Documents found
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24363.
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24368.More information
This text looks at intermediality (links between arts) as a foundation for narrative music, in a series of eight works entitled Wirkunst. The origins of the Wirkunst stem from other visual arts, literary or cinematographic works. Thus, the first part opens with semiotics theories on which my research is based. Then, I present the “musical interpretation’s grid of artworks” which I use to transform my perception of an artwork toward a musical work. Finally, I propose a definition of musical narrativity inherent to the Wirkunst with an emphasis on the field of perception and, more specifically, their many levels of reading, conceptual and sonorous.
Keywords: Musique, composition, arts, intermédialité, narrativité, perception
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24369.More information
When Russia invaded Ukraine in 2014, the Russian media ran what I propose to call a simulation of “non-invasion”—a spectacle aimed to distance Russia from the war. This essay explores activist art resistance against this simulation. Specifically, I discuss three art projects that were staged during the first, most violent year of the Russian-Ukrainian conflict: Mariia (Maria) Kulikovs'ka’s performance at “Manifesta 10” in St. Petersburg, Serhii Zakharov’s guerrilla installations on the streets of occupied Donetsk, and Izolyatsia’s #onvacation occupation of the Russian pavilion at the 56th Venice Biennale. These art projects, I argue, not only attacked the simulation from the outside as independent entities, but, by penetrating the simulation on site and online, they disrupted it from within. I offer three reasons to support this claim. First, these art projects superimposed images of the invasion over the physical sites where the “non-invasion” simulation dwelt and, in this way, not only made the war visible but also produced “a glitch in the matrix” effect—a conflict within the simulation visual regime that was inconsistent with its concealment function. Second, they “hailed” (in Louis Althusser’s terms) actants of the simulation as subjects of Putin’s regime, provoking suppressive reactions that proved Russia’s participation in the war—which the simulation, thus, failed to downplay. And third, with carefully orchestrated strategies of online outreach to the public, these art projects attached themselves to the media dimension of the simulation, making the simulation’s media proliferation work against itself.
Keywords: activist art, art resistance, simulation, “non-invasion”, media war, Russian-Ukrainian conflict
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24370.More information
This article discusses the often stereotyped and essentialized depiction of the Sámi in Old Norse sources in light of recent work on critical race theory and its application to the Middle Ages. Focussing on the portrayal of Sámi characters in the late-medieval Hrafnistumannasögur (Sagas of the Men of Hrafnista), this article argues that Norse portrayals of the Sámi were racial in character and that there did indeed exist a racial dynamic between the two peoples, at least during the late-medieval period from which these sagas survive. Consideration is also given towards how both positive and negative portrayals of the Sàmi in these sources can be understood within a racialized context. This article is a winner of the 2022 Marna Feldt Graduate Publication Award.
Keywords: race, Sámi, fornaldarsögur, otherness, finnar