During wars, art and culture often develop a “culture of camouflage” (Ojeda 68) to invite the reader to decipher hidden meanings as a form of political subversion. In Argentina, the ‘Golden Age’ of comics emerged in the 1940s in response to the rise of Fascist sentiments originating from the Futurist leader Filippo Tommaso Marinetti’s transatlantic propaganda and flourished in the following decades. During and following the ‘Process of National Reorganisation’ from 1976 onwards, illustrator Alberto Breccia used graphic narratives as a form of counter-censorship as he appropriated Futurist aesthetics and the conventions of the modern bande dessinée. He considered this method as being able to allow “artistry and imagination [take] over from logical progressions” (Grove 25). Using this form, he encouraged the public to reflect on Argentina’s changing transatlantic landscape.
This paper examines to what extent Breccia’s Le Coeur Révélateur: Et Autres Histoires Extraodinaires d’ Edgar Poe (1995) borrows Futurist visuality and makes use of the flexibility of the settings in Poe’s stories. This is done to recreate the haunting figures of history as they “turn away from the original work” to “conceive new forms of storytelling that explore the medium-specific properties of the host medium” (Baetens 7). This paper employs an interdisciplinary approach as, in addition to reading Poe’s original texts, this article also discusses Breccia’s appropriation of Futurist techniques, including “Divisionism, the use of threadlike brush strokes,” uniform application of colours according to their “precise tone and luminosity” (Rainey 9), and the dynamic sensation (Boccioni 46).
{"title":"Alberto Breccia’s Parody of Futurist Paintings in Modern Bande Dessinée: Resisting Transatlantic Fascism","authors":"Audrey Chan","doi":"10.2218/forum.1.9149","DOIUrl":"https://doi.org/10.2218/forum.1.9149","url":null,"abstract":"During wars, art and culture often develop a “culture of camouflage” (Ojeda 68) to invite the reader to decipher hidden meanings as a form of political subversion. In Argentina, the ‘Golden Age’ of comics emerged in the 1940s in response to the rise of Fascist sentiments originating from the Futurist leader Filippo Tommaso Marinetti’s transatlantic propaganda and flourished in the following decades. During and following the ‘Process of National Reorganisation’ from 1976 onwards, illustrator Alberto Breccia used graphic narratives as a form of counter-censorship as he appropriated Futurist aesthetics and the conventions of the modern bande dessinée. He considered this method as being able to allow “artistry and imagination [take] over from logical progressions” (Grove 25). Using this form, he encouraged the public to reflect on Argentina’s changing transatlantic landscape.
 This paper examines to what extent Breccia’s Le Coeur Révélateur: Et Autres Histoires Extraodinaires d’ Edgar Poe (1995) borrows Futurist visuality and makes use of the flexibility of the settings in Poe’s stories. This is done to recreate the haunting figures of history as they “turn away from the original work” to “conceive new forms of storytelling that explore the medium-specific properties of the host medium” (Baetens 7). This paper employs an interdisciplinary approach as, in addition to reading Poe’s original texts, this article also discusses Breccia’s appropriation of Futurist techniques, including “Divisionism, the use of threadlike brush strokes,” uniform application of colours according to their “precise tone and luminosity” (Rainey 9), and the dynamic sensation (Boccioni 46).","PeriodicalId":53229,"journal":{"name":"Forum","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919300","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}
The concept of transhumanism is based on a specific understanding of human limitations that should or could be transcended. Among them, the question of overcoming our own corporeality through the delaying of ageing or death is of major importance for a new understanding of human plasticity and fluidity when shaping ourselves and our environment. As transhumanism advocates for human enhancement through technological means, it considers ageing and death as diseases and criticizes their necessity in the human evolutionary process. In light of this transhumanist question, this article discusses ageing and death as diseases for which there must be technological solutions. It underlines that a philosophical approach is necessary to highlight how correlated and interrelated those subjects are and tries to go beyond humanist dichotomies to make clearer how major notions (health, enhancement, etc.) are intertwined with each other and consequently shape our socio-political subjectivities. Given this context, this article discusses the fact that medicine is traditionally structured on a limit that seems to be more and more plastic to pave the way for new debates, such as human enhancement, morphological freedom, and biocultural capital. It then discusses how transhumanism tries to transcend what is considered human structures by examining death as a fatal degeneration that could be overcome through biological amortality and informational immortality.
{"title":"Ageing and Death: A Focus on How to Transcend Diseases for Transhumanist Movements","authors":"Jessica Lombard","doi":"10.2218/forum.1.9154","DOIUrl":"https://doi.org/10.2218/forum.1.9154","url":null,"abstract":"The concept of transhumanism is based on a specific understanding of human limitations that should or could be transcended. Among them, the question of overcoming our own corporeality through the delaying of ageing or death is of major importance for a new understanding of human plasticity and fluidity when shaping ourselves and our environment. As transhumanism advocates for human enhancement through technological means, it considers ageing and death as diseases and criticizes their necessity in the human evolutionary process. In light of this transhumanist question, this article discusses ageing and death as diseases for which there must be technological solutions. It underlines that a philosophical approach is necessary to highlight how correlated and interrelated those subjects are and tries to go beyond humanist dichotomies to make clearer how major notions (health, enhancement, etc.) are intertwined with each other and consequently shape our socio-political subjectivities. Given this context, this article discusses the fact that medicine is traditionally structured on a limit that seems to be more and more plastic to pave the way for new debates, such as human enhancement, morphological freedom, and biocultural capital. It then discusses how transhumanism tries to transcend what is considered human structures by examining death as a fatal degeneration that could be overcome through biological amortality and informational immortality.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919426","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}
{"title":"NOTES ON RITUAL AS HAUNTING // RITUAL AS HEALING","authors":"Prerana Kumar","doi":"10.2218/forum.1.9150","DOIUrl":"https://doi.org/10.2218/forum.1.9150","url":null,"abstract":"--","PeriodicalId":53229,"journal":{"name":"Forum","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919427","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}
Between 1587 and 1589, Netherlandish artist Jan van der Straet engraved a series of plates entitled New Inventions of Modern Times. One, Allegory of America, portrays an Indigenous woman in a feathered headdress and skirt eagerly welcoming Florentine explorer Amerigo Vespucci as he steps onto land. Van der Straet’s work occupies space in a long history of male European artistic depictions of Indigenous women, but the white colonial gaze evident in Allegory has not gone unchallenged. In 2007, Rebecca Belmore (Anishinaabe) responded to transhistorical violence against Indigenous women and girls with a billboard instalment entitled Fringe. Although originally displayed as a direct response to the Pickton murders in Vancouver, Fringe transcends a single event or story. Belmore’s billboard reimagines controlling images that construct Indigenous women as sexually available conquests. She strips the image of the icons that artists have used to represent Indigenous women. By placing the billboard in a crowded metropolitan area, Belmore forces the viewer to confront the still-present reality of Indigeneity alongside the concomitant brutality of settler colonialism. Belmore’s art functions on multiple levels to convey a sense of survivance in the face of systemic attempted genocide. Fringe is a fully realised, modern, and powerful piece of art activism that transforms visual culture. In this paper, I analyse the transhistorical effects of art as a tool of colonisation, as seen in van der Straet’s work. I then theorise Fringe as a vibrant piece of art activism (artivism) that subverts the white male colonial gaze.
{"title":"Resisting Transhistorical Violence: Fringe and Art Activism","authors":"M. Bryn Brody","doi":"10.2218/forum.1.9140","DOIUrl":"https://doi.org/10.2218/forum.1.9140","url":null,"abstract":"Between 1587 and 1589, Netherlandish artist Jan van der Straet engraved a series of plates entitled New Inventions of Modern Times. One, Allegory of America, portrays an Indigenous woman in a feathered headdress and skirt eagerly welcoming Florentine explorer Amerigo Vespucci as he steps onto land. Van der Straet’s work occupies space in a long history of male European artistic depictions of Indigenous women, but the white colonial gaze evident in Allegory has not gone unchallenged. In 2007, Rebecca Belmore (Anishinaabe) responded to transhistorical violence against Indigenous women and girls with a billboard instalment entitled Fringe. Although originally displayed as a direct response to the Pickton murders in Vancouver, Fringe transcends a single event or story. Belmore’s billboard reimagines controlling images that construct Indigenous women as sexually available conquests. She strips the image of the icons that artists have used to represent Indigenous women. By placing the billboard in a crowded metropolitan area, Belmore forces the viewer to confront the still-present reality of Indigeneity alongside the concomitant brutality of settler colonialism. Belmore’s art functions on multiple levels to convey a sense of survivance in the face of systemic attempted genocide. Fringe is a fully realised, modern, and powerful piece of art activism that transforms visual culture. In this paper, I analyse the transhistorical effects of art as a tool of colonisation, as seen in van der Straet’s work. I then theorise Fringe as a vibrant piece of art activism (artivism) that subverts the white male colonial gaze.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919302","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}
This paper considers literary translation as a process that is both transformative and disruptive. Translation engenders movement, not only across languages, but it moves ideas from the centre to the periphery, and from the periphery to the centre. I argue that the translation of literature facilitates the movement and transfer of social narratives between languages and cultures, and in doing so, the very nature of these narratives is altered. Defining social narratives as “the stories we tell ourselves, not just those we tell other people, about the world(s) in which we live” (Baker 19), this paper considers how the properties of such narratives are transformed when translated for new audiences and readerships. Using the vocabulary of sound and volume, I identify and label social narratives on a spectrum of quiet and loud, moving away from previously used binary descriptions, in order to describe the power dynamics at play within world literature. I argue that the interaction between narratives in translation can be discussed in terms of amplification, muting, or silencing, in particular when considering the position and status of source and target languages. To demonstrate this new means with which to describe this process in translation, I take as a case study twentieth-century Catalan author Mercè Rodoreda’s novel La mort i la primavera (1986), and its English translation Death in Spring (2017), identifying how narratives interact and function across cultures, and how they may be made quieter or louder, in order to resonate with, or be ‘heard’ by new audiences.
本文认为文学翻译是一个既具有变革性又具有破坏性的过程。翻译带来运动，不仅仅是跨语言的运动，它还将思想从中心转移到边缘，再从边缘转移到中心。我认为文学翻译促进了社会叙事在语言和文化之间的移动和转移，在这样做的过程中，这些叙事的本质被改变了。将社会叙事定义为“我们告诉自己的故事，而不仅仅是我们告诉别人的关于我们生活的世界的故事”(Baker 19)，本文考虑了这些叙事的属性在翻译给新的受众和读者时是如何转变的。使用声音和音量的词汇，我在安静和嘈杂的范围内识别和标记社会叙事，远离之前使用的二元描述，以描述世界文学中发挥作用的权力动态。我认为，在翻译中，叙事之间的相互作用可以从放大、静音或沉默的角度来讨论，特别是当考虑到源语和目的语的位置和地位时。为了展示这种在翻译中描述这一过程的新方法，我以二十世纪加泰罗尼亚作家Mercè Rodoreda的小说《La mort I La primavera》(1986)及其英译本《春之死》(2017)为例，确定叙事如何在不同文化中相互作用和发挥作用，以及如何使叙事变得更安静或更响亮，以便与新受众产生共鸣或被“听到”。
{"title":"Turning Up the Volume on Translation: Transforming Narratives in the Work of Mercè Rodoreda","authors":"Daisy Isabelle Towers","doi":"10.2218/forum.1.9148","DOIUrl":"https://doi.org/10.2218/forum.1.9148","url":null,"abstract":"This paper considers literary translation as a process that is both transformative and disruptive. Translation engenders movement, not only across languages, but it moves ideas from the centre to the periphery, and from the periphery to the centre. I argue that the translation of literature facilitates the movement and transfer of social narratives between languages and cultures, and in doing so, the very nature of these narratives is altered. Defining social narratives as “the stories we tell ourselves, not just those we tell other people, about the world(s) in which we live” (Baker 19), this paper considers how the properties of such narratives are transformed when translated for new audiences and readerships. Using the vocabulary of sound and volume, I identify and label social narratives on a spectrum of quiet and loud, moving away from previously used binary descriptions, in order to describe the power dynamics at play within world literature. I argue that the interaction between narratives in translation can be discussed in terms of amplification, muting, or silencing, in particular when considering the position and status of source and target languages. To demonstrate this new means with which to describe this process in translation, I take as a case study twentieth-century Catalan author Mercè Rodoreda’s novel La mort i la primavera (1986), and its English translation Death in Spring (2017), identifying how narratives interact and function across cultures, and how they may be made quieter or louder, in order to resonate with, or be ‘heard’ by new audiences.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"129 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919425","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}
{"title":"Trans as Description and Method","authors":"Claudia Sterbini","doi":"10.2218/forum.1.9134","DOIUrl":"https://doi.org/10.2218/forum.1.9134","url":null,"abstract":"","PeriodicalId":53229,"journal":{"name":"Forum","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919431","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}
This essay examines the poetry of father and son poets Samuel Taylor Coleridge (1772–1834) and Hartley Coleridge (1796–1849) with respect to the theme of transfictionality, a recent coinage in literary and especially fiction studies. While the term “transfictionality” has lately been used to refer to “the migration of fictional entities across different texts” (Ryan 365; Pearson 113), I suggest this term can also be applied more broadly to refer to texts that are at once mimetic and imaginary. Transfictional can also mean, I suggest, literary content that straddles the line between fact and fiction, i.e., between what is taken to be the 'real world' and an imaginary setting or ideal transmutation of apparently real content. The two Coleridges, Samuel Taylor and Hartley, both evidence a tendency to produce poetry that is transfictional in this sense, constructing Pantisocracy, an utopian intellectual colony in America, and Ejuxria, an imaginary kingdom based in the English Lake District, as examples of world-building activity that is not entirely based in either fact or fiction, but relies on the commingling of the two. By examining poetic writing that is transfictional as productive of both political and personal poetry, I hope to suggest in part both the transfictional nature of poetry's idealising tendencies, as well as its potential to be a form of world-building writing that should be seen as generically similar to (but still distinct from) narrative forms like prose fiction (especially Sci-Fi/Fantasy) and video games.
本文考察了塞缪尔·泰勒·柯勒律治(Samuel Taylor Coleridge, 1772-1834)和哈特利·柯勒律治(Hartley Coleridge, 1796-1849)这对父子诗人的诗歌，并探讨了变性这一文学研究领域，尤其是小说研究领域的新概念。而“transfictionality”一词最近被用来指“虚构实体在不同文本之间的迁移”(Ryan 365;皮尔逊113)，我认为这个术语也可以更广泛地用于指代既模仿又想象的文本。我认为，跨虚构也可以指跨越事实与虚构之间界限的文学内容，也就是说，介于“真实世界”与虚构的背景或明显真实内容的理想嬗变之间。两位柯勒律治，萨缪尔·泰勒和哈特利，都证明了在这个意义上创作跨虚构诗歌的趋势，他们构建了泛社会主义，一个在美国的乌托邦式知识分子殖民地，以及一个位于英国湖区的虚构王国，作为世界建设活动的例子，既不完全基于事实，也不完全基于虚构，而是依赖于两者的混合。通过对跨虚构的政治诗歌和个人诗歌的研究，我希望在一定程度上表明诗歌理想化倾向的跨虚构本质，以及它作为一种世界建构写作形式的潜力，这种写作形式应该被视为与散文小说(尤其是科幻/幻想)和电子游戏等叙事形式大致相似(但仍然不同)。
{"title":"Never/Nor: Samuel Taylor Coleridge and Hartley Coleridge in Poetry’s Transfictional Worlds","authors":"Adam B. Neikirk","doi":"10.2218/forum.1.9147","DOIUrl":"https://doi.org/10.2218/forum.1.9147","url":null,"abstract":"This essay examines the poetry of father and son poets Samuel Taylor Coleridge (1772–1834) and Hartley Coleridge (1796–1849) with respect to the theme of transfictionality, a recent coinage in literary and especially fiction studies. While the term “transfictionality” has lately been used to refer to “the migration of fictional entities across different texts” (Ryan 365; Pearson 113), I suggest this term can also be applied more broadly to refer to texts that are at once mimetic and imaginary. Transfictional can also mean, I suggest, literary content that straddles the line between fact and fiction, i.e., between what is taken to be the 'real world' and an imaginary setting or ideal transmutation of apparently real content. The two Coleridges, Samuel Taylor and Hartley, both evidence a tendency to produce poetry that is transfictional in this sense, constructing Pantisocracy, an utopian intellectual colony in America, and Ejuxria, an imaginary kingdom based in the English Lake District, as examples of world-building activity that is not entirely based in either fact or fiction, but relies on the commingling of the two. By examining poetic writing that is transfictional as productive of both political and personal poetry, I hope to suggest in part both the transfictional nature of poetry's idealising tendencies, as well as its potential to be a form of world-building writing that should be seen as generically similar to (but still distinct from) narrative forms like prose fiction (especially Sci-Fi/Fantasy) and video games.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919428","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}
Pub Date : 2023-10-02DOI: 10.1007/s12312-023-01254-0
{"title":"AUO – Versorgungsforschung in der Uroonkologie","authors":"","doi":"10.1007/s12312-023-01254-0","DOIUrl":"https://doi.org/10.1007/s12312-023-01254-0","url":null,"abstract":"","PeriodicalId":53229,"journal":{"name":"Forum","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135834969","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}
Pub Date : 2023-10-01DOI: 10.5117/forum2023.3.010.mara
Yorgos Maraziotis
Yorgos Maraziotis’ artistiek onderzoek Mythical Truths komt voort uit zijn noodzaak om het schoolmodel te bekijken als een pedagogisch en cultureel ecosysteem waarbinnen zijn visie op beeldhouwen en archiveren de sociale diversiteit kan versterken.
{"title":"The academy as a mythical landscape","authors":"Yorgos Maraziotis","doi":"10.5117/forum2023.3.010.mara","DOIUrl":"https://doi.org/10.5117/forum2023.3.010.mara","url":null,"abstract":"Yorgos Maraziotis’ artistiek onderzoek Mythical Truths komt voort uit zijn noodzaak om het schoolmodel te bekijken als een pedagogisch en cultureel ecosysteem waarbinnen zijn visie op beeldhouwen en archiveren de sociale diversiteit kan versterken.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135607087","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}
Pub Date : 2023-10-01DOI: 10.5117/forum2023.3.003.sael
Ann Saelens
Today, art schools also educate our art teachers. Ann Saelens and Tanja Oostvogels, both theatre teachers and actors, are conducting research together at the KASK & Conservatory (HOGENT) on the role of the theatre teacher in helping young adults learn to create their own stage work. They are struck by how the artist/teacher/maker is viewed in the field. Why do artists hesitate to call themselves teachers? In this essay, Saelens offers art schools a framework for looking at the tension between being an artist and being a teacher.
{"title":"What’s in a name? Kunstenaarschap en leraarschap: een verleiding tot het midden","authors":"Ann Saelens","doi":"10.5117/forum2023.3.003.sael","DOIUrl":"https://doi.org/10.5117/forum2023.3.003.sael","url":null,"abstract":"Today, art schools also educate our art teachers. Ann Saelens and Tanja Oostvogels, both theatre teachers and actors, are conducting research together at the KASK & Conservatory (HOGENT) on the role of the theatre teacher in helping young adults learn to create their own stage work. They are struck by how the artist/teacher/maker is viewed in the field. Why do artists hesitate to call themselves teachers? In this essay, Saelens offers art schools a framework for looking at the tension between being an artist and being a teacher.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135607250","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：