IF 0.5

Arts Pub Date : 2024-04-29 DOI: 10.3390/arts13030080

Marina Ritzarev

引用次数: 0

“Sirens” by Joyce and the Joys of Sirin: Lilac, Sounds, Temptations Joyce and the Joys of Sirin 的 "Sirens"：丁香、声音、诱惑

IF 0.5

Arts Pub Date : 2024-04-26 DOI: 10.3390/arts13030077

Andrey Astvatsaturov, Feodor Dviniatin

{"title":"“Sirens” by Joyce and the Joys of Sirin: Lilac, Sounds, Temptations","authors":"Andrey Astvatsaturov, Feodor Dviniatin","doi":"10.3390/arts13030077","DOIUrl":"https://doi.org/10.3390/arts13030077","url":null,"abstract":"The article is devoted to the musical context of the works of James Joyce and Vladimir Nabokov. Joyce’s Ulysses, one of the most important literary texts of the twentieth century, is filled with musical allusions and various musical techniques. The chapter “Sirens” is the most interesting in this context as it features a “musical” form and contains a large number of musical quotations. The myth of the singing sirens, recreated by Joyce in images and characters from the modern world, encapsulates the idea of erotic seduction, bringing threat and doom to the seduced. Joyce offers a new version of the sea world filled with music, creating a system of musical leitmotifs and lexical patterns within the text. Developing the themes of temptation, the danger that temptation entails, doom, uniting with the vital forces of the world, and loneliness, Joyce in “Sirens” reveals the semantics of music, showing the specific nature of its effect on listeners. Vladimir Nabokov, who praised Ulysses and devoted a lecture to “Sirens”, is much less musical than Joyce. However, he, like Joyce, also refers to the images of singing sirens and the accompanying images of the aquatic world. One of the central, meaning-making signs in his work is the “Sirin complex”, his pseudonym. This sign, which refers to a large number of pretexts, refers in particular to the lilac (siren’) and to the mythological “musical” sirens. As in Joyce’s work, sirens are present in his texts as mermaids and naiads, or as figures of seducers who fulfil their function and bring doom. Joyce and Nabokov are also united by the presence of recurrent leitmotifs, lexical patterns, and the presence of auditory impressions in their text that are evoked by the sound of the everyday world.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"2 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140800220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Through the Eyes of the Beholder: Motifs (Re)Interpreted in the 27th Dynasty 通过观赏者的眼睛：第二十七王朝的图案（再）诠释

IF 0.5

Arts Pub Date : 2024-04-23 DOI: 10.3390/arts13030076

Marissa Stevens

{"title":"Through the Eyes of the Beholder: Motifs (Re)Interpreted in the 27th Dynasty","authors":"Marissa Stevens","doi":"10.3390/arts13030076","DOIUrl":"https://doi.org/10.3390/arts13030076","url":null,"abstract":"This paper aims to highlight examples of artistic motifs common throughout Egyptian history but augmented in novel ways during the 27th Dynasty, a time when Egypt was part of the Achaemenid empire and ruled by Persian kings. These kings represented themselves as traditional pharaohs within Egypt’s borders and utilized longstanding Egyptian artistic motifs in their monumental constructions. These motifs, however, were manipulated in subtle ways to send targeted messages to audience(s) of this art. Art historians tend to situate visual styles and motifs within the longue durée of artistic tradition and pick a singular, official, and centralized perspective to narrate the history and reception of that art. In the case of Egypt, this perspective is often that of the king, and there is an assumption that there was a monolithic message sent to his people. But we are not dealing with a homogenous people; a diverse population would have had varied reactions to and interpretations of this visual signaling. By highlighting both the augmentation of traditional motifs undertaken by the Achaemenid administration and the multiplicity of perspectives they held for their audience(s), we can better understand ancient art as being dynamic in function and interpretation, rather than as a static snapshot of carbon-copied royal authority.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"9 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140637583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Resonating Reflections: A Critical Review of Ethnosymbolic Dynamics in Les Six’s Music Nationalism Movement 共鸣的思考：对 Les Six 音乐民族主义运动中民族符号动态的批判性评论

IF 0.5

Arts Pub Date : 2024-04-22 DOI: 10.3390/arts13020075

Xuewei Chang, Marzelan Bin Salleh, Jifang Sun

引用次数: 0

“Only in The History of the Formation of the Self-Conscious Soul Did Bugaev Reveal His Ideas about Music”: Music in the System of Andrei Bely "只有在《自我意识的灵魂形成史》中，布加耶夫才揭示了他的音乐思想"：安德烈-别雷体系中的音乐

IF 0.5

Arts Pub Date : 2024-04-19 DOI: 10.3390/arts13020074

Mikhail Odesskiy, Monika Spivak

{"title":"“Only in The History of the Formation of the Self-Conscious Soul Did Bugaev Reveal His Ideas about Music”: Music in the System of Andrei Bely","authors":"Mikhail Odesskiy, Monika Spivak","doi":"10.3390/arts13020074","DOIUrl":"https://doi.org/10.3390/arts13020074","url":null,"abstract":"Symbolism distinguished itself in world culture in that its representatives were inclined to a dialogue and intersection of different types of art. In Russian literature, one of the brightest examples of such a synthesis is the work of Andrei Bely (Boris Bugaev; 1880–1934). The aim of the present article is to consider the writer’s ideas about music itself. As the main source we use Bely’s treatise The History of the Formation of the Self-Conscious Soul. Bely in his Symbolist articles of the 1900s laid down the idea of musical art as an antinomy, which emphasized the troubling importance of the problem, but did not principally imply any positive answer. However, in his anthroposophic treatise The History of the Formation of the Self-Conscious Soul (1926–1931), enormous in volume and scale of the material, the author’s antinomical understanding of music was transformed into a structure which is extremely complicated, but consistent. That is why Andrei Bely does not apply the word “antinomy” to music, but he extensively uses the musical term “counterpoint” (together with other musical terms). Whereas the word “antinomy” pointed at some irreconcilable conflicts, on the contrary, a “counterpoint” introduces these clashes into the frame of a single structure of a system, thus reconciling them. Accordingly, the romance “It is so sweet to be with you” by Mikhail Glinka (called in The History “the greatest genius”) contains, in Andrei Bely’s texts, the message of a wide spectrum.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"50 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140622866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Yes, It Is Polyphony and a Map: Revisiting the 72 Verses of St. Martial 是的，这是复调和地图：重温圣马蒂亚尔的 72 首诗歌

IF 0.5

Arts Pub Date : 2024-04-17 DOI: 10.3390/arts13020073

Laura Steenberge

{"title":"Yes, It Is Polyphony and a Map: Revisiting the 72 Verses of St. Martial","authors":"Laura Steenberge","doi":"10.3390/arts13020073","DOIUrl":"https://doi.org/10.3390/arts13020073","url":null,"abstract":"The enigmatic 72 Verses for St. Martial is one of the many works by Ademar de Chabannes (989–1034) crafted to promote the false narrative that St. Martial of Limoges, rather than being a third-century bishop, was actually a first-century apostle. The composition is visually striking due to the acrostic formed from the first letter of each tercet, MARCIALIS APOSTOLVS XRISTI, and its two overlapping melodies, one in black ink and the other in red. The relationship between the two notations is the subject of debate: Paul Hooreman’s conclusion that they are two variations of the same monophonic chant is countered by Manuel Pedro Ferreira, who argues that Hooreman’s reasoning is insufficient to rule out polyphony. I use Ferreira’s assessment as a jumping-off point for the current analysis, which investigates the compositional processes underlying the creation of the 72 Verses. Hooreman describes many details in the chant as subject to disorganization, scribal error, lack of ability, etc., but when the chant is analyzed polyphonically, these problems resolve. Beyond the music itself, the chant’s unusual polyphonic structure features reveals that the chant is structured around medieval maps, moving between a mappa mundi and the celestial spheres.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"56 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140608130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Child Burial from Kerch: Mortuary Practices and Approaches to Child Mortality in the North Pontic Region between the 4th Century BCE and the 1st/2nd Century CE 来自刻赤的童葬：公元前 4 世纪至公元前 1/2 世纪北庞提克地区的殡葬习俗和处理儿童死亡的方法

IF 0.5

Arts Pub Date : 2024-04-10 DOI: 10.3390/arts13020071

Joanna Porucznik, Evgenia Velychko

{"title":"A Child Burial from Kerch: Mortuary Practices and Approaches to Child Mortality in the North Pontic Region between the 4th Century BCE and the 1st/2nd Century CE","authors":"Joanna Porucznik, Evgenia Velychko","doi":"10.3390/arts13020071","DOIUrl":"https://doi.org/10.3390/arts13020071","url":null,"abstract":"This article discusses a poorly studied child elite burial discovered in 1953 at the necropolis of Panticapaeum, situated near the modern city of Kerch, Crimea. A reassessment of previous research is urgently needed since it did not offer an analysis of Bosporan society from the perspective of childhood studies in general and local approaches to child mortality in particular. This fresh approach sheds new light on social structures and transformations within the northern Black Sea region. A broad chronological and geographical perspective is provided in order to detect changing mortuary rituals regarding deceased children in relation to shifting socio-political situations among North Pontic Greek and non-Greek societies. A survey of current social interpretations concerning the (in)visibility of children in the mortuary customs, particularly between the 4th century BCE and the 1st/2nd century CE, is followed by a detailed description of the history of research in the Panticapaeum necropolis. A comprehensive analysis of the grave goods that accompanied the deceased child is also provided. The discussed material suggests that a new form of elite self-representation, expressed through mortuary rites, appeared around the turn of the first millennium. This included a different approach to deceased children, whose ascribed status and expected, yet unfulfilled, social roles were frequently displayed by the family through the funerary ceremony.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"38 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140542119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Queer Nightlife and Contemporary Art Networks: A Study of Artists at the Bar 同性恋夜生活与当代艺术网络：酒吧艺术家研究

IF 0.5

Arts Pub Date : 2024-04-10 DOI: 10.3390/arts13020072

Joseph Daniel Valencia

{"title":"Queer Nightlife and Contemporary Art Networks: A Study of Artists at the Bar","authors":"Joseph Daniel Valencia","doi":"10.3390/arts13020072","DOIUrl":"https://doi.org/10.3390/arts13020072","url":null,"abstract":"This article positions queer nightlife as a central vehicle in the lives and practices of queer Latinx artists working in Los Angeles over the past decade. It highlights how queer nightlife has provided a generative space for art making and community building in LA and considers how the usage of queer nightlife as a frame of study ruptures existing art historical and curatorial methodologies relative to Latinx art. I closely analyze works by artists rafa esparza, Sebastian Hernandez, and Gabriela Ruiz drawn from the gay bars and streets of downtown and East Los Angeles to underscore the radical and sophisticated ways by which these artists create art, community, and opportunity. By critically examining three case studies––Escandalos Angeles (2018), a performance by Hernandez and Ruiz at Club Chico in Montebello, California; Nostra Fiesta (2019), a storefront mural by esparza, Ruiz, and friends at the New Jalisco Bar in downtown; and YOU (2019–ongoing), a queer party directed by Hernandez and launched at La Cita Bar in downtown––I reveal how queer nightlife has served as an incubator for these artists to come together, express themselves, and generate a sense of joy and freedom from the struggles of everyday life.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"11 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140542166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Social Choreography as a Cultural Commoning Practice: Becoming Part of Urban Transformation in Une danse ancienne 作为文化共享实践的社会编舞：成为 Une danse ancienne 中城市变革的一部分

IF 0.5

Arts Pub Date : 2024-04-09 DOI: 10.3390/arts13020070

Johanna Hilari, Julia Wehren

{"title":"Social Choreography as a Cultural Commoning Practice: Becoming Part of Urban Transformation in Une danse ancienne","authors":"Johanna Hilari, Julia Wehren","doi":"10.3390/arts13020070","DOIUrl":"https://doi.org/10.3390/arts13020070","url":null,"abstract":"This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of ‘expanded choreography’ and ‘cultural commoning’. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"38 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140542140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Correction: Peña Torres (2024). La Liga de la Decencia: Performing 20th Century Mexican History in 21st Century Texas. Arts 13: 47 更正：Peña Torres（2024 年）。La Liga de la Decencia：在 21 世纪的得克萨斯州演绎 20 世纪墨西哥历史》。艺术 13: 47

IF 0.5

Arts Pub Date : 2024-04-07 DOI: 10.3390/arts13020069

Jessica Peña Torres

引用次数: 0

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