MUSTAFA KEMAL ATATÜRK AND VISUAL ARTS

2021 ◽  
Vol 6 (8) ◽  
pp. 81-88
Author(s):  
Sevda KARASEYFİOĞLU PAÇALI
Keyword(s):  
Visual Arts ◽  
Kemal Ataturk

Kemal Atuturk in the art of republican Turkey

2021 ◽  
pp. 79
Author(s):  
Nikolay P. Goroshkov
Keyword(s):  
Ottoman Empire ◽  
Visual Arts ◽  
Cultural Policy ◽  
Turkish Republic ◽  
History Of ◽  
The Republic ◽  
Political Economic ◽  
The Military ◽  
Republic Of Turkey ◽  
Kemal Ataturk

The article analyzes how the personality of the first president of the Turkish Republic, Mustafa Kemal Ataturk, is reflected in contemporary Turkish art. This year marks exactly 140 years since his birth. To his achievements in the military and political arenas, cultural figures have dedicated many works in the visual arts, architecture, literature and cinema.  The trace of the first president of the Republic of Turkey remained in the works of both his contemporaries and in the works of authors today. Creativity is multifaceted, inspiration has no boundaries, along with them, culture was freed from prohibitions with the beginning of a new page in the history of the country. Her achievements became available to more people, the opportunity to touch the spiritual life and create it opened up along with the reforms of Mustafa Kemal Pasha to wide layers of the population. Immortal works have preserved for posterity the image of the father of the Turkish nation, and a characteristic feature of these works is the author's personal admiration for the deeds of Gazi. This undoubtedly leaves its mark on the work and the way in which a person is shown in the context of history, who took fate and the entire people into his own hands, mired in political, economic, cultural crises. But before giving an answer to the question "Who are you, Father of the Turks?", it is important, in our opinion, briefly to draw attention to the historical retrospective of the development of Turkish culture under the influence of the policy of two states that appeared, flourished and fell into decay on the peninsula of Asia Minor. The article briefly examines some of the features of the cultural policy of the last years of the Ottoman Empire and the first years of the republic.

Skill transfer in visual arts expertise.

2016 ◽  
Vol 10 (2) ◽  
pp. 147-156 ◽  
Author(s):  
Bonnie L. Angelone ◽  
Richard W. Hass ◽  
Marissa Cohen
Keyword(s):  
Visual Arts ◽  
Skill Transfer

Why A Doc With a Dip Doc?

2011 ◽  
Vol 1 (1) ◽  
pp. 30-34
Author(s):  
Catherine Morley
Keyword(s):  
Nutrition Education ◽  
Visual Arts ◽  
Documentary Film ◽  
Eating Behaviour ◽  
Knowledge And Skills ◽  
Time Out ◽  
Power Differentials ◽  
Research Findings

In 2007, when I began studies toward two diplomas, one in textile arts, and one in documentary film this seeming ‘change of focus’ prompted questions from dietetics and research colleagues: Was I changing careers? What did visual arts and film have to do with dietetics and research? In addition to personal reasons for these studies, I wanted ‘time out’ from consulting and research to develop my knowledge and skills in these artforms, and to explore them as means to broaden the reach of research findings. In this article, I discuss the potential for film and visual arts in dietetics practice and education. Arts-based inquiry and practice offer ways to disrupt power differentials, to question what counts as knowledge and whose/what voices ought to count, to invite reflections on and conversations about meanings imbedded in food and in eating behaviour, and to integrate this knowledge into collaborative, client-centred approaches to nutrition education.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Gilles Deleuze's Luminous Philosophy

2020 ◽  
Author(s):  
Hanjo Berressem
Keyword(s):  
Projective Plane ◽  
Visual Arts ◽  
Whole Body ◽  
Literary Studies ◽  
Chronological Order ◽  
Real Projective Plane ◽  
Cinema Studies ◽  
The Real

Providing a comprehensive reading of Deleuzian philosophy, Gilles Deleuze’s Luminous Philosophy argues that this philosophy’s most consistent conceptual spine and figure of thought is its inherent luminism. When Deleuze notes in Cinema 1 that ‘the plane of immanence is entirely made up of light’, he ties this philosophical luminism directly to the notion of the complementarity of the photon in its aspects of both particle and wave. Engaging, in chronological order, the whole body and range of Deleuze’s and Deleuze and Guattari’s writing, the book traces the ‘line of light’ that runs through Deleuze’s work, and it considers the implications of Deleuze’s luminism for the fields of literary studies, historical studies, the visual arts and cinema studies. It contours Deleuze’s luminism both against recent studies that promote a ‘dark Deleuze’ and against the prevalent view that Deleuzian philosophy is a philosophy of difference. Instead, it argues, it is a philosophy of the complementarity of difference and diversity, considered as two reciprocally determining fields that are, in Deleuze’s view, formally distinct but ontologically one. The book, which is the companion volume toFélix Guattari’s Schizoanalytic Ecology, argues that the ‘real projective plane’ is the ‘surface of thought’ of Deleuze’s philosophical luminism.

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