To see the other types of publications on this topic, follow the link: Artists' writings, American.
Journal articles on the topic 'Artists' writings, American'
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 'Artists' writings, American.'
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
Frelik, Edyta. "What Scene, What’s Seen, What’s in A… Word: Thoughts in and on Artists’ Writings." Discourses on Culture 19, no. 1 (June 1, 2023): 65–85. http://dx.doi.org/10.2478/doc-2023-0003.
Full textAbstract:
Abstract While the humanities have become a multimodal domain in which visual culture is immanent and various new cross-disciplinary perspectives and theories are being employed to investigate the relationship between artistic and literary forms of representation, artists’ writings remain understudied and underappreciated. Art/literature studies often proceed by pairing a specific work of art with a particular literary text or an aesthetic style with a poetics or a narrative technique, but they rarely consider situations when both elements of the chosen pair come from the same source — an artist-writer. But questions related to whether and how an artist’s ‘natural’ visual disposition may impact on how she/he approaches and handles verbal language and vice versa need to be asked to illuminate what is still a shadow zone in word and image studies. Citing examples of major representatives of American modernism in art and literature, the essay addresses some of the problematic issues involved in studying verbal expression by visual artists and the cogency of posited correlations between the painterly and writerly intuitions and competences at play in artworks and texts produced by artist-writers.
2
Berehovska, Khrystyna, Yuliya Babunych, Ivanna Pavelchuk, Tetiana Pavlova, and Andrii Korniev. "Evolution of S. Hordynsky's views on art practice and theory in the late XX century." Salud, Ciencia y Tecnología - Serie de Conferencias 3 (June 28, 2024): 1010. http://dx.doi.org/10.56294/sctconf20241010.
Full textAbstract:
The purpose of this study is to analyze and elucidate the development, contradictions, and influences of Ukrainian artists in America, focusing on the theoretical and practical contributions of Sviatoslav Hordynsky to both American and Ukrainian art traditions. The methodology employed includes a comprehensive historical analysis of archival materials, a comparative analysis of Ukrainian and American artworks, a thematic analysis of recurring motifs in Hordynsky's writings and works, and an interpretative analysis of critical reviews and scholarly articles on Ukrainian artists in America. The main findings reveal how Ukrainian artists integrated into and influenced the American art scene, adapting their styles while maintaining their cultural identity. The study highlights Hordynsky's role in bridging Ukrainian and American art traditions, showcasing his contributions to the development of a unique Ukrainian-American artistic identity. Furthermore, it uncovers the intellectual and artistic currents that shaped the creative processes of Ukrainian artists in America, emphasizing the significance of national identity and cultural integration. In conclusion, this research provides a nuanced understanding of the complex interactions between Ukrainian and American art traditions in the second half of the twentieth century, underlining the pivotal role of Hordynsky in this cultural exchange. The study contributes to the broader discourse on the evolution of art in diasporic contexts and the preservation of cultural heritage amidst dynamic socio-political landscapes.
3
NEW, MELVYN. "John Baldessari and Laurence Sterne." Shandean 31, no. 1 (November 2020): 29–42. http://dx.doi.org/10.3828/shandean.2020.31.06.
Full textAbstract:
The death of John Baldessari in January 2020, the foremost twentieth-century American artist to illustrate Sterne’s writings, prompts a reexamination of his work and that of several other modern visual artists and their encounters with Sterne, notably Martin Rowson and Michael Winterbottom, along with comments on the most recent illustrator, Tom Phillips, for the new Folio Society edition of Tristram Shandy.
4
Behrens, Roy R. "Revisiting Abbott Thayer: non-scientific reflections about camouflage in art, war and zoology." Philosophical Transactions of the Royal Society B: Biological Sciences 364, no. 1516 (November 10, 2008): 497–501. http://dx.doi.org/10.1098/rstb.2008.0250.
Full textAbstract:
This paper reviews the achievements of Abbott Handerson Thayer (1849–1921), an American painter and naturalist whose pioneering writings on animal camouflage addressed shared concerns among artists, zoologists and military tacticians. It discusses his beliefs about camouflage (both natural and military) in the context of his training as an artist, with particular emphasis on three of his major ideas: countershading, ruptive (or disruptive) coloration and background picturing.
5
Williams-Hogan, Jane. "Influence of Emanuel Swedenborg’s Religious Writings on Three Visual Artists." Nova Religio 19, no. 4 (May 1, 2016): 119–44. http://dx.doi.org/10.1525/nr.2016.19.4.119.
Full textAbstract:
Emanuel Swedenborg (1688–1772) claimed to be an eyewitness to the Apocalypse. Called to be “Servant of the Lord,” he wrote eighteen works in which he defined a new Christianity. While he never formed a church, he distributed his books widely throughout Europe. They stimulated some people to found new religious organizations, some to write in new poetic and literary forms, and others to revolutionize sculpture and painting. These artists found in Swedenborg’s works a vibrant source of a new aesthetic vision. The elements of Swedenborg’s theology that helped to shape that new aesthetic are presented here, as well as the application of different aspects of it in the works of three artists: the English sculptor John Flaxman (1755–1826); the French Symbolist painter Paul Gauguin (1848–1903); and American sculptor Lee Bontecou (b. 1931). Each artist attempts to capture the spiritual reality that Swedenborg portrayed as existing behind and within the natural phenomenal world.
6
Zdebik, Jakub. "Strata and Sediment under the Fog: Geological Landscapes in Smithson and Ewen." Brock Review 11, no. 2 (February 10, 2011): 5–18. http://dx.doi.org/10.26522/br.v11i2.316.
Full textAbstract:
Strata and Sediment under the Fog focuses on geological landscapes and how they are a stand-in for the mind’s landscape. This article looks at how American artist Robert Smithson describes the mind through geological landscapes in his writings and how Canadian artist Paterson Ewen diagrammatically represents the organization of rocks. The work of these two artists is considered according to the philosophies of Gilles Deleuze and Immanuel Kant—two philosophers who rely on geological and geographical models and metaphors to communicate the function of thought.
7
Mithlo, Nancy Marie. "Decentering Durham." American Indian Culture and Research Journal 43, no. 4 (October 1, 2019): 25–28. http://dx.doi.org/10.17953/aicrj.43.4.2017.
Full textAbstract:
This section of the AICRJ special issue on fraud looks back to a 2017 group conversation (first published in First American Art Magazine no. 19 (Fall 2017): 84–89) as four Native American scholars and artists respond to the then-traveling retrospective exhibit Jimmie Durham: At the Center of the World in light of Durham’s long-standing claims to Cherokee identity. In “Decentering Durham,” Chiricahua Apache scholar Nancy Marie Mithlo argues that, “Cultural institutions continue to accept his platform, and, in doing so … deny Indigenous cultural sovereignty to name our own members and leaders.” Roy Boney Jr., a Cherokee artist, discusses Durham’s appropriation of the writings of historic statesman Zeke Proctor in “Not Jimmie Durham’s Cherokee.” In a “Walk-through at the Hammer,” Luiseño-Diegueño performance and installation artist James Luna (1950–2018) muses on the aesthetics of Durham’s work and the value of community belonging. Summarizing the 2017 perspective in “A Chapter Closed?,” artist and editor America Meredith (Cherokee Nation) hopes that, “after a multigenerational, multi-tribal effort … art historians and curators will cease … positioning [Durham] as our representative in academic literature.”
8
Dworkin, Ira. "Radwa Ashour, African American Criticism, and the Production of Modern Arabic Literature." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 1 (January 2018): 1–19. http://dx.doi.org/10.1017/pli.2017.44.
Full textAbstract:
In 1973, at the suggestion of her mentor Shirley Graham Du Bois, the Egyptian scholar, activist, teacher, and novelist Radwa Ashour enrolled at the University of Massachusetts, Amherst, to study African American literature and culture. Ashour’s 1975 dissertation “The Search for a Black Poetics: A Study of Afro-American Critical Writings,” along with her 1983 autobiography,Al-Rihla: Ayyam taliba misriyya fi amrika[The Journey: An Egyptian Woman Student’s Memoirs in America], specifically engage with debates that emerged at the First International Congress of Negro Writers and Artists in September 1956 between African Americans and others from the African diaspora (most notably Aimé Césaire) regarding the applicability of the “colonial thesis” to the United States. This article argues that Ashour’s early engagement with African American cultural politics are formative of her fiction, particularly her 1991 novel,Siraaj: An Arab Tale,which examines overlapping questions of slavery, empire, and colonialism in the Arab world.
9
Kirwin, Liza. "Fabulous at 50: the Smithsonian’s Archives of American Art celebrates a Golden Anniversary." Art Libraries Journal 31, no. 1 (2006): 28–32. http://dx.doi.org/10.1017/s0307472200014358.
Full textAbstract:
Founded in 1954, the Smithsonian’s Archives of American Art collects, preserves and makes available primary sources documenting the history of the visual arts in the United States. More than 16 million items strong, its collections comprise the world’s largest single source for letters, diaries, financial records, unpublished writings, sketchbooks, scrapbooks and photographs created by artists, critics, collectors, art dealers and art societies – the raw material for scholarship in American art.
10
Otdelnova, V. A. "SOVIET ART OF THE SECOND HALF OF THE 20TH CENTURY AS PART OF THE WORLD ART PROCESS: METHODOLOGICAL APPROACHES AND PERSPECTIVES FOR FUTHER STUDIES." Вестник Пермского университета. История, no. 2 (2022): 55–71. http://dx.doi.org/10.17072/2219-3111-2022-2-55-71.
Full textAbstract:
The article examines writings on the history of art, in which artworks by Soviet artists are described not as a local phenomenon but in a global cultural context. These writings are combined into four blocks. The first block – “Socialist Internationalism” – explores papers by Soviet art historians written in the 1950s and 1960s and developed a conception of world “progressive art.” The second block – “Soviet Non-official art and Western art critic” – starts with analyzing the texts created in the 1970s – 1990s by European, American, and Soviet – émigré authors and ends with the writings by Russian curators of the 2000s. All the articles from this block represent a common idea of the universality of Western modernist and postmodern art theory. Thus, these authors selected only those artworks which could be described within this theory. In the context of contemporary European and American art trends, Soviet non-official art looks like a peripheral phenomenon. The third block – “Cold War and Global History of Art” – investigates the texts and exhibitions made during the last two decades and influenced by the ideas of global turn and critical research of the Cold War cultural policy. It is shown how art historians seek to develop new approaches and universal criteria to describe the 20th century world art. The last block – “Critical geography” – talks about the theoretical approach elaborated by Piotr Piotrowski. Within the framework of critical geography, the phenomena that have long been considered marginal come to the fore. Attention is paid to the international contacts of artists. The boundaries of art centers are shown to be different from the borders of states. Thus, the art of the Soviet artists is represented as part of the new geographic conglomerations.
11
Frelik, Edyta. "She Did Know a Few Things: Georgia O’Keefe as an Intellectual." Polish Journal for American Studies, no. 11 (Spring 2017) (August 30, 2023): 41–58. http://dx.doi.org/10.7311/pjas.11/1/2017.04.
Full textAbstract:
Despite the fact that Georgia O’Keefe is one of the most biographized, analyzed and interpreted modern American artists, her writings, which include voluminous correspondence, numerous artist statements and an autobiographical narrative, remain underrated. Taking at face value the painter’s disclaimers about her intellectual interests and ambitions and her insistence that she was “quite illiterate,” art historians and critics all too often fail to note that even when, as the only prominent female member of the Stieglitz circle, she seemed to accept the role assigned to her by “the men,” she retained her intellectual integrity. Even though she sometimes seemed to confirm such a perception, a closer look at her texts reveals that, well-educated and well-informed, she possessed literary skills on par with her plastic sensibility and imagination. Her use of verbal language, even more than her paintings, testifies to her unique intuition, intelligence and aesthetic sensibility as a quintessential American modernist.
12
Gerber, Alison, and Clayton Childress. "I Don’t Make Objects, I Make Projects: Selling Things and Selling Selves in Contemporary Artmaking." Cultural Sociology 11, no. 2 (May 31, 2017): 234–54. http://dx.doi.org/10.1177/1749975517694300.
Full textAbstract:
What role do artists play in the valuation of their activities? Theoretical perspectives on art have assumed that such value is closely linked to the prices of art objects and have minimized the place of content providers in the creation and definition of value. Through analysis of the writings of American, Canadian, and Swedish artists from 1967 to 2015, we find that artists move discursively from an object-oriented market logic to a market logic based in the provision of services, promoting new ways of accounting for value as they do so. Our findings suggest new ways to look at extant literature: 1) dominant theories treat artists as either structurally or intentionally insulated from the pricing of their work, while we show how artists act to define the value of artistic practice; 2) we show how terminology may remain stable while underlying meanings and institutionalized strategies aimed toward the accomplishment of goals evolve, and argue for the analysis of discursive practices beyond the search for stability or change in the usage of key terms; and finally, 3) we argue that analysts should look beyond price when aiming to understand the valuation of artistic practice.
13
Saiber, Arielle. "“The lantern of the world rises to mortals by varied paths”: Paul Laffoley (1935–2015) and Dante." Forum Italicum: A Journal of Italian Studies 55, no. 2 (July 14, 2021): 581–626. http://dx.doi.org/10.1177/00145858211021572.
Full textAbstract:
American artist and architect Paul Laffoley (1935–2015) had a life-long fascination with Dante. Not only did he refer to Dante and the Commedia throughout his writings and paintings, but he created a large-scale triptych illustrating the poem, as well as sketched out plans for a full-immersion Dante study center on a planetoid orbiting the Sun, complete with a to-scale replica of the medieval Earth, Mount Purgatory, the material heavens, and the Empyrean through which a “Dante Candidate” could re-enact the Pilgrim’s journey. Laffoley’s work is often placed by art critics within the visionary tradition and Laffoley himself embraced that label, even as he deconstructed the term in his writing. Among the many visionary artists, poets, and philosophers Laffoley studied, Dante was central. He was, for Laffoley, a model seeker of knowledge, a seer beyond the illusions of everyday life. The essay that follows offers a brief biography of Laffoley and his works; an overview of his two main Dante projects ( The Divine Comedy triptych [1972–1975] and The Dantesphere [1978]); and initial considerations on how Dante’s works and thought fit into Laffoley’s larger epistemological project.
14
Johnston, A. J. B. "Imagining Paradise: The Visual Depiction of Pre-Deportation Acadia, 1850-2000." Journal of Canadian Studies 38, no. 2 (February 2004): 105–28. http://dx.doi.org/10.3138/jcs.38.2.105.
Full textAbstract:
There is a widely-held interpretation that l’ancienne Acadie was something of an earthly paradise. That idealized interpretation dates back to, and was heavily influenced by, the writings of Dièreville in 1699 and Abbé Raynal in 1770. The idea came to a literary flowering and a worldwide audience in Henry Wadsworth Longfellow’s 1847 poem Evangeline, A Tale of Acadie. Beginning with the first illustrated edition of Evangeline in 1850, and continuing for the next 150 years, a succession of artists offered different versions of the imagined bucolic paradise of Acadia. That body of artwork both reflected and advanced the intellectual and emotional construct that pre-deportation Acadie had been a pastoral place of peace, harmony, and plenty. In the latter half of the nineteenth century, British and American publishers commissioned British and American artists to depict scenes to accompany Evangeline. In the latter half of the twentieth century, Canadian heritage agencies commissioned Canadian artists to develop new artwork of pre-deportation Acadia, without Evangeline imagery or Evangeline-related storylines. None the less, the paintings produced in the last few decades of the twentieth century continued to offer, for the most part, variations on the basic idea that Acadie before 1755 was a time and a place that enjoyed idyllic conditions.
15
Cerrone, Olivia Kate, Kathy Curto, and Julia Lisella. "Integrating Italian American Literature into the Multiethnic Syllabus." Diasporic Italy: Journal of the Italian American Studies Association 2 (October 1, 2022): 86–103. http://dx.doi.org/10.5406/27697738.2.1.08.
Full textAbstract:
Abstract In this article, the authors examine the dynamics generated from the inclusion of Italian American texts in college writing and literature courses that are not specifically focused on Italian American literature. This exploration contains three distinct perspectives and styles from literary artists and teachers who work with students in both traditional undergraduate university settings as well as adult learning settings in three states: New York, New Jersey, and Massachusetts. Olivia Kate Cerrone, Kathy Curto, and Julia Lisella presented a version of this conversation during the roundtable discussion entitled “Teaching Italian American Authors in the Multi-Ethnic Literature Course” at the 53rd Annual Italian American Studies Association Conference held in November 2021. The theme of the conference was Diversity in Italian American Studies: The Status of Race, Gender and Sexual Orientation in Uncertain Times. The focus of this contribution is to offer readers practical strategies for including Italian American texts in their classes, as well as observations on the ways in which these texts affected the classroom dynamics and students’ writing and reflection on their own identities and experiences. The essay also suggests specific texts that can evoke discussions and writings that enable students to reach their learning objectives. The variety of courses taught and student populations served will give readers a deeper sense of how to apply these inclusions into their own syllabi. Common to the learning objectives of all the courses described in this essay is that students evaluate the impact of this literature on their understandings of their own identities as global citizens.
16
Calvo, Luz. "Art Comes for the Archbishop." Meridians 19, S1 (December 1, 2020): 169–95. http://dx.doi.org/10.1215/15366936-8565946.
Full textAbstract:
Abstract Inspired by the Chicana feminist artist Alma López’s Our Lady (1999), this essay explores Chicana cultural and psychic investments in representations of the Virgin of Guadalupe. As an image of the suffering mother, the Virgin of Guadalupe is omnipresent in Mexican-American visual culture. Her image has been refigured by several generations of Chicana feminist artists, including Alma López. Chicana feminist reclaiming of the Virgin, however, has been fraught with controversy. Chicana feminist cultural work—such as the art of Alma López, performances by Selena Quintanilla, and writings by Sandra Cisneros and John Rechy—expand the queer and Chicana identifications and desires, and contest narrow, patriarchal nationalisms. By deploying critical race psychoanalysis and semiotics, we can unpack the libidinal investments in the brown female body, as seen in both in popular investments in protecting the Catholic version of the Virgin of Guadalupe and Chicana feminist reinterpretations.
17
Coorlawala, Uttara Asha. "Writing out otherness." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 143–56. http://dx.doi.org/10.1386/safm.4.2.143_1.
Full textAbstract:
Increasingly, global–local situations call for theory to honour culturally diverse discourses and histories. This article is concerned with the ways that critical writings affect material concerns of dancers. The article stages crises of alterity; writing from the underside, I call attention to the need to acknowledge multiple subjectivities and locations. Alterity compels Asian artists to negotiate whiteness as praxis, and as theories of performance. However, even as writings valorize resistance and interventions of performance, by what theories are we restraining performers?2 Is the dancer-as-subaltern3 always to be the data that validates western theory and theorizing – regardless of the origin and commitments of the writer? How may the other, redefine himself or herself and be heard? I attend to the discomforts of participant-observation when writing about performances; to the discomforts produced by dichotomizing gazes on bodies that perform nationality. I attend to the performance of pluralities of Asianness from within the glass walls of a hothouse inside Euro-American dance discourse. Much has been said about intertexts and performance, but what about tacit knowledge that flies below the radar of ‘the cultural’?4 We need to consider intracultural epistemologies of perception such as the Natya Shastra discourses. This article asks how do we write non-violently so that identities can travel amidst moving spaces, cultural, personal, theoretical, performative spaces.
18
Vizcaíno-Alemán, Melina. "The Autobiography of an Ancient Statue." Aztlán: A Journal of Chicano Studies 38, no. 1 (2013): 45–71. http://dx.doi.org/10.1525/azt.2013.38.1.45.
Full textAbstract:
This essay focuses on Fray Angélico Chávez’s 1954 narrative La Conquistadora: The Autobiography of an Ancient Statue as a critical model for re-reading Mexican American women’s literature and Chicana feminist art. The statue of La Conquistadora, which arrived in Santa Fe in 1625, is venerated as the oldest Marian representation in the United States. The autobiography is worth serious study because of its transvestite narrative voice: the female statue tells “her-story” as written by the male author. In La Conquistadora Chávez crosses gender and genre in ways that prompt a critical assessment of the autobiography’s significance through a deconstructive reading that draws on Southwest studies, feminism, and queer theory. This analysis offers a fresh perspective for determining how gender works in the life writings of early-twentieth-century Mexican American writers and the feminist works of contemporary Chicana artists.
19
Weichbrodt, Elissa Yukiko. "Found or Recovered?" Religion and the Arts 22, no. 1-2 (February 16, 2018): 114–34. http://dx.doi.org/10.1163/15685292-02201006.
Full textAbstract:
Abstract In the 1880s, American artists Charles Furneaux, Joseph D. Strong, and Jules Tavernier—who later became known as the “Volcano School”—traveled to the Kingdom of Hawai‘i and produced dozens of landscapes ranging from otherworldly scenes of volcanoes to vistas of untouched, pristine beaches. While white, upper-class landowners in Hawai‘i served as the primary patrons of such paintings, the reigning monarch, King David Kalākaua, also commissioned his own sweeping landscapes from the same artists. This article focuses on the two competing narratives of paradise at work in both these paintings and writings about the Hawaiian Islands in the 1880s. “Paradise” could invoke a Romantic position, one that celebrated the landscape’s wildness and equated nature in its pure state with the lost Garden of Eden. On the other hand, Kalākaua’s commissions reflect what environmental historian Carolyn Merchant calls the Recovery Narrative: a story of humans reversing the effects of the biblical Fall by subjugating desolate and distant wilds and transforming them into fruitful lands. This article argues that Kalākaua’s presentation of “paradise” was part of a multi-pronged but ultimately failed strategy to resist American imperialism and present the Kingdom of Hawai‘i to the West as a prosperous, profitable nation.
20
Siatka, Krzysztof. "Imagining the Magical Freedom in Poland of the Communist Era: How Ibero-American Literature Influenced the Neo-avant-garde Artists." Acta Academiae Artium Vilnensis 105, no. 105 (January 11, 2022): 231–59. http://dx.doi.org/10.37522/aaav.105.2022.112.
Full textAbstract:
Analogies can be drawn between the contents of writings by Julio Cortázar and Jorge Luis Borges and Poland’s neo-avant-garde art of the 1960s and 70s, produced in the context of the oppressive reality of a Communist state: the literary category of ‘magical realism’ finds its counterpart in the actuality of an authoritarian regime, which is equally grotesque. The works by Maria Stangret-Kantor, Janusz Kaczorowski, Barbara Kozłowska, Ewa Partum, Zdzisław Sosnowski, Wojciech Bruszewski, or Natalia Lach-Lachowicz and the theoretical views expressed by Andrzej Lachowicz and Andrzej Kostołowski, which resulted from working with language as an artistic means, can be interpreted as expressions of one’s striving for imagined freedom – objections to the manipulation of meanings in the public sphere.
21
Miquel-Baldellou, Marta. "“The Beloved Purple of Their Eyes: Inheriting Bessie Smith’s Politics of Sexuality”." Miscelánea: A Journal of English and American Studies 36 (December 31, 2007): 67–88. http://dx.doi.org/10.26754/ojs_misc/mj.20079763.
Full textAbstract:
Bessie Smith has traditionally been regarded as The Empress of the Blues. Armed with a potent voice and a daring performance, she became one of the first and most popular African-American artists of all time. Through the lyrics of her songs, she underlined the difficulties many African-American women underwent at the time, focusing on their sorrows, their sexuality and the relationships they established with both males and other females. The politics of gender tackled in Bessie Smith’s songs are also often repeated in novels written by canonical African-American writers such as Zora Neale Huston, Alice Walker and Toni Morrison. Zora Neale Hurston was Bessie’s contemporary writer and met her during one of her journeys, while both Alice Walker and Toni Morrison acknowledged the influence Bessie Smith exerted over their writings. The aim of this article is to identify Bessie Smith’s politics of sexuality in Zora Neale Hurston’s Their Eyes Were Watching, Alice Walker’s The Colour Purple and Toni Morrison’s Beloved, in accordance with the new perspectives of Black Feminist Studies today
22
Rizka Rachma Wahdani, Firda, and Ari Abi Aufa. "CONCERNING K-POP: PENGENALAN SINGKAT TENTANG KOREAN WAVE (HALLYU STAR)." An-Nas 5, no. 2 (December 7, 2021): 51–63. http://dx.doi.org/10.36840/annas.v5i2.497.
Full textAbstract:
“K-Pop is an actual phenomenon nowadays. Widely spread through Korean dramas, pop songs, boy and girl bands, this Korean culture has become a symbol of today's youth life. Teenagers in Indonesia, even in other parts of the world, are competing to imitate the lifestyle of Korean artists, emulating the culture and almost making it as their own culture. This article is a library research. Writings on Korean popular culture serve as the main source of this research. Writings in the form of a book or journal is analyzed in order to get a complete understanding of the theme under study. Based on the research conducted, it is concluded that Korean popular culture is a new culture that adopts American culture. The new culture is then made into the identity of Korean youth and then disseminated through various ways, such as dramas, songs, films, and so on. Utilizing digital technology, social media applications and various other digital platforms, Korean popular culture has finally managed to spread widely and become a phenomenon that has caught the world's attention.”
23
Shrivastava, Dr Ku Richa. "Black Feminism as a Literary Tradition." SMART MOVES JOURNAL IJELLH 7, no. 8 (July 27, 2019): 13. http://dx.doi.org/10.24113/ijellh.v7i8.9277.
Full textAbstract:
The research paper posits to detail the black literary tradition.When the American art is viewed as a whole, the contribution of blacks is found in a miniature fraction, if we exclude their folk tradition of melody and dances. Merely, three generations have been passed of blacks’ early years. The black literary tradition has immediately passed its immaturity. At first, the silent era subsequent to slavery has existed. Folk tales and music inform readers about these black writers and artists who have lived and died. African - American literature has propagated the fact that blacks have been repressed. They resisted against relentless repression. After reconstruction period black lips became verbal. This new black man took two to three generations to expand his inspirations and contemplations to correspond to his own sentiments. Those black male authors have no evidence to converse for blacks who took three quarters of a century (75 years) to visible them in a literary tradition.
Black women voices have been suppressed in context of black women’s literature and black cultural tradition. African - American women have been excluded from western writings in historical period. Both African American men and White men have denied African - American women a platform in literary tradition. Reading text has influenced African - American women to raise voice against racism. The institutional practices of racism by white patriarchal power structure have rebuffed to acknowledge black women historically. The racism and gender oppression practiced against black women persuaded them to write with reference to the perspectives of black women. After 1960’s, the black writings flourished. In Reading Black Reading Feminist a Critical Anthology (1990) edited by Henry Louis Gates, states expression of Anna Julia Cooper. She lays emphasis on recognition of black women literary tradition was in need to claim authority. Since 1970, with the publication of literary artifacts of African tradition, black women have come in the vanguard of African - American literary tradition. Several Black women writers works are studied and intertwined into a literary tradition like, Anna Julia Cooper, Zora Neale Hurston, Barbara Christian, Alice Walker, Patricia Hills Collins, Bell Hooks and Angela Y. Davis. Social animosities have been made between black women and black men with black women’s success of literary tradition and black men sexism towards them.
24
Zaborowska, Magdalena J., Nicholas F. Radel, Nigel Hatton, and Ernest L. Gibson. "Rebranding James Baldwin and His Queer Others." James Baldwin Review 6, no. 1 (September 29, 2020): 199–229. http://dx.doi.org/10.7227/jbr.6.13.
Full textAbstract:
“Rebranding James Baldwin and His Queer Others” was a session held at the annual meeting of the American Studies Association in November 2019 in Honolulu, Hawaii. The papers gathered here show how Baldwin’s writings and life story participate in dialogues with other authors and artists who probe issues of identity and identification, as well as with other types of texts and non-American stories, boldly addressing theoretical and political perspectives different from his own. Nick Radel’s temporal challenge to reading novels on homoerotic male desire asks of us a leap of faith, one that makes it possible to read race as not necessarily a synonym for “Black,” but as a powerful historical and sexual trope that resists “over-easy” binaries of Western masculinity. Ernest L. Gibson’s engagement with Beauford Delaney’s brilliant art and the ways in which it enabled the teenage Baldwin’s “dark rapture” of self-discovery as a writer reminds us that “something [has been missing] in our discussions of male relationships.” Finally, Nigel Hatton suggests “a relationship among Baldwin, Denmark, and Giovanni’s Room that adds another thread to the important scholarship on his groundbreaking work of fiction that has impacted African-American literature, Cold War studies, transnational American studies, feminist thought, and queer theory.” All three essays enlarge our assessment of Baldwin’s contribution to understanding the ways gender and sexuality always inflect racialized Western masculinities. Thus, they help us work to better gauge the extent of Baldwin’s influence right here and right now.
25
Raverty, Dennis. "Art Theory and Psychological Thought in Mid-19th-Century America: The Case of The Crayon." Prospects 24 (October 1999): 285–96. http://dx.doi.org/10.1017/s0361233300000387.
Full textAbstract:
Associationism as a school of 19th-century psychological thought has been mentioned as an important influence on American landscape painters of that period by several authors, yet little systematic investigation of the influence of contemporaneous psychological theories on 19th-century artistic thought has been attempted. This essay explores these psychological dimensions in the writings of Henry James Sr., Justin Winsor, and John B. Brown, regular contributors to the Crayon: A Journal Devoted to the Graphic Arts and the Literature Related to Them. Published in New York from 1855 to 1861, the Crayon was unique among art publications in its theoretical emphasis. Among the philosophical problems the Crayon took up were questions that today would have been identified as psychological. The ideas of these three authors concerning perception, creativity, and reception are among the clearest and most articulate of the essays in the Crayon in terms of displaying a coherent psychology. Their psychological thought will be extracted from the texts and reconstituted within the contending psychological debates of the time. It will be shown that although associationism was an important influence on artists and critics, other psychological theories stemming from different premises were of equal or even greater importance.
26
Lopes, Maria Aparecida. "Uma leitura racializada e generificada da arte de Maria Lídia Magliani." Revista Crítica Histórica 13, no. 25 (August 4, 2022): 17–60. http://dx.doi.org/10.28998/rchv13n25.2022.0004.
Full textAbstract:
The initial objective of this article was toproblematize issues of gender, body, and race in the narratives of Latin American artists. In a second moment, we recognize the breadth of the theme, we consider Latin America as a broad territory, with convergent and non-convergent historicities, marked by colonialism, dictatorships and social, sexual and historical violence. Therefore, we redefined the research and chose to work with analysis of the works and trajectory of the artist Maria Lídia Magliani, a black Brazilian artist born in Rio Grande do Sul. One of the reasons for writing this article is to understand the stature of Magliani's legacy and to *Historiadorae professora associada da Universidade Federal do Sul da Bahia(UFSB).ANOXIII,Nº25,Julho/2022ISSN:2177-9961 18draw a picture of the forces that moved the Brazilian art scene and the artist's trajectory in the hectic 60's, 70's, 80's and 90's of the 20th century.
27
Wood, Peter. ""... from teat-jerk to quidnunc": A.R.D. Fairburn and the Formation of an Ideology of Architectural Nationalism in New Zealand." Architectural History Aotearoa 3 (October 30, 2006): 44–51. http://dx.doi.org/10.26686/aha.v3i.6799.
Full textAbstract:
In 1934 ARD Fairburn published the essay "Some Aspects of N.Z. Art and Letters" in the journal Art in New Zealand. In it he criticized Alan Mulgan's book Home: A Colonial's Adventure, which had been first published in 1927, and was reprinted in 1934. It was, in Fairburn's view, an account unacceptably steeped in romantic melancholy for a distant motherland that was no longer as germane as it had once been. Instead he proposed looking to the American Transcendentalists Twain and Thoreau for direction.
Also published in 1934 was a small book from the New Zealand Institute of Architects called Building in New Zealand. In it the NZIA made a case for the professional and social responsibilities of the architect in New Zealand and it is best described as conservative. However it is pertinent that this book was edited by Alan Mulgan. Here the role of the architect in cast in practical terms that bear direct comparison to the code of practice issue for the Royal Institute of British Architects. Mulgan's contribution to discussion on New Zealand architecture is limited to this publication, and it is likely his editorship of Building in New Zealand was motivated more by depression economics than architectural interest. However this book is still an important summary of the profession at that time, and it links architecture to Mulgan's romantic writings though the reiteration of a colonial fountainhead. By contrast Fairburn would go on to champion a national voice for New Zealand's writers, artists, and architects. Moreover he established a close relationship with Vernon Brown, and was to associate with Bill Wilson and the Architectural Group. Indeed, the limited writings available from these architectural associates often echo Fairburn's 1934 call for an antipodean "honesty" in "our" buildings.
It is in the immediate post war period that the emergence of a national architectural expression in New Zealand is most celebrated, being lead in Auckland by Brown, Wilson, and the Architectural Group. However an examination of the writings by Fairburn and Mulgan shows that the elements of the debate were already in place well before then. I conclude that the antecedent for the emergence of debate on a national architectural character appears, however unintentionally, in the 1934 writings of Fairburn and Mulgan. Critical to this is discussion on we mean by "honest" architectural work.
28
Stachura, Julia. "Double Index. The Self-Shadow in American Photography of the Second Half of the 20th Century." Artium Quaestiones, no. 33 (December 30, 2022): 279–99. http://dx.doi.org/10.14746/aq.2022.33.11.
Full textAbstract:
The article focuses on the notion of the image of self-shadow in American photography in the second half of the twentieth century, understood as a shadow silhouette of the creator captured in a photograph. The two main problems that concern the author’s research are the lack of current, theoretical study on the problem of shadow in the history of photography from the perspective of art history (V. Stoichita, R. Casati, P. Cavanagh, H. Kanaan) and the lack of the definition of the phenomenon of self-shadow and its possible types in self-portraiture. The author’s proposition of a definition of self-shadow is based on selected photographs by four artists whose works touch upon the problem of shadow in the context of relations between the “self” and the “other” (Lee Friedlander), race and subjective invisibility (Shawn W. Walker), mask and the other-self (Andy Warhol), and the intimate recording of identity (Nan Goldin). In her analyses, the author discusses the problem of the hybrid ontology of the shadow, which is both visible and visual. In this understanding, the shadow not only refers to a physical body, present “here and now” but more importantly evokes a sense of presence, even when the artist’s body is absent in the picture. The double index refers to the image leaving its mark both in reality and on light-sensitive paper. The rudimentary, vitalistic relation linking the human body with its shadow is only a starting point for analyses of the complexity of its status and symbolism. The concepts framing Andy Warhol’s Polaroid are twinning, the mask, and the Jungian theory of the shadow archetype. To discuss the self-portrait of Shawn W. Walker, the author applies the literary-philosophical concept of invisibility based on writings from Black existentialists (W.E.B. Du Bois, F. Fanon, R. Ellison). The analyses of Lee Friedlander’s photograph have been based on the psychological distinction between the figures of the “self” and the “other”. The closing concepts that frame Nan Goldin’s self-portrait are the haptic thinking subject (M. Smolińska) and the notion of a diary. The critical apparatus of the study is supplemented by contemporary analyses of the myth of Narcissus, the mythical origins of the self-portrait, and the notion of the index (after R. Krauss, M. Michałowska, M.A. Doane).
29
Sturgis, Daniel. "Editorial." Journal of Contemporary Painting 9, no. 1 (April 1, 2023): 3–7. http://dx.doi.org/10.1386/jcp_00046_2.
Full textAbstract:
This edition of the Journal of Contemporary Painting is dedicated to examining the work and legacy of the American artist Helen Frankenthaler (12 December 1928–27 December 2011). The issue contains new writing by artists and academics, with contributions from Suzanne Boorsch, Cora Chalaby, Melissa Gordon, Joan Key, Katie Pratt and Alison Rowley.
30
Selimov, M. "Natsume Sōseki’s address to the new generation of literary figures: The writer’s thoughts on literary movements." Japanese Studies in Russia, no. 1 (April 18, 2024): 6–15. http://dx.doi.org/10.55105/2500-2872-2024-1-6-15.
Full textAbstract:
This article analyzes two theoretical works by the writer Natsume Sōseki ( 夏目漱石, 1867–1916): the essay "Merits and Flaws of -isms" ( イズムの功過, Izumu-no Kōka , 1910), in which Natsume Sōseki called on adherents of naturalism, prevalent in Japan in the early 20th century, not to view Japanese literature through the prisms of “isms” and to go beyond the boundaries set by them; and the writer’s lecture on literary theory titled “My Individualism” ( 私の個人主義, Watakushi-no Kojinshugi, 1914). This lecture marked the culmination of the writer’s years-long theoretical inquiries, the most significant of which was his unsuccessful, as he later acknowledged, monograph “Theory of Literature” ( 文学論, Bungakuron , 1907). However, Russian literary studies did not show any serious interest in Natsume Sōseki’s theoretical works, despite the fact that Natsume Sōseki’s thoughts on the appropriateness of using Western terminology to describe the works of Japanese artists are extremely intriguing. The writer insisted that literary theory should take into account the context of a particular culture rather than seek universal paths of development, resorting to typologies of literary development, etc. Natsume Sōseki became the first Japanese literary theorist to argue that ideological and artistic trends that emerged in European and American cultures, bearing their imprint and conditioned by specific historical processes, cannot be transposed as a template onto Japanese soil simply because certain elements of Western artistic currents are evident in the works of Japanese writers. The present study raises the question of the value of studying Natsume Sōseki’s theoretical writings because they shed light on how he conceptualized, scientifically grasped the regularities, essence, and course of development of Japanese literature, being one of the most influential literary figures of the Meiji era (明治時代, 1868–1912).
31
Churchill, Suzanne W. "“The Whole Ensemble”: Gwendolyn Bennett, Josephine Baker, and Interartistic Exchange in Black American Modernism." Humanities 11, no. 4 (June 21, 2022): 74. http://dx.doi.org/10.3390/h11040074.
Full textAbstract:
Since her debut in Paris in 1925 and meteoric rise to stardom, views of Josephine Baker have been dominated by the white artists and audiences who constructed her as an exotic “Other”. This article revisits the phenomenon of “La Bakaire” from the perspective of a Black female artist who witnessed her performance first-hand and participated in the same Jazz Age projects of fashioning New Negro womanhood and formulating Black Deco aesthetics. When Gwendolyn Bennett saw Baker perform, she recognized her as a familiar model of selfhood, fellow artist, and member of a diasporic Black cultural community. In her article “Let’s Go: In Gay Paree”, July 1926 Opportunity cover, and “Ebony Flute” column, she utilizes call and response patterns to transform racialized sexual objectification into collective affirmation of Black female beauty and artistry. The picture that emerges from Bennett’s art and writing is one of communal practices and interartistic expression, in which Baker joins a host of now-forgotten chorus girls, vaudeville actors, jazz singers, musicians, visual artists, and writers participating in a modern renaissance of Black expressive culture.
32
Beck Cohen, Stephanie. "Quilting in West Africa: Liberian Women Stitching Political, Economic, and Social Networks in the Nineteenth Century." Arts 12, no. 3 (May 8, 2023): 97. http://dx.doi.org/10.3390/arts12030097.
Full textAbstract:
Quilts occupy a liminal position in the histories of art and material culture. Centering analyses around specific artworks like Martha Ricks’ 1892 Coffee Tree quilt, as well as investigating women’s writing about their material production, illuminates ignored narratives about the ways black women participated in international social, political, and economic networks around the nineteenth-century Atlantic world. Quilters who emigrated from the United States to Liberia in the nineteenth century incorporated an aesthetic heritage from the American South with new visual vocabularies developing alongside the newly independent nation. Artists relied on networks with abolitionists in the United States and local textile knowledge to source materials for their work. Finished quilts circulated in local and international contexts, furthering social, political, and economic objectives. Like Harriet Powers’ bible quilts, Ricks’ quilts gained fame through exhibition and a whimsical artist’s biography. Quilts’ fragility as natural-fiber textiles in a tropical climate makes a finding a body of works difficult to examine as there are no extant Liberian quilts from the nineteenth century. However, it is possible to patch together a network of women artists, their patrons, and audiences from West Africa to North America and Europe through creative investigation of diverse historical records, including diary entries, letters, newspaper articles, and photographs. I argue that by examining Martha Ricks’ artworks, self-presentation through portraiture, and published writing, it is possible to envision a new narrative of black women’s participation in visualizing the newly-minted Republic of Liberia for Atlantic audiences.
33
Rostagno, Irene. "Waldo Frank's Crusade for Latin American Literature." Americas 46, no. 1 (July 1989): 41–69. http://dx.doi.org/10.2307/1007393.
Full textAbstract:
Waldo Frank, who is now forgotten in Latin America, was once the most frequently read and admired North American author there. Though his work is largely neglected in the U.S., he was at one time the leading North American expert on Latin American writing. His name looms large in tracing the careers of Latin American writers in this country before 1940. Long before Franklin D. Roosevelt launched the Good Neighbor policy, Frank brought back to his countrymen news of Latin American culture.Frank went to South America when he was almost forty. The youthful dreams of Frank and his fellow pre-World War I writers and artists to make their country a fit place for cultural renaissance that would change society had waned with the onset of the twenties.1 But they had not completely vanished. Disgruntled by the climate of "normalcy" prevailing in America after World War I, he turned to Latin America. He started out in the Southwest. The remnants of Mexican culture he found in Arizona and New Mexico enticed him to venture further into the Hispanic world. In 1921 he traveled extensively in Spain and in 1929 spent six months exploring Latin America.
34
Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.
Full textAbstract:
Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
35
Gehlawat, Monika. "Strangers in the Village." James Baldwin Review 5, no. 1 (September 2019): 48–72. http://dx.doi.org/10.7227/jbr.5.4.
Full textAbstract:
This essay uses Edward Said’s theory of affiliation to consider the relationship between James Baldwin and contemporary artists Teju Cole and Glenn Ligon, both of whom explicitly engage with their predecessor’s writing in their own work. Specifically, Baldwin’s essay “Stranger in the Village” (1953) serves a through-line for this discussion, as it is invoked in Cole’s essay “Black Body” and Ligon’s visual series, also titled Stranger in the Village. In juxtaposing these three artists, I argue that they express the dialectical energy of affiliation by articulating ongoing concerns of race relations in America while distinguishing themselves from Baldwin in terms of periodization, medium-specificity, and their broader relationship to Western art practice. In their adoption of Baldwin, Cole and Ligon also imagine a way beyond his historical anxieties and writing-based practice, even as they continue to reinscribe their own work with his arguments about the African-American experience. This essay is an intermedial study that reads fiction, nonfiction, language-based conceptual art and mixed media, as well as contemporary politics and social media in order consider the nuances of the African-American experience from the postwar period to our contemporary moment. Concerns about visuality/visibility in the public sphere, narrative voice, and self-representation, as well as access to cultural artifacts and aesthetic engagement, all emerge in my discussion of this constellation of artists. As a result, this essay identifies an emblematic, though not exclusive, strand of African-American intellectual thinking that has never before been brought together. It also demonstrates the ongoing relevance of Baldwin’s thinking for the contemporary political scene in this country.
36
Ballard, Susan, and Liz Linden. "Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene." Anthropocene Review 6, no. 1-2 (April 2019): 142–61. http://dx.doi.org/10.1177/2053019619839443.
Full textAbstract:
Despite the call for artists and writers to respond to the global situation of the Anthropocene, the ‘people disciplines’ have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a ‘geological agent’ in 1972. We suggest that Smithson’s land art sculpture Spiral Jetty could be the first marker of the Anthropocene in art, and that, in addition, his creative writing models narrative modes necessary for articulating human relationships with environmental transformation. Presented in the form of a braided essay that employs the critical devices of metaphor and geoaesthetics, we demonstrate how Spiral Jetty represents the Anthropocenic ‘golden spike’ for art history, and also explore the role of first-person narrative in writing about art. We suggest that art and its accompanying creative modes of writing should be taken seriously as major commentators, indicators, and active participants in the crafting of future understandings of the Anthropocene.
37
Dhakal, Lekha Nath. "Black Art: An Aesthetic Transformation for Freedom and Justice." KMC Research Journal 3, no. 3 (June 13, 2019): 91–99. http://dx.doi.org/10.3126/kmcrj.v3i3.35716.
Full textAbstract:
This paper attempts to explore African Americans’ world view and its roots in Black Aesthetics. It also reveals that Black art is an aesthetic transformation of African Americans for freedom and an expectation of a higher level of life. Supporters of Black Aesthetics appealed to black artists to establish a new standard of judgment and beauty based on African myths, spirituality, belief systems and music in opposition to Western aesthetic. However, the Black Aesthetics had its origins in those first artistic resonances of black slaves in the form of spirituals, coded singing and signifying, and later in writings. Black aesthetic theory in the United States traces its origin to the literature of slavery and freedom. The slave narratives depict African-Americans’ artistic and academic labors to show their humanity and critical moments in the development of Black aesthetics. Writing about their own communities in order to establish a sense of self-worth and claiming their identities as African Americans are crucial elements in the works of many Black writers.
38
Liutova, S. N. "Beyond Cuckoo’s Nest, or Composing one’s book." Voprosy literatury, no. 6 (March 22, 2022): 170–93. http://dx.doi.org/10.31425/0042-8795-2021-6-170-193.
Full textAbstract:
The author reflects on her personal acquaintance and pen friendship with Zoe C. Escobar (1948–2021), an American ‘one-book writer.’ Escobar’s own biography and the writing process behind Beyond Cuckoo’s Nest: The Art and Life of William ‘Sonny’ Sampson, Jr., her book on the Muscogee Creek Indian cowboy, actor and artist, are presented in the form of lively conversations between herself and the author of the article, accompanied by depictions of the private life of Native Americans in the period spanning the second half of the 20th and the early 21st cc. The article particularly focuses on the origin of the nonprofit American Indian Registry for the Performing Arts in Hollywood, founded by Escobar, who also served as its first executive director, as well as Escobar’s personal and work relationship with the actor, artist and Native Americans’ spiritual leader Will Sampson, whose most memorable role was that of Chief Bromden in M. Forman’s One Flew Over the Cuckoo’s Nest. The author of the article chooses the format of a case study to explore several technical aspects of the creative process and construct Z. Escobar’s and W. Sampson’s psychological portraits.
39
PAUL, DAVID C. "From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of Henry and Sidney Cowell." Journal of the American Musicological Society 59, no. 2 (2006): 399–457. http://dx.doi.org/10.1525/jams.2006.59.2.399.
Full textAbstract:
Abstract Scholars have recognized that Henry Cowell was one of the most ardent promoters of Charles Ives, but the fact that Cowell's conception of Ives shifted over time has been overlooked. During the late twenties, Cowell portrayed Ives as a fundamentally social artist with the sensibilities of a musical ethnographer. By the fifties, in the writings Cowell coauthored with his wife Sidney, Ives came to be depicted as a paragon for the liberating power of individualism. Close scrutiny of Cowell's published writings, along with letters and manuscripts from the Henry Cowell Collection of the Music Division at the New York Public Library for the Performing Arts, reveals the factors that influenced this transition. Béla Bartók's theories about folk music authenticity were the impetus behind Cowell's earliest conception of Ives. Cowell maintained that Ives had created a definitively American art music by transcribing the performance idiosyncrasies of American folk musicians. The anxieties of the Cold War and a writing partnership with his wife caused Cowell to stress Ives's commitment to the individualism espoused by transcendentalist philosophers. The Cowells no longer equated Ives's Americanness with his ability to transcribe local practice, but instead with his solitary pursuit of the “Universal Mind.”
40
Barreto Jr., Raimundo César. "Rubem Alves: o desenvolvimento de seu pensamento e a recepção do mesmo nos Estados Unidos." REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 8, no. 12 (May 13, 2015): 125. http://dx.doi.org/10.20890/reflexus.v8i12.235.
Full textAbstract:
Resumo: Este artigo apresenta o desenvolvimento do pensamento de Rubem Alves lado a lado com a sua recepção na academia norte-americana. Limita-se às suas contribuições teológicas, publicadas em inglês, principalmente por meio de resenhas, artigos e citações dos seus escritos, discutindo também a ausência de obras mais significativas sobre seu trabalho. A recepção dos escritos de Rubem Alves na América do Norte recebeu um tratamento ambíguo, variando desde um acolhimento entusiástico à critica ao rigor acadêmico. Mais recentemente, no domínio da teopoética, há um renovado interesse nas suas contribuições. Dessa forma, o artigo apresenta aperiodização do pensamento de Rubem Alves, assinala a sua relação com a igreja, a academia e os EUA ressaltando sua condição de exílio, e destaca exemplos de recepção dos seus escritos na América do Norte. Palavras-chave: Rubem Alves. Teologia. Teopoética. Recepção. Abstract: This paper presents the development of the thought of Rubem Alves vis-a-vis its reception in the North American Academy. It is limited to his theological contributions published in English, and the responses found in book reviews, articles, and references to his writings. It also discusses the absence of more significant works in English about Rubem Alves’ work. The reception of the writings of Rubem Alves in North America received an ambiguous treatment, both an enthusiastic reception and criticism of its academic rigor. More recently, there is a renewed interest in Alves’ contributions in the field of theo-poetics. In short, the paper presents the periodization of the thought of Rubem Alves, points out its relationship to the church, academia and the USA, highlighting his condition of exile, and examines examples of the reception of his writings in North America. Keywords: Rubem Alves. Theology. Theopoetics. Reception.
41
Bhatti, Shaheena Ayub, Ghulam Murtaza, and Aamir Shehzad. "Revisiting Paul Kanes Wanderings of an Artist Among the Indians of North America." Global Language Review IV, no. II (December 31, 2019): 89–94. http://dx.doi.org/10.31703/glr.2019(iv-ii).13.
Full textAbstract:
Paul Kanes paintings and sketches which form the basis of Wanderings of an Artist, were made with the aim of presenting an “extensive series of illustrations of the characteristics, habits and scenery of the country and its inhabitants.” However, a careful and detailed reading of his paintings and writings show that he actually violated the trust that the American Indians placed in him by depicting false images. Working in the background of Lasswells theory of propaganda this study seeks to demonstrate how the images and writings that he created, fulfilled no purpose, other than that of propaganda. The essay takes as its base the short fiction of Sherman Alexies Scalp Dance by Spokane Indians and attempts to show through the text how Kane, in reality, violated the trust that the American Indian tribes placed in him, by allowing him to photograph them in various poses and at various times of the day and year.
42
Kartiganer, Donald. "Ghost-Writing: Philip Roth's Portrait of the Artist." AJS Review 13, no. 1-2 (1988): 153–69. http://dx.doi.org/10.1017/s0364009400002336.
Full textAbstract:
In writing a trilogy of novels on the life and times of Nathan Zuckerman, American Jewish Writer, Philip Roth has waded manfully into a tradition even more thickly and brilliantly populated than the one he selected as literary background for The Breast. If the grotesque metamorphosis of David Kepesh into a six–foot, one–hundred–and–fifty–pound female breast compels us to compare Roths novel with some of the great texts of Kafka and Gogol, in Zuckerman Bound Roth invokes the more formidable context of James, Proust, Joyce, Lawrence, Mann, and Gide (to mention only a few), several of whose artist–portraits are identified in the trilogy and all implied. Roth has said in an interview that the novelty of this particular portrait is that it describes the comedy that an artistic vocation can turn out to be in the U.S.A.1 The comedy pertains not only to the career of Zuckerman himself, a series of zany encounters with writers, readers, and critics, whose responses to one Zuckerman fiction become the action of the next, but also to Roths typical strategy of challenging and recreating any prior tradition or convention, however sacrosanct. The crux of Rothian comedy is to expose, embarrass, and ridicule, to break bonds and boundaries, pieties and platitudes.
43
Dickerman, Leah. "Aaron Douglas and Aspects of Negro Life." October 174 (December 2020): 126–62. http://dx.doi.org/10.1162/octo_a_00411.
Full textAbstract:
In 1934, Aaron Douglas created an epic four-panel mural series, Aspects of Negro Life (1934), for the branch library on 135th Street in Manhattan, now the Schomburg Center for Research in Black Culture. The panels answered a call, issued by the first major program for federal support of the arts in the United States, to represent “an American scene.” In them, Douglas traced the trajectory of African American history in four stages and across two mass migrations: from Africa into enslavement in America; through Emancipation and Reconstruction; into the modern Jim Crow South; and then northward with the Great Migration to Harlem itself. The narrative Douglas constructed was remarkable in both its historical sweep and as a story of America seen through Black eyes. This essay explores how Douglas's approach to the trenchant and understudied Aspects of Negro Life panels was shaped by rich conversations across a decade-about what it meant to be Black in America, how the “African” in “African-American” was to be understood, and what a distinctly African-American modernism might be-with an interdisciplinary nexus of thinkers, activists, and artists that included W. E. B. Du Bois; a co-founder of the NAACP and co-editor of the Crisis, sociologist Charles S. Johnson; poet-activist James Weldon Johnson; bibliophile Arturo Schomburg; and philosopher-critic Alain Locke. Looking at Douglas's visual narrative in this context offers insight into how parallel practices of archive-building, art making, history writing, and criticism came together not only to shape a vision of America but also to champion a model of Black modernism framed through diaspora.
44
Ferris, William. "Southern Literature: A Blending of Oral, Visual & Musical Voices." Daedalus 141, no. 1 (January 2012): 139–53. http://dx.doi.org/10.1162/daed_a_00136.
Full textAbstract:
The blending of oral traditions, visual arts, and music has influenced how Southern writers shape their region's narrative voice. In the South, writing and storytelling intersect. Mark Twain introduced readers to these storytellers in “Adventures of Huckleberry Finn.” Twain blends both black and white voices within Huck's consciousness and awareness – in Huck's speech and thoughts – and in his dialogues with Jim. A narrative link exists between the South's visual artists and writers; Southern writers, after all, live in the most closely seen region in America. The spiritual, gospel, and rock and roll are musical genres that Southern writers love – although jazz, blues, and ballads might have the most influence on their work. Southern poets and scholars have produced anthologies, textbooks, and literary journals that focus on the region's narrative voice and its black and white literary traditions. Southern writers have created stories that touch the heart and populate American literature with voices of the American South. Future Southern writers will continue to embrace the region as a place where oral, visual, and musical traditions are interwoven with literature.
45
Dauber, Jeremy. "Comic Books, Tragic Stories: Will Eisner’s American Jewish History." AJS Review 30, no. 2 (October 27, 2006): 277–304. http://dx.doi.org/10.1017/s0364009406000134.
Full textAbstract:
In recent years, we have witnessed a significant increase in writing by scholars and literary and cultural critics on the genre of the comic book, corresponding to an increased legitimacy given to the comic book industry and its writers and artists more generally. Part of this phenomenon no doubt stems from the attention lavished on the field by mainstream fiction and nonfiction writers who consider comic books a central part of their own and America’s cultural heritage, such as Michael Chabon and Jonathan Lethem. It may also stem from the changing nature of the industry’s finances, which now employ a “star system” revolving around writers and artists, not merely the major companies’ storied characters; though the days of the big houses that control the major characters are by no means gone, in the last two decades, numerous specialty imprints have been developed to publish characters that are owned outright by writers and artists, to say nothing of profit-sharing deals with major stars, even at some of the major companies.
46
Elam, Harry. "A History of African American Theatre. By Errol G. Hill and James V. Hatch. Cambridge Studies in American Theatre and Drama. Cambridge: Cambridge University Press, 2003; pp. 608. $130 cloth." Theatre Survey 46, no. 1 (May 2005): 127–29. http://dx.doi.org/10.1017/s0040557405220094.
Full textAbstract:
Over the more than twenty years since the publication of two profoundly influential collections—Errol Hill's two-volume anthology of critical essays The Theatre of Black Americans (1980) and James V. Hatch's first edition of the play anthology Black Theatre USA (1974)—there has been considerable activity in African American theatre scholarship. Yet even as scholars have produced new collections of historical and critical essays that cover a wide range of African American theatre history, book-length studies that document particular moments in the historical continuum such as the Harlem Renaissance, and Samuel Hay's broader study African American Theatre: An Historical and Critical Analysis (1994), no one until now has written a comprehensive study of African American theatre history. Into this void have stepped two of the aforementioned distinguished scholars of African American theatre, Errol G. Hill and James V. Hatch. To be certain, writing a comprehensive history of African American theatre poses a daunting challenge for anyone hearty enough to undertake it. Where to begin? What to include and exclude? With their study, A History of African American Theatre, Hill and Hatch show themselves indeed worthy of the challenge. They explore the evolution of African American theatre across time and space, documenting the particular efforts of artists, writers, scholars, and practitioners, from inside as well as outside the United States, that have had an impact on our understanding of African American theatre. The authors make clear that the definition of African American theatre from the beginning has been in constant flux and that it has been affected by the changing social times in American as much as it has influenced those times.
47
Laddaga, Reinaldo. "From Work to Conversation: Writing and Citizenship in a Global Age." PMLA/Publications of the Modern Language Association of America 122, no. 2 (March 2007): 449–63. http://dx.doi.org/10.1632/pmla.2007.122.2.449.
Full textAbstract:
In the last few years, a growing number of writers and artists have begun to develop a new form of verbal art. They no longer devote themselves to individually writing fixed texts destined to be read in solitude and silence. Instead, they are designing mechanisms that enable large and heterogeneous groups to collaborate on projects that combine the production of discourses, the exploration of knowledge about local circumstances, and the invention of potential socialities. These projects intend to foster forms of cosmopolitan citizenship in a globalized world at a time of expanding digital technologies. The article describes some crucial aspects of this process through a reading of two projects: a platform for collaborative translation on the Internet designed by the American artists Warren Sack and Sawad Brooks and an “open-source narrative” by the Italian collective Wu Ming.
48
Maini, I. "Writing the Asian American Artist: Maxine Hong Kingston's Tripmaster Monkey: His Fake Book." MELUS: Multi-Ethnic Literature of the United States 25, no. 3-4 (September 1, 2000): 243–64. http://dx.doi.org/10.2307/468245.
Full text
49
Kim, Christine Sun, and Amanda Cachia. "Six Types of Waiting in Berlin, 2017." South Atlantic Quarterly 120, no. 2 (April 1, 2021): 279–83. http://dx.doi.org/10.1215/00382876-8915980.
Full textAbstract:
In Six Types of Waiting in Berlin, Christine Sun Kim’s drawings provide a fascinating constellation of cultural and sensorial experiences with time. Originally from the United States, the artist shares her account of how time (and waiting) is measured differently according to the cities in which she has lived, with each place having its own advantages and drawbacks. While each environment in which one must tediously wait—an immigration office, the health insurance office, the doctor’s office, the bank, an art supplies shop, and the grocery store—is familiar, the subtext of the drawings is how the artist’s relationship with time is also measured by her style of communication. Kim uses American Sign Language and asks questions in a written form using an iPhone on a daily basis as she goes about her chores. “Crip time” is thus also punctuated by the pauses in writing/scrawling questions, in reading, and the creativity involved in ad-lib responding between deaf and non-deaf sensorial modalities.
50
Marecki, Piotr. "No. 110 10.4.93-10.7.93 or Polish Uncreative Writing." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 4, no. 2 (July 11, 2016): 119–37. http://dx.doi.org/10.14195/2182-8830_4-2_6.
Full textAbstract:
This article provides an overview of Polish digital literature, using the tools and vocabulary of uncreative writing put forward by American artist and theorist Kenneth Goldsmith. The analysis covers appropriation techniques, plagiarism types, and the thinkership of conceptual writing practices. The selected works use various media and explore diverse textual materialities, which depend on specific platforms, such as the MERA 300 minicomputer, the Wikipedia platform, or JavaScript. The pieces are described in terms of database studies in contemporary digital literature.