scholarly journals Danza para los ojos azules / Dance for blue eyes

2016 ◽  
Author(s):  
Yasna Vergara Ossa
Keyword(s):  
Creative Process ◽  
Political Context ◽  
Artistic Practice ◽  
Christian Humanism ◽  
Santiago De Chile ◽  
History Of ◽  
The University ◽  
Blue Eyes ◽  
Cultural Extension

La danza de los ojos azules es producto de un proceso creativo llevado a cabo en el año 2014 por estudiantes de distintas generaciones de la Escuela de danza Espiral y la Universidad Academia de Humanismo Cristiano en Santiago de Chile. Su origen se arraiga en la visión cultural y espíritu artístico de sus fundadores, Patricio Bunster y Joan Turner, quienes en contexto político adverso en la Historia de Chile siguen una formación que pudiera recuperar, congregar y acercar la danza a sectores sin acceso al goce de este arte. Espiral contribuyó al restablecimiento de la tradición de extensión cultural en Chile, abriendo un espacio de desarrollo para el arte hacia diversos sectores sin imponer formas ni estilos, extendiendo la posibilidadde recuperación de la cultura artística a través de perspectivas de crecimiento, conocimiento e identidad.Dance for blue eyesThe blue eyes dance is a product of a creative process carried out in 2014 by students of different generations of the School of Dance Spiral and the University Academy of Christian Humanism in Santiago de Chile. Its origin is comes from the cultural vision and artistic spirit of its founders, Patricio Bunster and Joan Turner, who in an adverse political context in the history of Chile follow a formation to recover, congregate and bring dance to sectors without access to the artistic practice. Espiral contributed to the restoration of the tradition of cultural extension in Chile, opening a space for the development of art towards different sectors without imposing forms or styles, extending the possibility of recovery of the artistic culture through perspectives of growth, knowledge and identity.

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

scholarly journals Skraelings by R. & S. Qitsualik-Tinsley

2016 ◽  
Vol 5 (3) ◽  
Author(s):  
Sandy Campbell
Keyword(s):  
Public Libraries ◽  
The Arctic ◽  
Oral Storytelling ◽  
University Of Alberta ◽  
Black And White ◽  
Additional Information ◽  
History Of ◽  
Age Appropriate ◽  
The University ◽  
Blue Eyes

Qitsualik-Tinsley, Rachel and Sean Qitsualik-Tinsley.  Skraelings. Illus. Andrew Trabbold. Iqaluit, NU:  Inhabit Media, 2014. Print.This volume is the first in the Arctic Moon Magick series.  In it writing duo, Rachael and Sean Qitsualik-Tinsley, have recreated an Inuit world at the time of Viking contact, presented through the eyes of a young Inuit hunter, Kannujaq.  In his travels, he comes across people of the Tuniit culture, of whom he has only heard legends.  He meets Siku, a boy-shaman, whose name means “ice” and is named for his blue eyes.  The Tuniit have been attacked in the past by Vikings from Greenland.  They return each spring and Kannujaq finds himself in the middle of a battle, where he becomes a reluctant warrior. The title Skraelings, which means “Weaklings”, is a Viking taunt to the Tuniit.This is a well written chapter book for ages 12 and older and the language is age-appropriate. There are a few black and white drawings that complement the text.   While much of the story proceeds logically along the plot line,  occasionally, the authors break in, not as narrators, but simply to give the reader additional information.  For example:  "Oh, we forgot to tell you:  Shamans were pretty clever when it came to the things that plants and other natural materials could do" (p. 26). While this is unusual in a novel and breaks the flow of the story, it is completely in keeping with oral storytelling and is rather endearing.  However, this book should not be mistaken for simple story.  It is an engaging read, culminating in a final plot twist that demonstrates the authors’ broad and compassionate understanding of the regional history of the Eastern Arctic. This is an excellent work and unique in young adult Arctic literature.  It should definitely be included in junior high and middle school libraries and public libraries everywhere.Recommendation:  4 stars out of 4Reviewer:  Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines.  Sandy thinks that sharing books with children is one of the greatest gifts anyone can give. 

Introduction to Akasegawa Genpei's “The Objet after Stalin”

ARTMargins ◽  
2015 ◽  
Vol 4 (3) ◽  
pp. 103-114 ◽  
Author(s):  
Pedro Erber
Keyword(s):  
Political Context ◽  
The Political ◽  
Artistic Practice ◽  
History Of

This introduction situates Akasegawa Genpei's text “The Objet after Stalin” and the events surrounding his reproduction of the 1,000-yen note in the art-historical and political context of Japan's postwar avant-gardes. It explores Akasegawa's conception of the objet both in terms of its lineage within the history of Surrealism and its reception in Japan and of Akasegawa's original theoretical claims concerning the political potential of artistic practice.

scholarly journals Editorial

1995 ◽  
Vol 12 (4) ◽  
Author(s):  
Basheer Nafi
Keyword(s):  
Native Americans ◽  
Creative Process ◽  
Human History ◽  
Islamic Studies ◽  
The Social ◽  
The World ◽  
History Of ◽  
The University ◽  
Islamic View ◽  
The Way

This issue of AJISS provides a multidimensional perspective of today’sIslamic intellectual experience. What seems to contribute markedly to theshaping of this experience is the ongoing creative process of integrating thecontemporary with the historical and the particular with the universal. TheMuslims’ commitment to humanity’s persistent struggle for meaning andharmony is, in essence, deeply linked to their belonging to the social anddiscursive manifestations of the Islamic historical epoch.Similarly evident is that neither studying Islam nor seeking the constructionof an Islamic view of our times can be conducted coherently withoutinvoking human history and intellectual achievements located outsideof the traditionally defined boundaries of the Islamic intellectual venture.Examples abound. Western epistemological tools and concepts are nowused widely, with little hesitation, by an increasing number of Muslimsocial scientists. On another level, the emergence of world global systemshas left its imprint on the Muslims’ perceptions of universal justice. Theinfluences of non-Muslim suffering and struggle are becoming part of theMuslim consciousness. In a startling reflection of this development, thetragic history of Native Americans has recently been sought as an allegoricalwell-spring by Arab anti-imperialist poets. For Islam and the world,despite many pitfalls and dangers, this process of integration is ultimatelybound to transfer the Muslims’ worldview to an era that is fundamentallydisctinctive from the preceding “centuries of the Islamic experience.”Charles Hirschkind’s “Heresy or Hermeneutics: The Case of NasrHamid Abu Zayd” provides a lucid example of how modem Islamic intellectualismand its image, the discipline of Islamic studies, are predicated ona wide variety of sources, whether historical or contingent, traditional orotherwise. The case of Abu Zayd and his prolonged conflict with Islamiccircles in Egypt has been of particular interest to the western and Arab secularmedia alike. Emerging from the halls of the University of Cairo, thecontentious debate surrounding his ideas has marched all the way to theEgyptian judiciary. But Hirschkind is not a judge, and AJISS is not a courtroom.The focus here is on “the contrastive notions of reason and history,” ...

scholarly journals Tragedy Plus Time: Transforming Life Experience into Stand-Up Comedy

2017 ◽  
Vol 33 (2) ◽  
pp. 143-155 ◽  
Author(s):  
Oliver Double
Keyword(s):  
Creative Process ◽  
Personal Experience ◽  
Life Experience ◽  
Detailed Examination ◽  
Personal Observation ◽  
Two Stage ◽  
Stand Up Comedy ◽  
History Of ◽  
Stage Process ◽  
The University

In this article, Oliver Double examines the process of turning traumatic personal experience into viable stand-up comedy material by offering a detailed account of the creative process behind his 2015 show Break a Leg. Drawing on Bergson, Brecht, and Noël Carroll, he explores the origins of comic ideas in personal observation, and argues for a two-stage process of joke creation. This is fleshed out in a detailed examination of a particular routine, in which he uses Koestler's concept of bisociation to show how an initial observation was shaped into a series of punchlines. He also discusses authenticating strategies which comedians employ to demonstrate that they are recalling their actual experiences, and ways in which the dialogic qualities of stand-up affect empathy and intimacy. Oliver Double is a former professional comedian who is now a Reader in Drama at the University of Kent. He is the author of Stand-Up! On Being a Comedian (1997), Britain Had Talent: a History of Variety Theatre (2012), and Getting the Joke: the Inner Workings of Stand-Up Comedy (2nd edition, 2014). A film of Break a Leg is available on YouTube, and the related podcast Breaking a Leg is accessible via iTunes.

scholarly journals Towards astroembodied choreostructions: Deviating from choreographing to choreoreading

På Spissen ◽  
2020 ◽  
Vol 6 (1) ◽  
pp. 12-24
Author(s):  
Simo Kellokumpu
Keyword(s):  
Performing Arts ◽  
Research Centre ◽  
Artistic Practice ◽  
Reading Practice ◽  
Site Specific ◽  
Doctoral Research ◽  
The Arts ◽  
History Of ◽  
The University ◽  
Important Shift

In this article, I introduce the notion of choreostruction, which has emerged during my doctoral research projectChoreography as Reading Practice in the Performing Arts Research Centre at the University of the Arts, Helsinki (2013–2019). The term stems from studying the French philosopher Jean Luc Nancy’s notion struction, which heexamines in depth in dialogue with the French astrophysicist and philosopher Aurélien Barrau in the book What’s these Worlds Coming to? (2015). In the book, the concept of struction is introduced as one of the concepts that could help us understand how “ we are not living in one world but worlds” , and how we “ no longer create, but appropriate and montage” (quotes from the book cover). I approach the notion and its operative potential by exposing one experimental choreographic work that I am still processing and in which the operative move in my choreographic practice from composition to attention is one important shift that connects my practice to the notion of struction. The term choreostruction is an attempt to materialize the dialogue between my artistic practice and my understanding of Nancy’s notion of struction. Other influencing references of this process come from the writings of philosophers Thomas Nail and Jaana Parviainen and artworks from the history of site-specific art.

Illustrations and the genesis of Barrett and Yonge's Collins pocket guide to the sea shore (1958)

2010 ◽  
Vol 37 (2) ◽  
pp. 274-291 ◽  
Author(s):  
P. G. Moore
Keyword(s):  
Crucial Role ◽  
British Isles ◽  
Publishing History ◽  
Biological Station ◽  
Marine Biological ◽  
Illustrated Text ◽  
History Of ◽  
The University

Twenty nine items of correspondence from the mid-1950s discovered recently in the archives of the University Marine Biological Station Millport, and others made available by one of the illustrators and a referee, shed unique light on the publishing history of Collins pocket guide to the sea shore. This handbook, generally regarded as a classic of its genre, marked a huge step forwards in 1958; providing generations of students with an authoritative, concise, affordable, well illustrated text with which to identify common organisms found between the tidemarks from around the coasts of the British Isles. The crucial role played by a select band of illustrators in making this publication the success it eventually became, is highlighted herein. The difficulties of accomplishing this production within commercial strictures, and generally as a sideline to the main employment of the participants, are revealed. Such stresses were not helped by changing demands on the illustrators made by the authors and by the publishers.

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