High Art Research Articles

Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)

This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.

«Рапсодія», «Скерцо» та «Балада» для фортепіанного квартету Йозефа Маркса: пізньоромантичні принципи формоутворення

У статті розглянуто «Рапсодію», «Скерцо» та «Баладу» для фортепіанного квартету австрійського композитора Йозефа Маркса (1882–1964). Проаналізовані стильові та світоглядні зв’язки даного твору з пізнім романтизмом. Встановлено, що всі три частини утворюють єдиний камерно-інструментальний цикл: об’єднавчими факторами виступають інтонаційно-драматургічні зв’язки, а також прийом синтезування стильових елементів різних музично-історичних епох. Так, в «Рапсодії» перевтілені основні риси симфонічних поем Ф. Ліста, «Скерцо» та «Балада» синтезують елементи романтичного скерцо, бахівської поліфонії та побутової музики Відня. Виявлені риси індивідуального стилю Й. Маркса, серед яких – епічні масштаби композиції, вишукана гармонічна мова, майстерне володіння ансамблевою фактурою.

Why Are We Reading This? Hermeneutic Inquiry into the Practice of Teaching (with) Literature

Drawing upon my own experiences as a high school English Language Arts teacher, I seek a satisfying response to offer students when they ask, “Why are we reading this?” Such a query often leads teachers and students to consider broader questions of the purposes of literature. This paper presents a hermeneutic exploration of the practice of teaching (with) literature in the high school classroom. Using the writings of Gadamer (1989/2013) and Sumara (1996, 2002), and their conceptualizations of aesthetic (literary) experience, I outline a process of engaging with students in their desire to understand their roles as readers in the classroom. In doing so, I make an argument for playful and dialogic interactions between reader and text – an approach that both retains the integrity of aesthetic experience, and also invites a relational pedagogy among those who share a literary reading.

«Большая форма» в отечественной рок-музыке 1970–1980-х годов (на примере творчества ВИА «Песняры»)

The article examines the development of the “hybrid” genres and forms in Russian rock music of the 1970s and 1980s. The movement to the direction of large-scale stage form progressed from two sides – the academic tradition expanded and renewed its genre and style spectrum with the aid of the means of rock music, while rock aspired to the level of “high art.” Notwithstanding the difficult conditions of existence and the ideological pressure, rock ensembles were able to realize their large- scale artistic conceptions. The attention of the author of the article is concentrated on the genres of rock opera and rock cantata and their examples in the artistic work of VIE (vocal-instrumental ensembles), which have previously not been examined in research literature. The main material is presented by musical compositions from the repertoire of the Belorussian VIE “Pesnyary” – the rock opera “Pesn' o dole” [“The Song of the Lot”] (music by Vladimir Mulyavin) and the rock cantata “Guslyar” [“Psaltery Player”] (music by Igor Luchenok). They are analyzed in terms of the peculiarities of dramaturgy, the development of the storyline and of musical thematicism, the sound texture, the figurative characteristics of the protagonists, the stylistic synthesis (on the basis of folk music, various trends in rock music, jazz and popular song); examination is made of aspects of stage performance and studio recordings. The conclusion is arrived at about the close proximity of such types of experiments of the VIE and rock groups to quests of the academic musical tradition of the second half of the 20th century. Keywords: rock music, rock opera, rock cantata, rock theater, VIE, vocal-instrumental ensemble, “Pesnyary,” Vladimir Mulyavin, Igor Luchenok, synthesis of genre and style.

HIV-associated morbidity and mortality in a setting of high ART coverage: prospective surveillance results from a district hospital in Botswana.

IntroductionAntiretroviral therapy (ART) has significantly improved survival in Africa in recent years. In Botswana, where adult HIV prevalence is 21.9%, AIDS‐related mortality is estimated to have declined by 58% between 2005 and 2013 following the initial wide‐spread introduction of ART, and ART coverage has steadily increased reaching 84% in 2016. However, there remains little data about the burden of HIV and its impact on mortality in the hospital setting where most deaths occur. We aimed to describe the burden of HIV and related morbidity and mortality among hospitalized medical patients in a district hospital in southern Botswana in the era of widespread ART coverage.MethodsWe prospectively reviewed medical admissions to Scottish Livingstone Hospital from December 2015 to November 2017 and recorded HIV status, demographics, clinical characteristics and final diagnoses at discharge, death or transfer. We ascertained outcomes and determined factors associated with mortality. Results were compared with similar surveillance data collected at the same facility in 2011 to 2012.ResultsA total of 2316 admissions occurred involving 1969 patients; 42.4% were of HIV‐positive patients, 46.9% of HIV‐negative patients and 10.7% of patients with unknown HIV status. Compared to HIV‐negative patients, HIV‐positive patients had younger age (mean 42 vs. 64 years, p < 0.0001) and higher mortality (22.2% vs. 18.0%, p = 0.03). Tuberculosis was the leading diagnosis among mortality cases in both groups but accounted for a higher proportion of deaths among HIV‐positive admissions (44.5%) compared with HIV‐negative admissions (19.4%, p < 0.0001). Compared with similar surveillance in 2011 to 2012, HIV prevalence was lower (42.4% vs. 47.6%, p < 0.01), and among HIV‐positive admissions: ART coverage was higher (72.2% vs. 56.2%, p < 0.0001), viral load suppression was similar (78.6% vs. 80.3%, p = 0.77), CD4 counts were higher (55.0% vs. 44.6% with CD4 ≥200 cells/mm3, p < 0.001), mortality was similar (22.2 vs. 22.7%, p = 0.93), tuberculosis diagnoses increased (27.5% vs. 20.1%, p < 0.01) and tuberculosis‐associated mortality was higher (35.9% vs. 24.7%, p = 0.05).ConclusionsDespite high ART‐coverage in Botswana, HIV‐positive patients continue to be disproportionately represented among hospital admissions and deaths. Deaths from tuberculosis may be contributing to lack of reduction in inpatient mortality. Our findings suggest that control of HIV and tuberculosis remain top priorities for reducing inpatient mortality in Botswana.

Three by Three: Lisa Cholodenko’s Attachment Trilogy

Lisa Cholodenko’s three films High Art (US, 1998), Laurel Canyon (US, 2002), and The Kids Are All Right (US, 2010) all tell the same story: a sexual and emotional ingenue arrives in a tightly circumscribed social world that both resembles and departs from a conventional family. At its heart is an established couple whose seemingly secure erotic bond is marked by deep ambivalence. This bond is stretched beyond recognition as it bends to the presence of the sexual outsider, who is first incorporated into, then ejected from, the pseudofamilial world. Though irreparably altered, the established couple survives—and may even be strengthened by—the sexual, spatial, and professional infidelity that forms the central plot of the film. No longer disavowed, the ambivalence that has marked the couple’s formation from the outset is now under-stood to be fundamental to their ongoing attachment. Whether the relationships are straight, gay, or bisexual; maternal, paternal, or filial; motivated, situational, or opportunistic; whether the worlds they inhabit are those of art photography, popular music, or medicine; whether their compulsions are addictive, obsessive, or narcissistic; the common story is basically the same, as is the lesson that attends it: attachment is always ambivalent. That is part of its satisfaction. End of story. Or, begin again. This article invokes Stanley Cavell’s classic account of the Hollywood comedy of remarriage in order to place Cholodenko’s trilogy within a wider popular conversation about attachment and ambivalence in the era of marriage equality.

How the Booker Prize Won the Prize

Abstract This article shows that the Booker Prize for fiction, which is neither the oldest nor the richest award given for novels in English, is nevertheless widely conceded to be the pre-eminent recognition. Sometimes it is called the “most significant”; sometimes the “most famous”; ultimately these two qualities are inseparable. I canvass some of the explanations for the Booker’s position as top prize and argue that the most important reasons are Publicity, Flexibility, and Product Placement. The Booker has managed its public image skillfully; among the devices that assure its continued celebrity is the acceptance, almost the courting, of scandal. Flexibility is partly a function of the practice of naming five new judges each year, but the Booker has also been responsive to challenges, including the recognition that it paid too little attention to female authors. The decision to admit American books into the competition was a sign of flexibility, as it was a guarantee of scandal. And the Booker has followed a path of “product placement” that positions it accurately between demands for high art and for “readability,” as examination of several periods in its history demonstrate.

Cross-Domain Trajectories of Students' Ability Self-Concepts and Intrinsic Values in Math and Language Arts.

Different cross-domain trajectories in the development of students' ability self-concepts (ASCs) and their intrinsic valuing of math and language arts were examined in a cross-sequential study spanning Grades 1 through 12 (n=1,069). Growth mixture modeling analyses identified a Moderate Math Decline/Stable High Language Arts class and a Moderate Math Decline/Strong Language Arts Decline class for students' ASC trajectories. Students' intrinsic value trajectories included a Strong Math Decline/Language Arts Decline Leveling Off, a Moderate Math Decline/Strong Language Arts Decline, and a Stable Math and Language Arts Trajectories class. These classes differed with regard to student characteristics, including gender, family background, and math and reading aptitudes. They also resulted in different high school math course enrollments, career aspirations, and adult careers.

A Systematic Method to the Formation of Career Orientation of Adolescents in Terms of Additional Education

The problem of the career orientation for adolescents in the context of their further education is caused by a number of circumstances. First of all, amid the demand by the state and society for creative professions, the younger generation has a superficial and disorienting idea of the nature and specificity of professional activity. In addition, the professional sphere of activity of an artist, a designer, a decorator is being improved and complicated, requiring a specialist to possess high information, computer, and art technologies. A purposeful acquaintance with future professions in the field of visual and spatial arts, the professional formation of such a specialist, starting from age of adolescence, is facilitated by a modern system of additional education with high potential. Proceeding from this, the indicated problem requires science to develop its theoretical and methodological foundations, a substantial technological base and appeal to innovative, developing, personality-oriented ways of organizing the educational process of an integrated type. Within the framework of this study, we dwell on the methodological foundations of the formation of career orientation and consider in more detail the systematic approach as fundamental. As a result, we studied the concept of “career orientation”, revealed the essence of the career orientation formation process in adolescents, which is carried out in close connection with other mental processes and personality traits. It was proved during the experiment that the use of a systematic approach and relevant principles contributes to more effective formation of career orientation for adolescents

Race and ‘Disability Passing’ in a Chicago Public School Art Classroom

AbstractRace, history and visibility have a great deal to do with how disability operated socially and educationally in the Chicago public high school art classroom where I taught for ten years. I am severely near‐sighted, and I am also white, educated and often, but not consistently, able to pass for non‐disabled. A large number of my students were identified as having learning, emotional and behavioural disabilities, diagnoses which were certainly conditioned by the institution, but diagnoses which perhaps also underrepresented the amount of socially and historically occasioned impairment or debility that existed in the low‐income majority‐Black community served by my school. In this article I reflect on the overlapping social performances that occurred in terms of ‘disability passing’, a state that can characterise both hidden and exaggerated or invented impairments. My reflections examine my own individual experience in contrast to the long‐term experience of the African diaspora in and beyond the USA, in order to think about other ways to parse the complex factors determining how disability plays out in educational environments.

Transformation process of modern education: to teach something another way?

The question of the need for modernization processes in modern education are raises in the article. The relevance of the research of educational problems is not controversial, because the political, economic, cultural, intellectual potential of the state, the welfare of society, development of all humanity depends on the state and possibilities of its development are noted . The purpose of the article is to find a new way of thinking, vision, ideas, etc. In order to ensure the success of education, its entrepreneurship in the context of the interdisciplinary nature of the pedagogical study scenario. The emphasis is on transformational processes of education development. It is generalized that education can never exist separately from society, from its needs, in addition, it is largely responsible for both the achievement of humanity and for humanitarian catastrophes and global problems. For the social and economic growth of the country, the level of education and culture of the population is important. Education of the XXI century is an intellectual potential, it is an education with a cultural-developing, developing dominant, a factor in the perfection of a person; this is the education of a responsible person who is capable of self-education and self-development, able to think critically, develop various information, use acquired knowledge and skills for creative solving. the problems, aspires to change for the better their life and life of their country.&#x0D; The art of education, which is the most difficult of arts, is firmly rooted in society, must be truly high art. Therefore, this problem is not only philosophical or pedagogical, but also global. Issues of ethical basis, emotional intelligence, upbringing man of culture should take the top priority in educational labyrinths. But before modern education, there are many more complex tasks, the solution of which would contribute to a significant increase in the formation of a high-grade personality with high moral and spiritual qualities.

Aesthetics Qua Excess: Mario Perniola and Jacques Rancière

According to Jacques Rancière, the contemporary anti-aesthetic consensus has denounced aesthetics “as the perverse discourse which bars this encounter and which subjects works, or our appreciation thereof, to a machine of thought conceived for other ends: the philosophical absolute, the religion of the poem or the dream of social emancipation” (Rancière, Aesthetics and Its Discontents, 2009: 2). However, what seems to be the most problematic trait of aesthetics is its excessive confusion of “pure thought, sensible affects and artistic practices.” But for both Rancière and Mario Perniola, the excess of aesthetics, that is, its confusion and obliteration of the borders between the arts, between high art and popular art, as well as between art and life – a commixture not to be mistaken for some postmodern transgression of modernist boundaries, for both Rancière and Perniola keep critical distance to the notions of modernism and postmodernism – constitutes the very knot “by which thoughts, practices and affects are instituted and assigned a territory or a ‘specific’ object” (Rancière, Aesthetics and Its Discontents, 2009: 4). This paper will demonstrate that aesthetics in Rancière and Perniola represents neither simply a general art theory nor a theory defining art by means of its effects on the senses, but rather a specific order of the identification and thinking of art. Moreover, it will argue that Rancière’s and Perniola’s respective elaborations of the relationship between aesthetics and art occur in the larger context of a primary aesthetics associated with the topographical analysis of the means in which the sensible, common world is constructed, parceled out and contested. It will also be shown that primary aesthetics, for both Rancière and Perniola, includes non-artistic realms and practices such as politics, culture, education, science, and economy in that all these realms and practices presuppose the sensible configuration of a specific world. Thus, primary aesthetics is ultimately to be grasped as distribution of the sensible (Rancière) or as sensology (Perniola) that determines not only that which is given in a common manner, but also – and more specifically – that which can be seen, felt, said or done and at the same time modes of seeing, feeling, saying or doing that are excluded from that which is given in a common manner. Article received: April 17, 2019; Article accepted: July 6, 2019; Published online: October 2019; Original scholarly paper

Can telemedicine initiative be an effective intervention strategy for improving treatment compliance for pediatric HIV patients: Evidences on costs and improvement in treatment compliance from Maharashtra, India.

BackgroundIndia has recently introduced telemedicine initiatives to enhance access to specialized care at a low cost for the pediatric HIV patients, who face multiple challenges due to growing disease burden and limited preparedness of the health system to address it. There are limited evidences on the cost-effectiveness of these interventions. This study was undertaken in Maharashtra, a province, located in the western region of the country, to inform policy regarding the effectiveness of this programme. The objective was to estimate the unit cost of ART services for pediatric HIV patients and examine the efficiency in the use of resource and treatment compliance resulting from telemedicine initiatives in pediatric HIV compared to usual ART services.MethodsWe selected 6 ART centers (3 from linked centers linked to Pediatric HIV Centre of Excellence (PCoE) and 3 from non-linked centers) randomly from three high, middle and low ART centers, categorized on the basis of case load in each arm. A bottom up costing methodology was adopted to understand the unit cost of services. Loss to follow up and timeliness of the visits were compared between the two arms and were linked to the cost.ResultsThe average cost per-visit was INR 1803 in the linked centers and that for the non-linked centers was INR 3412. There has been 5 percentage point improvement in lost to follow-up in the linked centers compared to non-linked centers against a back-drop of a reduction in per-pediatric patient cost of INR 557. The linkage has resulted in increase in timeliness of the visits in linked centers compared to non-linked centers.Discussion and conclusionThe telemedicine linkage led to an increase in the case load leading to a decrease in cost. The evidence on efficiency in the use of resource and improvement in treatment compliance as suggested by this study could be used to scale up this initiative.

The Impact of English Learner Reclassification on High School Reading and Academic Progress

This study estimates the causal impact of 8th grade English learner (EL) reclassification on high school English language arts (ELA) standardized test scores, SAT (Scholastic Aptitude Test) reading, and on-track to graduate status. I apply a regression discontinuity design to rich administrative data from a large district in California. The estimated effects of eighth grade reclassification on 9th, 10th, and 11th grade ELA test scores were statistically insignificant, and I can rule out negative effects less than −0.17 SDs and positive effects larger than 0.09 SDs. The negative effect on SAT reading was fairly large, with a confidence interval of −0.27 SDs to 0.05 SDs. Estimates for on-track status in 10th and 11th grades were positive but imprecise.

HIV viral suppression among pregnant and breastfeeding women in routine care in the Kinshasa province: a baseline evaluation of participants in CQI-PMTCT study.

IntroductionPublished data on viral suppression among pregnant and breastfeeding women in routine care settings are scarce. Here, we report provincial estimates of undetectable and suppressed viral load among pregnant or breastfeeding women in HIV care in Kinshasa, Democratic Republic of Congo (DRC) and associated risk factors.MethodsThis cross‐sectional study was conducted as part of a baseline assessment for the CQI‐PMTCT study: an ongoing cluster randomized trial to evaluate the effect of continuous quality interventions (CQI) on long‐term ART outcomes among pregnant and breastfeeding women (NCT03048669). From November 2016 to June 2018, in each of the 35 Kinshasa provincial health zones (HZ), study teams visited the three busiest maternal and child health clinics, enrolled all HIV‐positive pregnant or breastfeeding women (≤1 year post‐delivery) receiving ART, and performed viral load testing. Log binomial models with generalized estimating equations to account for clustering at the HZ level, were used to estimate prevalence ratios comparing participants with undetected (<40 copies/mL) or suppressed (<1000 copies/mL) viral load across levels of individual and site characteristics.ResultsOf the 1752 eligible women, 1623 had viral load results available, including 38% who had been on ART for <6 months and 74% were on tenofovir‐lamivudine‐efavirenz. Viral load was undetectable in 53% of women and suppressed in 62%. Among women who were on ART for ≥12 months, only 60% and 67% respectively, had undetectable or suppressed viral load. Viral load was undetectable in 53%, 48% and 58% of women testing during pregnancy, at delivery, and in postpartum respectively. In multivariable log binomial models, duration of ART >12 months, older age, being married, disclosure of HIV status, receiving care in an urban health zone or one supported by PEPFAR were all positively associated with viral suppression.ConclusionsThe observed high level of detectable viral load suggests that high ART coverage alone without substantial efforts to improve the quality of care for pregnant and breastfeeding women, will not be enough to achieve the goal of virtual elimination of vertical HIV transmission in high‐burden and limited resources settings like DRC.

Picasso, Comics, and Cultural Divides: Why Krazy Kat Is a Kubist Kat

Picasso, Comics, and Cultural Divides: Why Krazy Kat Is a Kubist Kat Kevin Cooley (bio) Pablo Picasso had a weakness for comic strips. In Gertrude Stein’s The Autobiography of Alice B. Toklas, Stein records a humorous incident in which Picasso and his lover Fernande quarreled over the latest Katzenjammer Kids strip, a comic featuring the rambunctious troublemakers Hans and Fritz who made constant mischief to the chagrin of a series of bumbling authority figures. When Fernande bumped into the painter on the street and asked him to share the supplement that The Kaztenjammer Kids appeared in, Picasso was having none of it. Fernande said that he “brutally refused” her the comic supplement and, according to Stein, Fernande “roused like a lioness defending her cubs” while relating these circumstances. Fernande called the affair “a piece of cruelty” she would “never forgive.”1 Poor Stein, the couple’s frequent hookup for American comics, hoped the pair would be reconciled “before the next comic supplements of the Katzenjammer kids” came out, reasoning: “if I do not give them to Pablo he will be all upset and if I do Fernande will make an awful fuss” (The Autobiography, 24). This anecdote might amuse popular, academic, and high cultural audiences alike. For many members of all of these groups, the very name “Picasso” is and has been metonymical for high art itself. Lawrence Ferlinghetti writes “he’s no Picasso,” to characterize a personified version of the Spanish city Segovia as somewhat artless.2 Leonard Cohen’s poem “Kanye West Is Not Picasso” rebukes West’s frequent self-comparisons to the painter by calling its speaker Picasso, and it claims that speaker is “the Kanye West that Kanye West thinks he is / When he shoves your ass off the stage.”3 Even the hidden camera show Impractical [End Page 595] Jokers feeds into the narrative around the name, featuring the cast pulling pranks in a sketch called “Picass-holes” on the “future Picassos” shopping at Blick Art Materials.4 Picasso himself treated his own name as a metonym for artistic mastery, claiming “my mother said to me, ‘If you are a soldier, you will become a general. If you are a monk, you will become the Pope.’ . . . Instead, I was a painter, and became Picasso.”5 In all of these disparate texts from different cultural niches, to be a “Picasso” is to be a high artist. To hear of Picasso behaving like a child over a newspaper comic strip called The Katzenjammer Kids, then, will surely register with some readers as nothing more than an extraneous factoid (albeit an amusing one) about Picasso’s reading tastes. I will suggest another reading: that this anecdote is one nugget to be found of a mineful of contextual, thematic, and formal evidence that indicates Picasso was inspired by American comic strips. His most prominent influence was George Herriman, the cartoonist behind the bizarre anthropomorphic animal comic Krazy Kat and a contemporary of Katzenjammer Kids creators Rudolph and Gus Dirks. As comics and cubism stumbled through their early days at the beginning of the twentieth century, they played together in a sandbox of paradoxical visual temporalities. Michael Tisserand, Herriman’s biographer, claims that Marcel Duchamp’s landmark cubist piece Nude Descending a Staircase, No. 2 was “in many ways . . . just catching up” to the innovative techniques for simulating motion and interrogating the fixity of images that newspaper cartoonists like Herriman experimented with.6 The two art forms shared a collective sense of new possibilities for the visual still image to do what the photograph could not: offer a multiplicity of perspectives on the same physical plane of the flat surface. I argue here, then, that the most responsible reading of George Herriman’s Krazy Kat is as a narrative not only indebted to the work of Pablo Picasso and the members of his social circle, but inspirational to that company. That Krazy Kat ultimately casts the comics form itself into the central logic of cubism and of Picasso’s work (predominantly through its consistent presentation of the dissonance between signifiers and signified) will be crucial to my historical re-reading. This weaving together of the comics form and cubist...

Онтопсихологічні аспекти художньої комунікації в контексті парадигмальних змін у системі сучасної мистецької освіти

The article is devoted to the problem of improving the quality of the training aimed at future teachers of Art disciplines in the context of paradigmatic changes within the system of modern art education. Based on the methods of theoretical analysis, generalization and abstraction, the state of research of the scientific problem has been clarified; the viewpoints of some researchers in this regard have been determined and connected with the ontological content of artistic communication. There have been considered scientific conceptual directions for defining the essence of the “artistic communication” and “ontological aspects of being” phenomena in the context of: philosophical concepts (M. Bakhtin, M. Buber, M. Kahan, V. Frankl et al.), ontological conditions of communication in the hermeneutic paradigm (H.-G. Gadamer, P. Ricœur); ontological ideas of the philosophers-existentialists, representatives of humanistic psychology (A. Maslow, K. Rogers, R. May), theoretical concepts of the ontological dimension of the “being” intended for the subjects of the artistic and educational process (N. Huralniuk, O. Yeremenko, O. Mykhailychenko, O. Oleksiuk, V. Orlov, G. Padalka, O. Rebrova, O. Rudnytska, V. Fedoryshyn, O. Shcholokova et al). The synthesis method enabled us to make a deliberate formulation of the author’s definition. The phenomenology of communication in the artistic and educational projection as a vector of humanistic orientation of the subjects of interaction with an art to the awareness and correction of their own subjective development has been presented. The author emphasizes the implementation of the existence-centred and reflexive approach, which makes it possible to achieve coherence between ontological positions of the teacher and the student in the process of communicating with arts. The author’s position, according to which communication is determined by the deep onto-psychological connection between two individuals oriented to meeting the other type of existence and involves the achievement of a spiritual unity between them in the joint work, has been grounded. Keywords: higher Art education, future teacher of Music, the existence-centred and reflexive approach, onto-psychological aspects, values, meanings, artistic communication.

Beyond the Lab: Influencing Practice and Policy

In this article, the authors describe over 20 years of work with Ellen Winner at Project Zero, a research and development group at the Harvard Graduate School of Education. This included a cross-arts curriculum and assessment project aimed at practitioners (ArtsPROPEL, 1989–1995), 10 meta-analytic syntheses of the effects of arts learning on nonarts achievement (REAP, 1997–2001), and an observational theory-building study of the dispositions intended to be learned in high school art classes and the structures through which they are taught, meant for audiences of both practice and theory (Studio Thinking, 2001–2013). Ellen’s perspective as an experimental psychologist interacted with ours in fertile ways to make richly rewarding collaborations in our efforts to make sense of art education practices. From how she chooses what she studies, to her eclectic approaches to research, to addressing her work to broad audiences, psychologists have much to gain from Ellen’s methods.

English

English

“Have You Ever Seen the Crowd Goin’ Apeshit?”: Disrupting Representations of Animalistic Black Femininity in the French Imaginary

16 June 2018. London Stadium. Beyoncé and Jay–Z revealed the premiere of the music video Apeshit. Filmed inside the Louvre Museum in Paris, Beyoncé’s sexual desirability powerfully dialogues with Western canons of high art that have dehumanized or erased the black female body. Dominant tropes have historically associated the black female body with the realm of nature saddled with an animalistic hypersexuality. With this timely release, Apeshit engages with the growing current debate about the ethic of representation of the black subject in European museums. Here, I argue that Beyoncé transcends the tension between nature and culture into a syncretic language to subvert a dominant imperialistic gaze. Drawing on black feminist theories and art history, a formal analysis traces the genealogy and stylistic expression of this vocabulary to understand its political implications. Findings pinpoint how Beyoncé laces past and present, the regal nakedness of her African heritage and Western conventions of the nude to convey the complexity, sensuality, and humanity of black women—thus drawing a critical reimagining of museal practices and enriching the collective imaginary at large.