View Of Art Research Articles

Art for art’s sake? Artists as partners in urban regeneration

ABSTRACT Responding to the polarized view of artists either being displaced or co-opted in urban regeneration, this paper unveils a middle ground in which artists also act as partners or co-producers in these processes. We illustrate this intermediary role in property development processes with reference to a case study of the Seaport Innovation District in Boston by drawing upon a survey of resident artists and interviews with artists, planners, architects and economic development specialists. The paper makes two contributions to the literature. It offers a fresh look at the dialectical relationship between cultural and economic modes of production by more fully integrating consideration of artists’ sensibilities and practice with those of a host of built environment disciplinary practices including architects, planners and real estate developers. As a result, it extends extant analysis of urban regeneration-led gentrification from its urban planning, geography and sociology disciplinary roots into the disciplines of architecture and real estate. Our findings lead onto a research agenda centered on consideration of the intermediary roles played by creative and cultural sector actors and how creativity might be captured to positive effect, in the production of the built environment.

Gendered landscape in Vietnam: women and ancient capital landscape in The Moon at the Bottom of the Well

Landscape criticism enables multi-directional viewpoints about the space, context, and habitual environment of human beings, from which physical elements surrounding people are brought to the critical vision and attached to cultural, historical, political, religious, and social elements. This article, applying jointly landscape criticism and feminist criticism, studies the relationship between landscape and gender being presented in the movie Trăng nơi đáy giếng (The Moon at the Bottom of the Well) by director Nguyễn Vinh Sơn, adapted from the same-titled short story by writer Trần Thùy Mai. How does landscape participate to the construction and presentation of gender issues, especially of women’s fate? In other words, how do people use landscape to re-construct and maintain gender structure and order in the society? From this viewpoint, the landscape becomes a gender agent that conveys people’s notions and concepts of gender. The filmmakers also become agents who use cinematic language to re-construct landscape and present gender issues through their artistic view.

A REVIEW OF MAIL ART WORKS IN TERMS OF ART PHILOSOPHY

Mail art emerged in the mid-20th century under the influence of movements such as Fluxus and Dada. It is generally defined as a type of artistic work sent via mail. Such artworks are often considered part of alternative art practice, disseminated using the postal system as a means of communication and transportation of works. Mail art is a populist art movement that focuses on sending small-scale works through the postal service. Mail art, which the artist uses as a means of expression, is a type of art that improves the artist's creativity, offers the opportunity to express himself in a different type of art, and can exhibit all forms of freedom (freedom of expression, freedom of creation, freedom of thought, freedom of will, etc.) as in other types of art. The artist creates mail art using his aesthetic perception with all his originality, because an aesthetic perspective is needed to create any art object. In order to examine this aesthetic and artistic view, technical and material knowledge is needed. Mail artists often use simple and inexpensive materials. These may include materials such as postcards, envelopes, stamps, newspaper clippings, stickers and handmade prints. Using a variety of techniques, artists can draw, create collages, or use other creative techniques on their posts. In this context, the importance of the aesthetic view of the designs made in mail art from past to present will be emphasized, and the mail art works made in various media and made by artists will be examined and how they are viewed from a design and aesthetic perspective will be examined. At the same time, art as a method in the art healing analysis of these treatments is viewed as an epistemological examination.

Fish Gutters in the Old Kingdom: A Statistical and Artistic View

Fish Gutters in the Old Kingdom: A Statistical and Artistic View

GHAZAL GENRE IN NIMA YUSHIJ’S POETICS

The article introduces the classical ghazals in the poetry of Nimá Yushíj (1897–1960) that were previously unexamined in Russian and Western Iranian Studies, and that provided an impetus for the development of this traditional genre in the contemporary Persian literature. Analysis of the canonic language signs of medieval lyrics by the “father of Iranian new poetry’s” sheds light upon the transformation of the author’s self-awareness in line with the original artistic manner. Conventional images and stable motifs of love lyrics, which have absorbed traditional mystical and allegorical connotations, are uniquely refracted in Nima Yushij’s ghazals. The semiotic and structural aspect of research along with the methods of historical poetics reveals the polysemanticism of classical motifs. The multi-stratified text structure turns out to be a tool for the poet to allegorically present his artistic view. In accordance with his intentions, Nima applies both the normative components of the formal plan (e. g., husn at-taxallus) and the execution methods that are not typical for the classical canon (frame text). To sum up, semantic and formal wholeness of Nima’s ghazals is observed.

Aesthetic principles of expressionism in modern architecture

The purpose of the article is to study the aesthetic principles of expressionism that influenced the development of modern architecture. An analysis of the concepts and means of artistic expression of the direction under study is proposed. The conditions for the emergence and formation of expressionism, its artistic methods of expression from conventionally realistic to abstract, as well as the manifestation of this direction of art in architectural design are considered. A brief analysis of the connection between expressionism and other parallel trends or movements of art of the twentieth century is given. Variations of expressionism from the standpoint of abstract art are identified, where the search for interactivity between the artist and the viewer in the process of visual perception of the painting is indicated. It is concluded that imagination is one of the main ways of artistic thinking in the process of author’s artistic design. The manifestation of the aesthetic principles of expressionism in the architecture of individual countries is considered. It has been revealed that expressionism in architecture is characterized by a departure from traditional forms in order to achieve the maximum emotional impact on the recipient. The study of the stated topic allows us to draw a conclusion about the relevance of expressionism at the beginning of the 21st century, which, with its traditions, continues the achievements of expressionism of the 20th century. and at the same time gives a new impetus to artistic expressions of the personal views of artists and architects on the ongoing processes in society. Parallels of the beginning of the 20th – beginning of the 21st centuries. revealed similarities in the aesthetic principles of the formation of the subject-spatial architectural environment. Expressionist techniques, means and methods of working on a painting or object are most accurately able to express the feelings of artists and architects, their psychological stress, the conviction that the viewer must go through a new experience while looking at an architectural or artistic work.

В. В. Верещагин и «изобретение» Севера в литературе и публицистике конца XIX–начала XX века (часть вторая)

The paper, based on the book “On the Northern Dvina. Through wooden churches”, considers the artist V.V. Vereshchagin’s perception of the North. It is shown that it is based on his professional and artistic interest in the monuments of traditional wooden architecture of the XVI-XVII centuries. The artist views the latter as a kind of classic – the pinnacle of Russian art, the personification of its tradition, destroyed or distorted by later stylistic experiments. Moreover, he even places them in a global cultural context, using very tendentious analogies based on his personal experience of acquaintance with the East. On the other hand, Vereshchagin is fully aware of and carefully records the ethnographic features of the Dvina area. Without dividing the North into regions or territories, perceiving it as a single nationally significant space, the artist resorts to subjective-emotional gradation as a means of differentiation: his assessment of the “quality” of a particular monument, settlement, or area is sometimes speculative, litereally depends on the mood. At the same time, the Vereshchagin text reveals key themes and motifs of the northern discourse of the 1890s-1910s, but otherwise articulated. Thus, the thesis that the North passed the peak of its development in the late Middle Ages is revealed through the interpretation of European and other borrowings in Russian architecture. The “remoteness” and “abandonment” of the region are shown as, on the one hand, the problem of “undermanagement”, inattention to the needs of the region, and on the other hand, a consequence of the weak infrastructure development of the northern provinces.

Still-life paintings of austere style in the work of the Ural artist E.I. Gudina (1921-1991)

The article examines the creativity of E.I.Gudin, People's Artist of Russia, a representative of the "austere style" in the Ural region art of the Soviet period. The still-life paintings of E.I.Gudin display not only originality, plastic expressiveness, and allegorical meanings of the era of the "austere style", but also the artist's personal views and his understanding and comprehension of the surrounding world. The artist's works are to be taken as an integral part of his life, his destiny and travels; all of them are autobiographical and carry deep symbolic content.

Svetlov, I., Lukicheva, K. and Arias-Vikhil, M., eds. (2023). Paris around the 1900s. Joséphin Péladan’s Society of ‘Rose + Croix.’ St. Petersburg: Aleteya. (In Russ.)

The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.

Empathy and the art of Leonardo da Vinci.

Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term einfühlung, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object 'into themselves'. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind-a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent-in gestures and facial expressions-the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy.

Handling Hazardous Biographical Materials: Dealing with Questionable Character Traits through Poetic Biography

ABSTRACT As a (poetic) biographer who has dedicated considerable time to wading through archives and other research materials, I have often found myself wanting my biographical subjects to reveal themselves not only to be interesting, intelligent, accomplished, but to be ‘good people’ also, perhaps sharing my own artistic and political views of the world. Occasionally, however, I have been confronted with information that has stopped me short. And I have asked myself ‘How do I deal with that?’ Percy Grainger, for example, thought that blue-eyed composers were superior. And George Balanchine’s name is frequently associated with poor treatment of female dancers (though many have jumped to his defence). Of course, life stories are much more complex than a singular focus on such details will allow, and a biographer must consider all angles. As this article will discuss – through reference to my own work and that of other poets – I am interested in how poetry’s many affordances have enabled me to approach difficult material in ways that adequately distance my own moral judgement from the text and instead encourage a more active readerly engagement with facts and/or ambiguous information.

“A Flight from History”? Nadine Gordimer’s Congo Journey

The aim of this article is to shed light on Nadine Gordimer’s political convictions in the context of the decolonization processes in the Belgian Congo (later the Democratic Republic of the Congo) in the years 1960–61. The article begins with a brief overview of Gordimer’s political views. It is argued that while Gordimer’s stance in the early 1950s had been that of liberal humanism (an influence that came to her also from the reading of E. M. Forster), by the end of this decade she began to question its relevance in South Africa. As a result, she decided to redefine both her political and artistic views, trying to forge a vision that would be more attuned to her position as a white writer in postcolonial Africa. This attempt is visible in her essay “The Congo River” (1961), at whose centre lies an ambivalence: while Gordimer welcomes the political transformation in Congo with cautious optimism, she also demonstrates a tendency to de-emphasize the country’s colonial history by focusing on the natural habitat and describing it as an ahistorical space. This notion of nature is, to a large extent, a repetition of the colonial vision of the natural environment, which Gordimer unwittingly perpetuated, creating her own example of the socioecological unconscious.

The role of flora and fauna in expressing the artistic view of the universe

The role of flora and fauna in expressing the artistic view of the universe

Violin Etudes of the 19th Century in the Aspect of the Evolution of Performing Mastery

"The article examines the role and significance of violin etudes of the 19th century in the evolution of European performing art. The contribution of the figure of N. Paganini and his creative work in the process of transition between the eras of classicism and romanticism has been determined. It has been noted that the artistic and aesthetic views of the Genoese virtuoso, which significantly exceeded the capabilities of his contemporaries, reoriented the didactic material. On the example of the etude collections of P. Rode and J. Dont – representatives of schools of various musical arts – it has been found that the opuses of the educational direction usually reflect the real state of performance of a certain historical period, the complex process of coexistence of the established tradition and innovations, reassessment of ideas about the semantic and technical potential of the violin. Keywords: violin etude, violin performance, 19th century, 24 Caprices in the Form of Etudes op. 22 by P. Rode, Etudes and Caprices op. 35 by J. Dont."

The Inheritance and Development of Traditional Chinese Needlework under the "the Belt and Road Initiative"

As an important part of the intangible cultural heritage, traditional Chinese women's needlework is facing the challenge of inheritance and development. The cultural connotations embodied in Chinese women's needlework art are concentrated in three aspects: the natural view of the unity of man and nature, the primitive folk view, and the artistic view of auspiciousness. It still has high social and cultural value in contemporary society. Therefore, in response to the impact of large-scale mechanized production, women's needlework culture urgently needs to innovate and develop through new designs, new techniques, new media, new ideas, and new models. At the same time, under the background of the "Belt and Road" construction, Chinese women's needlework, as a characteristic cultural business card, plays a role in international exchange and cooperation, cultural output, and China's image building. Providing constructive suggestions for its development and inheritance is conducive to promoting Chinese women's needlework to compose a new chapter of the Silk Road in the contemporary international arena.

The Thematic Interpretation of Robert Brownings Renaissance Dramatic Monologue

Robert Brownings dramatic monologue is a unique form in British Victorian literature. Its unique style reflects various characteristics of that time, and therefore, by analyzing Brownings dramatic monologues, various aspects of Victorian society and culture, as well as individual roles and struggles, can be deeply understood. Moreover, Brownings works provide rich materials and profound thinking for literary research, and hold an important position in the field of literature. In order to better explain the styles of his works, this article provides an in-depth analysis of Brownings two famous poems, My Last Duchess and The Bishop Orders His Tomb at Saint Praxeds Church. These current article examine characters, themes, and historical backgrounds, showcasing Brownings unique approach to Renaissance content. In addition, this study compared Brownings Renaissance dramatic monologues with three Renaissance poets: Shakespeare , John Milton and William Wordsworth , this comparative analysis highlights the uniqueness of Brownings perspective, the differences in understanding the Renaissance compared to his predecessors, and his contribution to the genre of dramatic monologues. In summary, this study aims to reveal Robert Brownings artistic views and the subtle differences in themes in his Renaissance dramatic monologues. It provides an understanding of Brownings unique position in literary schools and his contributions to the literary world.

The Serene and Harmonious Style of the Tea Poems by the Poet-Monk Qi Ji and Its Origins

In traditional Chinese culture, there are concepts of Zen and Tea as One and Poetry and Tea as One. The tea poems by the poet-monk Qi Ji integrate Zen, tea, and poetry, forming a unique style of serenity and harmony, also known as a style of qinghe in Chinese. This research paper focuses on the study of Qi Jis tea poems, exploring the qinghe style and its origins. Based on the analysis, conclusions can be drawn that his poem style of qinghe is reflected in both the choice of words and sentence structure, as well as the thematic content. In terms of the word choice and sentence structure, Qi Jis tea poems often employ gentle and plain language. In terms of the thematic content, they portray everyday tea-related activities with a calm and composed mindset. The emergence of the qinghe style can be attributed to two main factors. Firstly, it is related to Qi Jis identity as a monk, as Buddhist philosophy advocates for disengagement from worldly conflicts and inner tranquility. Secondly, it is connected to his pursuit of refined artistic views. Compared to the tea poems of other poet monks in the Tang Dynasty, Qi Jis tea poems tend to be more elegant.

Geodiversity photographed: An exploratory and iconographic study of geoheritage in protected areas

This paper is part of the scope of cultural geodiversity and mobilizes photography in order to understand the role it has played in the knowledge of geodiversity and in the recognition of geoheritage. To carry out this research, four books written and directed by specialists in the photographic medium were used. They allowed us to constitute a corpus of 88 photographs, 48 of which present a geodiversity now included within the limits of a protected area. They were taken between 1853 and 1999. These photographs were specifically analyzed according to three criteria: (1) the geological and geomorphological features that were the subjects of the images; (2) the location of the protected areas represented by these photographs; (3) the place and role of the photographs in the history of this medium (techniques and/or specialties). Three main results emerged from this exploratory study: The first concerned the nature of the elements photographed (typology of forms) and the “proto-geopatrimonialization” of this geodiversity (redundancy of photographs via the constitution of photographic series); the second specifically identified the links between protected areas and geodiversity via geological surveys, West Americans in particular, artistic views of abiotic nature and archaeological explorations; the third result showed the importance of geodiversity in the history of photography, and vice versa.

Viktor Kaminskyi’s Musical Universe

The aim of the article is to analyse V. Kaminskyi’s work, which, despite all the uniqueness of his personality, has not yet been clarified in Ukrainian musicology, and to chronologise his compositional heritage. Results. Thanks to the systematic analysis, the composer’s creative work was comprehended holistically in the context of national and world music, taking into account the value of each work as an artistic and cultural phenomenon. The composer’s work is defined as a complete style system that represents a significant creative heritage in various genres and builds its own, unique paradigm, which constitutes the modern layer of musical culture in Ukraine. The research results can be used in lecture courses on the history of Ukrainian musical culture, in various areas of musical and educational activities, as well as a base for further research developments. The key to a thorough study of the artist’s achievements should be the focus on the implementation of a comprehensive analysis of all components of his work, which is an effective tool for the deep understanding of his talent, going beyond the applied approach to highlighting all aspects of the master's activities in a multidimensional scientific and historical space. All this determines the scientific novelty of the study as the first experience of a special analysis of Kaminskyi’s compositional practice in Ukrainian musicology. Conclusions. Viktor Kaminskyi’s multifaceted creative heritage testifies to his artistic universalism as a phenomenon of Ukrainian musical culture of the late 20th – early 21st centuries. His music is perceived as a spiritual creed of the artist, which is distinguished by a special national dimension that radiates different facets of an original artistic view of the contemporary world.

Specifics of V. K. Kuchelbecker's artistic historiosophic views (based on the materials of his European Letters)

The question of artistic historiosophy is a problem that has been actively discussed in recent decades. Historiosophy is an area of interest for historians, philosophers and sociologists. Artistic historiosophy is directly related to the aesthetic side of works, this is the sphere of interests of literary critics; studying it, they comprehend the text, its images and plots in a new way, including them in various social, historical, moral and philosophical processes, revealing the peculiarities of the author's view of the phenomena of life - present, past and future. One of the insufficiently studied works of the Russian romanticist, representative of the Decembrist movement V.K. Kuchelbecker is examined in this aspect. The research material is the novel by Kuchelbecker "European Letters". The proposed work is based on the methods of historiosophical analysis of literary works and the historical-typological method. Scientific novelty of the proposed study is due to the fact that the issues of historiosophy in Kuchelbecker's "European Letters" have not been considered in the scientific literature. In the process of analyzing the "European Letters", the author's unusual view of the categories of the past, present, and future is revealed, which allows modeling the image of an ideal social world, on the one hand, and on the other hand, to give a detailed description of the socio–historical processes taking place in European and Russian life, the modern Kuchelbecker period, emphasizing the special Messianic path of Russia.