118 research outputs found
Drowning in Documents: Action, Documentation, and Factography in Early Work by the Collective Actions Group
No full textThis article traces a provisional history of the early years of the conceptual performance art group Collective Actions through an examination of three critical terms—action, documentation, and factography—that came to figure prominently in the group's definition of its aesthetic project. A close reading of several of the group's actions and key theoretical texts from this period (1976–1981) reveals a dialectic of performance and documentation wherein the photographic and textual recording of actions, first carried out for purely pragmatic purposes, begins to acquire an independent aesthetic dimension that challenges the primacy of the live action. This shifting understanding of action—away from the ephemeral, spatio-temporal event and toward an aesthetics of documentation and factographic discourse—became a form of self-institutionalization that revealed fault lines in the artistic positions and ambitions of the Moscow Conceptualist circle. The article therefore attempts to locate the specific stakes of performance as an artistic practice within Moscow Conceptualism at the turn of the 1980s
Illness representations and patient adherence: the importance of provider behavior and patient perceptions
No full textThis study used self-report data from patients at a primary care clinic at a University Medical center to further understand the relationship between adherence to treatment and patients’ perceptions of their providers’ ability to address patient models of illness and treatment (i.e., common sense model mastery; CSM-mastery). Analyses tested whether this relationship was mediated by treatment efficacy beliefs and moderated by pre-visit worry. Results of regression analyses indicated that treatment efficacy beliefs did not mediate the relationship between CSM-mastery and adherence to treatment. Additionally, pre-visit worry did not moderate the relationship between CSM-mastery and adherence to treatment.M.S.Includes bibliographical referencesby Jessica Yelena Brelan
A Dance Adaptation of 'Letters from Yelena'
No full textFootage from the launch of the novel 'Letters from Yelena' by Guy Mankowski. An evening of artistic collaboration bringing Literature and Dance to one stage - with UK based author Guy Mankowski and choreography by the acclaimed Dora Frankel (Bitter, Sweet and Dark and One Small Step/One More Step) and the dancer Laila Sanz. A dance piece, set to an original soundtrack by Jeremy Bradfield, with a reading from Guy's novel 'Letters from Yelena', performed at Dance City, Newcastle. Filming- Hal Branson. Credit- Legend Press</p
Collective Actions: Moscow conceptualism, performance, and the archive, 1976-1989
No full textThis dissertation charts the history of Collective Actions, a group of artists, poets, musicians, and other intellectuals who staged conceptual actions that investigated the nature of viewer perception and aesthetic experience in late-Soviet Moscow. Focusing on the period between 1976 and 1989, the dissertation draws on perspectives from art history, performance studies, and Soviet cultural history to closely analyze the enigmatic actions, dispersed multi-media archive, and voluminous theoretical writings of Collective Actions and Andrei Monastyrski, a founding member and the group’s chief theoretician. In doing so, it reveals how the lack of institutional location in both Soviet and Western art worlds allowed Collective Actions to create highly unstable works that were produced discursively by audience participation, rather than formally determined by the artists themselves. It traces the shifting boundaries between poetry, action, factographic object, and documentary photograph, and shows how each artistic encounter served to test viewer perception and became, over time, the object of documentation and extended group discussion. The group’s collective practice, the dissertation argues, became a key site for the elaboration of a Moscow Conceptualist vernacular. The dissertation seeks to locate this collective project of producing an alternative institution within the specific conditions of unofficial art in Moscow in the last Soviet decades, and in this way, offers a new way of understanding the signal postwar movements of conceptual and performance art and their relationship to institutionalization in the postwar period.Ph. D.Includes bibliographical referencesIncludes vitaby Yelena Kalinsk
Artyści sceny i ekranu dwudziestolecia międzywojennego Europy Środkowo-Wschodniej w ujęciu semiotyki antropologicznej
No full textPreface The twenty-year interwar period (1918–39), seen from a contemporary perspective, is on one hand interesting, on the other the stuff of nostalgia or a subject for research. The restoration of Poland’s independence on 11 November 1918 initiated, inter alia, the dynamic development of art and science. However, this development was brutally interrupted by the outbreak of the Second World War. Later years, especially after 1991, brought disputes and discussions about almost every aspect of the Second Republic. These discussions were often subject to myth¬ologisation or ideologisation, obscuring the actual subject of the research. Therefore, in the present monograph, we have decided to look into issues look into issues of the film art and the art of theater as well as profiles of the artists of the 1920s and 30s. The research perspective proposed in the present monograph finds its place at the intersection of research disciplines such as the anthropology of culture and the anthropology of film and theater, as well as cultural semiotics, discourse analysis, and the most recent neurocultural approaches. The authors propose interdisciplinary research approaches which, nevertheless, as a whole, they fit methodologically into the programme of anthropological semiotics, the main thesis of which was formulated by Milton Singer in 1978 in his paper entitled For a Semiotic Anthropology. In Polish literature, the term anthropological semiotics is a relatively new one, but this is not to suggest that anthropological semiotics, defined as a set of methodo¬logical practices, was not employed by Polish researchers. The pioneer of (immanent) anthropological semiotics in Polish literature was most likely Jerzy Faryno, who, assuming the cultural semiotics of Yuri Lotman as a basis for reasoning, undertook in his research the task of identifying sign systems of cultural texts in their current ‘social life’. Anthropological semiotics focuses, on one hand, on the understanding of sign systems ‘entwined’ in human social life, and on the other on processes taking place within specific social structures which generate, update, or replace some mean¬ings and the way they are manifested in others. In order to combine these theoretical assumptions, it is necessary to become acquainted with the so-called cultural context of the occurrance of sign systems. To this end, we are convinced that the arrangement of articles which we offer in the present monograph reflects this idea. The material presented in Parts I and III has been arranged in sequence from a case study made from a historical perspective to one from a contemporary per-spective – here, from that of psychoculture (neuroculture) in part I and from that of discourse analysis in part III. In Part II, we have departed from this principle in the case of material presenting little-known aspects of the history of Polish cinema in the interwar period. Part I, entitled ‘Artistic Profiles. Practical Methods of Anthropological Semiot-ics, and Neuroculture’, consists of four articles. Eliza Pomichowska, in an article entitled The Death of Eugeniusz Bodo. Facts vs Reality, has investigated the various narratives concerning the death of Eugeniusz Bodo which appeared in the Polish press and related literature in the post-war years. Julia Roguska offers a synthet¬ic discussion on the artistic profile of Mikhail (Michael) Chekhov in an article entitled In Search of Synthesis. The Life and Work of Mikhail Chekhov. Natalia Rytelewska, in an article entitled Nikolai Evreinov in Poland, 1918‒1939, has re-constructed, based on rich source material, the reception of the dramatic work of Evreinov in Poland in the years 1918‒39. Jolanta Kociuba, in an article entitled A Study of the Neurocultural Determinants of the Identity of an Actor, raises, on the basis of rich empirical material, important issues of identity from the perspective of psychological research. Part II, ‘History of the Animated Cinema, Sound Cinema, and Amateur Theatre. The Semiotics of Film and Theatre’, consists of three articles. Jarosław Królikowski, in an article entitled An Outline of the State of Polish Sound Cinema in the Interwar Period from 1929‒39, discusses the beginnings of sound cinema in Poland, drawing attention to problems (economic, technological, and artistic) with which Polish sound cinema of that period had to struggle. Monika Grącka, in an article entitled From the History of Polish Animation of the Interwar Period, focuses on Polish traditions and achievements in the field of animated film. Maciej Kozłowski’s article, entitled Visual Poetic Narration in the Film The Adventures of a Good Citizen by Franciszka and Stefan Themerson, discusses the issue of the language of film and the avant-garde narrative techniques used by the filmmakers; the work of Franciszka and Stefan Themerson serves as Kozłowski’s exemplary material. In Part III, ‘Theatre and Cinema on Cultural Borders. Discourse Analysis’, we present three articles. Olga Kich-Masłej discusses the history of an amateur theatre in Wierzbica; her article, entitled Ukrainian Amateur Theatre in the Village of Wier-zbica. The Polish-Ukrainian border in the 1920s and 30 contains valuable analysis carried out from the perspective of the history of everyday life as well as of that of anthropological semiotics. An article by Lesława Korenowska and Zhanna Nurmano-va entitled Байопики о писателях: новый взгляд на киноклассику советской эпохи [Biopics about Writers: A Fresh Look at Soviet-Era Classic Films] takes up the sub¬ject of Soviet biographical film. The authors succinctly present the story of this film genre, after which they focus on a comparative analysis of biographical films about Alexander Pushkin and Abay Kunanbaev [also written Abai Qunanbaiuli], justifying their selection by the fact that both poets played an important role in the development of the literature of their respect ive nations. Part III closes with an article by Yelena Karetina entitled Understanding Propaganda: The Image of Poland in Soviet Cinema of the 1930s on the Example of the Film Border Is Locked Tight, in which the author discusses the tools of visual propaganda with which the Soviet government attempted to prepare the nation for the coming war
Opportunities for studying cultural landscapes in the Kaliningrad region
No full textThis article focuses on opportunities for studying cultural landscapes in the Kaliningrad region and offers methodology for it. The author outlines types of the information required: genetic types of natural landscapes, spatial settlement and land use features, and the network components of the landscapes environment
Utilizing Raman spectroscopy and multivariate analysis to identify and monitor the differentiation states of individual stem cells
No full textThe rapid progression of stem cell research over several decades has resulted in significant advances in disease treatment, particularly for diseases of the blood and bone marrow. While such treatments are beneficial to thousands of patients every year, mankind has not fully harnessed the therapeutic potential of stem cells. One important avenue towards achieving this goal involves using stem cells in native or artificial tissue to promote healthy cell and/or tissue expansion and regeneration. In order to understand the extrinsic factors and mechanisms that influence stem cell fate decisions, complex biomaterial screening platforms have been developed to screen the largest number of factors using the smallest number of rare, primary stem cells. These platforms necessitate analytical tools that can be used to identify the differentiation state of individual cells in order to correlate this information with the local cues acting upon the cell. The standard techniques used for stem cell identification in situ have a number of disadvantages, including the use of potentially toxic fluorescent probes, limitations in the chemical information that can be probed, and subjectivity in data interpretation.
The work presented herein investigates the potential of spontaneous Raman microspectroscopy as an objective, non-invasive, marker-free, quantitative technique to chemically characterize and identify individual cells, specifically stem cells and their progeny, with location and time specificity. Chapter 1 presents an introduction and review of these applications. The utility of multivariate analysis of Raman cell spectra towards generating identification models is also discussed. The work presented in Chapter 2 demonstrates that Raman spectroscopy and partial least squares-discriminant analysis can be used to accurately discriminate between individual living or fixed mammalian cells in co-cultures. This methodology was then applied towards identifying the differentiation states of primary hematopoietic stem cells and their progeny when seeded on biomaterial substrates of varying stiffnesses, as presented in Chapter 3. Chapter 4 focuses on utilizing Raman spectroscopy to monitor the neutrophilic differentiation of myeloid cells over time; these results show that biomarkers of discrete differentiation states correlated with specific spectral markers. Ultimately, significant research effort will be required to further optimize this methodology and address its various challenges, including sensitivity, reproducibility, and applicability on different platforms.Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2019-05-01The student, Yelena Ilin, accepted the attached license on 2017-04-17 at 06:48.The student, Yelena Ilin, submitted this Dissertation for approval on 2017-04-17 at 07:17.This Dissertation was approved for publication on 2017-04-18 at 09:18.DSpace SAF Submission Ingestion Package generated from Vireo submission #10788 on 2017-08-10 at 15:05:40Made available in DSpace on 2017-08-10T20:32:57Z (GMT). No. of bitstreams: 2
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Один герой трех рассказов И.А. Бунина
No full textThe paper of Yelena Kapinos One Protagonist of Three Short Stories by Ivan Bunin analyzes three short stories by Ivan Bunin (Grammar of Love, A Winter Dream and In a Never- Never Land). The stories are connected through the same recurring protagonist, Ivlev, who functions as a “mediator” between the world of the characters and that of the author. The three texts are structured as a kaleidoscope of similar motifs, details and narrative techniques that reveal the key elements of Bunin\u27s poetic universe.The paper of Yelena Kapinos One Protagonist of Three Short Stories by Ivan Bunin analyzes three short stories by Ivan Bunin (Grammar of Love, A Winter Dream and In a Never- Never Land). The stories are connected through the same recurring protagonist, Ivlev, who functions as a “mediator” between the world of the characters and that of the author. The three texts are structured as a kaleidoscope of similar motifs, details and narrative techniques that reveal the key elements of Bunin\u27s poetic universe.The paper of Yelena Kapinos One Protagonist of Three Short Stories by Ivan Bunin analyzes three short stories by Ivan Bunin (Grammar of Love, A Winter Dream and In a Never- Never Land). The stories are connected through the same recurring protagonist, Ivlev, who functions as a “mediator” between the world of the characters and that of the author. The three texts are structured as a kaleidoscope of similar motifs, details and narrative techniques that reveal the key elements of Bunin\u27s poetic universe
A little story about big issues : an introspective account of FEMEN
No full textThis research contributes a detailed personal account of a FEMEN activist. It presents an autophenomenographic analysis of cultural artefacts, including a Retrospective Diary, resulting from the activity of Yelena Myshko in FEMEN between 2012 and 2014. Previously FEMEN has been used as raw material for external analysis by press and academics to fit their individual agendas. To counteract this, Myshko’s research proposes an insider perspective on FEMEN activism. She writes herself in response to academics and FEMEN leader Inna Shevchenko who ignore the contribution of FEMEN Netherlands. Myshko merges author/researcher/researched and uses evocative storytelling to provide an introspective account of sextremism, connecting it to relevant embodiment concepts that illustrate its technology of empowerment and unintended side effects. Through an autophenomenographic analysis of her personal experience, Myshko suggests how FEMEN employs sextremism to create soldiers of feminism. Her research proposes that sextremism is an attitude, a way of life and technology of resistance. For Myshko, sextremism embodies feminist polemic that turns against patriarchy through topless protest. Through personal accounts she illustrates how she internalized this aggressive femininity during physical and mental training. Myshko argues that in protest FEMEN activists communicate to the public and mobilize new activists through feminist snap. In addition, Myshko observes that sextremism produces visual activism that internalizes feminist polemic and transforms it into figurative storytelling. Myshko explains how she reproduced sextremism through body image that made her assertive and empowered her in action. In turn Myshko demonstrates how personal accounts of sextremist embodiment and problems encountered as a woman in the world reproduce FEMEN’s fight in the media. Myshko analysis interviews with the press where she pinpoints topical feminist issues, making FEMEN real and relevant in Western society. Myshko observes that the media appropriated the spectacle created by FEMEN Netherlands but often distorted it and bend the news to fit its own agenda. In addition, the media criticized FEMEN Netherlands for cross-passing national values and power symbols. For Myshko, sextremism is empowering but also destructive. It promotes an unapologetic self-critical attitude that accumulates collateral damage in battle. The sporadic and restrained relationships between activists does not allow intimacy. Because of the eye of the media, tenderness is perceived as weakness and is not aloud. The combination of criticism, media scrutiny and police persecution hurt Myshko’s feelings. These unresolved feelings of hurt led to resentment and disengagement from FEMEN
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