Relevant bibliographies by topics / Art, Gothic

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art, Gothic'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Art, Gothic"

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Chialant, Maria Teresa, and Linda Bayer-Berenbaum. "The Gothic Imagination: Expansion in Gothic Literature and Art." Yearbook of English Studies 16 (1986): 308. http://dx.doi.org/10.2307/3507831.

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BRACONS, J. "THE KEY TO GOTHIC ART." Art Book 1, no. 3 (June 1994): 16b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00126.x.

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Brilliant, Virginia. "Introduction: Gothic art in America." Journal of the History of Collections 27, no. 3 (July 29, 2014): 291–95. http://dx.doi.org/10.1093/jhc/fhu033.

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Waham, Jihad Jaafar. "The Art of Gothic Literature: An Analysis of Mary Shelley's Frankenstein." International Linguistics Research 6, no. 2 (April 25, 2023): p1. http://dx.doi.org/10.30560/ilr.v6n2p1.

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This article examines Mary Shelley's Frankenstein as an example of Gothic literature. The author analyzes the novel's themes, characters, and literary devices to explore how Shelley uses Gothic elements to create a complex and emotionally resonant work. The article also delves into the historical and cultural context in which the novel was written, highlighting the influence of Romanticism and Enlightenment philosophy. Ultimately, the article argues that Frankenstein is a masterpiece of Gothic literature that continues to captivate readers and inspire new interpretations. In "The Art of Gothic Literature: An Analysis of Mary Shelley's Frankenstein," the author examines Shelley's famous novel and its contribution to the Gothic literary tradition. The article explores the novel's themes, including the dangers of scientific progress, the limits of human knowledge, and the consequences of playing god. The author also analyzes the novel's structure, characterization, and use of symbolism, highlighting the ways in which Shelley draws upon Gothic conventions while also subverting them. Ultimately, the article argues that Frankenstein remains a powerful and influential work of Gothic literature that continues to captivate readers more than two centuries after its publication. This article analyzes Mary Shelley's novel "Frankenstein" through the lens of gothic literature. The author explores how Shelley incorporates various gothic elements such as supernatural occurrences, grotesque imagery, and emotional intensity to create a dark and unsettling atmosphere. The article also delves into the themes of the novel, including the dangers of playing god and the isolation and alienation experienced by the creature. Through a close reading of the text, the author highlights the literary techniques that Shelley employs to convey these themes and to create a timeless work of gothic literature. Ultimately, the article argues that "Frankenstein" remains a relevant and powerful example of the gothic genre due to its ability to evoke fear, explore complex themes, and showcase the artistry of its author.
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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.
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Silver, Larry, Richard Marks, and Paul Williamson. "Gothic: Art for England 1400-1547." Sixteenth Century Journal 36, no. 2 (July 1, 2005): 465. http://dx.doi.org/10.2307/20477365.

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Riall, Nicholas. "Gothic: Art for England 1400-1547." Renaissance Studies 18, no. 2 (June 2004): 322–27. http://dx.doi.org/10.1111/j.0269-1213.2004.00062.x.

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Binski, P. "Late Gothic England: Art and Display." English Historical Review CXXIV, no. 510 (September 17, 2009): 1156–57. http://dx.doi.org/10.1093/ehr/cep233.

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Li, Jinlin. "A Brief Analysis of Gothic Culture." Learning & Education 10, no. 3 (November 7, 2021): 122. http://dx.doi.org/10.18282/l-e.v10i3.2412.

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The Statue of Liberty,Barbie doll,American Gothic,buffalo and nickel,and Uncle Sam are known as the five cultural symbols of the United States.Originally,American Gothic is a 76.2x63.5cm oil painting created by Grant Wood who graduated from Art Institute of Chicago. The painting consists of a house,a farmer and his sister,conveying the author’s deep understanding of Gothic art.However,in the late period,American Gothic gradually became a synonym of a thought,and also represented a group of people with common characteristics.This thesis mainly analyzes the definition,cultural connotation,existence value and derivatives of Gothic culture in The United States.
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Gasimova, Elfana, Gulchohra Salehzadeh, and Narmina Namazov. "FEATURES OF STAİNED GLASS ART İN THE DESİGN SAMPLES." InterConf, no. 13(109) (May 20, 2022): 200–206. http://dx.doi.org/10.51582/interconf.19-20.05.2022.026.

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The main purpose of stained glass art is to achieve a harmonious look in the interior as well as exterior design of architectural monuments. Roman style in the Middle Ages, especially in the period of the Gothic style stained glass art has gone through a period of development to the highest stage of development. It is impossible not to be amazed by the wonderful color composition of stained glass art in the architectural monuments of the Gothic period. In modern times, stained glass art can make a space more monumental as the main decorative element of any space.
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Dissertations / Theses on the topic "Art, Gothic"

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Banyard, Kylie Jane Art College of Fine Arts UNSW. "Phantom in the corner: staging a gothic spectacle." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43082.

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My research proposes an analytical engagement with the central functions of Phantasmagoria and the Wunderkammer, namely atmosphere and display. My paper is divided into six chapters; Chapter one proposes spectatorship as a common thread linking the Phantasmagoria to the Wunderkammer and offers an overview of the similarities and disparities between the two. Chapters two, three and four focus on constructs, definitions and implications of Gothicity within the context of Phantasmagoria, Horror films and contemporary art. Aligning my studio-based practice with contemporary artists' who engage with aspects of the Gothic spectacle. Chapter five contemplates the Wunderkammer in terms of its history and precursive archival practices. Chapter six offers an analysis of specific contemporary artists' attraction to archaic modes of display and provides a theoretical platform for my own conceptual engagement. The objective of my research has been to collate reference material aligned to various modes of historic and theoretical enquiry, thereupon concluding my studies in the 'staging' of Phantom in the Comer an immersive multi-media installation.
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Krakenberg, Jasmin. "Gothic art and German modernism Max Beckmann and "Transzendente objektivitat" /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4265.

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Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 13, 2006) Includes bibliographical references.
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Goodwin, Mitchell John. "Dark Euphoria: The Neo-Gothic Narrative of Millennial Technoculture." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367689.

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This is a project in two parts. The text presented here is the major component. This exegetical document provides the theoretical context for a series of media art works that were produced between 2011 and 2012 in response as much as in parallel to this analysis. The creative work, the online media assemblage Dark Euphoria: Unclassified Media (archived at http://darkeuphoria.info), should be seen in a non-traditional sense – a research-led practice component – contextualised by the broader theoretical narrative. Together, these two components produce a visual communication analysis of historical events, cultural artefacts and media art and the artists who produce them to reveal the nature, attraction and power of the dark euphoric temperament inherent in millennial technoculture. It is important to note however that this is a particular type of exegetical response not a reflective exegesis. This is not an analysis of my practice – the history or technique – rather this is an analysis of the context that informs that practice. Yet this text does include a discussion of several of my key works in relation to specific issues unpacked by the broader thesis and also in relation to the work by other media artists who explore similar territory.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Marx, Nadia Lares. "Images of Adam and Engagements with Antiquity in Romanesque and Gothic Sculpture." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493288.

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In the abundant literature on the afterlife of classical forms in the Middle Ages, medieval “classicism” has generally been understood as a series of stylistic borrowings and iconographic quotations, occurring as either isolated instances of individual genius or as the result of a momentary cultural flourishing—a “renascence” to use Erwin Panofsky’s term. This dissertation reconfigures this discourse on antiquity and the Middle Ages. It frames medieval classicism as a set of expressive possibilities that encode and transmit culturally contingent meaning, arguing that classical models were invoked selectively by artists, in concert with a range of other representational modes, in order to communicate complex messages to an audience sensitive to differences in style. Presented as a series of case studies, it examines three sculptural representations of Adam and the Creation narrative from the Romanesque and Gothic periods in Italy and France, considering them as key sites for medieval engagement with the art of antiquity. The evocation of antiquity, effected through material and formal assimilations of sculpted objects to ancient artifacts, functioned as a rhetorical device in Romanesque and Gothic sculpture, constructing frameworks of meaning around a given object. This dissertation examines the particular character and purpose of such evocations in images of Adam from the cathedral churches of Modena, Paris and Auxerre, offering new interpretations of three important monuments in the history of medieval sculpture, engaging with landmark studies in medieval classicism, and reconsidering attitudes towards the public display of nudity in the centuries preceding the Renaissance, the period when, it is generally accepted, it became a part of common artistic parlance.
History of Art and Architecture
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Ma, Ho-yan, and 馬昊欣. "The Art of Gothic Terror: a study of Edgar Allan Poe's tales." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952240.

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Potter, Franz. "Twilight of a genre : art and trade in Gothic fiction, 1814-1834." Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273419.

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Ma, Ho-yan. "The Art of Gothic Terror : a study of Edgar Allan Poe's tales /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161744.

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Garrett, Elizabeth Ann. "The Ancient Art of Smile-Making." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1366.

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If I am anything, I am a Kentuckian, which means I appreciate a good storyteller. In my writing, I hope to bring back some dignity to the “lost cause” of the good values from a broken culture. While I am not quite “southern” enough to qualify as a writer of Southern Gothic fiction, I can relate to this brand of identity crisis in which someone wants to maintain an archaic mindset in a culture charging towards “progress.” As technology and corporate success take precedence over a genteel and pastoral soul, our collective competitiveness has crippled a quaint future of back porch comforts. Being well-read or holding open doors won’t pay for student loans, and there is no such thing as stars in our crowns anymore. For many regions of Kentucky, there is this conflict within the graying of small town communities. My region is one of these. As time marches on, the agrarian lifestyle itself becomes industrialized, and these old family farms, upon which small towns are built, are not self-sustaining. In my stories, I capture the perspectives of a rural community’s personalities. My Regionalism may be dated, but then so are the small town values. With these short stories, I hope to create a collection of characters whose backgrounds may be singular but whose messages are universal. My stories are about the universal fear of loneliness. Perry and White, the cameo characters, pop up throughout because they epitomize this with their irrational companionship. “The Ancient Art of Smile-Making,” “A Well Meaning Marionette,” “The Peacock Cloister,” and “In the Garden, Swallowing Pearls” are essentially about this innate need for company. “Murdered in a Good Dress” and “Myrtle Slog” illustrate the homesickness experienced by those who divorce themselves from closeness of the rural community. Sometimes we call “friendship” kitschy and cliché. And why is that? I made Perry and White’s bond a bit absurd because it is almost ridiculous that there could be a person in the wild world who would sacrifice themselves.
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Vice, President Research Office of the. "Art of Darkness." Office of the Vice President Research, The University of British Columbia, 2006. http://hdl.handle.net/2429/2666.

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Favà, Monllau De Cèsar. "Els retaules del Corpus Christi a la Catalunya dels segles XIV i XV." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/482015.

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La tesi doctoral que aquí es presenta respon a l’objectiu d’estudiar una de les múltiples conseqüències artístiques de la devoció medieval a l’eucaristia en els bisbats catalans: el mobiliari d’altar del Corpus Christi. Més en concret, la seva principal pretensió és la d’analitzar els programes iconogràfics que van ser-hi representats, fonamentalment a partir de les obres conservades dels segles xiv i xv, però també dels testimonis documentals coneguts. Amb la intenció de comprendre les circumstàncies que van originar l’aparició d’aquestes obres i d’aprofundir en el coneixement de la seva iconografia, una primera part del treball es dedica al culte emergent a l’eucaristia que, a la baixa edat mitjana, adquireix una centralitat indiscutible amb la institució de la solemnitat del Corpus Christi. Partint del marc teològic, de la teorització de la doctrina de la presència real de Crist en les espècies consagrades, que és el veritable motor de la devoció, s’hi analitzen les principals expressions pietoses que van derivar-se’n arreu i, a continuació, es planteja una visió global del fenomen a la Catalunya de l’època, ara per ara per publicar. Un cop bastit el teló religiós de fons, la segona part de la tesi, que és la principal, s’endinsa pròpiament en l’estudi del mobiliari d’altar del cos de Crist. Abans d’entrar-hi pròpiament, però, a manera de proemi i per tal de contextualitzar el fenomen, s’escomet una breu panoràmica per algunes de les principals repercussions del culte en el terreny artístic, entre les quals l’aparició de les capelles del cos de Crist, que són el marc litúrgic natural dels exemplars a estudiar, encara que no l’únic. Cal dir, d’entrada, que els exemplars conservats al territori amb aquesta dedicació, majoritàriament retaules pictòrics, són escassos en contrast amb la potència del culte i, malauradament, la documentació tampoc no és gaire generosa sobre les obres perdudes. Tanmateix, per sort n’ha perviscut un conjunt prou divers i significatiu que permet establir els principals vectors temàtics que, més enllà de les particularitats, degueren configurar-ne habitualment els programes iconogràfics. A cadascun d’ells, tant els que comptaven amb una llarga tradició com els originats a partir de l’efervescència de la devoció, es dediquen els darrers capítols de la tesi, els quals segueixen les reflexions pertinents sobre les obres i la seva iconografia, fonamentalment adreçada a posar en relleu la presència real de Crist en el pa i el vi consagrats. En primer lloc s’analitza la presència destacada que hi ostentà el tema iconogràfic del Sant Sopar, com a representació principal de la institució del sagrament de l’eucaristia. En segon lloc s’aborda el pes que van tenir, dins del marc referit, les imatges cristològiques, tot posant especial èmfasi en els dos cicles que semblen haver jugat un paper de primer ordre, a saber, el de la infantesa de Crist i el de la passió. En tercer lloc es pondera la presència recurrent de les escenes de la litúrgica eucarística, principalment de l’Elevació de l’hòstia consagrada i la Processó del Corpus Christi, les quals vinculen indefectiblement la iconografia de les obres estudiades amb els manuscrits il·luminats. Finalment, el darrer capítol passa revista a les nombroses figuracions de miracles eucarístics que hi concorren i que posen de manifest varietat de fonts conegudes a la Catalunya del període. I això sense menystenir, és clar, aquelles expressions que tenen l’origen en un culte d’origen local, de les quals, dissortadament, n’ha pervingut la mínima expressió. El cos del treball s’acompanya, a la fi, amb un catàleg que aplega les nou obres (i vuit conjunts) que es prenen en consideració i amb un ajustat aplec de documents d’índole diversa que pretén sustentar una visió de conjunt del culte eucarístic a Catalunya i les seves repercussions plàstiques. Tot plegat va annexat amb la bibliografia final de rigor, la qual pot ser una bona eina per a futures investigacions sobre la matèria.
The objective of the thesis presented here is to study one of the many artistic consequences of medieval devotion to the Eucharist in Catalan bishoprics: Corpus Christi altarpieces. More specifically, the main aim is to analyse the iconographic cycles represented on those fourteenth and fifteenth century altarpieces –some of them preserved and some others known thanks to documentary evidence. With the intention of understanding the circumstances that gave rise to the appearance of these works and deepen the knowledge of their iconography, the first part of the thesis focusses on the emerging cult to the Eucharist, which, in the late middle ages, acquired an indisputable centrality with the institution of the solemnity of Corpus Christi. Based on the theoretical doctrine of the real presence of Christ in the consecrated species, which is the real agent of devotion, we analyse the main pious expressions that were derived from this devotion. Next, we give an overview of the phenomenon in the Catalonia of that time, yet to be published.   Once the religious background is established, the second part of the thesis, which is the main part, studies the Corpus Christi altarpieces. In order to contextualize the phenomenon, we make a brief overview of some of the main implications of the cult in the artistic field, including the appearance of chapels devoted to the body of Christ, which are the natural liturgical framework of the works to be studied, although not the only one. It is important to point out that, initially, the works with the above mentioned dedication preserved in the area, mainly pictorial altarpieces, are rare in contrast with the power of the cult and, unfortunately, there is not much preserved documentation on the lost works. Notwithstanding, a diverse and significant set of altarpieces has survived that allows us to establish the main thematic vectors, beyond the particularities, that must have normally made up the iconographic programmes. We dedicate the last chapters of the thesis to these, both those that have a long tradition and those arising from the effervescence of devotion, which are pertinent reflections on the work and its iconography, primarily aimed at highlighting the real presence of Christ in the consecrated bread and wine. Firstly, we analyse the outstanding presence of the iconographic theme of the Last Supper, as the central image of the institution of the sacrament of the Eucharist. Secondly, we look at the weight the Christian figures had within the framework referred to, with special emphasis on the two cycles that seem to have played a leading role, namely, the childhood of Christ and the Passion. Thirdly, we reflect on the recurring presence of the scenes of the Eucharistic liturgy, primarily the Elevation of the consecrated host and the Procession of Corpus Christi, which unfailingly link the iconography of the works studied with illuminated manuscripts. Finally, the last chapter re-examines the numerous figurations of Eucharistic miracles that concur and evidence a variety of known sources in Catalonia in that period. And this without neglecting, of course, those expressions that have their origin in a local cult, which, unfortunately, have largely perished. The thesis also includes a catalogue with the entries of the nine altarpieces and a set of various kinds of documents that aim to give an overall vision of the Eucharistic worship in Catalonia and its artistic repercussions. The bibliography, which might be used as an effective tool for further research on this field, closes this thesis.
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Books on the topic "Art, Gothic"

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Gunderson, Jessica Sarah. Gothic art. Mankato, MN: Creative Education, 2008.

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Gunderson, Jessica Sarah. Gothic art: Odysseys. Mankato, MN: Creative Education and Creative Paperbacks, 2016.

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Deuchler, Florens. Gothic. London: Herbert, 1989.

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Brooks, Chris. The Gothic revival. London [England]: Phaidon Press, 1999.

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George, Henderson. Gothic art and civilisation. London: The Folio Society, 2004.

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Massey, James C. Gothic revival. New York: Abbeville Press, 1994.

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Keck, Gecko. Draw gothic. Tunbridge Wells: Search, 2009.

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1945-, Marks Richard, and Victoria and Albert Museum, eds. Late Gothic England: Art and display. Donington: Shaun Tyas, in association with the Victoria and Albert Museum, London, 2007.

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Museum, Victoria and Albert, ed. Gothic: Art for England 1400-1547. London: V&A, 2003.

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Corinna, Wagner, ed. Art & soul: Victorians and the Gothic. Bristol: Sansom & Co., an imprint of Redcliffe Press Ltd, 2014.

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Book chapters on the topic "Art, Gothic"

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Stokstad, Marilyn. "Late Gothic Art." In Medieval Art, 335–53. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-12.

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Stokstad, Marilyn. "Mature Gothic Art." In Medieval Art, 259–302. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-10.

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Stokstad, Marilyn. "Origins of Gothic Art." In Medieval Art, 227–58. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-9.

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Stokstad, Marilyn. "Rayonnant Gothic and its Reverberations." In Medieval Art, 303–34. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-11.

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Hedeman, Anne D. "Gothic Manuscript Illustration." In A Companion to Medieval Art, 547–68. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch23.

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Berthin, Christine. "The Raising of the Dead: Art and Melancholy." In Gothic Hauntings, 133–55. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275126_7.

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Murray, Stephen. "The Study of Gothic Architecture." In A Companion to Medieval Art, 489–512. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch21.

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Olympios, Michalis. "Gothic in the Latin East." In A Companion to Medieval Art, 729–58. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch30.

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Jones, David Annwn. "The Art of Ghostly Projections." In The Palgrave Handbook of Gothic Origins, 397–406. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84562-9_19.

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Jung, Jacqueline E. "France, Germany, and the Historiography of Gothic Sculpture." In A Companion to Medieval Art, 513–46. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch22.

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Conference papers on the topic "Art, Gothic"

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Zhang, Ke. "Study of Hawthorne's Gothic Art Novel." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.94.

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Yan, Liang, and Zhenzhen Sun. "The Religious Fanaticism and lOdd Coincidencesr of Gothic Architectural Art." In 2018 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/saeme-18.2018.59.

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Yang, Siyu. "Homophobia and the Queered Gothic in Frankenstein." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.504.

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Earls, Elliott Peter. "An American gothic… or a pound of prevention." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259220.

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Zhang, Xiaoli. "Exploration of Gothic Elements in Allen Poe’s The Fall of the House of Usher." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.047.

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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.16.

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William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests the masculine and feminine experience of the Fall. Consequently, the human situation appears doomed and irredeemable. If the sublime is the masculine and pathos the feminine forms, Blake assumes that the inevitability of reasoning and suppression of desire, whose origin is energy, brings about their separation and incompleteness. In a non-communicative intercourse, the sublime (masculine) and the beautiful (pathos) are apart. These are the fallen state�s consequences. As the masculine and feminine are not contraries but supplementary forms, so the sublime and pathos are potentially integrated entities. In eternity, the sublime and pathos are joined in an intellectual androgynous form. This theoretical idea is the core of Blake�s aesthetic �theory�. In fact, his aesthetic realism does not overlap his aesthetic idealism. He is optimistic, despite Urizen�s - reason�s predominance. The artist is the model of human salvation. Imagination is a redemptive force, �Exuberance is Beauty�, and the incapability of intellect is �The Ugly Man�. The three classes of men, the elect, the redeemed and the reprobate juxtapose to the sublime, beautiful and ugly. These are restored to their true forms and their qualities are reinstated in infinity. All human forms are redeemable states, not static but progressive, even if their fulfilment on earth is improbable.
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Арутюнян, Ю. И. "MEDIEVAL ARCHITECTURE IN THE CREATIVE INTERPRETATION OF CHILDREN’S BOOK ILLUSTRATION." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.17.

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Целью исследования является классификация принципов интерпретации средневековий культуры в отечественной детской книжной графике, тема актуальна в силу разнообразия принципов трактовки готических мотивов в искусстве книги и по причине отсутствия развернутых исследований данного вопроса. Архитектурные мотивы в книжной иллюстрации выступают как маркеры времени и места, обозначают эпоху, создают эмоциональный и культурный контекст, способствуют формированию сказочной атмосферы повествования, используются в познавательной и учебной литературе. Средневековая архитектура в детской книжной графике может быть отражением системы стилизации или выполнять смысловую роль, воздействуя на принципы рецепции образа. Образы средневекового зодчества появляются в творчестве Г. А. В. Трауготов, Ф. В. Лемкуля, Г. В. Калиновского, В. Д. Пивоварова, Н. Г. Гольц. The purpose of the study is to classify the principles of interpretation of medieval culture in the domestic children’s book graphics, the topic is relevant due to the diversity of principles of interpretation of Gothic motifs in the art of the book and due to the lack of detailed research on this issue. Architectural motifs in book illustrations act as markers of time and place, denote an epoch, create an emotional and cultural context, contribute to the formation of a fabulous atmosphere of narration, are used in cognitive and educational literature. Medieval architecture in children’s book graphics can be a refl ection of the stylization system or perform a semantic role by infl uencing the principles of image reception. Images of medieval architecture appear in the works of G.A. V. Traugots, F. V. Lemkul, G. V. Kalinovsky, V. D. Pivovarov, N. G. Golts.
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Uscinowicz, Jerzy. "CONTEMPORARY ALLIANCE OF ICON AND GOTHIC." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s15.40.

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Zhao, Yue. "Research on the Definition of “Gothic Music”." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.022.

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Serro, Luis. "THE MONASTERY OF SAINT-MARY OF VICTORY: ROMANTICISM BEYOND THE GOTHIC." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.130.

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