“How, under the condition of radical ambiguity, can a work of art be political?” In Art and Music: Past, Present and Future Perspectives
, the authors begin by arguing that this question only yields a satisfying answer if we look at contextual conditions, both of production and of reception. Using the case of street-art, the central claim of the opening chapter is that risk can be framed as one central, distinctive fault line.
Language and art (visual and musical) make up the core of the human capacity for sign creation and usage (semiogenesis). The dynamics concern first the ongoing unfolding and changing of this capacity and second the internal organization of symbolic behavior insofar it is able to map the dynamics of action and emotion in semiogenesis.
Next, the authors explore the characteristics of Korean artists’ cultural practices in the context of globalization in which the influences of global capitalism dominate. This book aims to interpret artists’ concern with universality in art, the most significant priority for Korean artists who live both within and outside Korea, employing French philosopher Deleuze’s theories.
Focusing predominantly on women illustrators beyond Eyvind Earle’s iconic 1959 work on the Disney film Sleeping Beauty
, the authors also examine key artistic representations of Sleeping Beauty
stories, comparing and contrasting elements of gender, culture, and aesthetics. Given the context of Sleeping Beauty
as children’s literature, the authors also take into account art education considerations of her representation through the ages.
In the final chapter, the authors present a literature review on musical performance anxiety in singers, their teacher’s self-perception and their own in the different phases of their formation. The main signs and symptoms characteristic of musical performance anxiety and the possible implications to the voice during musical performance, including its treatment, are also addressed. (Nova)
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