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Journal articles on the topic 'Art Metaphor'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Fritsch-Oppermann, Sybille C. "Metaphors and metaphorical language/s in religion, art and science." Studia Philosophiae Christianae 56, no. 3 (2020): 31–50. http://dx.doi.org/10.21697/spch.2020.56.3.02.

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Languages play an essential role in communicating aesthetic, scientific and religious convictions, as well as laws, worldviews and truths. Additionally, metaphors are an essential part of many languages and artistic expressions. In this paper I will first examine the role metaphors play in religion and art. Is there a specific focus on symbolic and metaphoric language in religion and art? Where are the analogies to be found in artistic metaphors and religious ones? How are differences to be described? How do various (philosophical) concepts of aesthetics and theological concepts explain those

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Shorabek, Adilkhan, Bakiza Pazilova, Gulzhan Manapova, Zhanna Tolysbayeva, Nurlan Mansurov, and Roman Kralik. "The specifics of the evaluative metaphor in English (based on the texts of art discourse)." XLinguae 14, no. 2 (2021): 245–54. http://dx.doi.org/10.18355/xl.2021.14.02.18.

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This article deals with a comprehensive description of the evaluativeness of metaphors in modern English. The evaluation criteria underlying the evaluability of metaphors are determined, variations as an object of evaluation and an agent as a donor of evaluation in the semantic structure of metaphors are considered, axiological types of lexical and semantic groups of metaphors are differentiated, and the means and conditions for varying the evaluability of metaphors are systematized. This research paper depicts the pragmatic relevance of the evaluative metaphor and represents the typology of d

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Dixon, Daisy. "The Artistic Metaphor." Philosophy 96, no. 1 (2020): 1–25. http://dx.doi.org/10.1017/s0031819120000273.

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AbstractPhilosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work's internal content, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by its external content, which is provided by the work's artistic prop

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Poppi, Fabio I. M., Marianna Bolognesi, and Amitash Ojha. "Imago Dei: Metaphorical conceptualization of pictorial artworks within a participant-based framework." Semiotica 2020, no. 236-237 (2020): 349–76. http://dx.doi.org/10.1515/sem-2018-0077.

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AbstractThis article presents an exploratory analysis of the metaphoric structure of five artistic paintings within “Think aloud” protocols, in which a group of 14 English speakers with a low self-rated level of expertise in art and history of art expertise were asked to verbalize all their thoughts, ideas and impressions of the artworks. The main findings of this study can be summarized as follows: (1) multiple interpretations for the same artwork are possible, (2) the interpretations of the metaphorical structures described by the participants often diverge from those advanced by the researc

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Rabb, Nathaniel, and Hiram Brownell. "Art Is Metaphor." Empirical Studies of the Arts 38, no. 1 (2019): 111–18. http://dx.doi.org/10.1177/0276237419868944.

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Art and metaphor both seem unnecessary for survival yet are unlikely to be spandrels given their ubiquity and apparent value. We discuss how art and metaphor play a similar, important role in cognition. Specifically, both are communications that are neither true nor false and so convey information by drawing attention to a limited isomorphism between target and source, a relationship that allows for ambiguity because it is assessed by “goodness of fit.” This combination of features means that art and metaphor require and, in turn, tune domain-general capacities for counterfactual reasoning and

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Crawford, Christopher A., and Igor Juricevic. "Understanding pictorial metaphor in comic book covers: A test of the contextual and structural frameworks." Studies in Comics 11, no. 2 (2020): 341–59. http://dx.doi.org/10.1386/stic_00034_1.

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Conceptual metaphor theory proposes that metaphor is a mental function, rather than solely a literary device. As such, metaphors may be present in any by-product of human cognition, including pictorial art. Crawford and Juricevic previously proposed two heuristic frameworks for the identification and interpretation of metaphor in pictures, which have been shown to be capable of describing how pictorial metaphors are identified and interpreted in the comic book medium. The present study tested artists’ preference for combinations of contextual and structural pictorial information in comic book

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Keulartz, Jozef. "Using Metaphors in Restoring Nature." Nature and Culture 2, no. 1 (2007): 27–48. http://dx.doi.org/10.3167/nc.2007.020103.

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There has recently been growing interest in the role of metaphors in environmentalism and nature conservation. Metaphors not only structure how we perceive and think but also how we should act. The metaphor of nature as a book provokes a different attitude and kind of nature management than the metaphor of nature as a machine, an organism, or a network. This article explores four clusters of metaphors that are frequently used in framing ecological restoration: metaphors from the domains of engineering and cybernetics; art and aesthetics; medicine and health care; and geography. The article arg

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W. Mohd Apandi, Wan Nurhasyimah, and Ahmad Rashdi Yan Ibrahim. "Metaphors in Contemporary Art." Idealogy Journal 3, no. 2 (2018): 235–40. http://dx.doi.org/10.24191/idealogy.v3i2.69.

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The use of metaphors in producing contemporary works of art is often used by artists to convey current ideas and issues in the era of contemporary visual art. The metaphor used is as a symbol for the meaning of a work in conveying the ideas and narrative of the story more creatively. In addition, the use of metaphors should be in line with the selection of subjects and meanings to be used and conveyed more accurately and effectively in the production of works to be seen and studied by art critics.

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9

Feinstein, Hermine. "Art as Visual Metaphor." Art Education 38, no. 4 (1985): 26. http://dx.doi.org/10.2307/3192822.

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10

Jeffers, Carol S. "Experiencing Art through Metaphor." Art Education 49, no. 3 (1996): 6. http://dx.doi.org/10.2307/3193586.

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11

Chryssides, George D. "Meaning, Metaphor and Meta-Theology." Scottish Journal of Theology 38, no. 2 (1985): 145–53. http://dx.doi.org/10.1017/s0036930600041314.

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Why should metaphors pose a problem for the philosopher of religion? Most forms of discourse involve some use of metaphor: if I describe Fred as ‘a tower of strength’ most people know what I mean and there can be no objection to my doing it. Of course, metaphor in general generates certain philosophical problems which have been taken up in the philosophy of art and which continue to generate controversy. For example, how does one identify a metaphor, and how does it differ from a literal assertion? Is a metaphor a disguised comparison, logically reducible to simile? Can metaphors be true and f

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Li, Hongsong, Kenny Q. Zhu, and Haixun Wang. "Data-Driven Metaphor Recognition and Explanation." Transactions of the Association for Computational Linguistics 1 (December 2013): 379–90. http://dx.doi.org/10.1162/tacl_a_00235.

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Recognizing metaphors and identifying the source-target mappings is an important task as metaphorical text poses a big challenge for machine reading. To address this problem, we automatically acquire a metaphor knowledge base and an isA knowledge base from billions of web pages. Using the knowledge bases, we develop an inference mechanism to recognize and explain the metaphors in the text. To our knowledge, this is the first purely data-driven approach of probabilistic metaphor acquisition, recognition, and explanation. Our results shows that it significantly outperforms other state-of-the-art

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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.

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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other

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Chrzanowska-Kluczewska, Elżbieta. "Metafiguration." Armenian Folia Anglistika 3, no. 1 (3) (2007): 101–6. http://dx.doi.org/10.46991/afa/2007.3.1.101.

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The author believes that two basic linguostylistic notions – metaphor and metonymy are super stylistic devices which are applicable in diverse discourses. This importance is expressed not only in the art of speech, but also applied forms of art like cinema and theatre. Inherent to the human language as such, metaphor, first of all, is the result of human thought, hence, the metaphoric nature of speech lies in the basis of language and cognition.

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Austin, Michael. "ART AND RELIGION AS METAPHOR." British Journal of Aesthetics 35, no. 2 (1995): 145–53. http://dx.doi.org/10.1093/bjaesthetics/35.2.145.

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16

Meyer, Marcy. "Concrete Research Poetry: A Visual Representation of Metaphor." Art/Research International: A Transdisciplinary Journal 2, no. 1 (2017): 32. http://dx.doi.org/10.18432/r2ks6f.

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In this paper, the author employs concrete research poetry as a visual representation of a metaphor analysis. Using autoethnographic methods, she explores the experiences of eight single mothers of children and young adults with mental illness. She conducts a metaphor analysis of semi-structured interview data and generates concrete poetic structures from metaphors that emerged from the data. In the process, she transforms data into art.

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Luque Colmenero, María Olalla, and Silvia Soler Gallego. "Metaphor as Creativity in Audio Descriptive Tours for Art Museums." Journal of Audiovisual Translation 3, no. 2 (2020): 64–78. http://dx.doi.org/10.47476/jat.v3i2.2020.128.

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In a previous corpus-based descriptive study, we concluded that a linguistic metaphor is a frequently used technique in audio description (AD) for art museums and proposed a set of categories to describe this resource. These results led us to compose increasingly creative and subjective ADs for a series of audio descriptive guided tours of art exhibitions carried out within the Words to See accessibility project. In the present study, the same categories are applied to the analysis of the ADs created for these guided tours. In these ADs, metaphors are used to describe both representational and

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Joselit, David. "Virus as Metaphor." October 172 (May 2020): 159–62. http://dx.doi.org/10.1162/octo_a_00400.

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Establishing a connection between the novel coronavirus pandemic and the viral spread of misinformation emanating from the Trump administration, this essay suggests that we are now experiencing a general condition of the de-authorization of information—what Trump calls “fake news—in which the legitimacy of every form of knowledge is rendered questionable. The health crisis, Joselit argues, is equally a crisis of the authorization of information gone viral. This situation heightens a contradiction within the history and criticism of modern and contemporary art, which, on the one hand, has typic

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Elwell, J. Sage. "The Metaphor of Religion and Art." Religion and the Arts 22, no. 5 (2018): 622–38. http://dx.doi.org/10.1163/15685292-02205003.

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Abstract This essay takes up the challenge of unpacking the nature of what Schleiermacher called the “inner affinity” between religion and art. Drawing on the work of philosophers of art such as Susanne Langer and Arthur Danto, and philosophers of religion like Loyal Rue and David Tracy, I suggest that religion and art have at their core a comparable metaphorical structure that lends them this common communion. From this shared structure, I deduce five principal conclusions that I take to be the key avenues of affiliation between religion and art.

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Leddy, Thomas. "Metaphor and the Philosophy of Art." Theoria et Historia Scientiarum 6, no. 1 (2007): 43. http://dx.doi.org/10.12775/ths.2002.003.

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Astrakhan, Natalia. "Metaphor in M. Proust’s Artistic World: From the Being of Art to the Art of Being." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 146–62. http://dx.doi.org/10.31861/pytlit2020.101.146.

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The article deals with the functions of metaphor in the artistic world of M. Proust. In the context of the novel sequence In Search of Lost Time, metaphor becomes a mechanism to implement involuntary memory, which allows to combine the present (impressions) and the past (memories). Metaphor, given by the associative connection between impressions and memories, becomes the main constructive law of the artistic model of reality created by the French writer. The multifunctionality of metaphor correlates with the three forms of the subject of consciousness that appears in the context of the artist

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Sanfelice, Vinicius Oliveira. "A Bigger Splash to the Narrative." Études Ricoeuriennes / Ricoeur Studies 9, no. 1 (2018): 90–107. http://dx.doi.org/10.5195/errs.2018.360.

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The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exempl

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Stępak, Jędrzej. "Tajemnice labiryntów. Geneza, znaczenie i perspektywy dla arteterapii." Kultura-Społeczeństwo-Edukacja 10, no. 2 (2016): 295–304. http://dx.doi.org/10.14746/kse.2016.10.22.

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This article is inspired by private research conducted by the author over the past few years. The study involved more than 600 students of WSE UAM in Poznan and WP WSPiA in Poznan. The article describes metaphor of the labyrinth. Labyrinth and its metaphor is known in cultures and religions for more than 4,500 years and is still strongly present in many. The main purpose of this study is to explore and show psychological, cultural and philosophical significance and importance of the labyrinth and its metaphors in the modern world - especially among young adults. The article is also a prelude t

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Miwon Choe and Melissa Craven. "Think Metaphor: Metaphor as a Lens and a Tool for Art Education." Journal of Research in Art Education 9, no. 1 (2008): 63–96. http://dx.doi.org/10.20977/kkosea.2008.9.1.63.

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O’Connor Perks, Samuel, Rajesh Heynickx, and Stéphane Symons. "Disclosing a Transfer: Art and Religion in the Notebooks of Dominique de Menil." International Journal for History, Culture and Modernity 8, no. 2 (2020): 188–222. http://dx.doi.org/10.1163/22130624-00802004.

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Abstract The art collector and educator, Dominique de Menil (1908–1997) has mostly been remembered as a pragmatic orchestrator of high-profile commissions in the art world. However, little attention has been paid to her role as a thinker. This article seeks to address that lacuna in the literature by attending to an overlooked source in the Menil archives, de Menil’s notebooks, which were written between 1974 and 1994. By analysing de Menil’s use of metaphor in the notebooks, we place them within the trajectory of de Menil’s intellectual development stemming back to her 1936 article: ‘Pour l’u

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Yang, Fang. "Aesthetic Moral Metaphor in The Picture of Dorian Gray and Its Influence on Modern Chinese Aesthetic Literature." English Language and Literature Studies 8, no. 2 (2018): 77. http://dx.doi.org/10.5539/ells.v8n2p77.

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In “The Picture of Dorian Gray” Oscar Wilde displays his artistic pursuit on art, life and society. Although he advocates “art for art’s sake”, yet his works could not be isloated from the social morality. In the novel, as Dorian sells his soul to the devil for his eternal beauty in appearance, the portait burdens the change of his ugliness. In some respect, the portait is a moral metaphor of Dorian himself. Basil Hallward, the painter of the protait, can be regarded as an artist metaphor to Wilde himself. Lord Henry Wotton, a famous dandy in the novel, manifests Wilde’s aestheic belief in lif

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Lunyova, Tetyana. "The concept «reality» in John Berger’s essay about Vincent Van Gogh as an instrument of fine artworks interpretation." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 141–47. http://dx.doi.org/10.34079/2226-3055-2019-12-21-141-147.

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The article investigates the interpretative function of the concept REALITY in John Berger’s essay about Vincent van Gogh’s art by applying the methodology of cognitive linguistics. Following Nikolay N. Boldyrev, the interpretative function of the language is considered in the article as the third main linguistic function. The theoretical and methodological foundations of the study are further developed with the idea, which is expressed by several researchers (V. V. Feshchenko, Ye. A. Yelina, U. A. Zharkova), that discourse about art performs an interpretative role. The aim of the study is to

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V. Dekhnich, Olga, and Igor V. Lyashenko. "Idiom, conceptual metaphor theory, and idiom transparency: defining state of the art." Journal of Language and Literature 5, no. 3 (2014): 89–92. http://dx.doi.org/10.7813/jll.2014/5-3/16.

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PANIVSKA, M. "METAPHOR THE MOST COMMON STYLISTIC TECHNIQUE IN CH. BRONTE’S NOVEL “JANE EYRE” AND METHODS OF ITS TRANSLATION INTO THE UKRAINIAN LANGUAGE." Philological Studies, no. 33 (April 19, 2021): 83–86. http://dx.doi.org/10.33989/2524-2490.2020.33.228248.

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The article is devoted to the study of the metaphor’s concept and the peculiarities of its functioning in the novel by Ch. Bronte “Jane Eyre”. On the example of the translation of this work, such phenomena as the preservation of metaphor, the replacement of metaphor and its omission are considered.It has been found that metaphor is an integral part when writing works of art. It is designed to influence the feelings and experiences of the reader, not leaving him indifferent to the text, as it is the most figurative, colorful and emotionally colored path.The relevance of the study is determined

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Gaut, Berys. "XI-Metaphor and the Understanding of Art." Proceedings of the Aristotelian Society 97, no. 3 (1997): 223–41. http://dx.doi.org/10.1111/1467-9264.00014.

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Weissensteiner, Elisabeth, and Christian Freksa. "Wolkenkuckucksheim: Art as Metaphor of the Mind." Leonardo 45, no. 5 (2012): 414–22. http://dx.doi.org/10.1162/leon_a_00437.

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Wolkenkuckucksheim is a site-specific interactive computer installation created for the Cognitive Systems Group at the University of Bremen, Germany. It was conceived and implemented by the authors: an artist interested in the syntax of space and the semantics of materials, and a cognitive scientist investigating the cognitive implications of ubiquitous computing. The project unites the artistic approach of creating metaphors and the scientific approach of theoretical inquiry. In this essay, artist and scientist show in a dialogical manner how art and science gain complementary insights by wor

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Khatena, Joe, and Nelly Khatena. "Metaphor Motifs and Creative Imagination in Art." Metaphor and Symbolic Activity 5, no. 1 (1990): 21–34. http://dx.doi.org/10.1207/s15327868ms0501_2.

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Anker, Suzanne. "Gene Culture: Molecular Metaphor in Visual Art." Leonardo 33, no. 5 (2000): 371–75. http://dx.doi.org/10.1162/002409400552856.

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This paper addresses visual art's relationship to genetics and its attendant metaphorical representation. By diagramming models of the ways in which DNA is visualized and comprehended as a system of signs, parallel conceptions between art history's engagement with abstraction, recontextualization, and duplication is compared to genetic process and laboratory experimentation.

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Lavazza, Andrea. "Art as a metaphor of the mind." Phenomenology and the Cognitive Sciences 8, no. 2 (2008): 159–82. http://dx.doi.org/10.1007/s11097-008-9091-5.

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Greenfield, Gary, and Penousal Machado. "Ant- and Ant-Colony-Inspired ALife Visual Art." Artificial Life 21, no. 3 (2015): 293–306. http://dx.doi.org/10.1162/artl_a_00170.

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Ant- and ant-colony-inspired ALife art is characterized by the artistic exploration of the emerging collective behavior of computational agents, developed using ants as a metaphor. We present a chronology that documents the emergence and history of such visual art, contextualize ant- and ant-colony-inspired art within generative art practices, and consider how it relates to other ALife art. We survey many of the algorithms that artists have used in this genre, address some of their aims, and explore the relationships between ant- and ant-colony-inspired art and research on ant and ant colony b

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Patterson, Sue. "Janet Martin Soskice, Metaphor and a Theology of Grace." Scottish Journal of Theology 46, no. 1 (1993): 1–26. http://dx.doi.org/10.1017/s003693060003828x.

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Janet Martin Soskice's book Metaphor and Religious Language may reasonably be described as ‘state of the art’ in respect of studies on metaphor and theology. Dr Soskice recognises the need for metaphor to retain its traditional designation as a figure of speech, but at the same time wants to establish its use as credible in a Christian realist perspective. To this end, she undertakes a rigorous examination of the nature and function of metaphor in order to build a solid base from which to establish its pertinence to theology. It is metaphor's ability to achieve an increment of meaning in langu

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Hess, Joanne D. "The art of stained glass: metaphor for the art of nursing." Nursing Inquiry 2, no. 4 (1995): 221–23. http://dx.doi.org/10.1111/j.1440-1800.1995.tb00150.x.

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Mizerkiewicz, Tomasz. "Art After Democracy, Art Before Democracy." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 15–21. http://dx.doi.org/10.14746/pss.2019.17.1.

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The paper describes today’s new situation of art facing antidemocratic processes. The powerful metaphor of Parthenon of books is used, which once was the name of an installation by Marta Minujín presented just after the fall of Argentinian brutal regime in the early eighties and reinstalled again few years ago. The author points that popular “posts” of humanities (postmodernism, postsecularism etc.) need to be replaced by the philosophy of art being after some definite change. The new temporal and public condition of art being after is the result of its dramatic contemporary and future challen

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Mathieson, Fiona, Jennifer Jordan, Janet D. Carter, and Maria Stubbe. "Nailing Down Metaphors in CBT: Definition, Identification and Frequency." Behavioural and Cognitive Psychotherapy 44, no. 2 (2015): 236–48. http://dx.doi.org/10.1017/s1352465815000156.

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Background: Metaphors are common in psychotherapy and have potential to enhance therapy in numerous ways. However, the empirical study of metaphors in cognitive behaviour therapy (CBT) has tended to be put in the “too hard basket”, confined to being part of the art rather than the science of therapy. The lack of research is largely due to problems with definition, lack of a consistent, reliable approach to metaphor identification and the challenges of finding appropriate methodology to study this language-based activity. Aims: This study aimed to assess the frequency of metaphors in CBT in a l

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Jackson, Sarah. "Reflections behind the Mirror: Copier Art as Metaphor." Leonardo 28, no. 4 (1995): 245. http://dx.doi.org/10.2307/1576182.

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Breedlove, Byron, and Anne Schuchat. "A Masterwork of Art, a Metaphor for Prevention." Emerging Infectious Diseases 24, no. 7 (2018): 1396–97. http://dx.doi.org/10.3201/eid2407.ac2407.

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Forsey, Jane. "Metaphor and Symbol in the Interpretation of Art." Symposium 8, no. 3 (2004): 573–86. http://dx.doi.org/10.5840/symposium20048342.

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HIJMANS, Steven. "Language, Metaphor, and the Semiotics of Roman Art." BABESCH - Bulletin Antieke Beschaving 75 (January 1, 2000): 147–64. http://dx.doi.org/10.2143/bab.75.0.563187.

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Petrenko, Viktor F., and Eugeniya A. Korotchenko. "Metaphor as a Basic Mechanism of Art (Painting)." Psychology in Russia: State of Art 5, no. 1 (2012): 531. http://dx.doi.org/10.11621/pir.2012.0033.

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Nanay, Bence. "George Kubler and the Biological Metaphor of Art." British Journal of Aesthetics 58, no. 4 (2018): 423–34. http://dx.doi.org/10.1093/aesthj/ayy034.

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Woolliscroft, James O., and Robert Phillips. "Medicine as a performing art: a worthy metaphor." Medical Education 37, no. 10 (2003): 934–39. http://dx.doi.org/10.1046/j.1365-2923.2003.01636.x.

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Shutova, Ekaterina, Simone Teufel, and Anna Korhonen. "Statistical Metaphor Processing." Computational Linguistics 39, no. 2 (2013): 301–53. http://dx.doi.org/10.1162/coli_a_00124.

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Metaphor is highly frequent in language, which makes its computational processing indispensable for real-world NLP applications addressing semantic tasks. Previous approaches to metaphor modeling rely on task-specific hand-coded knowledge and operate on a limited domain or a subset of phenomena. We present the first integrated open-domain statistical model of metaphor processing in unrestricted text. Our method first identifies metaphorical expressions in running text and then paraphrases them with their literal paraphrases. Such a text-to-text model of metaphor interpretation is compatible wi

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Attridge, Derek, Bartosz Lutostański, and Marta Nowicka. "Performing Metaphors: The Singularity of Literary Figuration." Tekstualia 4, no. 31 (2012): 183–97. http://dx.doi.org/10.5604/01.3001.0013.7460.

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In Performing Metaphors: The Singularity of Literary Figuration Derek Attridge redeﬁ nes the work of art in terms of alterity, invention and singularity. For a given work of art to occur, it must be performed, that is, justice must be done to it as a literary event and as the eventness of that event. One of the most vital features of the (process of) performance of literature is metaphor, argues Attridge, adducing various works, from philosophy (David Hume) to poetry (Robert Graves) to everyday spoken speech (quoted by a cognitive linguist, Ronald Carter) to prove his point.

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Das, Jareh. "Illness as Metaphor." Nka Journal of Contemporary African Art 2019, no. 45 (2019): 88–98. http://dx.doi.org/10.1215/10757163-7916892.

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The late British artist Donald Rodney (1961–98) developed a unique vocabulary critiquing wider representations of the black male body that extended beyond his status as a person living with sickle cell disease to the lives of others with a shared racial background. Critical yet full of wit, Rodney was, until his death in 1998 from complications related to sickle cell disease, one of the most compelling artists to come out of the Black Arts Movement of 1980s Britain. From X-rays of his cells to tiny sculptures made from his own skin, Rodney created conceptual self-portraits of his life as a you

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Wettlaufer, Alexandra K. "Metaphors of power and the power of metaphor: Zola, Manet and the art of portraiture." Nineteenth-Century Contexts 21, no. 3 (1999): 437–63. http://dx.doi.org/10.1080/08905499908583486.

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