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Journal articles on the topic 'Character sketches'
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1
Brodt, Kirill, and Mikhail Bessmeltsev. "Sketch2Pose." ACM Transactions on Graphics 41, no. 4 (July 2022): 1–15. http://dx.doi.org/10.1145/3528223.3530106.
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Artists frequently capture character poses via raster sketches, then use these drawings as a reference while posing a 3D character in a specialized 3D software --- a time-consuming process, requiring specialized 3D training and mental effort. We tackle this challenge by proposing the first system for automatically inferring a 3D character pose from a single bitmap sketch, producing poses consistent with viewer expectations. Algorithmically interpreting bitmap sketches is challenging, as they contain significantly distorted proportions and foreshortening. We address this by predicting three key elements of a drawing, necessary to disambiguate the drawn poses: 2D bone tangents, self-contacts, and bone foreshortening. These elements are then leveraged in an optimization inferring the 3D character pose consistent with the artist's intent. Our optimization balances cues derived from artistic literature and perception research to compensate for distorted character proportions. We demonstrate a gallery of results on sketches of numerous styles. We validate our method via numerical evaluations, user studies, and comparisons to manually posed characters and previous work. Code and data for our paper are available at http://www-labs.iro.umontreal.ca/bmpix/sketch2pose/.
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Kazmi, Ismail Khalid, Lihua You, and Jian Jun Zhang. "A hybrid approach for character modeling using geometric primitives and shape-from-shading algorithm." Journal of Computational Design and Engineering 3, no. 2 (November 6, 2015): 121–31. http://dx.doi.org/10.1016/j.jcde.2015.10.002.
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Abstract Organic modeling of 3D characters is a challenging task when it comes to correctly modeling the anatomy of the human body. Most sketch based modeling tools available today for modeling organic models (humans, animals, creatures etc) are focused towards modeling base mesh models only and provide little or no support to add details to the base mesh. We propose a hybrid approach which combines geometrical primitives such as generalized cylinders and cube with Shape-from-Shading (SFS) algorithms to create plausible human character models from sketches. The results show that an artist can quickly create detailed character models from sketches by using this hybrid approach.
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Healey, Helen. "Character Lines." Canadian Theatre Review 89 (December 1996): 22–24. http://dx.doi.org/10.3138/ctr.89.004.
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When Judith Thompson’s Lion in the Streets was given a script workshop at Tarragon Theatre in May, 1990, freelance artist Helen Healey was invited to attend and to sketch her impressions. These pencil sketches are a few of the many executed in the course of that workshop. Healey, whose haunting work graces the cover of The Other Side of the Dark, has an ongoing professional relationship with Judith Thompson. Most recentl y she designed the poster image for Sled at Tarragon Thea tre.
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Raghatwan, Jyoti S., and Sandhya Arora. "Improved Sketch-to-Photo Generation Using Filter Aided Generative Adversarial Network." International Journal on Recent and Innovation Trends in Computing and Communication 10, no. 9 (September 30, 2022): 104–11. http://dx.doi.org/10.17762/ijritcc.v10i9.5713.
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Generating a photographic face image from given input sketch is most challenging task in computer vision. Mainly the sketches drawn by sketch artist used in human identification. Sketch to photo synthesis is very important applications in law enforcement as well as character design, educational training. In recent years Generative Adversarial Network (GAN) shows excellent performance on sketch to photo synthesis problem. Quality of hand drawn sketches affects the quality generated photo. It might be possible that while handling the hand drawn sketches, accidently by touching the user hand on pencil sketch or similar activities causes noise in given sketch. Likewise different styles like shading, darkness of pencil used by sketch artist may cause unnecessary noise in sketches. In recent year many sketches to photo synthesis methods are proposed, but they are mainly focused on network architecture to get better performance. In this paper we proposed Filter-aided GAN framework to remove such noise while synthesizing photo images from hand drawn sketches. Here we implement and compare different filtering methods with GAN. Quantitative and qualitative result shows that proposed Filter-aided GAN generate the photo images which are visually pleasant and closer to ground truth image.
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Weatherwax, Annie. "Oddballs & Relationships: Character sketches + stories." Ploughshares 49, no. 4 (December 2023): 125–37. http://dx.doi.org/10.1353/plo.2023.a917703.
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Abstract: The Winter 2023-24 Issue. Ploughshares is an award-winning journal of new writing. Since 1971, Ploughshares has discovered and cultivated the freshest voices in contemporary American literature, and now provides readers with thoughtful and entertaining literature in a variety of formats. Find out why the New York Times named Ploughshares "the Triton among minnows." The Winter 2023-24 Issue, edited by Ladette Randolph, features poetry and prose by Richard Bausch, Jesse Lee Kercheval, Ian Stansel, Ariana Benson, Rebecca Morgan Frank, Marie Howe, and more.
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Yang, Se Rim. "A Study on the Efficient Utilization of Generative AI for KBO Team Character Design." Korea Institute of Design Research Society 9, no. 1 (March 30, 2024): 52–64. http://dx.doi.org/10.46248/kidrs.2024.1.52.
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The influx of younger fans into the KBO necessitates improvements in existing character designs. Therefore, this study aims to leverage generative AI for effective KBO team character design to gain an efficiency advantage. The research methods included a literature review on generative AI, KBO, and character design. It also analyzed changes in character designs from past to present KBO teams, determining new design directions through SWOT and design analysis of existing characters. Two approaches were employed to develop character design drafts: using generative AI and idea sketches. Based on expert opinions, six directions were selected. Comparative analysis revealed that the draft 2-2 using generative AI, with its smiling expression and detailed facial features, effectively fostered emotional connections with consumers. In conclusion, generative AI can quickly visualize users' creative ideas economically, proving more efficient compared to character designs through idea sketches. Thus, the use of generative AI can contribute to enhancing competitiveness in the market.
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Chen, Bing-Yu, Yutaka Ono, and Tomoyuki Nishita. "Character animation creation using hand-drawn sketches." Visual Computer 21, no. 8-10 (August 31, 2005): 551–58. http://dx.doi.org/10.1007/s00371-005-0333-z.
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Wang, Fei, Yu Yang, Baoquan Zhao, Dazhi Jiang, Siwei Chen, and Jianqiang Sheng. "Reconstructing 3D Model from Single-View Sketch with Deep Neural Network." Wireless Communications and Mobile Computing 2021 (April 19, 2021): 1–9. http://dx.doi.org/10.1155/2021/5577530.
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In this paper, we introduce a novel 3D shape reconstruction method from a single-view sketch image based on a deep neural network. The proposed pipeline is mainly composed of three modules. The first module is sketch component segmentation based on multimodal DNN fusion and is used to segment a given sketch into a series of basic units and build a transformation template by the knots between them. The second module is a nonlinear transformation network for multifarious sketch generation with the obtained transformation template. It creates the transformation representation of a sketch by extracting the shape features of an input sketch and transformation template samples. The third module is deep 3D shape reconstruction using multifarious sketches, which takes the obtained sketches as input to reconstruct 3D shapes with a generative model. It fuses and optimizes features of multiple views and thus is more likely to generate high-quality 3D shapes. To evaluate the effectiveness of the proposed method, we conduct extensive experiments on a public 3D reconstruction dataset. The results demonstrate that our model can achieve better reconstruction performance than peer methods. Specifically, compared to the state-of-the-art method, the proposed model achieves a performance gain in terms of the five evaluation metrics by an average of 25.5% on the man-made model dataset and 23.4% on the character object dataset using synthetic sketches and by an average of 31.8% and 29.5% on the two datasets, respectively, using human drawing sketches.
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Mogoşan, Iulia. "Schubert’s “Tenth”: an Interpretation Between Construction and Restitution." Artes. Journal of Musicology 25, no. 1 (April 1, 2022): 58–81. http://dx.doi.org/10.2478/ajm-2022-0005.
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Abstract In Franz Schubert’s creation the fragment takes on various forms of manifestation, ranging from the fragmentary reception of an already constituted piece to the fragmentary notation, in the form of a sketch, of a work that has not yet been completed. A special place belongs to the Tenth Symphony in D major, D 936A, by Schubert, left unfinished; we received it as a sketch, in a convolute, together with two other unfinished symphonies in the same key: D 615 and D 708A. The present study aims to expose three artistic interpretations of these sketches, materialized in completed musical works, with a distinct approach. The intention of the British composer and conductor Brian Newbould was to finish the symphony in the way that Schubert himself would have done, anchoring the musical ideas from the sketches in the composer’s style. Peter Gülke approached the sketches through the eyes of the researcher and the analyst, with the intention of obtaining their most accurate and authentic reproduction, emphasizing the materialization of some of Schubert’s possible intentions. Finally, Luciano Berio manages in Rendering to musically render the sketches per se, imagining a musical fresco where the concrete musical ideas, written by Schubert, are deliberately mixed with the provisional character of the manuscript.
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Thon, Jan-Noël. "Transmedia characters: Theory and analysis." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 176–99. http://dx.doi.org/10.1515/fns-2019-0012.
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AbstractThis article sketches a theoretical framework and method for the analysis of transmedia characters that focuses on specific instantiations of these characters in individual media texts, before asking how these local work-specific characters relate to other local work-specific characters or coalesce into glocal transmedia characters as part of global transmedia character networks, thus evading what one could consider an undue emphasis on the “model of the single character” when analyzing the various characters that are, for example called Sherlock Holmes, Batman, or Lara Croft. The connections between these work-specific characters within transmedia character network could then be described as either relations of redundancy, relations of expansion, or relations of modification – with only redundancy and expansion allowing for medial representations of work-specific characters to contribute to the representation of a single transmedia character. In intersubjectively constructing characters across media, however, recipients will not only take into account powerful normative discourses that police the representation of characters across media but also draw on their accumulated knowledge about previously represented work-specific or transmedia characters as well as about transmedia character templates and even more general transmedia character types.
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Brilmyer, S. Pearl. "“The Natural History of My Inward Self”: Sensing Character in George Eliot's Impressions of Theophrastus Such." PMLA/Publications of the Modern Language Association of America 129, no. 1 (January 2014): 35–51. http://dx.doi.org/10.1632/pmla.2014.129.1.35.
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A large body of Eliot scholarship is dedicated to the question of human sympathy. My essay moves in a different direction, arguing that Eliot saw literature not only as a medium for intersubjective understanding but also as an amplificatory technology, a tool for sensory enhancement. This technology is embodied by the affective dynamics of character in Eliot's final published work, Impressions of Theophrastus Such (1879), a collection of character sketches and philosophical essays composed in conversation with the ancient Greek naturalist and sketch writer Theophrastus of Eresus. In Impressions Eliot invokes the descriptive traditions of natural history and the character sketch to suggest that human beings, like other animals, are conditioned by bodily frameworks and habitual responses that allow them to sense some things and not others. A meditation also on the history of characterization itself, Impressions puts pressure on the modern association of character with individual human psychology.
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Ermolaeva, Nina L. "L. N. Tolstoy and A. T. Tvardovsky. On the Way to Epic." Two centuries of Russian classics 4, no. 3 (2022): 96–119. http://dx.doi.org/10.22455/2686-7494-2022-4-3-96-119.
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The article reveals the affinity of the world outlook, values and the ways of formation of the epic thinking of L. N. Tolstoi and A. T. Tvardovsky in their pre-epic sketches “Sevastopol Sketches” and “From Karelian Isthmus (The Front-line Notebook).” These works present their authors as the chroniclers of the on-going historical events, depicting their tragic character by different means of artistic expression. Both Tolstoi and Tvardovsky find the ways of depicting the epic image of the war fraternal community in the genre of a sketch. In their poly-character sketches, the writers use the ways of psychological analysis typical to their future epic: “dialectics of soul” of Tolstoi and the “folk” psychological characteristics of Tvardovsky. The epic thinking of the writers means the use of the poetic images, traditional to the folk culture as well as the mythological images that they treat in different way. The author of the article is assured that the formation of the epic thinking of Tolstoi and Tvardovsky, “truth of the explicit live witness” in “War and Peace” and “A Book about a Soldier” became possible due to the closeness of the writers with the folk masses as well as acquiring the folk view on the war and peace: in Sevastopol for the former and in the snows of Finland for the latter.
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Wan, Binjie, and Euitay Jung. "Character Development To Promote Traditional Tea Culture: Focusing on China's intangible cultural heritage “Tea Baixi”." korea soc pub des 13 (June 30, 2024): 92–101. http://dx.doi.org/10.54545/kspd.2024.06.92.
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Chinese tea culture is believed to have originated during the Shennong era, with a history of at least 4700 years. Despite its rich cultural heritage, tea is mainly enjoyed by the middle-aged and elderly. To expand its market and pass on tea culture to younger generations, this study focuses on developing cultural characters based on the intangible cultural heritage of “Tea Baixi”.The study began with a review of relevant materials and literature on “Tea Baixi”. It then analyzed the character traits favored by Generation Z, using five award-winning cultural characters from China’s annual IP selection. These insights were used to create character sketches, which were evaluated through surveys based on originality, approachability, diversity, consistency, and interest inducement, leading to feasible character designs.This research creatively reinterprets “Tea Baixi”, linking traditional culture with modern lifestyles through innovative character design. It aims to offer new perspectives for cultural transmission and explore the application of character design in cultural heritage preservation and innovation.
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Jávor, Anna. "Die "Taufe Christi" im Werk von Johann Lucas Kracker." Opuscula historiae artium, no. 1-2 (2022): 94–105. http://dx.doi.org/10.5817/oha2022-1-2-8.
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In recent years, the set of drawings by Johann Lucas Kracker (1719–1779) has been enlarged with 12 pieces. The sheets preserved in the museum of Debrecen include a sketch showing the baptism of Christ in the Jordan. It is the first variant of the high altar of the Premonstratensian abbey in Jasov. Two exquisite painted oil sketches for the enormous picture of the high altar signed in 1762 (Košice / Jasov, Bratislava, Slovak National Gallery) have long been known. The drawing is a far simpler composition with few figures, reminiscently of Daniel Gran's painting for the high altar of Vienna's church of the Brothers Hospitallers (1736). The painted sketches were extended with genre figures from the motivic set of Paul Troger (1698–1762) and with the large angel holding a drapery behind Jesus. Kracker painted another two reduced versions on the basis of the sketches: for a side altar in the remonstratensian church in Nová Říše and a small mural for the church of Rancířov (1763). To the picture of the high altar in Jasov a monumental fresco cycle belongs narrating the legend of John the Baptist; their epic character suggests the inspiration of the Gospels according to Matthew, Mark and Luke, while the drawn sketch was presumably inspired by St John's Gospel. The commission was given by abbot Andreas Sauberer (1700–1779).
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Morrison, Kevin A. "Modulating Narrative Voice: Mary Russell Mitford's Sketches of Rural Character." Women's Writing 22, no. 4 (April 17, 2015): 505–24. http://dx.doi.org/10.1080/09699082.2015.1025471.
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MOSKALCHUK, VLADISLAV ROMANOVICH, and KIRILL NIKOLAEVICH TARASENKO. "ANIMATED THREE-DIMENSIONAL MODEL OF THE AMUR COSSACK OF THE XVII CENTURY." Messenger AmSU, no. 95 (2021): 58–62. http://dx.doi.org/10.22250/jasu.95.12.
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Kimble, James J. "Character sketches: The curious propaganda careers of Mary, Jane, and Willie." Communication Review 20, no. 2 (April 3, 2017): 142–61. http://dx.doi.org/10.1080/10714421.2017.1305252.
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Burtsev, A. A., and M. A. Burtseva. "The art of novelist Afanasiy Fedorov." Issues of National Literature 11, no. 3 (October 3, 2023): 5–17. http://dx.doi.org/10.25587/2782-6635-2023-3-5-17.
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The article is devoted to the study of Afanasiy Fedorov's stories, which have a central place in the writer's heritage. His genre system includes various forms of short prose: from everyday stories to plot short stories, from small sketches, sketches of a character to psychological stories. The author's skill manifested itself primarily in the creation of a diverse artistic anthropology, consisting more of human rather than social types. Therefore, in his stories there is no tendentiousness and ideological bias characteristic of socialist realism. The characters' actions are psychologically motivated. The innovation of the Yakut writer was the creation of foreign heroes. In the poetics of his stories, the tradition of Russian literature was felt: like Anton Chekhov, he strove to show the complexity and significance of life phenomena through the simplest and most insignificant events of everyday life. On the whole, the logic of Afanasiy Fedorov's work was of an inductive nature: starting with small genres of prose, he gradually moved on to large epic forms.
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Abdelkarim, Sherif. "Ibn al-Khaṭīb: Character Assassin." PMLA/Publications of the Modern Language Association of America 137, no. 1 (January 2022): 70–87. http://dx.doi.org/10.1632/s0030812921000808.
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AbstractAmong the poetic modes to persist since Islam's advent, hijāʾ, or classical Arabic invective poetry, pushes the limits of permissible art while preserving aspects of court culture not found elsewhere in the premodern corpus. The harshest pieces of hijāʾ have jeopardized its very status as a proper art form, its popular appeal notwithstanding. This essay sketches the ethical and aesthetic contours of hijāʾ in postclassical Arabic literature (ca. 1000–1400), including the motivations that occasioned it. It offers as a case study the hijāʾ of the foremost Andalusian minister, Lisān al-Dīn ibn al-Khat.īb (d. 1375). The poet-politician's terms of abuse shed light on Granada's political strains, and they jar with a tradition that proscribes calumny altogether and calls adherents to unite in virtue and piety, not sin and slander. In practice, Ibn al-Khat.īb's sharp tongue invited physical retaliation, which forced the man to scope the lands, in search of escape.
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Bos, Jacques. "Individuality and Inwardness in the Literary Character Sketches of the Seventeenth Century." Journal of the Warburg and Courtauld Institutes 61 (1998): 142. http://dx.doi.org/10.2307/751247.
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Shulgina, O. M. "Sketches and Watercolour Paintings of Aleksander Gorbunkov as an Object of Visual Anthropology (based on the collection of the State Central Film Museum)." Kunstkamera 19, no. 1 (2023): 87–102. http://dx.doi.org/10.31250/2618-8619-2023-1(19)-87-102.
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The article considers a series of drawings made by Russian painer, graphic artist and art historian Aleksander Gorbunkov in 1947–1948. These sketches have ethnographic character and provide a quite accurate depiction of Chukchi dwellings, household constructions, clothing, transport, religious objects and household items of the first third of the 20th century. The collection of sketches and watercolours painted by Gorbunkov has not yet been introduced to the scientific community. However, it is of undoubted interest. First of all, it is due to the fact that the 1930s were the time of tectonic social and cultural changes, which influenced various aspects of material culture of the indigenous people in Chukotka. The works of Gorbunkov can serve as a source for the study of the period when “alien” pan-European elements were being actively incorporated into the traditional patterns of Chukchi and Asian Eskimo material culture. This, in turn, contributed to the selection of certain forms by the indigenous inhabitants, which is reflected in the artist’s sketches.
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Wang, Bo, Franca Giannini, Marina Monti, BaoJun Li, Ping Hu, and JiCai Liang. "Car model reconstruction from images through character line recognition." Engineering Computations 35, no. 5 (July 2, 2018): 1873–906. http://dx.doi.org/10.1108/ec-11-2016-0376.
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Purpose This paper aims to automatically derive a 2D parametric model of the main characteristic lines of a car from images, blueprints or hand-made sketches of its side view. Then this model can be used for the further computer-aided design manipulation starting from images of the side view of a car. Design/methodology/approach The method combines different image edge detection techniques and edge removal processes with optimization techniques according to local and global constraints specific of the single curves to automatically construct a precise parametric model of the main character lines of a car from images. First, process the car image to compute the most important curves and then warp a car template model to match its feature points and curves with the ones detected in the image. Findings The paper provides method to construct parametric model from an image using maximum cover ratio to the edge points obtained by state-of-the-art edge detection algorithms. A feature points’ organization mechanism produces quadric curves to express feature curves of a product. Research limitations/implications The robustness of the presented method depends on the completeness of edge detection results and the accuracy of some key points’ registration result, so if the image is not good, the result cannot be trusted. Only side-view is considered in this paper. Additional limits in the process regard the side view verification: pictures of the front or rear view can be wrongly classified as lateral ones when they contain round lights. Practical implications This program enables designers to convert the image to geometric parametric model directly. Originality/value The method is applicable to shaded pictures, sketches and blue prints of the side view of a car. It can process a database of car images in a batch mode or a specific picture on user demand. The method classifies the cars to different categories: SUV/Wagon/Hatchback, sedan, city and coupe. The authors obtain good results for every category.
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Kjellmer, Viveka. "Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.
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In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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Brown, Marilyn M. "The gardens of Glamis: an aerial view." Proceedings of the Society of Antiquaries of Scotland 135 (November 30, 2006): 19–39. http://dx.doi.org/10.9750/psas.135.19.39.
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Traces of the gardens laid out around Glamis Castle in the late 17th century have been recorded during aerial survey. The paper discusses the form of the gardens, the indications of earlier features, their character and their destruction. Documentation relating to the estate, the architectural sketches on the Pont manuscript maps and the results from geophysical survey are considered in relation to the evidence from the cropmarks.
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Ortenberg, Alexander. "Joy in the Act of Drawing: Maybeck's Palace of Fine Arts." Journal of the Society of Architectural Historians 70, no. 1 (March 1, 2011): 38–63. http://dx.doi.org/10.1525/jsah.2011.70.1.38.
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Joy in the Act of Drawing: Maybeck's Palace of Fine Arts focuses on Bernard Maybeck's working drawings for the surviving fragment of the 1915 Panama-Pacific International Exposition in San Francisco. Because it was originally designed as a temporary structure, it has been dismissed by some critics as the roughly detailed product of a speedy production process. However, Alexander Ortenberg shows that the working drawings were carefully produced in accordance with the professional standards of American Beaux-Arts architecture. What appear to be crude details were the product of thoughtful study, in which the charcoal of the earlier sketches was translated into the hard ink line of working drawings. Exploiting the liveliness of the drawing medium, Maybeck invented architectural details that preserved the freshness of his initial sketches and helped to define the theatrical character of the building.
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Prykhodko, Vira, Nataliia Soloshenko-Zadniprovska, Tetiana Viediernikova, Olha Chernenko, and Iryna Shulga. "Artistic synthesis of philosophy and history in Diana Ackerman’s Novel “The Zookeeper’s Wife”." Revista Amazonia Investiga 11, no. 52 (May 29, 2022): 123–34. http://dx.doi.org/10.34069/ai/2022.52.04.13.
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The article is devoted to the problem of Diana Ackerman’s the creativity. She created a touching and extremely objective book ‘The Zookeeper’s Wife’ showing the people suffering from the humiliation of their human dignity. Diana Ackerman, with endless love and anxiety for her characters, describes what people close to her saw and experienced during World War II. Her novel, imbued with the intense deployment of tragic actions and deeds, does not leave indifferent neither literary scholars, nor readers. The purpose of the article is to analyze the transformation of the characters in Diana Ackerman's novel ‘The Zookeeper’s Wife’ in the context of the development of the theme of survival in ‘labor camps’, Jewish ‘ghetto’ during the occupation period in European countries. The results of the study are understanding that the novel created is not characterized by the typical image of the main character, but the sketches do not ignore the individual features in the character of the husband, son, friends, her surrounding people, reveal the national features of life. The plausibility of events in occupied Poland of historical significance is being recreated. The study concluded that the novel is the work of life-affirming, performed by a civil and patriotic pathos.
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Alloa, Emmanuel. "Die Hintergründigkeit des Alltags." Phänomenologische Forschungen 2018, no. 1 (2018): 8–26. http://dx.doi.org/10.28937/1000107743.
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In contemporary philosophy, many attempts were made to rehabilitate the everyday. However, such a reappraisal of the everyday is ambivalent, as it tends to objectify what is profoundly elusive due to its diffuse, ambient character. The two prevailing strategies (the ,celebration‘ of the everyday and the ,critique‘ of the everyday) both miss the everyday because they treat it as a positive entity. Whether by celebrating or by understanding it – in both cases they kill it. This article argues that part of the problem lies in the objectifying bias inherent in these approaches and sketches an alternative phenomenological approach, which suggests that the character of the everydayness first and foremost lies in its ,backgroundness‘ (Hintergründigkeit).
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Rattanaprapawan, Sittisak, Apisak Sindhuphak, Krissana Kiddee, and Sompol Dumrongsatien. "Digital Sketching Applications for Design of Multicultural Toys Based on Himavanta Creatures from Thai, Laos, and Myanmar Fine Arts." International Journal of Interactive Mobile Technologies (iJIM) 14, no. 09 (June 17, 2020): 196. http://dx.doi.org/10.3991/ijim.v14i09.13133.
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<p>The research focuses on digital sketching aspect through a depiction of Himavanta creatures and characters from Thailand, Laos, and Myanmar, where the details of paintings, sculptures, and architectural features as well as multicultural aspiration and imaginations are considered main variables. The research analyzed Himavanta creatures’cultural identities, sculptural forms and patterns, colors, and characteristic structures and implemented these identities into a design process, which then initiated a digital sketching process to transfer the artwork into designing multicultural toys. The evaluation processes comprised of eight design aspects including 1) concepts and theories of toy design, 2) contents connectedness, 3) discretion to communities, 4) suitability of Himavanta creature, 5) numbers of character sets in basic level, 6) numbers of character sets in experienced level, 7) content management for toy design process, and 8) digitize design procedures.The research results show that the Himavanta creatures including Singha, Chinese lion, Kochasri, Garuda and Swan that based on the digital sketch from paintings, sculptures, architectural features, as well as artisan’s imaginations in the multicultural societies were significantly similar.By testing and applyingthe concepts and theories of multicultural toy design processes from digital sketches, each final design found to be practical and displayed effective cultural means that remains true to its mood and tonality of its cultural interpretation. Consequently, the level of satisfactory evaluation on the process of the design samples, the awareness effectiveness, and the toy’s interpretation shows the value of x̄ = 4.46 and the value of 0.58 standard deviation. The satisfaction on the design worksshows that awareness and interpretation consistency indicate x̄ =3.84 and the standard deviation was at 0.65. </p><p> </p>
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Rosie, Michael. "Scotland's Catholics, A Distinctive Community?" Scottish Affairs 31, no. 3 (August 2022): 366–81. http://dx.doi.org/10.3366/scot.2022.0422.
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Despite persistent debate about the status and character of Scotland’s Catholic community the question of how distinctive – if at all – Scotland’s Catholics are within a wider British Catholicism is seldom asked. Utilising the newly released Catholics in Britain Survey of 2019 this short article sketches out some comparative evidence on Catholic religiosity, moral values, family, and personal networks. It concludes that Scotland’s Catholicism is closely similar, in terms of such measures, to a wider British Catholic community.
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Kukla, Jon. "Reflections: Orator of Nature: William Wirt’s Sketches of the Life and Character of Patrick Henry." Reviews in American History 44, no. 4 (2016): 517–23. http://dx.doi.org/10.1353/rah.2016.0070.
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Plomp, Michiel. "'Een merkwaardige verzameling Teekeningen' door Leonaert Bramer." Oud Holland - Quarterly for Dutch Art History 100, no. 2 (1986): 81–151. http://dx.doi.org/10.1163/187501786x00458.
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AbstractA century ago the Rijksprentenkabinet in Amsterdam acquired a 19th-century album containing 56 rapid sketches in black chalk after 17th-century, mostly Dutch paintings (Note 1). The sketches, which are numberd, have the names of the painters wrillen on them in the artist's own hand. They were first published in 1895 (Note 2) by E. W. Moes, who concluded that they were by a Delft artist, and C. Hofstede de Groot, who convincingly attributed them to Leonaert Bramer (1596-1674) and identified two of the paintings in question. Since then various other paintings have been identified (Notes 5, 7, 8, 11 and 12), notably by A. Blankert, who has made his findings available for the present publication, and other drawings belonging to the series have been found, Frits Lugt leading the way here (Notes 9 and 10). The present study, the first to be undertaken in depth since 1895, has brought to light three more sketches after paintings by Bramer himself (cat. nos.9-11) and one probably after Wouwerman (cat. no.65), while seven more paintings have been identified and one of the sketches without a name has proved to be after a painting by Antonio Maria Viani. Two lists of the sketches so far found are given here: that of State I reproduces the original order, that of State II gives the artists in alphabetical order as they appear in the catalogue published here. These sketches are of exceptional documentary value, since they have not only given us the names of some previously unknown painters, such as M. de Berch, J. Garbaal, P. Monincx and A. Pick, but they have also revealed unexpected aspects of some well-known ones, e.g. a still life by P. van Groenewegen, a Dutch landscape by J.B. Weenix and a genre piece of a very Utrecht character by L. de Jongh. Moreover, the sketches afford a fine glimpse of collecting in Holland in the 17th century, a subject otherwise known uirtually only from non-visual documents. On the back of one of the drawings (cat. no.6) appears a list of the owners of the pictures sketched (Fig. I), possibly written by Bramer himself. This is reproduced here in an amplified version of Moes' transcription, with one completely new name yielded by the present study. The styles given in the list suggest that the men concerned appear in it in order of their social standing. The first, Simon Graswinckel (c.1611-71), was a member of a wealthy Delft family of brewers and regents. He owned a great deal of property in and around Delft, but is reported by his brothers-in-law to have spent his time in gaming-houses and taverns (Note 30). His will of 1663 is known, but no paintings are mentioned in it. The second man on the list was probably a Van Beresteijn, another family from the wealthy upper echelons of Delft society. His precise identity came to light in a roundabout way via the inventory of 28 February 1652 of Adriaen van Vredenburg, in which are listed a number of paintings that were very probably sketched by Bramer (Note 32), notably one of Jezebel, this mention and Bramer's sketch being virtually unique indications of this subject in Dutch 17th-century painting. Vredenburg does not appear in the list of owners of the paintings, but on his death his property went to his stepdaughter, whose guardian he had been and who married Theodorus van Beresteijn in November 1652. Antonie van Bronchorst is known only from the commission he gave Bramer in 1653 to painl frescoes in his house (Note 34), while Capitein van der Bon..., Nicolaas van der Werch and Johan Persijn have not yet been traced in the Delft archives. Willem de Langue (1599-1666), on the other hand, was a lawyer and a connoisseur of paintings unparalleled in Delft in the mid 17th century (Note 36). He himself made the inventories of the paintings in important estates and he numbered many artists among his clientele (Note 37). Portraits of him and his wife by Van Vliet are known (Note 38), while he also appears as an officer in a militia piece of 1648 by Jacob Willemsz Delff (Fig. 2). Abraham de Cooge (before 1600-after 1680) was the most versatile person in the list, being an engraver, painter, dealer in tulip bulbs, organs and paintings and pottery manufacturer (Note 39). He was registered in the Guild of St. Luke in Delft in 1632 and two paintings by him are known (Note 40). In 1646 Leonaerl Bramer made illustrations to the picaresque novel Lazarilo de Tormes for him (Note 17). In the 1650's De Cooge was increasingly involved in art-dealing and that on no small scale. He also had representatives in Antwerp, so was probably among the biggest art-dealers in the Northern Netherlands. Adam Pick (c. 1622-before 1666) enrolled in the Guild of St. Luke in Delft in 1642 (Note 43) and was active in the town up to the early 1650's as a painter of landscapes, genre pieces and still lifes (Fig.3) and also as the keeper of the Toelast ( Wine Cask) inn. He probably moved to Leiden, where he is mentioned in 1654 as a vintner, in 1653, perhaps as a consequence of the death of his first wife in 1652, f or he certainly sold the inn that year. The inventory of their joint property drawn up in 1653 includes a list of paintings, which tally with nos.8(?) -98 in the State I list. Only one painting by Pick is known (Fig.3), plus the sketch by Bramer after another (cat. no.44). Reinier Jansz Vermeer (1591-1652, Note 46), the father of Johannes, started out as a silk weaver, but appears in 1629 as an innkeeper and in 1631 was registered in the Guild of St. Luke in Delft as an art-dealer. From then on he came into frequent contact with local painters, Bramer included, but his dealing was probably only a sideline of his innkeeping. He died in October 1652. The last owner on the list is Bramer himself, who returned to Delft in 1628 after a lengthy period in France and Italy (1614-27, Note 49). He played a leading part in the Guild of St. Luke and was among the most successful painters in Delft around the middle of the 17th century. Later in life, however, he was often in financial difficulties (Note 50). He was one of the very few Dutch fresco painters (Note 51), as well as a painter of history and genre pieces and a prolific draughtsman and illustrator (Note 52), while just one document provides evidence of his dealing in paintirtgs (Note 54). The presence of works by Bramer himself among the sketches seems to rule out the theory that he made them as an aide mémoire for his own use (Note 15), while their very rapid character makes it unlikely that they were produced for one of the owners as an art-object. It also seems highly improbable that the collectors/owners would have wanted their collections of paintings sketched together in one book. The most acceptable suggestion appears to be that they were made in connection with a forthcoming sale of pictures, particularly as three of the owners listed were involved in art-dealing, while in the cases of Vermeer, Pick and Van Beresteijn there was every reason for paintings from their collections being sold around the end of 1652 or beginning of 1653: Vermeer's death left his family in dire financial straits, Pick will probably have sold his pictures (as he did his inn) before moving to Leiden and Van Beresteijn will probably have wanted to realize some money on his wife's inheritance. Thus the dates of Vermeer's burial in October 1652 and Pick's inventory of March 1653 would seem to provide crucial clues to the dating of the sketches, which were probably made in rapid succession, to judge from the unity of style, despite the great diversity of the models, and the straightforward consecutive numbering. Presumably the intention was to bring these pictures from Delft collections together for a sale (Note 18) and Bramer was commissioned to make sketches in advance (or even to make a certain selection, Note 19) possibly to give an idea of what was on offer to collectors or dealers elsewhere (which might explain the 'inking in' of the painters' names originally written in chalk on five of the drawings, cat. nos. 17, 35, 36, 47 and 64). Bramer made such chalk inscriptions on ten of the drawings (Note 20), probably while sketching them. Afterwards he inscribed and numbered all of them in ink (Note 5). Notes in another 17th-century hand appear on cat. nos.22 and 24. The sheets may all have been of the same size originally, but have since been cut down, often wholly or partly along the framing lines around the sketch. This may well have been done by Bramer himsef or the dealer he made them for. Just over half of them remained together and were stuck into the present album in the 19th century. There are no portraits among the sketches and only two stll lifes and two marine paintings, but eleven Italianate landscapes and 22 history paintings. Thus the subjects differ somewhat from the categories arrived at by Montiasfor mid 17th-century Delft from his study of inventories (Note 56). The preference for history pieces is probably to be explained by the high social standing of the owners. The majority of the pictures were very modern for that time and of the 41 artists, 28 were still alive in 1652-3 and eight of them were only 35 or younger. Bramer's material contradicts Montlas' conclusion that Delft collectors showed a preference for local painters (Note 58), whose work amounted to 40-50% of that listed in the inventories. Of Bramer's 41 painters, only thirteen were from Delft (Note 59) and only five are found in Montias' list of the most common painters in Delft inventories. Thus the pictures sketched by Bramer fall outside the 'normal Delft pattern' and evince a less provincial taste. However, the collectors were still not among the leading figures of their day in this field by comparison with, for example, Boudewijn de Man of Delft (Note 62), whose collection included works by Goltzius, Bloemaert, Rubens, Rembrandt and Ter Brugghen in 1644. The pictures sketched by Bramer were presumably to be brought together for public auction and the sketches may very probably have been made with an eye to the sale catalogue. While sale catalogues are known in the second half of the 17th century, they only relate to very important collections, which makes these sketches very unusual as a documentation of a sale of pictures from average well-to-do collectors and dealers. The collection of sketches as such certainly has no parallel at this period (Note 64).
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Cure, Monica. "Mutual Misunderstanding: Intercultural Competence and the Unconscious/Conscious Dialectic in Henry James’ 'The Portrait of A Lady'." Linguaculture 9, no. 2 (December 10, 2018): 51–64. http://dx.doi.org/10.47743/lincu-2018-2-0123.
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Henry James, in his novel The Portrait of a Lady, builds a world around a main character who temperamentally and then circumstantially appears to every chance for happiness, especially when compared with others. As many critics have noted, Isabel Archer experiences tragedy because of this great potential for fulfillment rather than in spite of it. However, what critics have tended to overlook is the other parallel, though “minor,” irony of the novel: her friend Henrietta Stackpole’s fulfillment and move to England. The infamous ending of Isabel can be better understood by looking at it through the lens of intercultural competence and by comparing it with that of Henrietta. Building off the theory of unconscious versus conscious cultural identity that James sketches in his essay 1878 “Americans Abroad,” this article analyzes the role self-consciousness and awareness of cultural differences in the development of the novel’s characters.
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HAVRYLIV, Tymofii. "THE TERRITORY OF SELF-AWARENESS: "THE ENCHANTMENT OF MOROCCO" BY SOFIIA YABLONSKA-UDEN." Ukraine: Cultural Heritage, National Identity, Statehood 32 (2019): 331–40. http://dx.doi.org/10.33402/ukr.2019-32-331-340.
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The article is devoted to the study of the content aspects and structural features of the book of travel sketches "The Enchantment of Morocco" by Ukrainian filmmaker and traveler Sofiia Yablonska-Uden. On the example of the work, the discursive mechanisms of travel literature are analyzed in the context of a broad range of issues relevant to the time of writing sketches; innovative, semimedia character of travel sketches is shown, content blocks and the interrelations between them are distinguished and highlighted. Hermeneutic scientific approaches are used in this article; it is based on the philosophy of identity and cultural studies, colonial and postcolonial studies. Main results of the research: 1) travel literature occupies an important, and often a key place in the discourse on identity; 2) identity is conceived as a key multilevel marker; 3) the intention of the trip contains an identical challenge that affects the preparation, organization, flow of travel, the way of documenting impressions and the content of documented impressions; 4) the book is characterized by the tension between colonialism and enslavement, in the field of which the self-positioning of the narrator occurs; 5) traveling fulfills the function of restoring lost communications – with oneself, with culture, with history, with natural, urban and anthropomorphic environment. Sofiia Yablonska-Uden's "The Enchantment of Morocco" sketches formulate an identical challenge and try to answer him. This answer is complex, based on antinomy pairs: statehood – statelessness, Europeanism – non-European, modernity – nonmodernity, femininity – manhood, domination – subordination, maturity – childhood. These antinomy pairs are in interference, inclusion, and / or tangency relationships. The study of travel literature, an identical issue, is relevant for the formation of a modern vision of Ukrainian society itself, belonging to a European civilization project and engaging in a global context. Keywords nonfiction travel literature, modernism, extraterritorialization, exotic discourse, orientalism.
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Mounisha, N., and V. Vijayalakshmi. "Revealing the Commonalities Existing in Depictions of Disabled Female Characters in Prose Fictions: A Study of Wilkie Collins’s The Moonstone and Toni Morrison’s “Recitatif”." Theory and Practice in Language Studies 14, no. 6 (June 19, 2024): 1888–96. http://dx.doi.org/10.17507/tpls.1406.30.
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Literature has numerous dimensions, among which novels and short stories are worth the mention. Stories from the past have been including disabled male and female characters in their plots, but the question of how these characters have been depicted is still debatable. When it comes to writers of the disability study, it has been noticed that they have been trying to establish the present state of people with impairments with the help of their deformed or disabled characters. It has been witnessed that novels and short stories concentrate on bringing out the darker side of a disabled person by focusing on his/ her issues and sufferings. The objective of this paper is to expose that literary works rarely focus on the brighter facet of a disabled character, especially a woman. It projects the differences that are endured by fictional individuals. The analysis undertakes the theory of Intersectionality to support its arguments of projecting the discrepancies in the picturisations of disabled female dramatic personas in novels and short stories. Hence, the research with the aid of select prose narratives brings out the conventional sketches of fictional impaired women.
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Erwinsyah, Alfian, Said Subhan Posangi, and Muhammad Arif Ferdiansyah. "PROGRESIVITAS ILMU PENGETAHUAN DAN TEKNOLOGI DALAM PENGEMBANGAN KARAKTER PADA PESERTA DIDIK." Tadbir: Jurnal Manajemen Pendidikan Islam 12, no. 1 (April 20, 2024): 120–30. http://dx.doi.org/10.30603/tjmpi.v12i1.4772.
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This research aims to analyze research articles on the progressivity of the application of science and technology to the development of students' character This research is a literature study using the Narrative Literature Review method. Data sources come from reputable international journals contained in the Scopus database, accessed through scopus.com, using keywords that have been determined from the initial study, namely Science and Technology and character. The research period covered the last 4 years (2019-2023) and the scope in the country of Indonesia, where 4 articles were obtained that fit the research objectives. From the analysis of the journal articles, some important information was found, including the author's contribution, diagnostic methods used, and content relevant to the research topic on the relationship between Science and Technology and character. The results found are (1) Using ICT-based Learning Media in introducing and teaching about the character of environmental care to students (2) Using LCD media and learning resources from the internet for problem solving of moral and social situations represented visually in the form of animated sketches. (3) Using a digital technology-based evaluation system Automated Short Essay Scoring directly affects students' confidence and character (4) Implementing a 15-minute reading system using ICT by browsing learning websites before learning can increase confidence to learn.
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Uvarkin, Gennadiy. "Copyright Protection for Characters in Transmedia Environment." Legal Issues in the Digital Age 5, no. 1 (April 4, 2024): 57–77. http://dx.doi.org/10.17323/2713-2749.2024.1.57.77.
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The proposed article provides an analysis of the legal regime for characters as impacted by the current content creation and dissemination trends with a focus on characters placed in transmedia environment and on the impact of transmedia storytelling on creative work. The author argues current global changes in creative work and different media make it relevant to return to discussions of the main premises of copyright regime for characters. In particular, the author explores a possibility to recognize independent exclusive rights to characters appear in different works of art as well as to those not described in any one of them, and looks into legal importance of characters not described in traditional works of art and literature. The paper raises the issue of exclusive right to characters in complex objects such as audiovisuals or computer games, as well as of the authorship and exclusive ownership of team-created and transmedia characters. The cases of joint authorship of (script) writers and artists as well as implications of creating images of characters existing in literary form as commissioned or allowed by the copyright holder are discussed. The legally important components of characters are explored as well as copyright transferability in the context of media production needs. The paper argues for a need to avoid mixing characters with other copyright objects, first of all works of visual arts including cartoon character sketches.
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Khandarova, Olga V. "Персонажная система и мотивная структура повести Г. Башкуева «Убить время»." Oriental Studies 14, no. 2 (July 20, 2021): 384–92. http://dx.doi.org/10.22162/2619-0990-2021-54-2-384-392.
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Introduction. Gennady Bashkuev’s works attempt to comprehend the late Soviet and post-Soviet eras, and To Kill Time proves a most significant prose work of the writer. Goals. The article seeks to identify and analyze the relationship between the system of characters in the novel and its motif structure, which helps clarify the underlying idea of the work, eclectic in structure and close in form to a short story cycle. Methods. The study rests on the theses about a relationship between semantics of motif and character, predicativity of motif, and on the concept of motif complexes and leitmotif construction of the narrative. Results. The main character of the novel is the narrator, the narrative proper divided into childhood memories and those of recent past. The characters of childhood can be clustered into three groups: family, friends, adults —motifs of happiness, celebration, romantic dreams and that of loss are associated with them. The characters of adulthood are women and childhood friends who are associated with motifs of marginal life, betrayal, guilt, and that of romance. The motifs of ‘childhood’ and ‘adulthood’ memories are intertwined, and it is the motif structure that ensures the integrity of the narrative. The key role in the novel is played by the binary image — the saleswoman Inga and the city madwoman — that combines two main themes for the narrator’s self-reflection: childhood and women. The plot structure partly fits into the universal mythological scheme: a series of trials — sketches-events from the life of the autobiographical narrator — is built into somewhat a ‘mythological journey’ to finally end with the acquisition of ‘elixir’ — catharsis and spiritual liberation. Conclusions. The image of the protagonist, the narrator, is explicated in the text and is revealed in the system of motifs associated with characters of his memories. Analysis of the character system proves instrumental in revealing key ideas of the novel and interpreting its title: those are reflections about time that become a focus of the author’s viewpoint uniting the seemingly disparate stories.
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Kazakova, Natalia Y., and Irina S. Shilkina. "Baron G. Kusov, or sketches for a portrait. On yet another prototype in O. Mandelstam’s Egyptian Stamp [Egipetskaya marka]." Voprosy literatury, no. 6 (December 20, 2019): 158–75. http://dx.doi.org/10.31425/0042-8795-2019-6-158-175.
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An acquaintance of Mandelstam’s from the pre-revolutionary Koktebel period, baron Kusov resurfaces in the poet’s life in the early 1920s. In their detailed research of the baron’s biography, the authors mention his graduation from the Page Corps, his brilliant career in the Chevalier Guard Regiment and success in the highest noble circle, his knowledgeable appreciation of music and ballet, his enthusiasm for theosophy, and a keen interest in Ancient Egypt. Based on their detailed analysis of documented evidence and Mandelstam’s text, the authors discover undeniable biographical and character-specifc similarities between the baron and Parnok, the protagonist of The Egyptian Stamp [Egipetskaya marka]. However, they still admit that Parnok is a complex character combining the features found in a number of Mandelstam’s acquaintances.
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Dahman, Ghada. "The American Frontier Character and His Relationship to Nature as Depicted by Thomas Bangs Thorpe." International Journal of Arabic-English Studies 4, no. 1 (January 1, 2003): 49–64. http://dx.doi.org/10.33806/ijaes2000.4.1.4.
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While going unnoticed by many writers, the significance of the American frontiersman of the south did not escape the attention of Thomas Bangs Thorpe of Louisiana. This article tries to reinstate the importance that the frontiersman of the 19th century held in the eyes of this Old Southwest humorist. Thorpe humorously depicts this unique character to an almost a godly magnitude, yet at the same time, he retains his human traits, hence, remaining on a level readers could relate to. Even though the frontiersman's presence became sadly diminished as civilization advanced, Thorpe was able to revive him through his sketches. The speech, manners and lifestyle of the frontiersman, who evolves out of the American wilderness around him, all become Thorpe's means to successfully documenting one side of American history which might have gone unrecognized were it not for Thorpe's short stories..
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Coleridge, Mark. "In Defence of the Other: Deconstruction and the Bible." Pacifica: Australasian Theological Studies 5, no. 2 (June 1992): 123–44. http://dx.doi.org/10.1177/1030570x9200500201.
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The article sketches the context and character of deconstruction and, at a time when deconstructionist perspectives are showing themselves surprisingly persistent in the humanities, urges that biblical criticism engage the claims of deconstruction before dismissing them - and this with a view to entering into a more vigorous and enriching conversation with the humanities. The article concludes by viewing aspects of the Lukan Infancy Narrative through the lens of deconstruction, showing that even here “signification overruns nomination without return”. To that extent, God appears in Luke 1–2 as one who stands up in defence of the other.
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Valente, Stefano. "Atticist Lexicography in the Palaeologan Age and Historical Sociolinguistics: Some Brief Remarks." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 41, no. 1 (December 20, 2019): 194–207. http://dx.doi.org/10.1163/17246172-40010015.
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Abstract This paper sketches how the investigation both of Atticist lexica produced or copied during the Palaeologan age and of Atticist entries in more general lexicographic works of that period can contribute to historical sociolinguistic studies. When examining Byzantine lexicography from this perspective, the highly conservative character of the content should always be kept in mind. Despite the re-use of linguistic categories elaborated and employed in earlier scholarly traditions, Byzantine Atticist lexica still offer evidence to help us understand how some of these categories such as ‘Attic’ vs ‘non-Attic’ were applied during the Palaeologan age.
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Harmawan, Ari, and Kuntadi Wasi Darmojo. "PENERAPAN MOTIF TRENGGILING PADA KERIS DHAPUR BETOK PAMOR UDAN MAS." Ornamen 19, no. 2 (December 1, 2022): 132–48. http://dx.doi.org/10.33153/ornamen.v19i2.3259.
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Traditional weapons, especially kris, have developed from their shape and character along with the times. In this final project, the writer makes a new keris, combining the pangolin motif on the kris with the chopping technique in the work. The Pangolin motif gives inspiration to the author, because it has a shape on the scales that is attractive and represents a symbol of self-protection. Pangolins are the only mammals that have scales to protect themselves from predators or predators in the wild. The pangolin motif is adapted to the design and will be applied to tosan aji's work in the form of a kris. The creation methods applied in the creation process are the exploration stage, the design stage, and the embodiment stage. Exploration includes observations, literature study and interviews. The design includes analysis and alternative sketches. The embodiment includes the application of the material that is in accordance with the selected sketch, which produces three kris, namely: Dhapur Trenggiling Sisik Waja, Dhapur Trenggiling Lingkaring Urip, Dhapur Manis Javanica. The creation of this final project rests on the application of the Pangolin motif to the kris using the tinatah technique. The Pangolin motif inspires the writer, because it has an interesting, unique character, and represents a symbol of self-protection. It is hoped that they will produce new kris creations without leaving the tradition that can build the meanings and help preserve works of art.
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Pizer, John. "From Jean de la Bruyère to John Aubrey and Beyond: The Development of Elias Canetti’s Character Sketches." Comparative Literature Studies 44, no. 1-2 (January 1, 2007): 166–82. http://dx.doi.org/10.5325/complitstudies.44.1-2.0166.
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Pizer, John David. "From Jean de La Bruyère to John Aubrey and Beyond: The Development of Elias Canetti's Character Sketches." Comparative Literature Studies 44, no. 1 (2007): 166–82. http://dx.doi.org/10.1353/cls.2007.0042.
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Kibal’nik, Sergei Akimovich. "CRYPTOGRAPHIC POETICS OF F. M. DOSTOEVSKY’S SHORT STORY THE ETERNAL HUSBAND (ROUGH SKETCHES AND BIOGRAPHICAL SUBTEXT)." Russkaya literatura 4 (2021): 108–22. http://dx.doi.org/10.31860/0131-6095-2021-4-108-122.
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The article suggests that F. M. Dostoevsky’s short story The Eternal Husband is a reinterpretation of A. I. Herzen’s novel Who Is to Blame? (1847). A note preserved in the drafts, that seems to refer to the future character of Trusotsky, serves as a key to unraveling the biographical subtext of the work. It seems that, apart from Dostoevsky’s own romantic experiences with M. D. Isaeva and A. P. Suslova, the story was based on his attitudes to the family drama of Herzen and Ogarev.
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Demeter, Tamás. "The Science in Hume's Science of Man." Journal of Scottish Philosophy 18, no. 3 (September 2020): 257–71. http://dx.doi.org/10.3366/jsp.2020.0276.
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This paper sketches a recently emerging divide between two interpretations of Hume's methodology and philosophy of science. On the first interpretation Hume relies on an inductive methodology and provides a (Newtonian) dynamic theory of the mind, and his philosophy of science reflects this methodology. On the second, Hume relies on inferences to the best explanation via comparative analysis of instances, and offers an anatomy of the mind relying on a chemical and organic imagery. The paper also aspires to lean the reader's sympathies toward the latter interpretation while outlining some of its potential consequences for the character of Hume's psychology, the limits of associationism, and his empiricism.
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Wright-Rios, Edward. "Indian Saints and Nation-States: Ignacio Manuel Altamirano’s Landscapes and Legends." Mexican Studies/Estudios Mexicanos 20, no. 1 (2004): 47–68. http://dx.doi.org/10.1525/msem.2004.20.1.47.
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Analyzing the costumbrista sketches of Ignacio Manuel Altamirano as a single multi-faceted work, and comparing his treatment of popular Catholicism in different communities, this study represents a new reading of the author’s writings. It proposes that Altamirano’s juxtaposition of religion and modernity across urban-rural and ethnic continua reveals the author exploring the possibilities of Indian-centered nationalism rooted in what he describes as the innately American, independent spirit of rural indigenous Catholic practice. In short, camou- flaged in a traditional, eclectic genre, Altamirano identified the foundations of the national character in Indian popular religion long before twentieth-century indigenismo looked to contemporary Native American culture for inspiration.
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Orlova, Olga Yu. "‘IT SOUNDED SO UNLIKE INDIA’: AUDITORY PERCEPTION IN ‘THE SECRET GARDEN’ BY F. H. BURNETT." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 104–10. http://dx.doi.org/10.17072/2073-6681-2021-2-104-110.
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Children’s literature has traditionally employed images of different sensory modalities to make the experience of the main characters more accessible to young readers. We believe that auditory imagery is an integral part of the sensory imagery repertoire of any text written for children, and auditory perception in a literary text reflects the way of interaction between the characters and the world around them at various stages of their spiritual journey. Being a traditional coming-of-age novel, The Secret Garden by F. H. Burnett shows a specific connection between auditory imagery and the plot of the novel since it reveals the changes in the main heroine’s character and highlights her growing need to accept another point of view. Eventually, Mary Lennox, the main character of the novel, becomes ready to hear other people: her initial indifference towards the surrounding is gradually being replaced by her sincere wish to listen to the Yorkshire dialect, speak her native tongue, and believe in the curing effect of the word. With the change of the spatial imagery of the text (from British India in the first chapters to the restricted space of the garden in the Yorkshire estate Misselthwaite Manor in the second part of the book), the heroine’s inner growth becomes more obvious, and the foregrounding of the sensory imagery (including auditory) grows more vivid. The spiritual transformation experienced by Mary Lennox affects other characters of the story and even leads to overshadowing of her role at the end of the novel. From the perspective of auditory imagery, Burnett creates a circular structure, making her heroine go from a lack of audio perception – through unhackneyed auditory sketches and quotations from classic novels – to a total silencing of the main heroine at the end of the novel.
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RATHEY, MARKUS. "MOZART, KIRNBERGER AND THE IDEA OF MUSICAL PURITY: REVISITING TWO SKETCHES FROM 1782." Eighteenth Century Music 13, no. 2 (August 16, 2016): 235–52. http://dx.doi.org/10.1017/s1478570616000063.
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ABSTRACTWhen Beethoven praised Mozart's Die Zauberflöte, he emphasized the multitude of musical styles and genres to be found in the opera, ranging from folk tunes to arias to hymn-like textures. The most extraordinary stylistic and generic allusions occur during the ‘Song of the Armoured Men’ in Act 2. This movement owes its extraordinary character to a ‘baroque’ accompaniment and a Lutheran-hymn quotation, the source and meaning of which continue to be discussed in Mozart research. While scholars have often suggested that Mozart took the hymn melody from Johann Philipp Kirnberger's Die Kunst des reinen Satzes in der Musik (where it is quoted without its text), Reinhold Hammerstein argues that because the composer also appears to have known the hymn's text, he must have encountered the melody elsewhere. This article, based on a study of Mozart's sketches for Die Zauberflöte and a close reading of Kirnberger's writings, supports the thesis that Mozart borrowed the hymn melody – and significant details of his setting of it in the ‘Song of the Armoured Men’ – from Die Kunst des reinen Satzes in der Musik.
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Bartenyev, Oleg V., and Emil R. Salakhutdinov. "Sketch Colorization Based on Generative-Adversarial Neural Networks." Vestnik MEI, no. 1 (2022): 120–29. http://dx.doi.org/10.24160/1993-6982-2022-1-120-129.
Full textAbstract:
Generative adversarial neural networks (GAN) successfully perform automatic colorization of character sketches. Such models can be further improved in such aspects as increasing the throughput, improving the colorization quality, and reducing the model size. Steps aimed at improving the colorization quality are taken. Known solutions are reviewed, and an initial GAN model with eight blocks in the generator encoder and decoder is developed and trained based on the review results. The second GAN model is obtained on the basis of the first one by including residual blocks in the generator encoder blocks with simultaneously using the attention blocks and residual blocks in the generator decoder. The third GAN model has been developed based on the second one: one block is added to the generator encoder and decoder. All models, including the initial and modified ones, have been trained on the same data set. The models have been trained either with or without using additional information about the image color (the color palette of the reference image or color hint labels). The trained models are evaluated with respect to the quality of the images they generate (colored sketches), determined by the Frechet Inception Distance metric. All modified GAN models generate images with quality superior to that of the initial model.