Framing Reid: Agency, Discourse, and the Meaning of Bill Reid’s Artistic Identity and Works

2011 ◽  
Vol 45 (2) ◽  
pp. 162-181
Author(s):  
Chaseten Remillard
Keyword(s):  
Artistic Identity

Artistic-professional strategies in the music sector. The case of the jazz scene in Barcelona

2020 ◽  
pp. 145-163
Author(s):  
Marta Casals Balaguer
Keyword(s):  
Research Methods ◽  
Social Dimension ◽  
Artistic Identity ◽  
Professional Musicians ◽  
Main Research ◽  
Works Of Art ◽  
The Social ◽  
The Creation

This article aims to analyse the strategies that jazz musicians in Barcelona adopt to develop their artistic careers. It focuses on studying three main areas that influ-ence the construction of their artistic-professional strategies: a) the administrative dimension, characterized mainly by management and promotion tasks; b) the artistic-creative dimension, which includes the construction of artistic identity and the creation of works of art; and c) the social dimension within the collective, which groups together strategies related to the dynamics of cooperation and col-laboration between the circle of musicians. The applied methodology came from a qualitative perspective, and the main research methods were semi-structured inter-views conducted with active professional musicians in Barcelona and from partic-ipant observation.

Stolen from the Snows: John Kinsella as Poet and as Fiction Writer

CounterText ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 232-238
Author(s):  
Nicholas Birns
Keyword(s):  
Close Reading ◽  
Artistic Identity ◽  
Close Analysis ◽  
Fiction Writer

This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.

IN THE SEARCH OF ETHNO-ARTISTIC IDENTITY: UKRAINIAN-LITHUANIAN STUDIOS (the second meeting)

2019 ◽  
Vol 145 (1) ◽  
pp. 20-28
Author(s):  
Olena FEDORCHUK ◽  
Olena NYKORAK ◽  
Egle KUMPIKAYT ◽  
Diva MILAZHENE ◽  
Erika NENARTAVIИIŪTĖ
Keyword(s):  
Artistic Identity

Artistic Identity in the Late Middle Ages: Foreword

Gesta ◽  
2002 ◽  
Vol 41 (1) ◽  
pp. 1-2
Author(s):  
Stephen Perkinson
Keyword(s):  
Middle Ages ◽  
Artistic Identity ◽  
Late Middle Ages

scholarly journals The royal New Wave: Aubrey Mellor and Queensland Theatre Company, 1988–1993

2015 ◽  
Vol 22 (2) ◽  
pp. 157-167
Author(s):  
Karen Hands
Keyword(s):  
Artistic Identity ◽  
New Wave ◽  
National State ◽  
Cultural Planning ◽  
Theatre Company ◽  
Artistic Director

AbstractWhen Aubrey Mellor returned to Brisbane in 1988 to become the second artistic director of Queensland Theatre Company (QTC), the company had been under the direction of a British-born and trained director since its formation in 1969. QTC was part of the national state theatre company network established as a result of postwar cultural planning. The network was charged with promoting national drama and producing theatre to a high artistic standard, but this objective imposed very specific constraints around the companies' programming. This was particularly observable at QTC: the company had been culturally and geographically distant from the New Wave movement that emerged in Sydney and Melbourne between 1968 and 1981. Mellor brought his experience of working in key institutions during this movement to QTC where he pursued a personal mission to develop Australian playwriting. During his five-year leadership he transitioned the artistic identity of the company to a more contemporary artistic framework.

scholarly journals A strip-tease act conducted in pink limelight: Salvador Dali, George Orwell, and the construction of a surreal/ist self

SURG Journal ◽  
2010 ◽  
Vol 4 (1) ◽  
pp. 30-34
Author(s):  
Daniella Sanader
Keyword(s):  
Public Life ◽  
George Orwell ◽  
Artistic Identity ◽  
Salvador Dali ◽  
Public Consumption ◽  
The Relationship

Within this paper I examine the relationship between Salvador Dali’s grandiose autobiography, The Secret Life of Salvador Dali, and a critical article by George Orwell entitled “Benefit of Clergy: Some Notes on Salvador Dali.” Through a consideration of these two related texts, this paper will focus on the methods through which Dali constructs his artistic persona – in a way that emphasizes his identity as contingent, de-centered and multidimensional. By analyzing several aspects of Dali’s public life, including autobiographical writings, paintings and television appearances, I will also consider his motivations as both Surrealist and economic in inclination. Ultimately, I develop an understanding of Dali as a textual, historicized entity; one that allows me to explore the ways in which artistic identity is constructed for public consumption and entertainment.

Constructing an artistic identity

2005 ◽  
Vol 19 (1) ◽  
pp. 25-46 ◽  
Author(s):  
Alison Bain
Keyword(s):  
Artistic Identity
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