Hasil untuk "Visual arts"

Isabel de Naverán, Leire Vergara

Bajo el formato de una conferencia dialogada, Isabel de Naverán y Leire Vergara despliegan un cruce de lecturas, experiencias vividas y visionado de películas con la intención de diseccionar el concepto de montaje desde su aplicación en la coreografía contemporánea y en el comisariado de exposiciones. A partir de una sucesión de puntos y descripciones de escenas, se propone concebir el montaje (expositivo o coreográfico) desde una temporalidad específica en la cual aspectos cotidianos y periféricos aportan intencionalidad y sentido. De esta forma, el diálogo opera como una interlocución pautada que las autoras establecen para intercambiar posiciones respecto al cubo blanco y la caja negra y cuestionar algunas dinámicas propias de dichos aparatos. Los Tiempos del Montaje ha sido llevada a escena en tres ocasiones. La primera en el Teatro Pradillo de Madrid, dentro de la iniciativa Laboratorio 987 (2013), de Chus Domínguez, Nilo Gallego y Silvia Zayas y el ciclo expositivo La forma y el querer-decir, comisariado por Leire Vergara en MUSAC de León (2012-2013), la segunda, en el Laboratorio 987 del MUSAC dentro de la misma iniciativa y, la tercera, en Sukaldea-Tabakalera (2014) dentro del programa Paracinema, comisariado por Esperanza Collado. Cada escenificación contó con varias alteraciones en el texto, la utilería y el diálogo posterior. RE-VISIONES recoge una nueva versión de la conferencia que incluye la transcripción y la traducción al inglés de los dos primeros puntos propuestos por cada autora y la grabación en vídeo de la conferencia en el Teatro Pradillo.

Ornella Zerlenga

This year too, UID promoted a new doctoral workshop which, as usual, focused on a specific theme, that is, an intensive training activity carried out over the course of a week, and in which doctoral students from various parts of Italy participated and were guided during the study days by various professors. [read more]

Sureshkumar Sekar

In this video essay, I establish, discuss, and illustrate different types of Disney screencerts—events where the performance of music on stage is accompanied by the projection of the associated audiovisual on screen. Focusing on the audience experience, I use concepts from intermedial and multimodal studies to illustrate the experiential difference in each of the different forms of Disney screencerts—Film-with-Live-Orchestra Concert; Film-with-Live-Theatre-and-Orchestra Concert; Excerpt/Montage-with-Live-Orchestra Concert; and Shorts-with-Live-Orchestra concert. In the 100th anniversary of Disney, the event that truly celebrated the innovative spirit of Disney was not the one literary titled “Disney 100: The Concert” but the one titled “Encanto at the Hollywood Bowl”, which is a Film-with-Live-Theatre-and-Orchestra concert—a super-hybrid screencert form in which only Disney films have been presented so far.

Marlon José Alves dos Anjos

Em 2003, os irmãos Chapman compraram 80 originais de Goya com objetivo de usá-los em sua obra. Este ato polemizou o compromisso que se espera do proprietário, bem como os limites artísticos, em vista que imagens autênticas foram retificadas. Da contextualização do conjunto de gravuras conhecido como os Desastres da Guerra à interpretação da obra Insult to Injury, neste artigo propomos analisar o sentido do ataque que vitimou um dos maiores exemplares da arte. Cumpre informar que foi constatado que subiste sentido no ato nomeado como vandalismo cultural, capaz de potencializar e ressignificar as obras retificadas.

Martin P. Sorowka

The Egyptologist John Gardner Wilkinson travelled extensively throughout Europe from 1817 to 1864 and yet little has been written about his travels other than those in Egypt. Neither has there been an analysis of his notebooks and sketchbooks in which he kept a visual and written record of these travels, potentially providing a rich seam for the historian to mine. His ability to draw architecture and topography can be appreciated in his many and varied drawings of Spain, which appear in these sketchbooks on five occasions between 1818, on his second venture abroad, and 1864 on his last. This paper evaluates the truthfulness of representation of a series of architectural and topographical views of Seville and its environs in 1838 and 1864, and it is discovered that in many instances they provide invaluable visual evidence of the appearance of lost or altered buildings and landscapes. Since these drawings are as yet unpublished, this present study makes a significant contribution both to the understanding of Wilkinson as a traveller in Spain, and to the nineteenth-century visual account of the architecture of Seville.

ZOLOTAIKO OLGA R. / ЗОЛОТАЙКО О.Р., KOSTIUCHENKO ANASTASIIA A. / КОСТЮЧЕНКО А.А.

Every year, the flow of migrants and foreign tourists arriving in South Korea is growing, and the proportion of foreigners appearing in the Korean media is increasing accordingly. However, the acceptance of multiculturalism in Korean society is dilatory since the country has long developed as a monoethnic state. The historical ethnic homogeneity of Korean society contributes to the distortion of how Koreans perceive migrants and foreigners, which is why the image of racial and ethnic minorities is often surrounded by a number of stereotypes that affect the way they are perceived in real life. Existing works on this topic are devoted to the representation of migrants, foreigners, and non-ethnic Koreans in various types of media content, but the ethnic scene of contemporary Korean dramas remains largely unexplored. At the same time, dramas occupy one of the most significant places in the cultural life of the Korean people: they serve as an agent of socialization and as a tool for the formation of values and stereotypes in Korean society. The otherness of ethnic and racial Others is constructed through various strategies of alienation, including depersonification, fragmentation, fetishization, exoticization, pathologization, and homogenization. In this study, we explore the ethnoscape of modern South Korean dramas, highlight such strategies, and identify the main features of the representation of racial and ethnic minorities in them. For these purposes, we analyze the two dramas—Descendants of the Sun (2016) and Itaewon Class (2020)—for the representation of the ethnic and racial Other, and identify the general representation strategies. This work also seeks to detect the dynamics of changes in the representation of ethnic minorities in South Korean media. C каждым годом поток мигрантов и иностранных туристов, прибывающих в Южную Корею, растет, и соответственно увеличивается доля иностранцев, появляющихся в корейских СМИ. Однако принятие ценностей мультикультурализма в обществе происходит постепенно в связи с тем, что страна долгое время развивалась как моноэтническое государство. Историческая этническая однородность корейского общества способствует искажению представления корейцев о мигрантах и иностранцах, из-за чего образ расовых и этнических меньшинств часто окружен рядом стереотипов, влияющих на их восприятие в реальной жизни. Существующие работы по этой теме посвящены изучению репрезентации мигрантов, иностранцев и неэтнических корейцев в различных типах медиаконтента, но этническая сцена современных корейских драм остается в значительной степени неизученной, в то время как драмы занимают одно из важнейших мест в культурной жизни корейского народа, являясь агентом социализации и выступая в качестве инструмента для формирования ценностей и стереотипов в корейском обществе. Конструирование инаковости этнических и расовых Других происходит через различные стратегии отчуждения, среди которых деперсонификация, фрагментация, фетишизация, экзотизация, патологизация и гомогенизация. Это исследование направлено на изучение этнического состава современных южнокорейских драм, выделение таких стратегий, выявление основных особенностей репрезентации в них расовых и этнических меньшинств, а также на отслеживание динамики изменения в репрезентации в медиасфере Южной Кореи. В исследовании были проанализированы две южнокорейские драмы — «Потомки солнца» (2016) и «Итхэвон класс» (2020) — на предмет репрезентации этнического и расового Другого, на их основе были выявлены общие стратегии репрезентации. Выбранные дорамы имеют непосредственную ценность для данного исследования, так как они транслировались на основных корейских телеканалах, KBS и JTBS, и крупном глобальном потоковом сервисе Netflix, а также имели высокий зрительский рейтинг, следовательно, в значительном степени отражали интересы аудитории.

Paolo Pinamonti

The story of the missed collaboration between Alex North and Stanley Kubrick for the soundtrack of the film 2001: A Space Odyssey (1968) is faced, in the light of the recently recorded North score for the film. The score highlights not only the too close analogies of North’s various music cues with the temporary tracks chosen by Kubrick but also their original position in the film; film that has suffered until the last many changes. In this research, an aspect that has not been investigated so far has emerged- that of the relationship between North’s music and that of Vaughan Williams, author of the soundtrack for Charles Frend’s film Scott of Antartic (1948). This film curiously has some similarities with Kubrick’s masterpiece, montage of photographic images with special effects, prevalence in the mixing of ‘natural’ noises over music. Furthermore, the analysis of the soundtrack, made from the composer’s point of view, does not want to question the integrity of the filmic text, but, in the light of more recent studies (Platte, 2018), open a plural perspective.

Carmen Elena Jijón, Josefa-María Zárraga Llorens

Desde nuestra posición actual parece sencillo disfrutar de producciones y espectáculos que remuevan nuestra percepción e introduzcan nuevos lenguajes. Pero para llegar a esta situación, en la que lo normal es dar la vuelta a las convenciones, hace falta recordar a aquellos que intentaron descubrir otras posibilidades y contribuir con su inteligencia y creatividad en la evolución del arte dramático. El objetivo de este artículo, ha sido recopilar autores que siguieron el ritmo que marcaban las nuevas corrientes en la escena europea y que trataban de renovar con su aportación la escena teatral en España. La metodología empleada ha sido la de leer e interpretar los textos propios de creadores y teóricos como Appia, Craig y Meyerhold, que dejaron por escrito su legado. Además, se ha analizado y comparado la visión plástica de la escena de todos ellos a través de algunas de sus propuestas. Como conclusión, autores como José Antonio Sánchez, nos hacen ver la incomprensión que sufrieron los dramaturgos españoles y gente del teatro para implantar nuevas ideas y poner en escena obras de gran relevancia poética.

Oskar Jacek Rojewski

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Paola Raffa

The book here exposed is the exhibition catalogue of MM I RICORDANDO una mostra di disegni di Mario Manganaro, but it is also much more, collecting, next to drawings, texts written by friends, family, students and colleagues of Mario Manganaro to ensure memories, shared practice, thoughts addressed to him. Edited by Francesco Manganaro, Alessio Altadonna and Adriana Arena, the book, entitled Mario Manganaro “… un disegnatore generoso”, published by EDAS, collects ninety-five Drawings by M.M. on the left pages and sixty-one Drawings by M.M. exhibited (drawings are cataloged by title, year, place, size, technique, support), side by side to fifty-five textual contributions signed by the same numbers of authors (read more).

Mariella Lorusso

Rafael Coutinho

Corpos Striped constitui-se em uma produção seriada de nove desenhos realizados pelo pesquisador e artista Rafael Scheibe Coutinho, a qual reflexiona aspectos devastadores presentes na sociedade contemporânea, sobretudo apregoando a figura da mulher como objeto de desejo e consumo de maneira abjeta. Para tanto, adiciona-se a esta figura uma relação insurgente com a criatura polvo, que se sobrepõe à mulher fazendo às vezes de uma vasta e repulsante cabeleira. O polvo assume metaforicamente o peso grotesco imposto pela sociedade como uma força que sufoca e transgride a feminilidade, envolvendo-a por meio de uma relação simbiótica e camuflando-se de forma capilar, transformando-a na representatividade da medusa contemporânea.

Hekmatollah Mollasalehi

An introduction to concept of “Hosn” as the catholic and unique name of Allah in the holy Quran and its aesthetic aspects. In different chapters, sections, statements of Holy Quran we meet a very multifarious and fundamental concept as catholic and unique name of god (Allah). A Holy name that includes and recovers or reveals all other Holy names  ofGod(Allah).Fore example in surah “Ta Ha/8 as well as in some other chapters or Surah and verses of Holy Quran God(Allah) say:" Allah-there is no god but he; His are the very best names. In my point of view  thevery catholic and fundamental  name of “Hosn” in the Holy Quran with its deeply ontological and unique as well as aesthetic aspects has been overlooked .In this article has been effort to explain very briefly some of this different overlooked aspects of catholic and unique Allah name of "Hosn".Hosn” as catholic and unique name of Allah includes all other his Holy names. Every name of God(Allah) is the very best name.  Has been Emerged and dawn from the name of “Hosn” as unique and catholic name of God (Allah).This key name includes all Islamic thesis about every things. About "Aletheia "(Truth), "Agathon" (goodness) and "Kalos" (beautiful).

Priscila de Souza Chiste

The article signals a proposal for Aesthetic Education, from literature search, in dialogue with studies of Marx and Vygotsky. According to the Marxist theory presents reflections on aesthetics in the contemporary context and seeks to understand Vygotsky assumptions of Aesthetic Education. Suggests a path through the visual arts, to educate aesthetically from the concept of slow reading of the artwork. Considers that one of the possibilities to achieve such intent is to provide intense, diverse and ongoing encounters with works of art; mediate readings pictures that show both poetic and intertextual aspects as formal of these works, magnified by the knowledge of the artist's universe and the legitimation modes and dissemination of works and, finally, to propose matters relating to the interests of students.

Rina Arya

Federico Navarrete

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Claudia Kappenberg, Sarah Whatley

No abstract available. This report was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 2 (2012), Parallel Press. It is made available here with the kind permission of Parallel Press.

Xavier Moyssén

Ignacio Assis Silva

l. O Dicionário de Semiótica I, de Greimas e Courtés, acostumou-nos a pensar na figurativização como um problema de semi ótica discursiva. Partindo de uma formulação genérica do conceito como as mil maneiras de contar como um sujeito disjunto de seu objeto-valor passa a conjunto ou vice-versa, os Autores acrescentam que a figurativização: - transforma processos em ações, - confere contornos figurativos ao sujeito que, com isso, se toma um ator (sofre ancoragem espacio-temporal).