To see the other types of publications on this topic, follow the link: American Words in art.
Journal articles on the topic 'American Words in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'American Words in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Coombes, Rebecca. "Relative values: the words about ‘non-western’ art." Art Libraries Journal 20, no. 3 (1995): 19–25. http://dx.doi.org/10.1017/s0307472200009469.
Full textAbstract:
A survey of holdings of non-Western art in British, and some North American, art libraries has by and large confirmed that it is poorly represented, and that contemporary non-Western art is especially neglected. Libraries’ freedom to acquire material in this broad area may be restricted or defined by curricula, the interests of clients, and the availability of material, yet libraries which allow themselves to be thus constrained present a distorted and impoverished view of world art. Library classification schemes tend to favour Western art, with non-Western art sometimes being relegated to ‘crafts’ or ‘anthropology’, while subject descriptors sometimes employ inappropriate terminology.
2
Flores, Patrick D. "Towards a Lexicon of Inclinations: Words Forming Worlds in Southeast Asia." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (2017): 35–53. http://dx.doi.org/10.1163/23523085-00302003.
Full textAbstract:
This article sketches out the implications of certain terms from the field of Southeast Asian discourse that refer in different ways to the notion of the “international.” These include “developmental,” “regionality/regionalist,” “reality/realism,” “Asian-African,” and “exploding galaxy.” These terms enable the local to incline outward or to widen its latitude. A discussion of these terms may lead to a fuller understanding of the relationship between the local and the global, the Euro-American and the post-colony. This reflection on terms also affords an opportunity to initiate play on words, probing the paradoxes involved in the production of phrases. A constellation of words and phrases proposes a methodology of translating other art histories and other histories of art histories. It indexes a particular way of knowing and a study of the world, one that may be able to surmount notions of hybridity and the limits of the negation of the Western norm.
3
Cameron, Catherine M. "Fighting with Words: American Composers' Commentary on Their Work." Comparative Studies in Society and History 27, no. 3 (1985): 430–60. http://dx.doi.org/10.1017/s0010417500011518.
Full textAbstract:
In the past few decades, there has been an explosion of literature concerning the changes taking place in American art music. In many cases, this literature is the work of the very people who are making those changes, the composers of new music. Much of their commentary is written in a manifesto style reminiscent of avant-garde movements of the early twentieth century. The dominant topic concerns the changes composers feel are needed to revolutionize American music.
4
Cagulada, Elaine. "Persistence, Art and Survival." Canadian Journal of Disability Studies 9, no. 4 (2020): 50–70. http://dx.doi.org/10.15353/cjds.v9i4.668.
Full textAbstract:

 
 
 A world of possibility spills from the relation between disability studies and Black Studies. In particular, there are lessons to be gleaned from the Black Arts Movement and Black aesthetic about conjuring the desirable from the undesirable. Artists of the Black Arts Movement beautifully modeled how to disrupt essentialized notions of race, where they found “new inspiration in their African ancestral heritage and imbued their work with their experience as blacks in America” (Hassan, 2011, p. 4). Of these artists, African-American photographer Roy DeCarava was engaged in a version of the Black aesthetic in the early 1960s, where his photography subverted the essentialized African-American subject. My paper explores DeCarava’s work in three ways, namely in how he, (a) approaches art as a site for encounter between the self and subjectivity, (b) engages with the Black aesthetic as survival and communication, and (c) subverts detrimental conceptions of race through embodied acts of listening and what I read as, ‘a persistent hereness.’ I interpret a persistent hereness in DeCarava’s commitment to presenting the unwavering presence of the non-essentialized African-American subject. The communities and moments he captures are here and persistently refuse, then, to disappear. Through my exploration of the Black Arts Movement in my engagement with DeCarava’s work, and specifically through his and Hughes’ (1967) book, The Sweet Flypaper of Life, we are invited to reimagine disability-as-a-problem condition (Titchkosky, 2007) and deafness as an ‘excludable type’ (Hindhede, 2011) differently. In other words, this journey hopes to reveal what the Black Arts Movement and Black aesthetic, through DeCarava, can teach Deaf and disability studies about moving with art as communication, survival, and a persistent hereness, such that different stories might be unleashed from the stories we are already written into.
 
 
5
Zakharov, Vladimir N. "The Idea of Ethnopoetics in Contemporary Research." Проблемы исторической поэтики 18, no. 3 (2020): 7–19. http://dx.doi.org/10.15393/j9.art.2020.8382.
Full textAbstract:
<p>In recent decades, ethnopoetics has become one of the new philological disciplines. Its idea first appeared in the treatise of Nicolas Boileau &ldquo;The Art of Poetry&rdquo; (1674), in which the classicist theorist formulated the requirement of local and historical color in art. His rule was followed by many poets, playwrights and novelists of Modern history. In Anglo-American criticism, the term ethnopoetics was introduced in 1968. Jerome Rotenberg, who, along with Dennis Tedlock and Dell Himes, founded the principles and methods of studying American Indian poetry. In the 2000s. this concept has entered encyclopedic dictionaries in English and other European languages, but this word is still not in Russian terminological dictionaries. So far, the concept of poetics, which restricts the semantics of words forming a term, has received recognition. Already in the process of formation of ethnopoetics, its subject was expanded at the expense of middle Eastern and Jewish folklore, and later the oral creativity of other peoples. The word formation model (ἔ&theta;&nu;&omicron;&sigmaf;/ ethnos&nbsp;+&nbsp;&pi;&omicron;&iota;&eta;&tau;&iota;&kappa;ή/poetics) cancels limited interpretations of the term. In modern usage, the term ethnopoetics is used in a wide range of meanings that have not yet been marked by lexicographers, but convey the full semantics of the words forming the term. The idea of ethnopoetics gave rise to not one, but several of its concepts. The author of the article develops his earlier understanding of ethnopoetics as a discipline that should study the national identity of the oral and written text, describe in the categories of poetics the specific things that make national literature national. It is characterized by concepts and conceptospheres, they form the mentality, reveal the cultural code of national literatures. The analysis of ethnopoetics opens up great opportunities in the comparative analysis of thesauri of different authors and their works.</p>
6
Ipsen, Max. "Danish Sixties Avant-Garde and American Minimal Art." Nordlit 11, no. 1 (2007): 169. http://dx.doi.org/10.7557/13.1758.
Full textAbstract:
Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early.Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 1960s, and I will examine whether one can claim that Danish artists were influenced by American minimal art.
7
Howard, Alison D., and Donna R. Hoffman. "A Picture Is Worth a Thousand Words: Building American National Identity Through Art." Perspectives on Political Science 42, no. 3 (2013): 142–51. http://dx.doi.org/10.1080/10457097.2013.793517.
Full text
8
Da Costa Nunes, Jadviga M. "The Naughty Child in Nineteenth-Century American Art." Journal of American Studies 21, no. 2 (1987): 225–47. http://dx.doi.org/10.1017/s0021875800029182.
Full textAbstract:
During the first half of the nineteenth century many Americans began to promote the visual arts as a means of defining and fostering national identity. One highly significant consequence of this new aesthetic was the rise of a native genre art which depicted uniquely “American” customs and characters. Focussing upon and interpreting the daily world of average citizens in an emphatically optimistic and ideal manner, these works of art celebrated the virtue, vigor, simplicity, resourcefulness and republicanism of American society. They tended chiefly to represent rural American activities – maple sugaring, quilting frolics, scenes of harvest and the like – and to rely upon a standard cast of characters – the farmer, the housewife, the peddler, the trapper, for example – each of whom exemplified a particular trait or traits that seemed distinctly “American.”
9
Trondman, Mats. "Horace Pippins konst." Educare - vetenskapliga skrifter, no. 1 (March 20, 2020): 109–43. http://dx.doi.org/10.24834/educare.2020.1.6.
Full textAbstract:
The article focuses on the African-American painter Horace Pippin (1888-1946). By using a cultural sociologically informed approach it connects his life – how Pippin became an artist –and art – what his art can mean to us – with the aim of understanding how an art for art’s sake (konstens egenvärde) can be related to, yes, even make up the presupposition for, an art for art’s surplus value (konstens mervärde) concerning issues of race, politics, the arts and diversity. The guiding question is what we can learn from the African-American philosopher Cornell West’s analysis of the meaning of Pippin’s art, which in turn is deeply informed by the sociologist W.E.B Du Bois’ (1868-1963) concept of “double consciousness”; how Pippin paints an African-American everyday life beyond the white gaze. Through such an understanding of Pippin’s, in his own words, “art’s life history, that is my art”, the article also provides an idea of what sociology of art and art didactics might be.
10
Karpf, Juanita. ""As with Words of Fire": Art Music and Nineteenth-Century African-American Feminist Discourse." Signs: Journal of Women in Culture and Society 24, no. 3 (1999): 603–32. http://dx.doi.org/10.1086/495367.
Full text
11
Marrero Henríquez, José Manuel. "The Identity of Hispanic Literatures: One Breath, a Million Words." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (2020): 74–81. http://dx.doi.org/10.37536/ecozona.2020.11.2.3496.
Full textAbstract:
Nothing can stop the tides of innovation in art: it is this idea that a captive, dirty, weak, and hungry Don Quixote embraced to affirm himself as the heroic referent for the emerging Romance literatures. Indeed, this adaptability has been the secret of his longevity in the Western canon. Like Don Quixote, Hispanic literatures cannot build their identity on a pristine, metropolitan, and uniform Spanish language elevated by its exclusivity. If literary Hispanism is to be alive, it needs to evolve into a complex cultural construction that binds together the oral and literate languages of America and Spain and takes into account transatlantic flows and contradictions. Breathing, a common feature of both literary patterns and a rhythm of nature, will serve as the much-needed metaphor to bridge Latin American oral cultures, which have found permanence and expression in written texts, with literate cultures, including even the most urban, digital, and technologically advanced from Mexico, Chile or Spain.
12
Sheridan, Thomas E. "The limits of power: the political ecology of the Spanish Empire in the Greater Southwest." Antiquity 66, no. 250 (1992): 153–71. http://dx.doi.org/10.1017/s0003598x00081163.
Full textAbstract:
The Spanish conquest of the Americas was one of the most dramatic cultural and biological transformations in the history of the world. Small groups of conquistadores toppled enormous empires. Millions of Native Americans died from epidemic disease. Old World animals and plants revolutionized Native American societies, while New World crops fundamentally altered the diet and land-tenure of peasants across Europe. In the words of historian Alfred Crosby (1972: 3),The two worlds, which God had cast asunder, were reunited, and the two worlds, which were so very different, began on that day [I1 October 14921 to become alike.
13
Howard, June. "Sui Sin Far's American Words." Comparative American Studies An International Journal 6, no. 2 (2008): 144–60. http://dx.doi.org/10.1179/147757008x280795.
Full text
14
Kaufmann, Thomas DaCosta. "Introduction." Central European History 18, no. 1 (1985): 4–13. http://dx.doi.org/10.1017/s0008938900016873.
Full textAbstract:
This issue of Central European History may at first seem some-what unexpected. All the following papers pertain to the early modern period. All of them moreover originated in connection with an exhibition of works of art, “Drawings from the Holy Roman Empire, 1540–1680. A Selection from North American Collections,” its published catalogue, and a symposium, “The Culture of the Holy Roman Empire, 1540–1680,” held on the occasion of the exhibition's opening. The papers published in this issue are accordingly essays in art, literary, intellectual, and, more generally, cultural history; some words may be needed to explain how they come to appear here now.
15
Funk, Clayton. "A lion in a matchbox: Artistic identity and cracking the professional code in American higher education." Visual Inquiry 8, no. 3 (2019): 189–95. http://dx.doi.org/10.1386/vi_00003_1.
Full textAbstract:
Abstract This article is an analysis of the culture of academic professionalism of art programmes in American universities. In the Gilded Age, American universities underwent significant reforms that transformed them in to centres for professional education in Medicine, Law, social work, and other professions, including the visual arts. College art was transformed during these years. Guided by theory set forth by Burton Bledstein, the article decodes this new culture with concepts of time spent in practice and training, the specialized spaces (for art this meant studios and classrooms), and words (the discourse, terminology and language that distinguishes professionals from their clientele). These concepts help embody a collective professional identity of people with boundaries to regulate the social experience art faculty and students in a new, and at times troubled modern culture of professionalism.
16
Hill, Melanie R. "Set Thine House in Order: Black Feminism and the Sermon as Sonic Art in The Amen Corner." Religions 10, no. 4 (2019): 271. http://dx.doi.org/10.3390/rel10040271.
Full textAbstract:
In The Souls of Black Folk, W.E.B. DuBois discusses the historical and cultural beginnings of the black preacher as “the most unique personality developed on American soil.” He writes, “[the black preacher] found his functions as the healer of the sick, the interpreter of the Unknown, the comforter of the sorrowing, the supernatural avenger of wrong…Thus as bard, physician, judge, and priest within the narrow limits allowed by the slave system rose the Negro preacher.” Far from being a monolith, the preacher figure embodies many complexities and variances on how the preached Word can be delivered. This begs the question, in what ways can we reimagine DuBois’s black preacher figure in his words, “the most unique personality developed on American soil,” as a black woman? What remains to be seen in scholarship of the mid-twentieth century is an articulation of the black woman preacher in African American literature. By reimagining and refiguring a response to DuBois’s assertion above, how is the role of the black woman preacher and impact of her sermons portrayed in African American literature? Using the art of the sermon, the intersection of music, and James Baldwin’s The Amen Corner as a central text, this article examines the black woman preacher in character and African American women’s spirituality in twentieth century literature. I argue that the way in which Margaret Alexander, as a black woman preacher in the text, creates sermonic spaces of healing and restoration (exegetically and eschatologically) for herself and others outside of the church becomes a new mode of social and cultural resistance. This article works to re-envision the black woman and reposition her in the center of religious discourse on our way to unearthing the modes of transfiguration black women preachers evoke in and out of the pulpit.
17
Stulov, Yu V. "IDEOLOGY, RACE, AND ART: JAMES BALDWIN’S LEGACY." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (2019): 853–58. http://dx.doi.org/10.35634/2412-9534-2019-29-5-853-858.
Full textAbstract:
In the 1950s-60s the outstanding African American writer James Baldwin took an active part in the events of the so-called Black Revolution in the USA, which had a tremendous effect on the country’s social and political life for the following years. African American people of art got strongly divided into two camps on the ideological issues. Baldwin belonged to the integrationists who did not separate their fate from the fate of America and insisted on the decisive measures to be taken by the US administration to change the attitude towards the black population. His position as well as his works written at that period aroused severe criticism on the part of the Black radicals. Time took care of it, but Baldwin’s lesson is important for understanding the problems of the connection between ideology and art.
18
Gherasim, Gabriel C. "American Art Criticism between the Cultural and the Ideological (I)." American, British and Canadian Studies Journal 23, no. 1 (2014): 93–107. http://dx.doi.org/10.1515/abcsj-2014-0029.
Full textAbstract:
Abstract Starting from the presupposition that art and art criticism in the United States of America are closely linked and that the very meanings and receptions of art works have been reflected by various writings in the field of art criticism, this first part of a comprehensive study on the topic attempts, on the one hand, to divide the historical evolution of American fine arts and art criticism into several distinct periods, and on the other, to evaluate the major directions of art criticism by considering its historical periods as being markedly ideological or cultural, as the case may be. Thus, considering the approximately 150 years of historical accomplishments of art criticism in the United States, I will argue that the starting point of American art criticism is visibly cultural, while the next two periods are characterised by ideological art criticism, noting that the ideological orientation differs in the two time frames. The fourth moment in the evolution of art criticism marks the revival of the cultural, so that, within the fifth, the postmodern art criticism could no longer grasp a clear distinction between the cultural and the ideological. The present article will focus on the first two important orientations in art criticism in the United States, 1865-1900 and 1908-1940, respectively; a future study will consider the remaining three periods, following this historicist approach of art criticism in the United States.
19
Allen, Gwen L. "Art Periodicals and Contemporary Art Worlds (Part I): A Historical Exploration." ARTMargins 5, no. 3 (2016): 35–61. http://dx.doi.org/10.1162/artm_a_00157.
Full textAbstract:
This essay explores the role of art periodicals in art worlds past and present. It examines the histories of Artforum and October within the context of the North American art world of the 1960s and 1970, and contextualizes these publications within a larger field of publishing practices, including self-published Salon pamphlets, little magazines, and artists' periodicals. It explores how the distribution form of the periodical affects the politics of art criticism, and considers how art magazines have served as sites of critical publicity, mediating publics and counterpublics within the art world. It also reflects on the role of magazines and newer online media in the contemporary, globalized art world.
20
Dobrydneva, A. S. "Aleksandr Deineka’s Works in the Context of the Art Deco Style." Concept: philosophy, religion, culture 4, no. 3 (2020): 168–75. http://dx.doi.org/10.24833/2541-8831-2020-3-15-168-175.
Full textAbstract:
This paper analyzes the founding bases of comparisons between the Aleksandr Deineka’s artistic works and the art deco, the connection between Deineka’s works and European and American art of the 1930s Deineka’s early works refer to the avant-garde and the late ones are usually related to socialist realism. The novel artistic language is the most important link between the Soviet art and the art deco style, making the artist its most prominent USSR proponent. In this respect, the key event is the artist’s trip to the USA, France and Italy in 1935. What made Deineka engage in the intercultural discussion on artistic styles were industrial, urban, mundane and sport themes the Soviet art and art deco (mostly American) shared. A dialogue with the US Skyscraper style influenced a series of paintings and sketches, including New York. Central Park, The Road to Mount Vernon, Baseball, The Boredom. The Soviet experience contributed to Deineka’s few American works. In the most clear and general manner the art deco ideas and practical solutions were incorporated in the 1938 project of Deineka – in the decoration of the Mayakovskaya metro station, Moscow. The idea was to create a series of allegoric and technically new mosaic plafonds. Both spirit and techniques of late Deineka were partly inspired by the American art deco.
21
Zahoor Hussain, Samiullah Khan, and Muhammad Ajmal. "A Corpus Stylistic Analysis of Abulhawa's the Blue between Sky and Water." Research Journal of Social Sciences and Economics Review (RJSSER) 1, no. 4 (2020): 83–93. http://dx.doi.org/10.36902/rjsser-vol1-iss4-2020(83-93).
Full textAbstract:
Palestinian literature received significance after Nakba (1948 Palestine-Israel war) and Naksa (1967 Arab-Israel war) and it laid an impact on Palestinian writers and there emerged a new form of literature called Palestinian American literature which got recognition in the 1990s internationally. After Nakba and Naksa many Palestinian families migrated to America. These Palestinians wrote literature in English that is called Palestinian-American literature. The aim of the stylistic analysis of Abulhawa's work to trace out how the writer constructs reality through lexical categories. This thesis also analyzes the work of Palestinian-American writer Abulhawa's novel, The Blue between Sky and Water, and focuses specifically on how the writer achieves her aims. At the same time, this stylistic analysis of The Blue between Sky and Water shed light on the use of Arabic words in English fiction which represent the culture and identity of the Palestinian nation. It explores the dilemma of Palestine that they become a foreigner in their native land. The researcher employed a mixed-method approach to conduct the present study. The researcher used Corpus stylistics tools to analyze the novel. The researcher traced around 6288 concrete nouns and 1634 abstract nouns from the sample respectively. The extensive use of concrete nouns showed that the main purpose of the writer was to get homeland and this piece of writing was not only art for art sake rather art for life's sake. The researcher traced out around 1400 adjectives from the sample of study.
22
Wachowski, Jacek. "Europejskie performanse Ive Tabara – od dyskursu politycznego do metanarracji." Slavia Occidentalis, no. 74/2 (December 10, 2018): 7–16. http://dx.doi.org/10.14746/so.2017.74.19.
Full textAbstract:
The article is an attempt to analyze the works of Ive Tabar – one of the most interesting Slovenian artists (relatively little known) working on the borderline of body art and performance art. On the one hand, Tabar’s works refer to loud experiments – undertaken on the basis of body art in 60’s, 70’s and 80’s. On the other hand, they are seeking their own language and new communication strategies with the viewers. Tabar’s works are both personal acts and political declarations (regarding the future of Slovenia). In this sense, they can be understood as a return to the concept (that had been developed in Europe and America in the second half of the twentieth century) of engaging art for public activity. Tabar uses this tradition in its own and unique way. He creates metanarratives works that combine the poetics of political and social protest with a radical body art-style experiment. He shows the way how art can contribute a political life.Key words: Slovenian performance, Ive Tabar, body art, performing arts.
23
Cook, Weston F. "Islamic Expressions in Art, Culture, and Literature." American Journal of Islam and Society 15, no. 2 (1998): 155–57. http://dx.doi.org/10.35632/ajis.v15i2.2191.
Full textAbstract:
The Fourteenth Annual Conference of The American Councilfor the Study of islamic Societies, held on May 2 and 3, 1997,at The Connelly Center, Villanova University, Villanova, PAThe American Council for the Study of Islamic Societies (ACSIS), isone of the oldest continuing organizations in the United States that focusesspecifically on Muslim states, societies, and the problems confrontingMuslim communities throughout the world. Composed of American andforeign scholars, non-Muslims as well as Muslims, ACSIS encompassesthe full range of humanities and social science disciplines. The representeddisciplines include the familiar areas of political science, history,linguistics, philosophy, religion, economics, anthropology, internationalrelations, and sociology; moreover, artists, musicians, media specialists,poets, folklorists, architects, agronomists, bankers, educators, and businessconsultants are involved in the Council‘s work. Along with this professionaldiversity, ACSIS has always taken special pride in providing aforum for younger and innovative students to present their ideas andresearch and encouraging them to publishTrue to these founding goals, the Board of Directors chose “Cultural,Artistic, and Popular Expressions in Islam” as the theme for this conference.Papers on Muslim works from the Americas, Europe, South Asia,China, Africa, and the heartlands of the ummah were solicited. The callfor papers also struck new directions for ACSIs-seeking music andperformance presentations, calligraphy, textile art, film and animation,calligraphy, cuisine, and other original formats different from the standardconfenmce panel modes. The Board also designated long-timemember Weston F. Cook, Jr. as program chair and organizer. Dr. Dale F.Eickelman of Dartmouth College, currently a scholar-in-residence at the ...
24
Whiting, Cécile. "More Than Meets the Eye: Archibald Motley and Debates on Race in Art." Prospects 26 (October 2001): 449–76. http://dx.doi.org/10.1017/s0361233300001009.
Full textAbstract:
In 1933, Archibald J. Motley Jr., an African-American artist from Chicago who enjoyed a moderate level of national and international renown, issued his only formal public statement concerning the relationship he perceived between his art and race. His words, resonating with confidence, assert his conviction that painting could capture the truth of race through pigment. Reproduced opposite this declaration,Bluesof 1929 (Figure 1), which depicts well-coiffed men and women dancing in the Petite Cafe in Paris to tunes played by musicians seated in the foreground, would seem to reinforce Motley's point: paint transcribes the gradations of skin pigment incarnated by the various African, West Indian, and perhaps even African-American patrons of this nightspot. The color of skin, transmuted into the color of paint, identifies and catalogs race.
25
Kalinichenko, M. M. "DOCTRINE OF “FAIR USE” OF FINE ART WORKS IN THE ANALYTICAL PRACTICE OF NORTH AMERICAN FORENSIC EXPERTS." Theory and Practice of Forensic Science and Criminalistics 16 (November 30, 2016): 350–56. http://dx.doi.org/10.32353/khrife.2016.48.
Full textAbstract:
The paper presents some of the main provisions of North American methods for examining the works of fine art as objects of intellectual property in the context of the legal doctrine of "fair use" on the basis of the resonant case "Patrick Carey versus Richard Prince". The emphasis is placed on practical significance of the considered scientific and methodological approaches for modern Ukrainian forensic experts. The critical analysis is given for some specific features of the North American methods, which are controversial among lawyers and experts of the United States of America.
26
Pastizzo, Matthew J., and Robert F. Carbone. "Spoken word frequency counts based on 1.6 million words in American English." Behavior Research Methods 39, no. 4 (2007): 1025–28. http://dx.doi.org/10.3758/bf03193000.
Full text
27
Aqil, Mammadova Gunay. "American English in Teaching English as a Second Language." International Journal of English Language Studies 3, no. 2 (2021): 52–57. http://dx.doi.org/10.32996/ijels.2021.3.2.7.
Full textAbstract:
With the lapse of time the two nations- Americans and British always blamed each other for “ruining” English. In this article we aim to trace historical “real culprit” and try to break stereotypes about American English status in teaching English as a second language. In comparison with Great Britain the USA has very short and contemporary history; nevertheless, in today’s world American English exceeds British and other variants of English in so many ways, as well as in the choices of language learners. American English differs from other variants of the English language by 4 specific features: Inclusiveness, Flexibility, Innovativeness and Conservativeness. Notwithstanding, British disapprove of Americans taking so many liberties with their common tongue, linguistic researcher Daniela Popescu in her research mentions the fields of activities in which American words penetrated into British English. She classifies those words under 2 categories: everyday vocabulary (480 terms) and functional varieties (313 terms). In the case of functional varieties, the American influence is present in the areas of computing (10 %), journalism (15 %), broadcasting (24%), advertising and sales (5 %), politics and economics (24%), and travelling and transport (22%). Further on, the words and phrases in the broadcasting area have been grouped as belonging to two areas: film, TV, radio and theatre (83%), and music (17%). The purpose of the research paper is to create safe and reliable image of American English in the field of teaching English as a second language. Americans are accused in “ruining” English and for that reason learners are not apt to learn American English. The combination of qualitative and quantitative methods is used while collecting the data. The study concluded that the real culprits are British who started out to ruin English mainly in in the age of Shakespeare and consequently, Americans inherited this ruin from the British as a result of colonization. Luckily, in the Victorian Age British saved their language from the ruins. The paper discusses how prejudices about American English effect the choices of English learners.
28
Et al., Ikromkhonova Firuza Ikromovna. "THE ISSUE OF HISTORICAL WORKS IN AMERICAN LITERATURE." Psychology and Education Journal 58, no. 1 (2021): 4581–89. http://dx.doi.org/10.17762/pae.v58i1.1564.
Full textAbstract:
This article discusses the issue of literary perception of historical reality and the creation of a mature work as one of the constant problems of literature, it is about paying special attention to comparative-typological analysis of the unity of form and content, composition and plot, system of characters, historical truth and to the fiction in the study of historical works in today's globalization.The article provides an analysis of advanced examples of American literature, information on folk art thinking and cultural development. The poetics of the work of art, in particular, the approach of how the composition of historical works is solved, the typology of characters, the scientific study of the problem of the genre together form the basis of the article.
29
Keshmiri, Fahimeh, and Shahla Sorkhabi Darzikola. "Modernity in Two Great American Writers’ Vision: Ernest Miller Hemingway and Scott Fitzgerald." English Language Teaching 9, no. 3 (2016): 96. http://dx.doi.org/10.5539/elt.v9n3p96.
Full textAbstract:
<p>Scott Fitzgerald and Ernest Hemingway, American memorable novelists have had philosophic ideas about modernity. In fact their idea about existential interests of American, and the effects of American system on society, is mirrored in their creative works. All through his early works, Fitzgerald echoes the existential center of his era. Obviously, we recognize Hemingway’s vision of modernity in formation of his own philosophies of life, death, and art in what is known as Hemingway’s characteristic philosophy, Code, and Code Heroes. In this article, among the numerous characteristics illuminating these two writer’s vision of America, the main themes of their foremost works have been analyzed with regard to some Critic’s viewpoints regarding these two, literary masters. Critics see Fitzgerald both as a chronicler, and a perceptive social critic who is totaling the “dilemmas of philosophy” in his art. Indeed, what in American critics’ view is a fatalistic philosophy, with the darker side of life, existentialist critics consider as a prophetic optimism and an absurdist vision that places Hemingway in the ranks of a “guide “prophet of those who are without faith”.</p>
30
Garay, Urbi. "The Latin American art market: literature and perspectives." Academia Revista Latinoamericana de Administración 31, no. 1 (2018): 239–76. http://dx.doi.org/10.1108/arla-04-2017-0117.
Full textAbstract:
Objective The purpose of this paper is to present the progress and trends of the literature on art as an investment and to outline potential research lines to be developed. Design/methodology/approach This work gathers, analyses and critically discusses the attributes of investments in art in general, and in Latin American art in particular. Findings Most studies report that art (art in general, and Latin American in particular) has offered relatively low but positive real returns, which have tended to be below those offered by stocks and similar to those realized by bonds. Art has a low correlation with other investments. Research limitations and implications The literature on the attributes of Latin American art as an investment is limited and new research would help to close the knowledge gap with respect to this segment of the art market as it continues to grow. Practical implications Similarly to the research carried out into other segments of the art market, studies on Latin American art suggest that the works of art are worth more, ceteris paribus: the more renowned the artist, the larger the work, whether they were executed in oil, and if they were auctioned at Sotheby’s or Christie’s. The paper also details a series of practical implications for those who participate in the art market. Originality/value To the best of the authors’ knowledge, this is the first exhaustive review of the literature on the attributes of Latin American art as an investment. The findings of this study are useful for academics, art collectors, auction houses, gallerists and others who take part in the arts market.
31
statton, liza. "Bittersweet Obsession: Ed Ruscha's Chocolate Room." Gastronomica 6, no. 1 (2006): 7–9. http://dx.doi.org/10.1525/gfc.2006.6.1.7.
Full textAbstract:
This article considers the singular installation work, Chocolate Room (1970), by the American conceptual artist Ed Ruscha (b. 1937), who is based in Los Angeles. Although Ruscha is best-known for his coolly composed paintings and photographs, Chocolate Room, explores the artist's use of unconventional materials to create works of art that confront viewers with the unexpected. The author discusses the creation of this site-specific work for the 35th Venice Biennale during tumultuous year of 1970 when many American artists boycotted the event due to the Vietnam War. Chocolate Room was installed in one part of the American Pavilion, where the interior walls of the room were covered with 360 screen prints made from Nestléé's chocolate. The author assesses the physical and psychological properties of chocolate and how Ruscha's installation manipulates these qualities as a deliberate act of provocation. Stains (1969), a seventy-five page, unbound book is also discussed in relation to Chocolate Room, highlighting Ruscha's interest in and experimentation with organic substances. The author situates these projects between the overlapping developments of Pop and Conceptual Art in America during the 1960s and 70s –– both of which are indebted to the 'anti-art' ideologies of Duchamp and the Dadaists. The author concludes with the unexpected demise of the installation and alludes to the ways in which the substance of a medium can transform the meaning of an image.
32
Qiu, Xin. "An Analysis of the Linguistic Features of The Minister’s Black Veil from the Perspective of Literary Pragmatics." Review of Educational Theory 3, no. 4 (2020): 44. http://dx.doi.org/10.30564/ret.v3i4.2386.
Full textAbstract:
The Minister’s Black Veil is one of the most classic short stories written by American romantic writer Nathaniel Hawthorne (1804-1864), From the perspective of literary pragmatics, this paper analyzes the language features of the novel, such as words and sentences, grammar, semantic ambiguity, rhetoric and conversational implicature based on cooperative principle, so as to explore the superb writing style and literary art of the novel, better understand and appreciate this literary work, and provide a new perspective and reference for the study of British and American literature Direction.
33
Albert Felty, Robert, Adam Buchwald, Thomas M. Gruenenfelder, and David B. Pisoni. "Misperceptions of spoken words: Data from a random sample of American English words." Journal of the Acoustical Society of America 134, no. 1 (2013): 572–85. http://dx.doi.org/10.1121/1.4809540.
Full text
34
Couture, Francine. "L’exposition, un contexte de collaboration sur la scène mondiale de l’art : un cas de figure, l’art africain contemporain." Muséologies 9, no. 1 (2018): 33–43. http://dx.doi.org/10.7202/1052626ar.
Full textAbstract:
This analysis of the context of the globalization of the contemporary art scene is based on the concept of the cooperative network of the art worlds, as defined by the American sociologist Howard Becker, applied to the exhibition's sociological character. It is approached as a sociocultural event furthering the establishment of a cooperative network among artists, commissioners, critics and theoreticians who acknowledge in the exhibited works a certain number of values and ideas about art which they share to various degrees. Case studies from the corpus of contemporary African-art exhibitions that have been labelled as contemporary African art on the international stage serve as illustrations for this analysis.
35
NELSON, CYNTHIA. "MURSI SAAD EL-DIN, ED., Gazbia Sirry: Lust for Color (Cairo: American University in Cairo Press, 1998). Pp. 246." International Journal of Middle East Studies 33, no. 2 (2001): 324–26. http://dx.doi.org/10.1017/s0020743801382065.
Full textAbstract:
The attempt to put into words what is fundamentally a visual experience confronts this reviewer with an enormous challenge. Being neither artist nor art critic, I must approach the task through my lens as friend and long-time admirer of Gazbia Hassan Sirry, one of Egypt's leading modern artists, whose varied and innovative artistic career spans more than fifty years. Perhaps in this way I can create a context within which this book can be read, appreciated, and, I hope, used by those scholars who are interested in the dialectic between art and society, artist and social transformation.
36
Shevchenko, Viacheslav D., and Andrei V. Komarov. "Lexical-Semantic and Syntactic Peculiarities of the American Photographic Discourse of the Great Depression (as exemplified by the titles of the American photographs during the period of 1929-1942)." Current Issues in Philology and Pedagogical Linguistics, no. 1 (2020) (March 25, 2020): 82–91. http://dx.doi.org/10.29025/2079-6021-2020-1-82-91.
Full textAbstract:
The present article describes the analysis of the peculiarities of such a cognitive-communicative phenomenon as American photographic discourse. It contains sociolinguistic and cultural-semiotic particular features. The present complex discourse is analyzed in the context of linguistic synchrony during the period of the Great Depression, the economic crisis that influenced not only the American discursive space but also all the spheres of the American society from 1929 till 1942. The authors typify the photographic discourse as a synthesis of linguistic forms comparing it with the utterance (act of speech) by virtue of its peculiar structural components – persuasion, cognition and purposefulness. The authors conclude that the American photographic discourse combines the inner qualities of the visual, author and critical art (the arts) discourses because of its complex essence. Besides, the lexical representatives of the American photographic discourse of the times of the Depression are defined by a certain semantic peculiarity – absence of the words with the abstract meaning. According to the authors, such a consistency may be explained not only due to the presence of the semantic links with the main “Depression” macro-concept and also due to the certain socio-historical events. The majority of the representatives materializing the micro-concepts possess the negative evaluative connotation as evidenced by the commemoration of the “crisis” integral seme peculiar both for the macro Depression concept and all the micro-concepts (“Poverty”, “Manual Labor”, “Racism”, “Migration”, “Death”, “Disease” and “Protest”). However, the important characteristic of the “Manual Labor” micro-concept is a high frequency rate of the words denoting professions in the sphere of farming and mining. Such a tendency proclaims the US individualistic culture that is focused on the personal initiative and the active combating the difficulties. The analysis of the syntactic means objectified within the framework of the American photographic discourse has demonstrated that the titles of the photographs presented in the form of phrases (word clusters) have a sentence-like essence. Such a characteristic presupposes the presence of the predication and modality features specifically attributed to a sentence. As the result, there has been acknowledged the special complex syntactic status of the titles of the American photographs.
37
Hartsell-Gundy, Arianne A. "Book Review: American Colonial Women and Their Art: An Encyclopedia." Reference & User Services Quarterly 58, no. 2 (2019): 126. http://dx.doi.org/10.5860/rusq.58.2.6944.
Full textAbstract:
American Colonial Women and their Art: An Encyclopedia has a unique focus, which makes it an interesting addition for most libraries. Though there are reference works that explore women and art and reference works that cover the American colonial period, there is not a work that focuses specifically on the art of colonial women. In addition to the distinctive topic, this one volume edition not only includes recognizable names such as Abigail Adams and Phillis Wheatley, but also less well-known women, such as Mary Roberts (miniaturist), Sarah Bushnell Perkins Grosvenor (painter), and Elizabeth Foote Huntington (needle worker). This reference work should make for a great tool for any researcher wanting to discover the artistic contributions of specific women.
38
Park, Marlene. "Lynching and Antilynching: Art and Politics in the 1930s." Prospects 18 (October 1993): 311–65. http://dx.doi.org/10.1017/s0361233300004944.
Full textAbstract:
Lynching became a fact of American life after the Civil War, but it only became an important subject for writers of the Harlem Renaissance in the 1920s and a subject for visual artists in the 1930s. During the Depression, antilynching works were first a reaction to the widespread outrage over the Scottsboro case and then part of the political and legislative efforts to make lynching a federal offense. In early 1935, both the National Association for the Advancement of Colored People and the Communist Party's John Reed Club held competing art exhibitions that not only condemned lynching but also supported their legislative objectives. After World War II, when Civil Rights legislation became the main priority, images of lynching continued primarily in the works of African-American artists. But in these later works, lynching became the prime symbol of American racism, springing from a black perspective rather than from particular political campaigns or from contemporary experience.
39
Genter, Robert. "Catherine Dossin.The Rise and Fall of American Art, 1940s–1980s: A Geopolitics of Western Art Worlds." American Historical Review 121, no. 1 (2016): 268–69. http://dx.doi.org/10.1093/ahr/121.1.268.
Full text
40
Goodwin, James. "Writing with Light: Words and Photographs in American Texts." Visual Resources 27, no. 3 (2011): 271–76. http://dx.doi.org/10.1080/01973762.2011.597168.
Full text
41
Akapng, Clement. "Contemporary Discourse and the Oblique Narrative of Avant-gardism in Twentieth-Century Nigerian Art." International Journal of Culture and Art Studies 4, no. 1 (2020): 9–23. http://dx.doi.org/10.32734/ijcas.v4i1.3671.
Full textAbstract:
The history of Twentieth Century Nigerian art is characterized by ambiguities that impede understanding of the underlying modernist philosophies that inspired modern art from the 1900s. In the past five decades, scholars have framed the discourse of Contemporary Nigerian Art to analyze art created during that period in Africa starting with Nigeria in order to differentiate it from that of Europe and America. However, this quest for differentiation has led to a mono-narrative which only partially analyze modernist tendencies in modern Nigerian art, thus, reducing its impact locally and globally. Adopting Content Analysis and Modernism as methodologies, this research subjected literature on Twentieth Century Nigerian art to critical analysis to reveal its grey areas, as well as draw upon recent theories by Chika Okeke-Agulu, Sylvester Ogbechie, Olu Oguibe and Okwui Enwezor to articulate the occurrence of a unique Nigerian avant-gardism blurred by the widely acclaimed discourse of contemporary Nigerian art. Findings reveal that the current discourse unwittingly frames Twentieth Century Nigerian art as a time-lag reactionary mimesis of Euro-American modernism. This research contends that such narrative blocks strong evidences of avant-garde tendencies identified in the works of Aina Onabolu, Ben Enwonwu, Uche Okeke and others, which exhibited intellectual use of the subversive powers of art for institutional/societal interrogation. Drawing upon modernist theories as a compass for analyzing the works of the aforementioned, this paper concludes that rather than being a mundane product of contemporaneity, Twentieth Century Nigerian art was inspired by decolonization politics and constituted a culture-specific avant-gardism in which art was used to enforce change. Thus, a new modern art discourse is proposed that will reconstruct Twentieth Century Nigerian art as an expression of modernism parallel to Euro-American modernism.
42
Matsumoto, Valerie J. "“A Living Artist with Open Eyes”: the Transnational Journey of Mitsu Yashima." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (2020): 71–91. http://dx.doi.org/10.1163/23523085-00601005.
Full textAbstract:
Mitsu Yashima (1908–1988) was a political dissident and artist in two countries. In prewar Japan, she became a proletarian rights activist; during World War ii she continued to oppose Japanese militarism by working for the United States government. In her later years, she opposed US militarism during the Vietnam War. In San Francisco, she became an admired cultural worker in the Asian American movement. Examining her life offers rare glimpses of a woman’s efforts to forge a career in the male-dominated art worlds of twentieth-century Japan and the US. Her transnational life expands the boundaries of Japanese American history, which has long focused on late-nineteenth and early-twentieth century immigration to the US West and Hawaiʻi. Her activism also challenges the perception that only third-generation Japanese Americans joined the Asian American movement of the 1960s-1970s. Yashima’s concern for human rights and peace fueled her art, political engagement, and community building.
43
Johnston, Tiffany L. "American Dionysus: Carl W. Hamilton (1886–1967), collector of Italian Renaissance art." Journal of the History of Collections 31, no. 2 (2018): 411–30. http://dx.doi.org/10.1093/jhc/fhy026.
Full textAbstract:
Abstract For nearly a decade Carl W. Hamilton was in possession of one of the most important private collections of Italian Renaissance painting in America. A self-made millionaire from humble beginnings, the young Hamilton captivated the art dealer Joseph Duveen and Duveen’s foremost experts in Italian Renaissance painting, Bernard and Mary Berenson. By inspiring and instructing Hamilton, Duveen and the Berensons hoped to focus his wealth and ambition to create a great collection and thereby profit by both him and the glory of his achievement. Though Hamilton’s personal collection proved ephemeral, many of his most important works of art nevertheless found their way into American public collections. Furthermore, Hamilton’s formative collecting experience – which developed his prejudices and preferences, sharpened his keen negotiating skills and solidified his zeal for collecting – helped to shape two significant collections of Old Masters in the Carolinas: the Museum & Gallery at Bob Jones University and the North Carolina Museum of Art.
44
Mee, Erin B. "Shattered and Fucked Up and Full of Wreckage: The Words and Works of Charles L. Mee." TDR/The Drama Review 46, no. 3 (2002): 82–104. http://dx.doi.org/10.1162/105420402320351495.
Full textAbstract:
Charles L. Mee is a major American writer whose plays—collages/montages for the theatre—are widely produced and very influential. This is the first overview of Mee's work, edited and with writings by Erin B. Mee. Included in this section are an analytic introduction, an interview, a manifesto, a chronology, and a play.
45
Aires, Marcele. "“All art is political”: John Keene’s Black historical resistance in Counternarratives." Em Tese 26, no. 2 (2021): 95. http://dx.doi.org/10.17851/1982-0739.26.2.95-112.
Full textAbstract:
ABSTRACT: This article deals with the engaged writing of prose writer, poet, translator, and Professor John Keene. The Black North-American author clashes of political struggles, for he seeks to rewrite history as a literary witness, bringing assessments, evaluations, and social issues of the bygone ages – and their following outcome in the present. Keene’s historical approach and critical attitude uphold the line in his awarded short stories, Counternarratives, published by New Directions in 2015. Concerns about canon, rewriting history, Afro-descendent voice, and resistance will be approached, backed by writers and researchers such as Fanon (1963), Spriggs (1965), Baraka (1969), T’Shaka (2012), among others. KEY WORDS: John Keene; Counternarratives; resistance; rewriting history.
46
Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.
Full textAbstract:
Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
47
Quilter, Jeffrey. "The Moche Revolt of the Objects." Latin American Antiquity 1, no. 1 (1990): 42–65. http://dx.doi.org/10.2307/971709.
Full textAbstract:
Stories involving the death of the sun and a subsequent revolt of objects against humans are variants of a common and ancient Native American myth, and it is argued that a number of art works from the Moche culture of the Peruvian north coast depict a variant of this myth. The “Revolt of the Objects” theme is part of a narrative sequence representing an important epic of the late Moche culture that is linked to other Moche art, larger symbolic concepts, and sociopolitical events. Now that simple diffusionistic explanations are no longer applicable, the occurrence of similar themes in myths and art throughout the Americas is a subject that should be reexamined.
48
Wang, Ling. "A Study of the Humor in Mark Twain’s Classic Works." Journal of Language Teaching and Research 10, no. 6 (2019): 1327. http://dx.doi.org/10.17507/jltr.1006.23.
Full textAbstract:
Mark Twain is a famous critical realist writer in the late nineteenth Century. Through combining humor and irony, he makes a relentless expose and criticism of the ugly phenomena in American social life. Humor is a unique way of thinking in his mind; he used humor to bring laugh to human. At the same time, he mercilessly criticized the ugly social reality, a profound reflection of the human condition in the world of metaphysical philosophy explores. The excellent satirical art in a number of his works showed, not only became an independent school at the time of the American literature, but also had a profound impact on the future of American literature. In this article, the author uses humor as a clue, and narrates the art of humor in Mark Twain's classic novels, the author will describe about the specific language and writing techniques from some classic novels of Mark Twain, to explore the art of humor embodied in the novel and the consequences of humor, so as to let the readers have a more intuitive and profound understanding of Mark Twain's novels, and also show the expression of noble tribute to Mark Twain for his outstanding achievement.
49
Ursulesku, Oana. "In Between the ‘Brows’: The Influx of Highbrow Literature into Popular Music." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 81–95. http://dx.doi.org/10.4312/elope.13.1.81-95.
Full textAbstract:
The global phenomenon of popular music from the middle of the twentieth century on played a pivotal role in the merging of what was traditionally deemed high and low cultures. Performers of popular music of different genres started including direct references to literary works from the Anglo-American literary canon, one of the most famous examples being Kate Bush’s 1989 single “The Sensual World,” in which she originally intended to quote verbatim from Molly Bloom’s soliloquy Bloom in James Joyce’s Ulysses; however, since permission from the Joyce Estate was not granted, the song did get recorded, but with lyrics that Bush wrote herself, inspired by Molly Bloom’s words on the page.This paper analyses the way ideas from the original literary work get transposed and adapted in the lyrics of the popular song, giving credit to the musicians as not only innovative creators of a new work of art, but creators of an adapted work of art that can be intertextually read in the context of the artist’s cultural heritage.
50
Penney. "Siyosapa: At the Edge of Art." Arts 8, no. 4 (2019): 148. http://dx.doi.org/10.3390/arts8040148.
Full textAbstract:
The art history of Native North America built its corpus through considerations of “art-by-appropriation,” referring to selections of historically produced objects reconsidered as art, due to their artful properties, in addition to “art-by-intention,” referring to the work by known artists intended for the art market. The work of Siyosapa, a Hunkpapa/Yanktonai holy man active at Fort Peck, Montana during the 1880s and 1890s, troubles these distinctions with his painted drums and muslin paintings featuring the Sun Dance sold to figures of colonial authority: Military officers, agency officials, and others. This essay reassembles the corpus of his work through the analysis of documentary and collections records. In their unattributed state, some of his creations proved very influential during early attempts by art museums to define American Indian art within a modernist, twentieth century sense of world art history. However, after reestablishing Siyosapa’s agency in the creation and deployment of his drums and paintings, a far more complicated story emerges. While seemly offering “tourist art” or “market art,” his works also resemble diplomatic presentations, and represent material representations of his spiritual powers.