Artistic Life Research Articles

Театральное движение в Туркестане в конце XIХ – начале XX вв.

The article analyzes the national forms of theatrical art that existed in Turkestan in the pre-imperial and early period of the Russian Empire. The author shows the essence of the folk humorous art and clownery that existed in the region and points out how theatrical traditions changed under the influence of external factors. Rich, centuries-old traditions of folk theater in Turkestan have been presented. It is proved that after the conquest of the region by the Russian Empire, many changes took place in all its regions and were aimed at promoting the interests of the new government. This policy consisted in promoting European, Russian music and theatrical art. At the same time, Tatar and Azerbaijani theaters and artists began to come to Turkestan on tour, showed productions, and exchanged experience with local theater figures. Information about the repertoire of visiting and local theater troupes have been provided. The paper draws particular attention to the role of the Jadids in the formation of progressive theater in Turkestan. The advanced national intelligentsia mastered new ideas in culture and changed the local society. The paper demonstrates the importance of theatrical art for the socio-political life of Turkestan, reveals the formation of the Uzbek Jadid theater, and outlines the stages of the European theatrical art formation in the region. It is concluded that the creation of professional theaters in Turkestan in late 19th – early 20th centuries was accompanied by state policy on regulating their activities. The attitude of representatives of the local population, the government of the Russian Empire, and the Turkestan Regional Security Department to the theater have been discussed.

Semiotics of flora in the works of Frida Kahlo

This article provides a semiotic analysis of flora in twelve paintings by the Mexican primitive artist Frida Kahlo, and also examines a number of factors that influenced the appearance of certain plants in her works. The purpose of this study is a detailed analysis of the plants depicted in the selected paintings by Frida Kahlo and an attempt to interpret the symbolism of these plants based on information about the artist's life, her knowledge and research in the field of biology and the history of pre-Columbian civilizations. The authors of the article set themselves the task of demonstrating the non-randomness of the choice and the deep meaning of each plant in the paintings of Frida Kahlo, for whom the hobby of botany was more than just a hobby. The methodological basis of this work is the methods of critical and comparative analysis. The scientific novelty lies in the little-studied nature of this aspect of the Mexican artist's work. The authors of the article for the first time conducted a detailed analysis of the plants depicted in Frida Kahlo's paintings. Having studied the artist's paintings depicting plants, it was possible to identify three main themes of Frida Kahlo's creativity: fertility, the unity of man with nature and duality (the connection of a woman and a man, life and death, light and darkness). As a result of the research, the authors of the article come to the conclusion that all images with plants, even fictional ones, are a kind of self-portraits. A less obvious conclusion, due to the exceptionally narrow focus of the topic, was the identification of Frida's rarely mentioned botanics hobby.

Theatrical Guests of the Occupied Capital: Istanbul Tour of Azerbaijan Turkish Drama-Operetta Troupe

The research subject of this article is the Istanbul tour of Azerbaijan Turkish Drama-Operetta Troupe during the 1919 play season. As a result of the investigation of the cast, it was understood that the touring troupe consisted of artists from the Turkish Theatre of Tbilisi. Istanbul’s cultural and artistic circles who regarded the touring troupe as the theatre of the sister country, did not question the troupe’s affiliation at all. The troupe’s repertoire, which was performed on various Istanbul stages during the tour, mainly consisted of plays written by Azerbaijani dramatists. Turkish theatre critics, who evaluated the content of the repertoire as being oriental, appreciated the simplicity and national elements of Azerbaijani theatre. The organisation of the Azerbaijani troupe was a fresh breath for the Istanbul theatre audience, whose cultural and artistic life had been disrupted due to the occupation of Entente forces, while the actors of the touring troupe gained a great artistic experience.

Ketrampilan Seni Rupa Dua Dimensi (2D) Membuat Kolase Dari Biji- Bijian Untuk Anak Sd

We often encounter 2-dimensional works of art in everyday life. Where fine art itself is a branch of art that creates a work by using media that can be seen by the sense of sight and also felt by the sense of touch. Collage is a very beautiful type of drawing art. By using high imagination, in the end you will produce many amazing works. One branch of drawing activities is collage. In general, someone will then draw by making a sketch, namely using a pencil, then coloring it using dye.

Peranan Ilmu, Pengetahuan, Teknologi, dan Seni (IPTEKS) dalam Meningkatkan Kualitas Kehidupan Umat Islam

This article explores the relationship between science, technology, and art in an Islamic view, emphasizing religious attitudes and perspectives on the advancement of human thought and creativity. This study uses a literature study method. Information is obtained from literature reviews that include various sources such as academic journals, online articles, and relevant case studies. The analysis was carried out thoroughly on the data that had been collected, with an emphasis on the relevance of the information to the main theme of the writing. The results obtained from this study are that the application of science, technology, and art in daily life in accordance with Islamic teachings can create a balance between spiritual and material aspects, bring happiness in this world and the hereafter, and make a significant contribution to building a better human civilization.

Philosophical foundations of the study of the problem of involvement in additional education: encouragement and development of subjectivity of adult learners

The problem of the development of subjectivity of adult students enrolled in additional education programs occupies an important place in psychological and pedagogical research. In the development of vocational training programs, the personality of the student is an integral factor that encourages additional education and meaningful involvement in educational activities. The success of building a student's personality in the vocational education system depends on its active subjectivity and autonomy. The relevance of research is due to the difficulties associated with the ambiguity of understanding this concept and its substantive elements in the psychology of education. A promising area of research is the clarification of the concepts of subjectivity, the possibility of its development in the educational process of higher professional education in the synthesis of an interdisciplinary matrix of psychological and pedagogical knowledge. Philosophy provides many prerequisites and perspectives for analyzing and understanding the subjective position of students. The concept of subjectivity in philosophy lays the foundation for understanding the use of the potential of philosophical knowledge in improving psychological and pedagogical approaches to the development of subjectivity and autonomy of adult learners. Each of the existing directions can contribute to understanding the role of an adult in the educational process of vocational education as an independent subject. The conducted research is aimed at enriching the educational discourse on the problem of adult learner subjectivity in the expanding contexts of additional learning by analyzing three trends in the evolution of subjectivity in Western philosophy: from Protagoras and the sophists to Descartes' metaphysics and the antimetaphysical form of philosophizing in postmodernism. The author puts forward the thesis that philosophy can be successfully integrated into modern additional adult education. At the same time, it is possible to use the potential of both academic and practical philosophy, as well as philosophy as the art of life. The expansion of scientific discourse on the problem of subjectivity in psychological research actualizes the theory, ontology, epistemology and epistemological independence, which are of primary importance for the self-determination of an adult, his values and meanings.

Variety Show with Indonesian Culture among the Imperialism of Foreign Culture

Background: Variety show infotainment program that was successful in society and became a topic of conversation in public communication. Indonesian society in 11 cities was seen 90% happy to watch television in 2017. The program was full of gossip about the lives of artists at that time. The show gave birth to changes in ethical values that could damage the cultural order of the Indonesian nation as an eastern society that upholds good manners. Aim: The purpose of the study was to determine whether cultural values, religion, and social norms in Indonesian society are the main elements in every variety show broadcast on television. Method: The research method used a type of literature review with a qualitative descriptive approach through analysis of reports, articles, and library books, then analyzed descriptively inductively to produce conclusions. Result and Discussions: The results of the study, the government implemented the broadcasting law as a form of multicultural communication policy to control foreign cultural imperialism. Conclusion: The government implemented the protection of Indonesian culture through the broadcasting law and encouraged the emergence of multicultural values on Indonesian television.

Inverted Ekphrasis and Hallucinating Stochastic Parrots: Deleuzean Insights into AI and Art in Daily Life

This study explores the potential of contemporary large language models (LLMs) to achieve Gilles Deleuze’s goal of integrating art into daily life. Deleuze’s philosophy, with its focus on creative repetition, finds a parallel in LLMs, which replicate and innovate artistic styles by transforming text prompts into various artistic expressions. Although LLMs can very effectively blend and mimic these styles, they remain mere tools – as suggested by the metaphor of a stochastic parrot; the true creative force remains the human artist. Currently, these models are experimental, and their artistic outputs, while impressive, are still viewed as pastiches rather than genuine art. Nonetheless, we can expect advances that may soon enable artists to use LLMs to create genuine artworks.

Multidimensional Symbols and Metaphors of Tea Culture: Taking Lu Xun, Lao She and Zhou Zuoren's "Drinking Tea" as an Example

This paper focuses on the descriptions of "drinking tea" in the works of Lu Xun, Lao She and Zhou Zuoren, and probes into the multi-dimensional symbolism and metaphor of tea culture. Through the description of tea drinking experience, Lu Xun's Tea Drinking reveals the stratification, criticizes the privilege and detachment from reality of cultural elites, and emphasizes social responsibility. Influenced by the Japanese tea ceremony, Zhou Zuoren's Tea shows the idea of pursuing the art of life and spiritual cultivation, embodies the philosophy of "taking a break from the busy, enjoying the bitter", and reflects the change of mood; Lao She's Teahouse takes teahouse as a microcosm of society, reflecting class differences through different consumption of tea, revealing social decay, injustice and people's suffering. These works present the rich connotation of tea culture in literature from different angles, reflect the writers' outlook on life and social critical consciousness, and provide multiple perspectives for understanding the society and writers' thoughts at that time.

Women’s contributions to music education and artistic life in Albania (1900-1950)

Women music educators in Albania are the most important part of development of music education at different levels of education. The purpose of this study is to shed light on women music educators from 1900-1950, which have been active in public and private schools, churches, and community organizations. This study is the first that analysed the women’s contributions to music education in Albanian in the year 1900-1950 in the different public and private schools. The aim is to highlight the fundamental contribution of women music educators in a new generation of education and artistic life. It is also important to study this research because it provides historical insights about educational institutions that became cultural hallmarks over time. The article assumes the illustration of women music educators in Albania, the contribution for the development of instrumental-vocal pedagogy-music education and cultural life during the early 20th century, overcoming significant obstacles to pave the way for future generations and leaving a lasting legacy in the field. This research deals with the historical lack of interest of women in Albanian music education and artistic life between 1900-1950. Although women in the performing arts and in educational roles played an important part in this period. The path opened by these artists up for all girls and women to follow the path of teaching and art in Albania in a difficult historical, economic, social and cultural period. The research employs a qualitative (descriptive) methodology that encompasses the use of archival document analysis along with previous scholarship to develop a broad knowledge of the role of women in Albanian music education. The research is based on national programs and documents from the Central State Archive Primary sources are national programs, documents from Central State Archive, personal archive of artists especially of Jorgjia Truja. The results indicate that women educators played an essential role as pillars in the foundations of music education, but also of artistic life in Albania. People like Jorgjia Truja and Maria Kraja were very important in this: people who taught choral and instrumental work, and in a way invented vocal pedagogy. These women overcame significant societal and institutional barriers to create pathways for musical education and left a legacy that resonated long after their passings. Through this study, the contribution illuminate the struggles that brought them to the fore in the long struggle for full recognition of women educators in music. For future studies, it would be nice to go into further details about the contributions of women in Albanian music education and perform this study in other Balkan countries as well. Curricula should also reflect socio- cultural influences as perceived by women educators, fostering gender-sensitive pedagogical practices and mentorship schemes to inspire future generations of female musicians and educators.

SOCIETAL IDEAL IN THE FORM OF ARTISTIC CULTURE: CANON, NORM AS TOOLS OF CENSORSHIP

Understanding the social ideal and the peculiarities of its embodiment in artistic activity, the implementation of social control over sensuality through the artistic canon and norms has long been a controversial issue that affects both artistic creativity and social norms. This article examines how these constructions function as so-called "tools" of censorship in artistic culture and in the field of education. The purpose of the research is to determine the role of normativity and ethics in art, to consider the canon and aesthetic norm as established traditions, to analyze censorship as an institutional control over sensual activity, and also to find out the use of aesthetic means in gender education. The results of the study indicate the dual role of canon and norms: on the one hand, they serve as the basis of traditions and cultural identity, defining artistic life and preserving social values ​​over time. On the other hand, they function as censorship mechanisms, ensuring conformity and limiting the diversity of artistic expression. Such tensions are further exacerbated by the institutional mechanisms that ensure control over artistic practices, often mirroring dominant ideologies and power structures. By exploring a variety of historical facts and examples, we highlight how canonization and normativity can stifle diversity and crowd out alternative thought within artistic communities. The study examines the consequences of such censorship on the evolution of cultural discourse and the persistence of social inequality. The obtained conclusions indicate the need for a detailed study of the canon and norms in artistic environments, recognition of their role not only as cultural artifacts but also as tools of control. Thanks to a critical approach to the concepts justifying the need for canons and norms in artistic activity, the study advocates the idea of greater inclusiveness and openness of the artistic process, which questions established hierarchies and contributes to the creation of a pluralistic cultural environment. Consequently, this study contributes to ongoing debates surrounding artistic freedom and censorship, prompting researchers and practitioners to rethink the influence of canon and normativity on artistic innovation and societal ideals.

French socialism in the Argentine Partido Socialista: political dimensions of an uncomfortable presence (1890–1915)

Abstract The presence of French socialism in the Argentine Socialist Party is something of a paradox: the cultural weight of France in Argentina’s intellectual and artistic life from the nineteenth century until the first decades of the twentieth century had no equivalent impact on Argentine socialism. This is even more striking if we consider the intensity of personal exchanges, including a visit by Jean Jaurès to Buenos Aires in 1911. Of course, Francophilia was not unknown to these socialists, but their main leaders adopted a mostly critical approach towards French traditions, and later towards the Section française de l’Internationale ouvrière (SFIO), at least when compared to the Belgian and German socialist parties. This difference becomes even more perceptible when we compare the Partido Socialista (PS) in Argentina to other socialist parties from the same region. The thesis of this article is that the influence of French socialism served, in the early years of the PS in Argentina, to feed the leftist currents that opposed the leadership, promoting a revolutionary attitude on its part instead of its integration into the political system. At the same time, Jaurès’ immense international status as a socialist meant that his 1911 visit would facilitate the eventual integration of the Argentine party into the political system.

Self-identity's Construction Process in The Moon and Sixpence from Lacan’s Theory of the Mirror

In literature, the conflict between individual ideals and reality and the complexity of human nature are frequently discussed themes. Thus, in The Moon and Sixpence, the themes of life and humanity echo the core ideas of modernist literature. In the story, Strickland ditches his wife and children and travels to the South Pacific island of Tahiti to pursue his artistic dreams. Despite his poverty and illness, he did not care, regretting that he had not started making art sooner. Through Strickland’s artistic pursuits, the novel presents the contradictions between genius, personality, material civilization, modern marriage and family life, and a profound exploration of the meaning of life and the value of art. However, an in-depth study of the work reveals that the author spends much space elaborating on three significant female characters in Strickland’s life. This elaborate layout is not random but cleverly combined with French psychologist Jacques Lacan’s Theory of the Mirror, aiming to reflect his deep understanding and subtle changes in self-identity at different stages of life through the shaping and evolution of these female roles. Based on this observation, this study aims to explore the gradual maturity and deepening of Strickland’s self-identity view in his life journey from the perspective of the women around him. Through a detailed analysis of the complex relationship between these female characters and Strickland, the author hopes to reveal the dynamic changes in his inner world and his continuous pursuit of art and understanding of life. At the same time, this study also provides a new perspective for readers to re-examine and understand this classic work’s profound connotation and humanistic value.

Formative Evaluation of Post-Opera Live Discussion of the Center Cannot Hold Part 2 and Resilience Workshop

There are few studies of impacts of arts on recovery in schizophrenia, on audience and cast responses. We developed a formative qualitative evaluation of audience and cast discussions after viewing live performances in a university setting of an opera based on Elyn Saks’ journey from psychosis, teaching law and falling in love, coupled with pre-opera workshop on community approaches to resilience. Live discussions were conducted with audience, cast members, and workshop presenters after performance of the opera, with recording and transcription, and reflexive thematic qualitative analysis sequentially conducted by 3 investigators/2 event leaders). Across 3 events, there were 81 comments (65’10” total time) from facilitator, audience members, cast and creators. Key themes across participant groups were: (1) Connecting with the story; (2) Identifying “normal” lifestyles with mental illness; (3) Refocusing goals of care for providers; (4) Increasing awareness around mental health; with an overarching theme the value of art on mental health to highlight awareness of these issues. Live art events (opera with pre-workshop) on mental health with author with lived experience present, were noted by audience and cast as enhancing connection, enhancing understanding of mental illness and clarifying goals for care, through the shared experience of art. This may inform future research and art events on mental health.

Odishan Art and Artists in Ancient to Modern Era

Odisha has a rich cultural heritage, celebrated with great enthusiasm and joy, with art playing a central role. Our state observes 13 festivals across 12 months, where every mother becomes an artist in her own right, passing down this creative spirit to her children. This nurturing of artistic talent gives rise to a new generation of artists who continue to bring pride to Odisha’s art academy. However, despite the abundance of talent, there is a noticeable lack of documentation on the history of Odishan artists and their work. This oversight largely stems from the fact that past art historians did not undertake the challenging task of chronologically documenting the artists and their contributions. Consequently, today’s historians struggle to gather information about artists who have passed away. When questioned, some deny knowledge, while others, who may know, remain reluctant to share. Determined to shed light on Odisha's art and artists from a broader perspective, I sought to learn more by reaching out to close friends of deceased artists. However, their recollections were often colored by emotion, making it difficult to separate truth from embellishment. I then turned to the Academy of Fine Arts, hoping to find substantial information, but I uncovered only fragments, like shells scattered in the sea. Through this paper, the author aims to document various aspects of art and the lives of artists, spanning from ancient rock art to contemporary periods. However, capturing the entire narrative in a single paper poses challenges. Therefore, further discussions will continue in a separate series on the art and artists of Odisha. This paper serves as an introduction to the rich heritage of Odishan art and its creators.

Творчеството на художника Борис Денев за рубриката „Нашият дневник“ на вестник „Слово“ от 30-те и началото на 40-те години на ХХ век. (По повод 140 години от рождението на твореца)

Among the significant figures of our cultural and artistic history from the first half of the 20th century, the great Velikо Tarnovo artist Boris Denev (1883–1969) stands out – a prominent master of landscapes, of numerous military sketches, studies and countless drawings. Against the multiple and diverse fields in which he appeared during his life, his works, revealed on the pages of our periodicals published until the Second World War, remain out of the researcher’s attention today. “Slovo” newspaper (1922–1944) was among the longest-running Sofia dailies publications, with a significant role in the life of the intelligentsia. It was to it that Denev dedicated a significant part of his creative life fore more than a decade. The object of examination in the text is his writing and at the same time his artistic work for the newspaper column “Our Diary”. Boris Denev’s approach to visualizing his own literary texts is traced. The artist's work is divided into three main thematic groups: nature; war and politics. The texts, accompanied by numerous illustrations, clearly show Denеv's personal attitude to both art and various spheres of life, to which he remained not indifferent throughout his artistic career. Studying the littleknown material from the pages of the newspaper “Slovo” and highlighting parallels and interconnections in the text-image relationship would form a completely different picture of the remarkable and unique personality of the artist Boris Denev.

Съвременен атомистичен модел на изкуството. Част трета

The Contemporary Atomistic Model of Art sought represents an ontogenetic process of creation, communication and perception of the artwork in the environment that surrounds us and that is within us. Instead of immutable wholes (holism), we have infinite sets of processes of connection and disconnection, merging and splitting of “nuclei” (atomism) where interactions are clearly visible. Through art, thought of as the porous structure of society with permeable sites of relation, each image and each material form of an artwork is only a connective element with values and other forms that are transferable in society. This is a principle of dynamic connection in which form is a kind of representation and a potential condition of exchange. The in-between zone has been distinguished, bearing its own traditions and recognizing both the connectedness as well as the separate items that are connected. Fluid culture atomism (fluid atomism) is where we observe the dynamics in interactions in an ever-changing structure that is itself made up of separated atomic units briefly grouped into more complex molecular formations, with all the connections between them being impermanent and temporary. Both the internal structures and the state of the whole change. The interactions of individual units are a key factor in the analysis of processes in art. These processes are embedded in perishable, dynamically transforming networks of ‘private’ art worlds, the sum of which is not the Universal World but a momentary state in an ever-changing system. The relationship between the individual artist and the overall system of organized artistic life passes through interactions of a socialpsychological type in organized temporary groups of artists. This article discusses the possible relations between the field of social psychology and art. Emphasis is placed on the aspects of innovative artistic inquiry, discussed as the singular and the unique in art as opposed to the established order. Innovation in art is juxtaposed with innovation in social bonding as a social psychological problem of creativity. Individual creativity is compared to the creativity of groups and the particularities of the creative processes inherent to individual artists. Such an interpretation develops further the idea of an art world seen as impermanent and dynamically changing networks of ‘private’ art worlds. Among the autonomous zones defined by the individual and the group are found shared zones through which polar differences are harmonized. Individual artistic innovation is juxtaposed with innovative practices that are formed through the action of the groups.

Flies and other signs of rot: Surrealism and social critique in Manhua Shenghuo and Manhua he Shenghuo

Accused of being self-centred or disconnected from the needs of the nation or society, surrealism as a movement was given short shrift by some of the more Left-leaning members of the Chinese art world during the Republican era. Rather than Wei rensheng er yishu (‘Art for life’s sake’), surrealist artists (and modern oil painting in China generally at this time) were associated with the philosophy of Wei yishu er yishu (‘Art for art’s sake’) by politically engaged commentators and roundly criticized. However, this article demonstrates that surrealist themes and images in the work of artists Cai Ruohong (1910–2002) and Bide (likely Huang Shiying, n.d.) were in fact found in the pages of Manhua Shenghuo (Cartoon Life) and the magazine that continued its mandate, Manhua he Shenghuo (Cartoons and Life), and were effective vehicles for the dissemination of pointed Leftist social critique.

THE MEANING OF TAKSU IN HINDU SOCIETY

Globalization and modernization affect the lives of the Hindu community in Denpasar City, especially in the aspect of the Hindu religion. The cultural traditions of Balinese society hold many mysterious things. One of them is the conception of taksu, which is believed by many Balinese people in general, and Denpasar people in particular, to be the peak energy or spiritual power that is really needed in various aspects of socio-religious life, including Balinese artistic life. So that the taksu conception can be useful for artists (pregina) in producing quality and stunning works of art, it is important to look for the implied meaning behind the taksu conception. Based on this, it is necessary to reconstruct divine teachings (theology) through research on the meaning of taksu, especially taksu pregina (artists) in Hindu society in Denpasar City. Based on this description, this research discusses the meaning of taksu in Hindu society in Denpasar City, Hindu Theological Studies. The aim of this research is to find out, explain and analyze the meaning of taksu in Hindu society in Denpasar City. The theory used in analyzing the problem formulation in this research is symbol theory. This research uses scientific methods, literature study, observation and interviews. The meaning of taksu found in fulfilling the spiritual needs of the Hindu community in Denpasar City is: (1) the religious meaning as a symbol of all artists' activities (pregina) to build and awaken the power of taksu which is classified as a religious activity, (2) the meaning of bhakti as a symbol of all artists' activities (pregina) to build and awaken the power of taksu carried out with a sense of devotion as a form of offering to God, (3) aesthetic meaning as a symbol of all the artist's activities (pregina) to build and awaken the power of taksu is very full of aesthetic values originating from religion Hinduism (4) means respecting time as a symbol that time is a very valuable thing, a blessing and gift from God given to every human being. , and (5) the meaning of work professionalism as a symbol for humans to work in their profession (gina) in accordance with the talents (guna) they have had since birth.

Polyculed: A Writer’s Tale of Surviving the Pandemic and a Polycule

Through the lens of life writing, this essay explores contemporary and historical polyamory and its relationship with identity-formation and artistic personae. In particular, the essay triangulates the lives of Virginia Woolf and members of the Bloomsbury Set with a current-day polycule of artists. Polyamorous sexual identities and politics are further explored through descriptive depictions of social class, mobility, and wealth, especially within the realm of academia, and examines how the resultant poly lifestyle bears upon the lives of creative writers, literary scholars, and artists.