Apocalypsis cum Figuris and the Counterculture: A Political Contestation Through Art

2016 ◽  
Vol 2016 ◽  
pp. 286-291
Author(s):  
Lidia Olinto do Valle Silva
Keyword(s):  
Historical Context ◽  
Phenomenological Analysis ◽  
The Arts ◽  
Jerzy Grotowski

Apocalypsis cum Figuris (1969) was the last play produced by the Laboratory Theatre and directed by Jerzy Grotowski. This play has many particularities that are linked to the historical context in which it was created: the counterculture period. In the arts, this was also a period of deep questioning in which many artists and groups started to controvert the main paradigms. One of these groups was the Laboratory Theatre. Through a phenomenological analysis, this paper explores the specificities of Apocalypsis, demonstrating how radical changes were proposed in this play, as, for example, the concept of “no play acting.”

Impact of the 2020 crises on the arts and culture in the United States: The effect of COVID-19 and the Black Lives Matter movement in historical context

2020 ◽  
Vol 27 (4) ◽  
pp. 449-465
Author(s):  
Stanley N. Katz ◽  
Leah Reisman
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Cultural Organizations ◽  
Black Lives Matter ◽  
The Arts ◽  
Arts And Culture ◽  
History Of ◽  
Cultural Sector ◽  
The Impact

AbstractThis article discusses the impact of the COVID-19 pandemic and the Black Lives Matter movement on the arts and cultural sector in the United States, placing the 2020 crises in the context of the United States’s historically decentralized approach to supporting the arts and culture. After providing an overview of the United States’s private, locally focused history of arts funding, we use this historical lens to analyze the combined effects of the pandemic and Black Lives Matter movement on a single metropolitan area – Philadelphia, Pennsylvania. We trace a timeline of key events in the national and local pandemic response and the reaction of the arts community to the Black Lives Matter movement, arguing that the nature of these intersecting responses, and their fallout for the arts and cultural sector, stem directly from weaknesses in the United States’s historical approach to administering the arts. We suggest that, in the context of widespread organizational vulnerability caused by the pandemic, the United States’s decentralized approach to funding culture also undermines cultural organizations’ abilities to respond to issues of public relevance and demonstrate their civic value, threatening these organizations’ legitimacy.

An Iskandarnāma of Nizami Produced for Ibrahim Sultan

2014 ◽  
Vol 30 (1) ◽  
pp. 235-253 ◽  
Author(s):  
Lâle Uluç
Keyword(s):  
Art History ◽  
Historical Context ◽  
Visual Data ◽  
Military Leader ◽  
Basic Task ◽  
Works Of Art ◽  
The Arts ◽  
Insight Into ◽  
The Way

This paper introduces a copy of the Iskandarnāma of Nizami dated 1435 and dedicated to the Timurid prince Ibrahim Sultan, grandson of the eponymous founder of the Timurid dynasty. It discusses the various features of the manuscript together with comparable examples from the same period, and also focuses on Abu al-Fath Ibrahim Sultan ibn Shah Rukh and his role as both a military leader and a patron of the arts during his tenure as the governor of the provinces of Fars, Kirman, and Luristan (1414–35). Utilizing the visual data together with the historical context of the period, this essay interprets one of the illustrations of the Iskandarnāma, hoping to fulfill what David Summers called “the most basic task of art history,” which he says “is to explain why works of art look the way they look.” The addition of this Iskandarnāma manuscript to the surviving corpus of works that can be connected to Ibrahim Sultan will provide a further insight into the important patronage of this Timurid prince.

scholarly journals The International Kâtip Chalabi Symposium

2015 ◽  
Vol 32 (4) ◽  
pp. 159-162
Author(s):  
Muhammed Haron
Keyword(s):  
Historical Context ◽  
Main Theme ◽  
Ottoman History ◽  
The Arts ◽  
The Social ◽  
Research And Education ◽  
Islamic Civilization ◽  
New Phase ◽  
Productive Authors

The Constantinople-born Mustafa bin Abdullah Kâtip Chalabi (popularlyknown as Haji Khalifa [1609–57]) was one of the most notable Muslim scholarsof his time. Kâtip Chalabi, as he is known as in Turkish circles, was a reformistscholar known for his intellectual contributions to the social sciences(viz., [Ottoman] history, geography, and economics) and his invaluable biobibliographicaltext Kashf al-Zunūn, which contains over 14,000 entries. Heis generally considered as one of Ottoman Turkey’s most productive authors,for his writings provided an invaluable input to “the classification of knowledge”systems. For this reason, the Istanbul Foundation for Research and Education(ISAR; http://isar.academia.edu), the Turkish Centre for IslamicStudies (ISAM; http://english.isam.org), and the Cairo-based Institute of ArabicManuscripts (MSC; www.manuscriptcenter.org) decided to co-host aMarch 6-8, 2015, symposium to celebrate and address his contributions.The joint Committee for the International Kâtip Chalabi Symposiumchose “Bibliography and the Classification of Knowledge in Islamic Civilization”as its main theme and set numerous goals, among them to (a) raise basicissues related to the Islamic classification of knowledge and bibliography, (b)reveal how this tradition can be reconsidered with respect to the discipline ofbibliography, which has shifted into a new phase due to theoretical and practicaldevelopments in today’s world; (c) provide the necessary basis for discussinghis scholarly achievements; and (d) offer foundations for futureresearch that would build upon his bibliographic encyclopedia Kashf al-Zunūn‘an Asāmī al-Kutub wa al-Funūn (The Removal of Doubt from the Names ofBooks and the Arts).Since it is beyond the scope of this brief report to comment on each presentation,most of which were delivered in Arabic and Turkish with simultaneoustranslations, I have decided to provide a general overview of a selectionof papers from each thematic session.Ahmad Shawqi Benbin (Al-Khazanat al-Malakiyyah al-Hasaniyyah, Morocco),one of the first speakers, addressed “Kashf al- Zunūn and InternationalBibliography,” which related directly to the symposium’s general theme of“Kâtip Chelebi: Philosophy of the Sciences of Bibliography and Classification.”While offering a historical context within which to view Chalabi’s intellectualoutput, he traced the science of bibliography back to Abu al-Faraj ...

Theatre as Inclusive Arts-based Research: A Key to Political Art in the Post-democracy?

2021 ◽  
pp. 65-86
Author(s):  
Petro Janse van Vuuren ◽  
Bjørn Rasmussen
Keyword(s):  
South Africa ◽  
South African ◽  
Social Life ◽  
Historical Context ◽  
Political Art ◽  
Arts Based Research ◽  
Inclusive Practice ◽  
The Arts ◽  
Applied Theatre ◽  
Artistic Research

In this chapter we investigate different approaches to art as research (arts-based) in relation to applied theatre practice and research from a cultural democratic perspective. In particular, we discuss theatre as “inclusive” practice and research and how this relates to different traditions of arts-based research. Based on literature analyses and experiences from Centres of Applied Theatre Research in South Africa and Norway, we unveil some different and dominant traditions of arts-based research that are currently voiced and familiar in Norway and South Africa. We explore four notions of exclusiveness within European notions of “artistic research”: The alternative epistemology, Knowing for the sake of the arts only, The limited artistic context, and Only qualified artists do artistic research. Seen from a different cultural angle, the South African, we find that tendencies of exclusiveness are challenged by different notions of inclusiveness: The role of the arts and its embeddedness in social life, Inter disciplinarity, The extended political and historical context, Embracing intersectionality. As answers to potential accusations of applied theatre art running errands for the liberalist post-democracy, this chapter discusses inclusive arts-based research as a form of cultural praxis that may negotiate paradoxes of post-democracy

scholarly journals On the arts and humanities in medical education

2021 ◽  
Vol 16 (1) ◽  
Author(s):  
Danielle G. Rabinowitz
Keyword(s):  
Medical Education ◽  
Medical Humanities ◽  
Medical Training ◽  
Historical Context ◽  
The Public ◽  
Arts And Humanities ◽  
The Arts ◽  
Concomitant Reduction ◽  
Flexner Report ◽  
The Cost

AbstractThis paper aims to position the birth of the Medical Humanities movement in a greater historical context of twentieth century American medical education and to paint a picture of the current landscape of the Medical Humanities in medical training. It first sheds light on the model of medical education put forth by Abraham Flexner through the publishing of the 1910 Flexner Report, which set the stage for defining physicians as experimentalists and rooting the profession in research institutions. While this paved the way for medical advancements, it came at the cost of producing a patriarchal approach to medical practice. By the late 1960s, the public persona of the profession was thus devoid of humanism. This catalyzed the birth of the Medical Humanities movement that helped lay the framework for what has perpetuated as the ongoing incorporation of humanistic subjects into medical training. As we enter a time in medicine in which rates of burnout are ever-increasing and there are growing concerns about a concomitant reduction in empathy among trainees, the need for instilling humanism remains important. We must consequently continue to consider how to ensure the place of the Medical Humanities in medical education moving forward.

Coda: Literature, language, and creativity

2020 ◽  
Vol 13 (1) ◽  
Author(s):  
Karin Kukkonen
Keyword(s):  
Historical Context ◽  
Construction Grammar ◽  
Literary Studies ◽  
Special Issue ◽  
Creative Processes ◽  
The Arts ◽  
Recent Developments ◽  
Media Environments ◽  
Cognitive Literary Studies ◽  
Creative Media

AbstractLiterature is often considered the creative expression of language par excellence. This coda considers how the perspectives from Construction Grammar, as they are outlined in this special issue, can enter into dialogue with recent developments in how literary studies address creativity. Construction Grammar concerns itself with the productive generation and manipulation of language in everyday contexts, but, as this special issue goes to show, these processes can also be discussed in terms of creativity and deployed to shed light on creative processes in the arts. Convergences between Construction Grammar and (cognitive) literary studies appear to emerge in particular around the question of creative practice in literary language and (1) in how far writing gives rise to particular kinds of creativity; (2) how one can generalize between different creative media, such as literature, painting and music; and (3) how writing-based creativity can be investigated. Literary studies with its interests in media environments, social/historical context and textual analysis might provide a larger testing ground for claims about the compatibility and incompatibility of everyday and literary creativity as they are put forward in this special issue.

scholarly journals Cabiria, opera d'arte autonoma

2020 ◽  
Author(s):  
Carlo Santoli
Keyword(s):  
Historical Context ◽  
Organic Solution ◽  
Work Of Art ◽  
The Arts ◽  
Figurative Art ◽  
Human Sensibility ◽  
High Level ◽  
De Chirico

Cabiria is ‘an autonomous work of art’, between aesthetical and stylistic peculiarities. In order to legitimately recognise these specificities, we should not exalt the high level of the technical cleverness mixed with ‘tricks’ or mechanisms of technological artificiality. On the contrary, we should – first and foremost – be aware of the identity of the movie, expression of the figurative art which combines painting, sculpture, architecture, theatre and cinematograph, constitutive nucleus of a poetics of the marvellous, created by d’Annunzio’s fervid fantasy and by the director Pastrone, invention – though in a real historical context – precise as regards the chronological limits, of forms, visible signs, allegories and symbols of the Jungian ‘collective subconscious’. Visions of a tangible reality, concrete, recovered by the truth, but raised to the realm of dream, in the oneiric atmosphere of the unreal, conquer the human sensibility. It is like the idea by de Chirico, who thinks the picture as a mental theatre, stage and ideal container of a moving drama that conveys the familiarity of the represented environment with figurative clarity. Thus, the work of the master-director-demiurge becomes an organic solution of all the arts between innovation and modernity.

A history of the use of arts in health

2017 ◽  
Author(s):  
Daisy Fancourt
Keyword(s):  
Health Care ◽  
Middle Ages ◽  
Historical Context ◽  
The Enlightenment ◽  
Healing Rituals ◽  
The Arts ◽  
Practice Of Medicine ◽  
History Of ◽  
The Relationship ◽  
Arts In Health

This chapter traces the origins of the use of arts in health, from the earliest artefacts found in caves dating back c.40,000 years ago. It explores the use of the arts in healing rituals and early theories of medicine from the Ancient world, and charts how the relationship between art and health shifted during the Middle Ages as the practice of medicine moved from monasteries to universities. It discusses how the Enlightenment led to more rationale scientific accounts about the place of the arts in medicine and how the rise of psychiatry fostered new opportunities for integrating the arts within health care. Finally, it considers how twentieth-century attitudes to medicine have provided the foundations for the field as it exists today. Situating modern-day practice within this historical context can shed new light on how the arts are perceived and valued within health.

African American Cultural Expression in Chicago before the Renaissance

2017 ◽  
Author(s):  
Christopher Robert Reed
Keyword(s):  
African American ◽  
Middle Class ◽  
Black Community ◽  
Historical Context ◽  
Class Structure ◽  
Intellectual Life ◽  
Social Scientists ◽  
Cultural Expression ◽  
The Arts ◽  
Chicago Renaissance

This chapter examines the local historical context of the Black Chicago Renaissance. It discusses the existence of a layered class structure within the black community, and underscores the importance and the complicated tradition of support of the arts by elite black and later members of the black entrepreneurial and professional middle class. Black patronage, for both aesthetic and exploitative reasons, served an important function in providing space for creative expression and the means for its distribution and commoditization. Furthermore, the chapter is a response to the claims made by social scientists Charles S. Johnson and E. Franklin Frazier. In 1923, Johnson declared that Chicago's intellectual life had numerous excuses for not existing. In 1929, Fraser echoed Johnson's assertion, insisting that Chicago had no intelligentsia.

Art works, ontology of

2018 ◽  
Author(s):  
Gregory Currie
Keyword(s):  
Historical Context ◽  
Physical Object ◽  
Standard View ◽  
Music And Literature ◽  
Fine Grained ◽  
The Arts ◽  
Art Works ◽  
Musical Works ◽  
The Status ◽  
Physical Objects

In trying to decide what kinds of thing art works are, a natural starting point is the hypothesis that they are physical objects. This is plausible for certain works, such as paintings and sculptures; it is not plausible for music and literature. But if paintings and sculptures are physical objects, familiar arguments suggest that we cannot identify them with the material that constitutes them; we have to say that the statue and the material of the statue are co-located but distinct physical objects. A challenge to the physical object hypothesis for painting and sculpture arises when we question the widely held view that the authentic object made by the artist possesses relevant features which no copy could possibly exemplify. If it is acknowledged that paintings and sculptures are, in principle, reproducible in ways that fully preserve their appearances, the motivation for thinking of the painted or sculptural work itself as a physical particular is in doubt. But a defence of the physical object hypothesis is available if we accept a certain view about how reference is secured for kind terms. For literary and musical works, the standard view is not that they are physical objects; rather, they are said to be abstract structures: structures of word-types in the literary case and of sound-types in the musical case. But arguments concerning the dependence of informed appreciation on a work’s historical context have made these relatively coarse-grained structuralist proposals seem inadequate; these arguments purport to show that works with the same structure might have different contextually determined features and ought, therefore, to count as distinct works. More fine-grained structuralist proposals have been developed. As well as asking about the identity conditions for works, we can ask about the conditions for identity within a work: under what conditions is an object an instance of this work? Goodman has proposed that we divide works into autographic and allographic kinds: for autographic works, such as paintings, identity within a work is determined by history of production; for allographic works, such as novels, it is determined in some other way. But arguments can be given for the conclusion that even for novels and musical works, identity within the work is subject to historical constraints, though less onerous ones than Goodman claims to find for the autographic arts. Consideration of the arts raises ontological questions of various kinds: about the status of fictional characters, about such problematic qualities as ‘depth’ in a painting, about the imaginary personas we may associate with the work’s expressive qualities. This entry ignores these issues and focuses exclusively on the nature of works of art themselves.

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