own portrait, painted by Hans Memling during his mission in Bruges as an ambassador to the Venetian Republic. The second part intends to invert the focus and to study Leonardo’s influence on Flemish art by presenting several paintings on the subject of Jesus and Saint John embracing. This iconographic subject originates from a composition, once in the royal collection in Mechelen, of Leonardo’s pupil, Marco D’Oggiono. The Flemish painter Joos van Cleve probably saw it and started to produce many paintings on this subject in his workshop in Antwerp. These works were so successful that over fifteen of them survive in different collections in Europe, and constitute a good example of Flemish artists’ interest in Leonardo’s art.

Facial Paralysis in a Babylonian Plaque.

A terra cotta plaque [LMU 2551] from the Neo-Babylonian period (c.629-539 BCE), housed in the museum of the Archaeology Center at Loyola Marymount University, Los Angeles, is a representation of right peripheral facial paralysis. Ancient representations of pathology are rare and often difficult to identify. This is particularly true of Assyrian-Babylonian cultures where, despite numerous surviving medical texts, artistic examples of disease are almost non-existent. Precise caliper measurements and archaeological analysis of LMU 2551 were used to confirm the authors' hypothesis. The facial distortions portrayed in LMU 2551 are not accidental. Measurements show a pronounced asymmetry of the lower face where the length from the mid-philtrum to the oral commissure and from the lateral edge of the ala nasi to the mid-ipsilateral nasolabial fold are twice as long in the left than in the right side. The left eye is closed, whereas the right is widely open. The described plaque is among the oldest representations of facial paralysis on record. It correlates with contemporary Babylonian texts describing neurological disorders but its function is unknown.

Music, Art, and Kinds of Use Values

This essay uses musical and artistic examples to raise questions about Marx's conception of the nature of use value. I uncover some respects in which concrete use values can be economically consequential in ways that go beyond simply constituting an abstract precondition (as the basis of demand) for the saleability of commodities. The categories of ‘production-tracking’ and ‘really unsubsumable’ use values are described and analyzed, also with the aid of considerations drawn from the realms of music and art.

Aleatoriedade como tecnologia especulativa: O randômico como instrumento na arte e no design

O texto discute a atualização do papel da aleatoriedade em processos criativos (poiesis e práxis), tanto em campos específicos quanto nas fronteiras colapsadas e movediças entre arte, design e tecnologia. Apresenta o dispositivo/código_Cubo Branco_exemplo de creative coding, obra criada utilizando parâmetros randômicos e por fim investiga exemplos artísticos, lógicos e tecnológicos enquanto possibilidades de se parametrizar o acaso como processo criativo.

“Fragile Possibilities”: The Role of the Artist’s Book in Public Art

Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of such work. This has been accompanied by a growing interest in the artist’s book as a public artwork in its own right. These two distinct yet interrelated approaches form the subject of our essay. Drawing on examples of artists’ books held in the Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute as well as from our own curatorial practice, we argue that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art and provide an important space in which to critically engage with the complexities of place.

Mesnevis by Nizami in the famous historical source of the 13th century

In the article it is said about the 13th century monument dealing with the history of the mighty Turkish Seljuk sultanate – in the art work ((سلجوق آل تاریخ در (السرور آیت و الصدور راحت” (Signs of peace of mind and joy” (About the history of Seljuk dynasty) by Abu Bakr Najmaddin Mahammad ibn Ali Ravendi, in his work the prominent Azerbaijani poet of the 12th century, the world literature treasure of humanism, human values, philosophical wisdom, moral and spiritual qualities, tolerance, human and personality factor, absolute justice, etc. the place and objectives of the artistic samples used by the genius Nizami Ganjavi who enriched them with the ideas that are actual for today. The author has noted that the “masnavi”s by Azerbaijani poet and thinker Nizami Ganjavi are valuable and reliable sources for studying the certain periods of the history of Azerbaijan and the Turkic world as a whole, especially their historical personalities and statesmen. In other words, the first “Khamsa” of the world literature is not only a pearl of the artistic art, but also an invaluable historical source. Therefore, Mahammad Ravandi writing the work about the history of the Seljuks appealed to the “masnavi”s by the prominent masters of the East such as Abulgasim Firdovsi, Khaja Nizamulmulk, Nizami Ganjavi and others, it was completely natural for him to strengthen it with the artistic examples and of course, it is proved once again by the content of the verses he chose. Key words: history, Seljuks, Ravendi, art work, Nizami, “Khosrov and Shirin”, “Leyli and Majnun”.

Stages of European Romanticism: Cultural Synchronicity across the Arts, 1798–1848 by Theodore Ziolkowski

 Reviews weakness, it is a tendency towards facile generalization. When Goethe consulted with his two guides as he and Tischbein ate their midday lunch on Vesuvius, it was hardly an image of sociability and egalitarian ‘commensality’ (p. ); he simply wanted to discuss their next steps. But such occasional lapses cannot detract from a masterful work rich in detail, organized with compelling logic, and presented with vivid clarity. P U T Z Stages of European Romanticism: Cultural Synchronicity across the Arts, –. By T Z. Rochester, NY, and Woodbridge: Camden House. . xiv+ pp. £. ISBN ––––. For his latest book, eodore Ziolkowski, one of our foremost comparatists, has chosen a device that is as astute as it is engaging. In order to gain a new perspective on Romanticism he treats all three major arts—literature, music, and fine art—as well as politics by comparing examples created in five specific years ranging from  to . He treats thirty-three works in all, including such masterpieces as Schubert’s Winterreise () and Constable’s Hampstead Heath (). By means of these cross-sections, or tranches, as he calls them, he aims to demonstrate the synchronicity of Romantic art across Europe. e rigour with which he pursues his theme throws up numerous unexpected juxtapositions, including Rossini’s Mosè in Egitto and Hoffmann’s Die Serapionsbrüder (). is device proves wonderfully illuminating. e two main approaches Ziolkowski combines are the historical narrative and close reading. Readers familiar only with his literary-critical skills may well be surprised by the expertise with which he treats his musical and artistic examples; for he brings the same suasion to bear when interpreting Beethoven or Rossini as when explicating Mary Shelly or Poe. e result is a cornucopian chef-d’œuvre, as rich in individual insights as it is insightful in expounding the coherence of Romanticism as a whole. e opening chapter is in some ways the most remarkable as it brings together several groundworks of the new movement, including Beethoven’s Pathétique, Wordsworth and Coleridge’s Lyrical Ballads, the Schlegel Brothers’ Athenaeum, and Goya’s El sueño (). Each of Ziolkowski’s analyses brings new insights, enriched by surprising cross-references, such as between Anne Brontë, Dumas fils, and Grillparzer. But perhaps the most significant comparison here and indeed in the whole book is that between Wordsworth and Coleridge on the one hand and the Schlegel Brothers on the other. It is characteristic of the nascent movement that in both Germany and Britain it began with collaborative efforts which set a new tone subsequently taken as a point of reference by a whole generation. Ziolkowski pinpoints several features that define the new sensibility: an evolution from existing forms; a sense of mystery and the demonic; Romantic irony; and a new fragmentariness. It is to be hoped that future studies of Romanticism will develop these insights and follow the path here mapped out. roughout, Ziolkowski reveals a passion for the arts that marks him out as MLR, .,   a humanist. In his view art is life-enhancing. His default mode is celebration. He includes precise philological details—the dates of composition and publication and so forth—together with affective criticism touching on the emotional value of his exhibits. When exploring the ambiguous ending of Schubert’s Winterreise, for instance, he combines the views of previous experts, notably Charles Rosen and Ian Bostridge, with his own sense that it is not death but alienation that defines this tragic song cycle. He is wonderfully apt in his quotations, too. In treating Scott’s e Fair Maid of Perth he takes issue with Georg Lukács’s phrase (borrowed from Balzac) that Scott displays a ‘conservative philistinism’, and in so doing ‘rescues’ Scott, arguing that he introduced a new historicism to Romanticism, suitable to a growing bourgeois audience. By thus subtly attending to context Ziolkowski restores allure and dignity to an unvisited monument. We read, see, hear, and feel anew in his company. Ziolkowski’s voice is simple, clear, unassuming. He wears his immense erudition lightly. Although he is discussing one of the most debated themes in all criticism, and certainly does not lack sophistication, he seems to approach it...

Del auge del arte textil a la investigación personal.

Este artículo consta esencialmente de dos partes. La primera constituye una breve revisión del papel de la mujer en la sociedad y en el arte a través del arte textil. En ella se analiza cómo la actividad textil tuvo gran influencia en la incorporación de la mujer en el mundo laboral y cómo el fenómeno de la incorporación de la mujer al mundo laboral se produce de modo paralelo a su incorporación al mundo del arte y a la valoración del arte textil. Revisaremos algunos ejemplos de las artistas que han empleado o emplean el lenguaje textil para expresarse en el terreno artístico como afirmación de su identidad femenina.
 En segundo lugar, expondré los principales aspectos de mi propia investigación en el campo del arte textil, por medio de la técnica que denomino “Collage cosido”. Las obras realizadas con esta técnica tienen las características propias del collage ya que ensamblan distintos elementos, pero además se unen cosiéndolos. De este modo, puntada a puntada, se reproducen las líneas propias del dibujo. Así se aúnan las características de la pintura o dibujo tradicional con el arte contemporáneo y la expresión de la mujer desde la perspectiva de género. This article consists essentially of two parts: the first part is a brief review of the role of women in society and in the textile art. In that, it is analyzed how the textile activity had a great influence in the incorporation of the woman in the labor world and how this phenomenon occurs in parallel to her incorporation into the world of art and the valuation of textile art. We will review some examples of artists who have used or use the textile language to express themselves in the artistic field as an affirmation of their feminine identity.In the second part, I will expose the main aspects of my own research in the field of textile art though the technique, I call “Sewn collage” the works made with this technique have the characteristic of the collage since they assemble different elements but also join them by stitch, the proper lines of the drawing are reproducer. The characteristic of the painting or traditional drawing are combined with the contemporary art andthe expression of the woman from the perspective of the gender.