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Journal articles on the topic 'American literature Painting'
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1
Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 04 (2014): 603–44. http://dx.doi.org/10.1017/s0003161500003588.
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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 4 (2014): 603–44. http://dx.doi.org/10.1353/tam.2014.0074.
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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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Yurieva, Tatiyana V. "FEATURES OF THE AMERICAN PERIOD OF ICON PAINTER P.M. SOFRONOV’S WORK." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 214–20. http://dx.doi.org/10.20323/2499-9679-2020-4-23-214-220.
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The article for the first time gives an analysis of the work of the world famous, but little studied in Russia, Old Believer icon painter and restorer icons Pimen Maksimovich Sofronov in the third, American period. The author systematizes scattered information about his artistic activities in the United States, makes a chronology of the creation of his works during this period, and makes an analysis of them. The description of the temples where P.M. Sofronov worked, and the painting of their interiors, is given for the first time in scientific literature. Analyzing the biographical data and the work of the icon painter in the third, American period, which turned out to be the longest, the author of the article concludes that at this time the quality of the master's work is changing. Since, in Europe, P.M. Sofronov gained the experience of wall painting of churches, now, in North America, he was able to fully realize this side of his talent by making the transition from easel icon painting to monumental painting. Now the researcher's attention has been given to extensive temple complexes, often consisting of both stenographs and iconostases, which have their own specific program. The author interprets the canon in accordance with the architectural space that is provided to him for painting. Each time it is a new theological and artistic task. Having completed such major works as paintings of the interiors of Trinity Cathedral in Brooklyn, the Church of the Three Saints in Ansonia, the Church of Peter and Paul in Syracuse, the Vladimir Church in Trenton, St. Trinity in Weinland, the artist made a significant contribution to the church art of Russian emigration.
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Bearden, Elizabeth. "Painting Counterfeit Canvases: American Memory Lienzos and European Imaginings of the Barbarian in Cervantes's Los trabajos de Persiles y Sigismunda." PMLA/Publications of the Modern Language Association of America 121, no. 3 (2006): 735–52. http://dx.doi.org/10.1632/003081206x142850.
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I propose a new reading of the intersection of image and text as a site for reworkings of barbarian identity in Miguel de Cervantes Saavedra's last work, Los trabajos de Persiles y Sigismunda: Historia setentrional (1617). Through narrative manipulations of the half–barbarian character Antonio el mozo's relation to painting, Cervantes crafts complex interrelations among American pictographic language, European alphabetism, and colonial models of barbarian identity to demonstrate the adaptability and ingenuity of indigenous people. I analyze the function of ekphrastic passages that reflect American pictographic language and demonstrate the influence of Mexican painting on the literature of the Spanish golden age. Descriptions of paintings in the Persiles ultimately provide a metafictional critique of European paradigms of graphic representation and challenge the authority of European colonial rationalizations of power dynamics in the New World. (EB)
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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.
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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
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Miller, David C., and Bryan Jay Wolf. "Romantic Re-Vision: Culture and Consciousness in Nineteenth-Century American Painting and Literature." Modern Language Studies 16, no. 4 (1986): 72. http://dx.doi.org/10.2307/3194794.
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Hsu, H. L. "The Globalization of Perspective: Geography, Ukiyo-e, and American Realist Painting." Genre 36, no. 3-4 (2003): 317–40. http://dx.doi.org/10.1215/00166928-36-3-4-317.
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Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.
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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus cast, there was not a single Indian actor with a speaking part. The intended objective was grandeur, and the production achieved that with elaborate sets and costumes, two live zebras, and elephants. Seven years later, the Ryder–Holme team returned with Ryder's translation of Kalidasa's Shakuntala, “bear cubs, a fawn, peacocks, and an onstage lotus pool with two real waterfalls.” While the archival materials do not indicate the involvement of any Indian actors (barring one Gobind B. Lal, who enacted the Prologue), its importance is evinced by the coverage it received in the Oakland Tribune, the Overland Monthly and Out West Magazine, and the Los Angeles Times.
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Rielly, Edward J. "Native Moderns: American Indian Painting, 1940?1960 by Bill Anthes." Journal of American Culture 30, no. 3 (2007): 351–52. http://dx.doi.org/10.1111/j.1542-734x.2007.00584.x.
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Rollins, Peter C., Reed Harp, and Darin Cozzens. "Discovering that Home is the Range: The American West in Painting, Literature, Film, and Language." Journal of American Culture 14, no. 2 (1991): 1–6. http://dx.doi.org/10.1111/j.1542-734x.1991.t01-1-00001.x.
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Fliegelman, Jay. "Romantic Re-Vision: Culture and Consciousness in Nineteenth-Century American Painting and Literature. Bryan Jay Wolf." Modern Philology 83, no. 2 (1985): 202–4. http://dx.doi.org/10.1086/391465.
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Stein, Roger B. ": Romantic Re-Vision: Culture and Consciousness in Nineteenth-Century American Painting and Literature. . Bryan Jay Wolf." Nineteenth-Century Fiction 39, no. 4 (1985): 459–62. http://dx.doi.org/10.1525/ncl.1985.39.4.99p0454k.
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Sperling, Joy. "Painting the Dark Side: Art and the Gothic Imagination in Nineteenth-Century American Art." Journal of American Culture 27, no. 4 (2004): 454–56. http://dx.doi.org/10.1111/j.1542-734x.2004.148_24.x.
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Jabbar, Amjed L. "The Manipulation of History and Memory in Contemporary American Poetry: A Study of Ekphrasis in the Poetry of Jorie Graham." Al-Adab Journal 2, no. 111 (2015): 45–62. http://dx.doi.org/10.31973/aj.v2i111.1596.
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Ekphrasis enables poets to invade the most difficult and sensitive areas of thought without the pressure of direct expression. Ekphrastic poetry has a tendency to draw together contradictions; the work of art acting as intermediary between points of opposition, tension and contrast. The presence of the ekphrastic object in a poem is an acknowledgement of the unbridgeable hermeneutic gap between poetry, history and the real, indeed it often acts as the marker that exposes this gap. Also in a practical way, through both its critical and art-historical backgrounds, the practice of ekphrasis is located very firmly within arguments of a temporal nature; it is important to remember that paintings have a material history as well as a conceptual one, and that contemporary poetry is increasingly taking into account, and even seeking to replicate in some cases, the space of the museum itself as well as the paintings within it.
 Therefore, the present paper aims at affording a new study of the poetry of the contemporary American poetess Jorie Graham through illuminating the rhetorical device of ekphrasis, which is meant to verbally represent what is already represented visually, and its relation to presentations of the most perplexing concepts in modern and contemporary literature in general and poetry in particular, namely, memory and personal history. The paper is an attempt to investigate how Jorie Graham uses images from painting, photography and films in her poems to manipulate time and represent personal history through memory which, in turn, leads to a consideration of how she uses ekphrasis to approach the ethics of representing public history, and how she uses the different temporal conventions of each genre to write about the past
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Levinson, Jerrold. "Making Believe." Dialogue 32, no. 2 (1993): 359–74. http://dx.doi.org/10.1017/s0012217300014499.
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Kendall Walton's Mimesis as Make-Believe is the most significant event in Anglo-American aesthetics in many a year, and joins a small pantheon of landmark books such as Nelson Goodman's Languages of Art, Richard Wollheim's Art and Its Objects and Arthur Danto's Transfiguration of the Commonplace. Walton's aim is to provide a comprehensive account of the representational arts—literature, drama, cinema, painting, drawing, sculpture—from both the generative and the receptive points of view. That is to say, he attempts to explain how representations are fashioned, what their representational status consists in, how representations are apprehended and what the experience of them characteristically involves. Inthese aims he is to my mind enormously, if not completely, successful.
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Grigore, Rodica. "Clarice Lispector, Agua Viva: Autobiography, Exile, Violence." Sæculum 48, no. 2 (2019): 73–82. http://dx.doi.org/10.2478/saec-2019-0032.
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AbstractConsidered “the great witch of Brazilian literature”, acclaimed as the best woman-writer of Jewish origin and the perfect example of an exquisite reconfiguration of European modernist ideas, Clarice Lispector is a fascinating author. This is obvious since her first novel Perto do coração selvagem (Near to the Wild Heart, 1943), a book that was awarded several literary prizes in Brazil, even if afterwards the text would be often ignored within the critical studies dedicated to Lispector. Compared to Borges and Kafka and even to the narrative strategies used by Virginia Woolf (apparently influenced by James Joyce’s stream of consciousness, even if Lispector underlined that she had not read Joyce’s creation much later) her book entitled Agua viva (1973) represents a perfect example of a very special kind of aesthetic experiment, underlying the importance of art (painting or literature) in its protagonist’s life. Without being precisely an autobiography, this book is obviously influenced by the author’s life and work, also expressing Lispector’s ideas on two important issues of 20th century Latin American literature: exile and violence.
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Sundusiah, Suci. "MEMAHAMI REALISME MAGIS DANARTO DAN MARQUEZ." LINGUA: Journal of Language, Literature and Teaching 12, no. 1 (2015): 123–36. http://dx.doi.org/10.30957/lingua.v12i1.76.
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Begun as a theme of painting art, magical realism exists as a typical place in litarature. The works of magical realism literature efforts to appear magical aspects such as superstition, beliefs, folklor and spiritual substance exceding from the logic into reality of daily lifes. The substance of the magic is integrated in the accepted traditions and cultures. This article analyzes short stories of Danarto and a novel of Marquez. Both aouthors are selected as they represent pionneers of writing style of magical realism from two different cultures. Both authors express the same writing style, but their patterns of rhetoric differ. Danarto focuses on the magical realism of religion, sufism and Javanese cultures, combining magical realism with surealism styles. In addition, Marquez brings readers to the structure of Latin American society that produces unpredictable magical cultures.
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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.
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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.
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Twelbeck, Kirsten. "Wheat: a powerful crop in US-American culture: Between politics and plant agency." GAIA - Ecological Perspectives for Science and Society 29, no. 4 (2020): 235–42. http://dx.doi.org/10.14512/gaia.29.4.8.
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Intertwined in processes of ideological meaning-making, wheat has been particularly successful in pairing its genetic assets with a powerful symbolic charge in US-American culture. The sense of agency that US culture attaches to wheat is subsumed under paradigms of organized personhood such as the nation and the corporation. Artists and writers have merged the idea of “wheat power” with the fears and hopes of their specific historical moment.Wheat is not only genetically complex but has also been exceptionally culturally defined. Interestingly, some cultural representations of wheat emphasize what may be referred to as plant agency. This is particularly striking in North American art and literature. There is often a certain wildness, independence, and power to wheat that are lacking in other cultivated crops. Focusing on the 19th and early 20th centuries, this article examines the active role of wheat in shaping US-American history and society. Starting from the assumption that cultural artefacts help societies to understand and negotiate their norms and values, I take a look at a painting (Emanuel Leutze’s Mrs. Schuyler Burning Her Wheat Fields on the Approach of the British from 1852) and a novel (Frank Norris’s The Octopus from 1901) to analyze their representation of the human-wheat relationship. Using a historicizing, philological approach, this case study contributes to a debate in the environmental humanities that seeks to redefine the human-crop relationship in times of climate change, diminishing biodiversity, and human population growth. Can the American legacy of wheat help us to reframe the human-wheat relationship? Are there potential pitfalls of crop agency as it is depicted in American representations of wheat?
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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (2020): 61–86. http://dx.doi.org/10.31261/rias.9884.
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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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Green, Edward. "Interview with Composer Marcus Paus Conducted for ICONI by Edward Green." ICONI, no. 3 (2020): 56–67. http://dx.doi.org/10.33779/2658-4824.2020.3.056-067.
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We learn in this interview with the leading Norwegian composer of his generation, Marcus Paus (b. 1979), how critical he is of the “academic tradition” which, in his view, has hurt a good deal of contemporary music over the last several decades: a certain snobbish adherence to non-tonal, non-melodic “abstract modernism.” Paus, on the contrary, asserts the living freshness of traditional values. His own music is grounded in tradition, is steeped in the value of careful craftsmanship, and yet, at the same time, is passionate, surprising, original, deeply lyrical, and fervently humanist in its social and political orientation. We learn, too, of his great esteem for the American composer John Williams, best known for his cinematic scores. Paus sees Williams as a model of nobility: both musically, and as a human being. In this interview there is also substantial discussion of the value of the philosophy of Aesthetic Realism, founded by the great American philosopher Eli Siegel, and his profound ideas concerning Art and Life. During this wide-ranging conversation, Paus speaks likewise of world music, pop music, and his abiding interest in literature and painting. There is also an extended passage where he keenly and generously comments on the composers of his own generation, and points to several of their most outstanding works.
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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.
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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the Oktiabr' (October) group, a body of artists—many former Constructivists—working in varied media but united in their rejection of easel painting in favor of works intended for public display and mass audiences. Rivera also received a commission from Anatolli Lunacharsky, the first Soviet Commissar of Enlightenment, for a fresco cycle (ultimately unrealized) at the Red Army's headquarters. As Maria Gough argues in this issue, the group of drawings, long assumed to be from a single notebook, is likely an amalgamation of sketches created during two distinct events, the tenth-anniversary celebrations in November 1927 and the May Day festivities of the following year. Rivera's sketches capture his reaction to these officially mandated public demonstrations—spectacles so large in scale that they defined a new type of mass political event. In January 1928, Rivera met two young American scholars—Alfred H. Barr Jr. and Jere Abbott, the future director and associate director of the Museum of Modern Art, New York, respectively—who were on the Russian leg of a European tour designed as an education in contemporary artistic developments. The three met regularly, visiting exhibitions and the studios of Moscow-based artists. The fruits of this unlikely friendship between a radical art-world celebrity and two fledgling art historians were seen in Rivera's one-man show at MoMA in the winter of 1931–32, a blockbuster that decimated the young museum's existing attendance records. In support of the exhibition, Abby Aldrich Rockefeller, a founding trustee of the Museum, purchased the sketches to help defray the cost of the artist's stay in New York. She donated the works to MoMA in 1935.
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Yakimovich, Alexander K. "Film Art Against Avant-Garde? On the Onthology of Artistic Means." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 8–26. http://dx.doi.org/10.17816/vgik1028-26.
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The first decade of the 20th century witnessed two revolutions in the world of arts: firstly, the upcoming of Avant-Garde art, and secondly - the birth of cinematic art. In painting, architecture and literature new revolutionary languages actually finalized the process of onthologisation which has begun much earlier. ttis process signaled its appearance with Modernity itself and reached its climax in the late 19 th century. We can observe since then a new species of artists whose artworks actually defy ideological meanings. Meanings and messages of artworks clearly distance themselves from convictions shared by authors. Visual and verbal arts as well as important strata of musical and theatrical productions embrace the discourse of Nature and Universe (i. e. primary components of Being). Avant-garde art makes the final accent in this development of Modernity. tte newly born film art seems to compensate functions ignored or denied by other artistic activities. Cinematic productions start realizing the human and cultural tasks (ideological propaganda, sentimental comfort, entertainment and other social functions). Elite-bound taste and high cultural pretentions seemingly fall out in early cinema. tte break-through in film art reaches its peak around 1910 parallel to the upheaval of Early Avant-Garde in painting. Handling of camera, constructing of visual field, as well as experimental boundlessness in space-and-time transformations bring the socially acceptable film narrative to the kind of onthological explosion on screen. In fact, film language itself (independently from any ideology or sociability) develops new methods of seeing. A decade before film art would enter its stormy marriage with Surrealism, masters of the screen already detected ways of hypnotic charm and irrational hurricane passing before our eyes. As examples of such inherent onthologization of means in film art we can see the structure itself of the picture and deliriumlike narration in several early films, i. e. Cabiria directed by Italian Giovanni Pastrone in 1914 as well as American masterpiece of 1915 - The Birth of a Nation by D.W. Griffith.
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Aliverti, Maria Ines. "Major Portraits and Minor Series in Eignteenth-Century Theatrical Portraiture." Theatre Research International 22, no. 3 (1997): 234–54. http://dx.doi.org/10.1017/s030788330001703x.
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In recent years, eighteenth-century actors' portraits have deservedly received growing attention from both art and theatre historians. For its extent, variety and quality, for its social and aesthetic implications, eighteenth-century theatrical portraiture demands a refined theoretical approach: it has helped to create an interdisciplinary field where new methods in dealing with theatre iconography have been profitably deployed. English and American scholars have contributed to develop this field in a specific way, devoting single studies and monographs to portraits of actors. In spite of the importance of French theatrical portraiture, French contributions are less significant. In most cases theatrical portraits are considered exclusively by art historians, and in the context of catalogues or monographs on a single painter. In France the stage portrait is often undervalued: it is relegated to a pictorial genre considered as inferior (tableaux de théâtre), or it is thought to derive from a disreputable theatricalization of history painting; in any case there has been a real difficulty in submitting these images to critical and specific investigation. In short, even if a new approach to theatrical iconography prevails over the strict utilitarianism of the theatre historians, who—in the best cases—sought in actors' portraits only documentary evidence of acting practice, costume or set design, more work has to be done by art historians, to accord theatrical images the independent status of an iconographic text.
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Baldock, Sophie. "‘Our Looks, Two Looks’: Miniature Portraits in the Letters of Elizabeth Bishop and Robert Lowell." Review of English Studies 71, no. 300 (2019): 528–53. http://dx.doi.org/10.1093/res/hgz097.
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Abstract This article examines parallels between the exchange of miniature portraits in late eighteenth-century letters and the exchange of photographs and keepsakes in the twentieth-century correspondence of American poets Elizabeth Bishop and Robert Lowell. Drawing on theories of the miniature in Susan Stewart’s work, alongside art-historical and literary-critical accounts of the practice of exchanging miniature portraits in letters, the article builds on arguments that portraits go hand-in-hand with the genre of letter writing. I argue that previous criticism of the Bishop-Lowell correspondence has not yet adequately explored their epistolary discussion and exchange of visual materials. As in the case of their eighteenth- and nineteenth-century predecessors, for Bishop and Lowell, letter writing frequently involved a literal and metaphorical exchange of portraits. The article places particular photographs in their original context alongside letters, demonstrating the symbiotic relationship between images and text and the key role played by the visual in letter writing. It provides a fresh reading of Bishop’s and Lowell’s linked poems, ‘The Armadillo’ and ‘Skunk Hour’, arguing that these poems are a means of portrait-painting in relation to the other. The poems are examined alongside descriptions of an antique miniature cameo, sent by Lowell to Bishop as a companion to his poem, which functions as an ambivalently gendered portrait of Bishop. Finally, the poets’ interlocking memoirs, ‘91 Revere Street’ and ‘Memories of Uncle Neddy’, are analysed to show their origin in letters, and their shared preoccupation with portraiture, scale and framing.
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Krieg, Joann Peck. "Bryan Jay Wolf, Romantic Re-Vision: Culture and Consciousness in Nineteenth-Century American Painting and Literature (Chicago and London: University of Chicago Press, 1982, $22). Pp. xx, 247. ISBN 0 226 90501 2." Journal of American Studies 19, no. 3 (1985): 451–52. http://dx.doi.org/10.1017/s0021875800015632.
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Price, Hazel, and Jack Wilson. "Relevance theory and metaphor: An analysis of Tom Waits’ ‘Emotional Weather Report’." Language and Literature: International Journal of Stylistics 28, no. 1 (2019): 61–81. http://dx.doi.org/10.1177/0963947019827074.
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‘Emotional Weather Report’ is a song by Tom Waits from his 1975 album, Nighthawks at the Diner. ‘Nighthawk’ is a US colloquial term popularised by its use as the title of Edward Hopper’s 1942 painting ‘Nighthawks’, which depicts a nocturnal scene in a New York diner. The term is used to describe people who habitually seek entertainment or companionship in the night-time hours. Waits refers implicitly to Hopper’s work throughout the song, using metaphorical language to present a first-person account of the emotional state of a nighthawk by drawing on the weather report format. Waits’ language relies on the listener’s specific geographical, meteorological and cultural knowledge to understand his communicative intention. The song prompts the listener to bring different levels of encyclopaedic knowledge to an interpretation, and affords differing levels of understanding without distorting the extended metaphor of ‘weather is Waits’ emotions’. This article explores the advantages of a relevance theoretic approach to the stylistic analysis of lyrics. We discuss how the figurative language in Waits’ lyrics is foregrounded by the listener’s schematic/encyclopaedic knowledge of Waits’ history as a performer, of meteorological phenomena and of American culture. We argue that a comprehensive stylistic analysis of a song necessitates a consideration of numerous factors in addition to linguistic choice, including the presentation of the performer, the genre of music and the performer’s history. Such a consideration is paramount to (a) successful metaphorical mapping for the listener, (b) a full analysis of the text as a cultural artefact for the critic, and (c) the achievement of a cohesive and distinct style for the performer.
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Sikorski, Tomasz. "„Klatka Ezry”. Między poezją a polityką." Studia nad Autorytaryzmem i Totalitaryzmem 38, no. 3 (2017): 53–73. http://dx.doi.org/10.19195/2300-7249.38.3.4.
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EZRA’S CAGE”. BETWEEN POETRY AND POLITICSEzra Pound 1885–1975 was, next to Thomas Stearns Eliot, the most prominent American poet of modernist. He was considered the creator of vorticism and imagism — modern trends in art and world culture. In his works he reached to different eras and cultural trends. He was as well fascinated by medieval Provençal, Spanish and Italian literature, and Japanese art of haiku. On his work also had an impact scholasticism, Confucianism and Far East literature. In addition to poetry, Pound was also involved in literary criticism, painting and sculpture, he wrote historiosophical essays and dramas. The greatest fame brought him, however, written for many years, „Canto”. During his stay in the British Isles he also dealt with politics and economics. He was considered a supporter of the theory of Social Credit of Hugh Douglas Clifford, aBritish engineer and economic theorist. In the early twenties Pound went to Italy. Here he became fascinated with fascism and the person of Benitto Musollini. In his works including his poetic works appeared clear fascist and anti-Semitic accents. He criticized Jewish international financiers and banking critique of usury. During World War II he gave propaganda „talks” in the Italian radio. He praised the organization of the fascist state and fascism as an idea, and at the same time warned the threat from international Jewish conspiracy. His views meant that he was accused of collaboration and treason. He was arrested and imprisoned in the US prison camp near Genoa. He spent almost amonth in aclosed cage. During his stay in the camp he had nervous breakdown. After transportation to the United States for many years he was locked out in hospital for mentally ill. After leaving the hospital, he returned to public space. Still creative, he was nominated for the most prestigious literary awards. His works have been translated into many languages around the world, including Polish. He died in Italy in 1975.
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Lucey, Kate. "Celebrating African American Children’s Literature: An “Eye of the Beholder” Workshop." Children and Libraries 16, no. 3 (2018): 7. http://dx.doi.org/10.5860/cal.16.3.7.
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As an academic librarian at a liberal arts university, I was asked by our school’s art museum staff to collaborate on programming for an exhibition by African American illustrators of children’s books. The exhibition, called Telling a People’s Story: African-American Children’s Illustrated Literature, ran on campus through June 2018 as the first of its kind. To represent 33 different artists, the nearly 130 works on display included paintings, pastels, drawings, and mixed-media works. Artists included veterans like Jerry Pinkney, who has been illustrating award-winning books since the 1960s, and younger artists like Javaka Steptoe, whose Radiant Child: The Story of Young Artist Jean-Michel Basquiat won the 2017 Randolph Caldecott Medal.
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Burdick, Catherine. "Served on a Plate: Engraved Sources of San Diego de Alcalá’s ‘Miraculous Meal’ for the Franciscans of Santiago, Chile (ca. 1710)." Arts 10, no. 2 (2021): 30. http://dx.doi.org/10.3390/arts10020030.
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There exists a consensus in academic literature regarding the centrality of engraved prototypes for the production of colonial paintings in the Spanish Americas. In Peru, these artistic models were written into legal contracts between painters and clients. An examination of the notarial contracts produced in Cusco from 1650 to 1700 suggests that prototypes in a variety of formats were not only central to artistic professional practice, but that adherence to their images may have provided one motive for entering into such agreements. This study leans upon the centrality of Flemish print sources to confirm the attribution of a partial canvas at the Pinacoteca Universidad de Concepción, Chile as an episode of the series on the life of Diego de Alcalá (c. 1710) in Santiago, Chile. Commissioned from Cusco by the Franciscans of Santiago, the status of the hagiographic cycle as the most extensive ever produced on the subject of this missionary saint dictates that a multiplicity of sources was necessary for its creation. By identifying two engravings that served as its models, this study recovers the subject of this painting as a miracle that sustained Diego during an arduous journey.
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Zygmont, Bryan J. "Charles Willson Peale’s The Exhumation of the Mastodon and the Great Chain of Being: The Interaction of Religion, Science, and Art in Early-Federal America." Text Matters, no. 5 (November 17, 2015): 95–110. http://dx.doi.org/10.1515/texmat-2015-0008.
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Although primarily known as a portrait painter, Charles Willson Peale (1741-1827) also possessed a profound interest in natural history. Indeed, Peale eventually founded the first natural history museum in the United States, and, during the end of the eighteenth century, he began to overlap his two great interests: art and nature. The event Peale chronicled in his 1804 painting The Exhumation of the Mastodon caused an extreme stir within the intellectual and religious circles of its time, and brought about, at the very least, a serious questioning in the deeply held notion of the Great Chain of Being. Although now largely discredited, this religious conviction postulated two concepts that Peale’s Exhumation of the Mastodon seemingly contradicts. The first was the belief that no animals since creation had suffered the fate of extinction. The second was a lack of belief in geological time. Indeed, one Irish clergyman calculated the actual date of creation to 4004 BCE.
 In this paper, I explore Peale’s monumental painting, a work that is many things, a self-portrait and history painting among others. Indeed, in this painting, Peale was responding to science, religion, and their shifting positions within early-nineteenth-century America. When viewed together, Peale’s The Exhumation of the Mastodon is not merely a record of an event that occurred in New York during the early nineteenth century, and instead is a document of Peale and the interaction of science and religion in early-Federal America.
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Corke-Webster, James. "Roman History." Greece and Rome 65, no. 2 (2018): 259–66. http://dx.doi.org/10.1017/s0017383518000207.
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Identity studies live. This latest batch of publications explores what made not just the Romans but the Italians, Christians, and Etruscans who they were. We begin with both age and beauty, the fruits of a special exhibition at the Badischen Landesmuseum Karlsruhe in the first half of 2018 into the most famous of Roman predecessors, the Etruscans. Most of the exhibits on display come from Italian museums, but the interpretative essays that break up the catalogue – which are also richly illustrated – are by both Italian and German scholars. These are split between five overarching sections covering introductory affairs, the ages of the princes and of the city-states, the Etruscans’ relationship with Rome, and modern reception. The first contains essays treating Etruscan origins, history, identity, and settlement area. The second begins with the early Iron Age Villanova site, before turning to early Etruscan aristocratic culture, including banqueting, burials, language, writing, and seafaring. The third and longest section considers the heyday of Etruscan civilization and covers engineering and infrastructure, crafts and production, munitions, women's roles, daily life, dance, sport, funerary culture, wall painting, religious culture, and art. The fourth section treats both the confrontation between Etruscan and Roman culture and the persistence of the former after ‘conquest’ by the latter. The fifth section contains one essay on the modern inheritance of the Etruscan ‘myth’ and one on the history of scholarship on the Etruscans. Three aspects to this volume deserve particular praise. First, it includes not only a huge range of material artefacts but also individual essays on Etruscan production in gold, ceramic, ivory, terracotta, and bronze. Second, there is a recurring interest in the interconnections between the Etruscans and other cultures, not just Romans but Greeks, Iberians, Celts, Carthaginians, and other Italian peoples. Third, it includes the history of the reception of Etruscan culture. Amid the just-shy-of-200 objects included (almost every one with description and high-quality colour image), the reader can find everything from a mid-seventh-century pitcher made from an Egyptian ostrich egg painted with birds, flowers, and dancers (147), through the well-known third- or second-century bcTabula Cortonensis – a lengthy and only partially deciphered Etruscan inscription that documents either a legal transaction or a funerary ceremony (311) – to the 2017 kit of the Etruschi Livorno American Football team (364). Since we have no extant Etruscan literature, a volume such as this is all the more valuable in trying to get a sense of these people and their culture, and the exceptionally high production value provides quality exposure to material otherwise scattered throughout Italy.
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Casteel, Sarah Phillips. "Making History Visible." Small Axe: A Caribbean Journal of Criticism 25, no. 1 (2021): 28–46. http://dx.doi.org/10.1215/07990537-8912768.
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While interned by the Nazis in Belgium and Bavaria during World War II, the little-known Surinamese artist Josef Nassy (1904–76) created a series of paintings and drawings documenting his experiences and those of other black prisoners. Nassy’s artworks uniquely register the presence of Caribbean, African, and African American prisoners in the Nazi camp system. While the Nassy Collection at the United States Holocaust Memorial Museum cannot render transparent a wartime experience that has gone largely unrecorded, it illustrates how shifting from a textual to a visual lens can enable an unremembered history to enter our field of vision, thereby generating an alternative wartime narrative. After tracing Nassy’s family history in Suriname and the conditions of his European incarceration, this essay discusses two paintings that demonstrate the significance of visual art in the context of black civilian internment—for both the artist-prisoner and the researcher.
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Moholy, Lucia. "The Image of the Bauhaus." October 172 (May 2020): 117–24. http://dx.doi.org/10.1162/octo_a_00396.
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This text was published as an exhibition review of 50 Years Bauhaus, the first major survey exhibition of the German art school, which traveled across Europe and North America. Her main concern is the “image” of the Bauhaus that is conveyed in this survey, which took a very loose approach to what counted as representative of the school. Moholy was the first to draw attention to the exhibition's unorthodox approaches, which many later criticized as historically inaccurate. She also discusses image-making at the Bauhaus in relation to painting, printmaking, and photography.
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Metres, Philip. "Remaking/Unmaking: Abu Ghraib and Poetry." PMLA/Publications of the Modern Language Association of America 123, no. 5 (2008): 1596–610. http://dx.doi.org/10.1632/pmla.2008.123.5.1596.
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So now the pictures will continue to “assault” us—as many Americans are bound to feel. Will people get used to them? Some Americans are already saying that they have seen “enough.”—Susan Sontag, “Regarding the Torture of Others”… a state anterior to language, to the sounds and cries a human being makes before language is learned.—Elaine Scarry, The Body in PainWhen The ABU Ghraib Prison torture scandal began to circulate throughout The MASS media in Spring 2004, most pundits and commentators neglected to note how those images hauntingly paralleled the 9/11 attacks, insofar as each event's widespread publicity—replayed and reposted images of physical and psychological destruction—participated in the very unmaking that the perpetrators intended. In other words, just as the terrorist act on the Twin Towers was an act of both material and symbolic destruction that required media representation of the planes hitting the towers, mass media's recirculation of visual images of naked and dominated Iraqi men completed the act that Charles Graner and other United States military police had begun. Though the disturbing video representation of the 9/11 attacks rapidly disappeared from television, the Abu Ghraib photos persisted far longer (see York). The rapid disappearance of video of the planes striking the buildings suggests its traumatic power for Americans. But why would the Abu Ghraib photos be less disturbing than those of the attacks of September 11, 2001—given what they say about United States conduct in the war? In this essay, I consider the Abu Ghraib effect in the wider context of imperial imaging of the other. Second, I analyze artistic and literary responses (including Fernando Botero's Abu Ghraib paintings, Daniel Heyman's etchings, and an anthology of poems on torture) that attempt to re-present Abu Ghraib and make visible the invisible of that torture. Third, I sketch out how Arab American poets have played (and can continue to play) a critical role in the conversation about the effects of United States policies in the Middle East. Finally, I share my own poetic project, a long poem called “–u –r—” that attempts to make audible the muted voices of the tortured Iraqis at Abu Ghraib.
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Izarra, Laura. "Looking for Orion: literature at the interface of cosmopolitanism and translocation." Aletria: Revista de Estudos de Literatura 19, no. 1 (2009): 61–78. http://dx.doi.org/10.17851/2317-2096.19.1.61-78.
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Resumo: Este ensaio apresenta a Literatura como um novo local, um espaço translocal, que consiste em vários espaços fraturados e conectados de conhecimentos. Usando como metáfora a escultura do artista irlandês Rowan Gillespie Looking for Orion analisarei como essa interconexão de espaços abre novos caminhos de representações literárias que compreendem não só as contradições internas da modernização (Theodor Adorno and Max Horkheimer), mas também outras formas de irregularidade e estranhamento que revelam estados da mente específicos não familiares com a racionalização. Ultrapassando as fronteiras dos textos literários na interface com língua, pintura, música, cinema e multimídia, farei uma re-visão dos velhos dramas sociais mundiais, como a fome, a migração e o nacionalismo desde um ponto de vista crítico multi-axial em que a literatura já é um espaço translocal institucional. É o espaço da memória e da imaginação que re-conta narrativas cosmopolitanas suspensas e mitos que estão abertos ao passado e ao presente. A arte da escrita se encontra num ponto de mutação ao interrogar “a imagem ‘eterna’ do passado” (Walter Benjamin), questões de identidade e subjetividade. Analisarei três contos como exemplo de confluência cosmopolitana: “Hunger” (1928) do escritor irlandês James Stephens, “Hunger” (1997) da escritora indiana Kamala Markandaya, e “The Chandelier” (2002) do escitor libanês-americano Gregory Orfaela.Palavras-chave: literatura; espaço translocal; leitura crítica multi-axial.Abstract: This essay discusses Literature as a new kind of location, a trans-location consisting of fractured and variously connected spaces of knowledges. Taking Rowan Gillespie’s sculpture “Looking for Orion” as a metaphorical starting point, I argue how that interconnection of spaces opens up alternative ways of literary representations that will apprehend not only the internal contradictions of modernization (Theodor Adorno and Max Horkheimer) but also other forms of unevenness and strangeness that disclose specific states of mind unfamiliar with rationalization. Moving beyond the edge of literary texts at the interface of language, painting, music, cinema, and multimedia sources, I would like to re-vision old world social dramas, such as the famine, migration, and nationalism from a multi-axial critical perspective in which literature is already an institutional translocation. It is the space of memory and imagination that retells cosmopolitan suspended narratives and myths that are open both to the past and the present. The art of writing is brought to a turning point questioning “the ‘eternal’ image of the past” (Walter Benjamin), issues of identity and subjectivity. I analyse three short stories as an example of cosmopolitan confluence: James Stephens’s “Hunger” (1928), Kamala Markandaya’s “Hunger” (1997) and George Orfaela’s “The Chandelier” (2002).Keywords: literature; translocation; multi-axial critical reading.
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Riris, Philip, and José Oliver. "Patterns of Style, Diversity, and Similarity in Middle Orinoco Rock Art Assemblages." Arts 8, no. 2 (2019): 48. http://dx.doi.org/10.3390/arts8020048.
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The area encompassed by the Orinoco river basin is home to some of the largest and most diverse rock art sites in lowland South America. In this paper, we aim to formally describe the spatial distribution and stylistic attributes of rock engravings and paintings on both banks of the Orinoco, centred on the Átures Rapids. Drawing on an exhaustive literature review and four years of field survey, we identify salient aspects of this corpus by investigating patterns of diversity and similarity. Based on a stylistic classification of Middle Orinoco rock art, this permits us to discuss potential links, as well as notable discontinuities, within the assemblage and possibly further afield. We consider the theoretical implications of our work for the study of pre-Columbian art and conclude with some suggestions for advances in methods for achieving the goal of deriving broader syntheses.
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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
Full textAbstract:
Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.
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Däwes, Birgit. "“The People Shall Continue”: Native American Museums as Archives of Futurity." Anglia 138, no. 3 (2020): 494–518. http://dx.doi.org/10.1515/ang-2020-0040.
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AbstractIn the Western cultural archive from James Fenimore Cooper’s ‘noble savages’ to Gore Verbinsky’s 2013 reincarnation of The Lone Ranger, Indigenous American cultures have, for the longest time, been relegated to the past and framed in representations that either displace them into nostalgic folklore or declare them conveniently vanished. While non-Native cultural products such as literary texts, photographs, and paintings, as well as museum exhibitions have coded Indigenous identities as static opposites to modernity, and thus deprived them of a future in Western culture, contemporary Indigenous writers, artists, and curators use these same cultural channels to contest the semiotics of absence, to assert cultural sovereignty, and to empower alternative modes of knowledge. This article considers tribal museums as interventional archives of knowing – in Derrida’s sense of both “assigning residence or of entrusting so as to put into reserve” and of “consigning through gathering together signs” (1995/1996: 3; original emphasis). With examples from a Pueblo cultural context, including an exhibition at Disneyworld, Florida; the Sky City Cultural Center and Haak’u Museum in Acoma, New Mexico; as well as the Indian Pueblo Cultural Center in Albuquerque, New Mexico, I trace the ways in which Native American museums strategically undermine what Mark Rifkin has termed “settler time” (2017: 9) and claim instead presence, sovereignty, inclusion, modernity, and futurity. In their specific outlines, these exhibits serve simultaneously as archives of Pueblo cultural heritage and as construction sites of temporality itself.1
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Anderson, Lynn. "Jacques Réda's ‘Le Noir et l'or de Dresde’: Ethics and Aesthetics in War's Wake." Nottingham French Studies 60, no. 1 (2021): 131–44. http://dx.doi.org/10.3366/nfs.2021.0309.
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In ‘Le Noir et l'or de Dresde’ ( Europes, 2005), Jacques Réda's quixotic project is to excavate a Dresden that is no more. Fully aware of this paradoxical aim as he walks through its martyred cityscape ‘vers la Dresde du XVIIIe siècle en sachant qu'elle n'existait plus’, he reflects on images present and past: sun-drenched spires remembered from eighteenth-century paintings that stand as witness to what no longer exists, the brutal bombings by American and British forces during the Second World War, and the commercialized aftermath of German reunification. As Réda moves beyond assessing tragedy through a historical lens, his poetic prose commemorates trauma by accentuating chromatic, lexical and aural textures and intensities in order to open avenues towards shared subjectivity. He establishes an ethical and aesthetic trajectory that responds creatively to war's destruction, and concludes by reframing the city's heraldic colours, black and gold, within sunset's unifying transit across a poetically reconstructed skyline
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Kraan, Johannes H. "De particuliere kunstverzameling van H. W. Mesdag." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 305–27. http://dx.doi.org/10.1163/187501790x00156.
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AbstractThere is no lack of literature on Hendrik Willem Mesdag (1831-1915) in his capacity of an art collector. Most of it focuses on the collection in the museum which the painter built in The Hague in 1886 and presented to the nation in 1903 (note 1). Little or no attention has hitherto been paid however to the large collection of fine and decorative art that was kept at the time of Mesdag's death on July 10 1915 in his house, which adjoined the museum. The greater and most important part of this collection was eventually sold in New York in 1920 and thereafter dispersed. It is not known what criteria Mesdag applied in consigning items from his collection to the museum or keeping them in his home. No clear-cut distinction can be made between the kind of objects in his house and the museum. In both locations the tone is set bv the Barbizon and Hague Schools. Concerned about the future of his most prestigious creation, the enormous Panorama of Scheveningen, better known as the Mesdag Panorama, Mesdag set up a limited company in 1910 for the purpose of maintaining and exploiting the Panorama and the building that housed it. He gave the shares to his future heirs. Under the terms of his Will, his house and its contents were to pass to the Panorama shareholders on his death. The nation had the first option to purchase, which suggests that Mesdag wanted his house and a major part of his private collection to go along with the museum. Since there was a war on, the government regarded the purchase as imprudent. Part of the inventory was sold among the family, but the most important items were put up for auction. The auctioneer Frederik Muller & Cie compiled an illustrated catalogue. Before it was ready, however, the American art dealer J. F. Henson made an offer for the whole collection. The auction was cancelled, and the catalogue was published in a limited edition of 125 numbered copies (note 3 1). After the war most of the collection was shipped to America and auctioned in New York. A completely new catalogue was printed for the occasion (note ; 35). The said catalogues and a series of photographs of the interior convey an impression of the size and quality of the collection in Mesdag's home. There Mesdag left an important collection of paintings and drawings from the Barbizon School, including fourteen drawings by Millet (figs.4 and 5). Antonio Mancini is amply represented in the museum with fifteen paintings and pastels, but that is a mere fraction of the total number of works by Mancini amassed by Mesdag. He naturally possessed a large amount of his own work, as well as paintings and drawings by other artists of the Hague School (figs. 6 and 7). His collection of 17th-century masters was less important. Even so, Mesdag had a marked preference for Dutch 16th and 17th-century artefacts, witness the oak panels, furniture and other items of decorative art in his studio (fig. 2), a taste he shared with painters like Bosboom, Weissenbruch and Jacob Maris (fig. 9). Some of the furniture was quasi Gothic or quasi Renaissance, with ornate fittings and a profusion of carving, in keeping with the 19th-century notion of these styles. The most advanced aspect of Mesdag's collection was a collection of modern china from the Rozenburg factory, designed by Colcnbrander.
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Saiber, Arielle. "“The lantern of the world rises to mortals by varied paths”: Paul Laffoley (1935–2015) and Dante." Forum Italicum: A Journal of Italian Studies 55, no. 2 (2021): 581–626. http://dx.doi.org/10.1177/00145858211021572.
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American artist and architect Paul Laffoley (1935–2015) had a life-long fascination with Dante. Not only did he refer to Dante and the Commedia throughout his writings and paintings, but he created a large-scale triptych illustrating the poem, as well as sketched out plans for a full-immersion Dante study center on a planetoid orbiting the Sun, complete with a to-scale replica of the medieval Earth, Mount Purgatory, the material heavens, and the Empyrean through which a “Dante Candidate” could re-enact the Pilgrim’s journey. Laffoley’s work is often placed by art critics within the visionary tradition and Laffoley himself embraced that label, even as he deconstructed the term in his writing. Among the many visionary artists, poets, and philosophers Laffoley studied, Dante was central. He was, for Laffoley, a model seeker of knowledge, a seer beyond the illusions of everyday life. The essay that follows offers a brief biography of Laffoley and his works; an overview of his two main Dante projects ( The Divine Comedy triptych [1972–1975] and The Dantesphere [1978]); and initial considerations on how Dante’s works and thought fit into Laffoley’s larger epistemological project.
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Borsay, Peter. "Sounding the town." Urban History 29, no. 1 (2002): 92–102. http://dx.doi.org/10.1017/s0963926802001098.
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Interdisciplinarity has proved to be one of the enduring tenets of British urban history. As Fiona Kisby points out in her contribution to this special issue of Urban History, its centrality is enunciated in the agenda set by Jim Dyos in the 1960s, as the subject emerged as a self-conscious subdiscipline of British history, and in the editorials that launched this publication as a Yearbook and subsequently as a journal. The appeal of an interdisciplinary approach is that it allows those involved to transcend the straitjacket of traditional research and explore a given issue or subject from a multiplicity of angles. However, prioritizing such a methodology, though it might allow the intellectual high ground to be occupied temporarily, provides a real hostage to fortune, raising expectations that it often proves impossible to fulfil. Interdisciplinarity simply cuts against the dominant grain of academe. Where British urban historians have crossed the disciplinary barricades, they have tended to head in the direction of the social sciences (such as sociology, economics, geography and anthropology). A rapprochement with the arts (painting, film, literature, architecture, music, and the like) is less easy to discern. Yet with the growing interest in the last decade or so in cultural history the time is ripe to redress the balance. This music issue of Urban History, like that of August 1995 on ‘Art and the City’, can be seen as an attempt to do this. Its appearance coincides with the publication of a pioneering volume of essays, edited by Fiona Kisby, on Music and Musicians in Renaissance Cities and Towns, whose avowed aim is to ‘bring musicology within the sphere of urban history’. Though that collection is predominantly focused on western Europe (with six of the essays on the British Isles, six on the Continent, and one on South America) and on the years 1400 to 1650, it provides a model for how the agendas of musicologists and urban historians might be productively merged.
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Rodgman, A., and CR Green. "Toxic Chemicals in Cigarette Mainstream Smoke - Hazard and Hoopla." Beiträge zur Tabakforschung International/Contributions to Tobacco Research 20, no. 8 (2003): 481–545. http://dx.doi.org/10.2478/cttr-2013-0764.
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AbstractThese are curious times. The Canadian government has passed legislation that requires cigarette manufacturers to routinely test and publish the amounts of 44 toxic substances in cigarette mainstream smoke (MSS). Following in the footsteps of their northern neighbor, various US legislators and regulators are considering modifications to their cigarette testing and reporting programs that will also list toxicants in MSS. Across the Atlantic Ocean, the European Commission has passed a directive that may also follow the North American lead for public disclosure of MSS toxic chemicals for each brand of cigarette sold in the marketplace. United Kingdom authorities have also expressed their intention to follow this mandate.It is difficult to understand the motivation and value of these existing or potentially forthcoming legislative actions. Although there is nearly total agreement among the world's scientists that cigarette smoking is a health hazard, few are bold enough to say with credibility which smoke chemicals or classes of chemicals are responsible for the adverse effects. Therefore, if the specialists are unable to interpret the smoke toxicant data, how is the general public to use their newfound knowledge?The posting of smoke chemical toxicant data is also problematic for the Tobacco Industry for several reasons. First, no standard analytical methods exist for most suspected toxicants. Second, the listing of smoke toxicant yields may ignite a 21st Century version of the ‘tar’ wars in the USA during the 1960s; we have already seen evidence of such competition beginning in the US. Third, and most important of all, no one knows whether or not reducing the yield of one or more publicized MSS toxicant will result in a ‘less hazardous’ cigarette.Assuming that the current situation is approximately as described above, the authors of this paper critically examined the existing lists of MSS toxicants. They discarded chemicals that are no longer relevant, e.g., DDT, N-nitrosodiethanolamine, added known smoke constituents that are glaringly absent, e.g., dioxins, and replaced the existing 1950-60s era nonfiltered cigarette MSS yields with those more representative of the present-day marketplace. Data for the Kentucky reference 1R4F cigarette smoked under standardized smoking conditions, i.e., those established by the International Organization for Standardization (ISO) and the Federal Trade Commission (FTC), are used as a surrogate for the modern-day cigarette whenever possible.A list of smoke toxicants and their approximate concentrations in today's cigarettes is nearly useless without an appropriate ranking of their relative toxicity. Unfortunately, the toxicological data for ranking importance are available for fewer than 5% of the approximately 4800 reported smoke constituents. Although neither of this paper's authors presumes to be a toxicologist, we cite in our discussion several published attempts at ranking smoke toxicants. Specifically, ranking by US Occupational Safety and Health Administration (OSHA) permissible workplace exposure levels, use of US Environmental Protection Agency (EPA) toxicity criteria supplemented with California EPA criteria, and use of the Human Exposure - Rodent Potential methodology and database developed by AMES et al. when data are available. There appears to be a wide divergence in the permissible exposures allowable in the workplace and those advocated by environmental regulators. Thus, it is expected that rankings such as those presented herein will ultimately form the basis of MSS toxic chemical prioritization for either attempts at reduction by product developers or development of standardized analytical methods.This review of MSS toxicants also explores the limitations of toxicological evaluations. The toxicity data used in the above ranking are derived wholly from studies of pure compounds. It is highly improbable that extrapolation of bioassay results determined on an individual compound to that compound when it is a component of a mixture as complex as cigarette MSS is valid. For example, several decades of research involving numerous investigators reported that the benzo[a]pyrene (BaP) content of cigarette smoke condensate (CSC) accounts for only a few percent of the tumor-bearing animals in the skin-painting bioassay. Subsequently they asserted that the tumorigenic polycyclic aromatic hydrocarbons (PAHs) in CSC could account for no more than 3 to 4% of the tumor-bearing animals. Inclusion of promoters, e.g., phenols, raises the level to about 5%. However, several of the same investigators recently claimed that BaP is one of two smoke components responsible for lung cancer in cigarette smokers.While much is written about the hundred or so toxic components in cigarette smoke, little is published about the numerous nontoxic smoke components that have been shown in various bioassays to counteract the effects of the toxic ones. In some cases the inhibiting components are also listed as toxic, e.g., nicotine inhibits the mutagenicity of N-nitrosodimethylamine; the promoter phenol inhibits the tumorigenicity of BaP; the weakly tumorigenic benz[a]anthracene negates the potent tumorigenicity of BaP. On a one-to-one molar basis, many bicyclic, tricyclic, and tetracyclic nontumorigenic PAHs counteract the tumorigenicity of BaP and dibenz[a,h]anthracene.To further illustrate this murky toxicological situation, the history and current knowledge of the importance of tobacco-specific nitrosamines (TSNAs) to the hazards of smoking is reviewed. In brief, these compounds were discovered in tobacco products and found to transfer to MSS (and sidestream smoke). Toxicological evaluations on the pure compounds demonstrated that they are potent carcinogens. Some public health scientists believed that if the levels of TSNAs could be reduced or lowered in MSS, then this would lead to a ‘less hazardous’ cigarette. Once given this assignment, agronomists discovered that at least for flue-cured tobaccos, the levels of TSNAs can be greatly reduced through the use of indirect heating in the curing barns. This was wonderful news. However, toxicologists soon conducted experiments comparing the toxicity of MSS from flue-cured cigarettes containing high and ultra-low concentrations of TSNAs. It must have been a surprise to these investigators when they could find no significant difference between the toxicities of the two smokes.Some public health scientists have asserted that the reduction of the per cigarette ‘tar’ delivery below 15 mg/cig does not reduce the risk from smoking because of the hazard resulting from the higher levels of additives used to maintain consumer acceptability. Although no data in support of this assertion have ever been offered, much data generated during the past decade contradict the assertion. Ingredient addition at the usual level or at levels several times greater than normal does produce some minor changes in the smoke chemistry, but these changes do not result in any adverse biological response as measured in various bioassays to determine mutagenicity, tumorigenicity, etc.From our review of the literature gathered to prepare this paper, we have come to several conclusions. These include the following:1. It is possible to prepare a list of the known toxicants in MSS and to prioritize some of them based upon existing biological data. However, for more than 95% of the known constituents in MSS, there are no biological data.2. Even if there were biological data for most MSS components, extrapolation of this pure-compound knowledge to the biological properties of a mixture containing them is beyond our scientific ability.3. At our current state of scientific knowledge, no one will ever be able to legitimately claim the development of a ‘less hazardous’ cigarette based solely on the reduction of known toxic chemicals in MSS.4. The approach of reducing ‘tar’ yields of cigarettes appears in retrospect to be the most practical means of producing a ‘less hazardous’ cigarette, because when product developers reduce ‘tar', both the known and unknown toxicants are reduced.5. The ranked toxicants in MSS contain both gas-phase and semi-volatile constituents that appear to be important determinants of toxicity. Some of these constituents, e.g., N-nitrosodimethylamine, phenols, are reduced by triacetin-plasticized cellulose acetate filters. These filters also reduce ‘tar'. Additionally, it is well known that charcoal-containing filters have a high efficiency for removing carbonyl compounds from MSS. Development of more consumer-acceptable products that reduce gas-phase toxicants appears to be another route to a ‘less hazardous’ cigarette.
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"EMANCIPATION IN THE AMERICAN ARTISTIC CONSCIOUSNESS OF THE XIX CENTURY." Journal of V. N. Karazin Kharkiv National University, Series "Philosophy. Philosophical Peripeteias", no. 63 (December 30, 2020): 195–206. http://dx.doi.org/10.26565/2226-0994-2020-63-21.
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This article is devoted to the research of discourse of emancipation in American artistic consciousness on examples of abolitionist novel “Uncle Tom’s Cabin” (1852) by Harriet Beecher Stowe and painting images of XIX century. The topicality of the research is due to insufficient study in Ukrainian philosophy of the ideas of abolitionism and the emancipation of black Americans through the prism of literary images, especially painting images. Among the research tasks are: to analyze topics of slavery and emancipation, ways of representation of racist and abolitionist ideology in the novel’s plot and artistic images; to analyze types of images of “blacks” in literature and painting. Novelty of work is in the reconstruction of emancipation discourse, which confronts with discourse of racism and black Americans’ discrimination in the American literature (on the example of Beecher Stowe’s novel) and in painting images of XIX century. The novel of Harriet Beecher Stowe became a bestseller in Europe and America, the symbol of revolution, it stirred up people’s consciousness in many countries which used different forms of dependency and obligation during XIX – XX century, and later it entered the list of classics of children’s literature. Using the novel as an example, the author shows that the two opposite discourses – colonial (slavery) and anti-colonial (emancipation) are the basis of the controversy of the protagonists, which reflects the social and political controversy over the position and status of black Americans. Ideas of women’s emancipation from gender, social and labor oppression are reflected in the images of black slave women, and in the XX century they became the ideological basis of “black feminism”. Using examples of the novel and painting, the author examines racial and gender stereotypes, the problem of the relationship between “white” and “black”, the problem of preserving the family and women’s resistance to male domination in conditions of slavery, the problem of the formation of national identity in America after the abolition of slavery. The author analyzes the plots in European and American painting, which reflect not only “colonial” images where black Americans are represented as racial and cultural Others, but also “emancipation” images, which symbolically state the resistance to slavery or confirm the subject’s freedom. It is researched in the article that the active development of the emancipation topic in the artistic consciousness shows the change of social status of racial Others in the public consciousness of the XIX century, which was the result of abolitionist and women’s movements for minority rights in America.
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Kostadinović, Danijela. "“UNEXPECTED ALTERNATION OF REALITY”: MAGICAL REALISM IN PAINTING AND LITERATURE." Facta Universitatis, Series: Visual Arts and Music, January 27, 2019, 35. http://dx.doi.org/10.22190/fuvam1802035k.
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The term magical realism was coined by the German art historian Franz Roh in his essay After expressionism: Magical Realism: Problems of the newest European painting (1925), and it initially referred to a new view of the real-world painting in Germany in the 1920s. It originated as a response to Impressionism, Expressionism, and Surrealism. Magical realism painters realistically depicted objects and beings in detail, while magic and mystery were highlighted by creating illusions and through a change in perspective. Venezuelan writer Arturo Uslar-Pietri used the term magical realism to describe a specific type of short story in which the view of man as a mystery surrounded by realistic data dominates. Soon enough, this term started to be used to describe Latin American literature in general primarily thanks to an article written by Angelo Flores: Magical Realism in Spanish American Fiction. The so-called Latin American Boom started in the 1960s when the elements of the magical realism narrative could also be found in the prose of writers coming from countries outside the South American continent. Therefore, the goal of this paper is to examine the magical realism phenomenon and its main characteristics with regard to painting in the first half of the 20th century, as well as to Latin American literature since the mid-20th century, and to show that art movements can be transferred from one art to another, that they can transform and change their basic concept.
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Moser, Christian. "Michaela Keck: Walking in the Wilderness. The Peripatetic Tradition in Nineteenth-Century American Literature and Painting (American Studies, A Monograph Series, 134)." Archiv für das Studium der neueren Sprachen und Literaturen, no. 1 (April 1, 2008). http://dx.doi.org/10.37307/j.1866-5381.2008.01.33.
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Serrano de Haro Soriano, Amparo. "Las influencias europeas en el movimiento plástico del expresionismo-abstracto americano." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 4 (January 1, 1991). http://dx.doi.org/10.5944/etfvii.4.1991.2176.
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La literatura crítica que gira en torno al Expresionismo-Abstracto norteamericano (que es la tendencia artística predominante en EEUU en los años 40 y 50 de nuestro siglo) tiene dos fases principales. En primer lugar una serie de libros que aparecen a partir de los años 50 y 60 de contenido laudatorio, exaltante y reafirmando lo «americano» de este arte, los títulos son por sí solos extremadamente ilustrativos: Rudy Blesh Modem Art USA: Men, Rebellion, Conquest de 1956; Thomas B. Hess Abstract Painting: Background and American Phase de 1951; Irving Sandler The Triumph of American Painting: A History of Abstract Expressionism de 1970; William Seitz Abstract Expressionism Painting in America de 1955.
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Surve, Anshu, and Anwesha Basu. "AUTOBIOGRAPHY AND SPACE: SLAVE NARRATIVES OF HARRIET JACOBS AND MARY PRINCE." Towards Excellence, March 31, 2020, 33–41. http://dx.doi.org/10.37867/te120204.
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The women writers in the 19th century represented themselves in the form of writings and presented their ideas through the medium of autobiography, a genre in the literary world. Genre, as per Collins dictionary, is ‘a particular type of literature, painting, music, film or other art form which people consider as a class because it has special characteristics’. Autobiography is a tool to represent the ‘Self’ and during the 19th century, the women used it as one of her weapons to challenge the patriarchal and dominant upper class, wherein they were categorised in the marginalized section in terms of their origin and in creative writing field. Their writings became an agency or rather a space- emotional space within the cultural and societal space, where they put forth their emotions, desire to become emancipated, create a bench mark alongside other male writers in the literary world and inspire other women. This research paper attempts to explore autobiography in a new light through spatial theory as proposed by Henri Lefebvre and Edward Soja, vis-à-vis place and will posit the narratives which portrays the injustice done upon the marginalized people during the 19th century. Space will act as a conceptual tool to narrate the slave narratives Incidents in the Life of a Slave Girl written by herself (1861) and The History of Mary Prince, a West Indian Slave. Related by Herself (1831) of Harriet Jacobs, an Afro-American slave in America and Mary Prince, a West Indian Slave in England respectively.
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Turysheva, Olga. "Dostoevsky, Siberia, and the Russian Person in Donna Tartt’s Novel The Goldfinch." Quaestio Rossica 8, no. 1 (2020). http://dx.doi.org/10.15826/qr.2020.1.451.
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This article considers the Russian motifs present in the narrative of The Goldfinch (2014), a novel by the American author Donna Tartt. These include the depiction of the main character’s Russian friend, allusions to the creative work of Dostoevsky, the interpretation of his novel The Idiot made by the characters, and a detail testifying to the Siberian descent of the second main character. The author makes an attempt to analyse previously unstudied motifs connecting the story of the character with the Russian context. More particularly, she substantiates the importance of Boris Pavlikovsky’s Siberian roots. The author concludes that Tartt portrays the Russian person not only as a complex of stereotypes found in culture but in close connection with the Russian literary tradition. The article combines immanent analysis of text with hermeneutic, mythopoetical, intermedial, and intertextual methods. The author concludes that by referring to the Siberian descent of the second main character, Tartt introduces the Siberian myth into the receptive context of her novel formed on the basis of the whole corpus of Russian literature. It is a myth of Siberia as a space of liminal death and Christological initiation (acc. to V. I. Tyupa). It is proved that relying on this mythologeme makes it possible for the reader to decode the underlying semantics of the novel. It relates to the idea of the resurrection of the character facing the tragedy of death. The plot of The Goldfinch is interpreted as a plot of returning to life through the experience of staying in the land of the dead, crime, and dying. Additionally, the author analyses the function of motifs connected with Dostoevsky’s novel The Idiot. It is not only present as an allusion in Tartt’s work but as an object of the characters’ reflection. For Theo Decker, this reflection results in the acceptance of Dostoevsky’s idea of the resurrection of a great sinner. It is demonstrated that relying on his perception of Dostoevsky’s works, the character realises the circular plot of accepting life and redemption. This interpretation makes it possible to reconstruct the evangelical subtext of the novel. The novel’s ekphrastic aspect also proves it by means of the character’s reflection on The Goldfinch, a painting by Carel Fabritius. Apart from the liminal chronotope, the author analyses other chronotopes of the character that are also of considerable importance: the Christmas chronotope and the road chronotope. The poetological peculiarities revealed prove that Tartt’s works belong to the genre tradition of Bildungsroman (initiation novel). This is illustrated by other images of Dostoevsky’s works, including the ones Tartt used in her first novel The Secret History (1992).