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1
Mengham, Rod. "thurnauer: vt and vi, to paint in the second person." Text Matters, no. 5 (November 17, 2015): 221–30. http://dx.doi.org/10.1515/texmat-2015-0016.
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Many of the figures in Thurnauer’s paintings who fix us with their gaze have been borrowed from the work of Manet, the artist who organized so many of his paintings around a face-to-face confrontation of viewer and work. The painting returns the viewer’s gaze with total impartiality, making us see our own motives and investments more than the illusion that the figure in the painting will accommodate them.
 Issues of language often surface literally in paintings by Thurnauer; written language appears sometimes as part of the material fabric in which human figures move or recline. The textual elements are not superimposed on the figures but appear to exist in the world they inhabit, requiring the painter to relate figure to ground in a process of interlacing. When the viewer’s eye traverses the painting it falls under the magnetic influence of the text to the extent that viewing must succumb in some degree to the operations of reading with its specific rhythms and expectations.
 In these paintings, visual and verbal languages provide us with different maps of the same territory; and Thurnauer’s hybridized representations argue that the world can only be rendered through a dialogue, an interlocution of different forms, genres, media. We approach her work, not as viewers whose function is predicated through a gaze regulated according to the distorting demands of consumption or control, but as readers engaged in a critical activity seeing around the edges of historically produced versions of the self.
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Downing, Crystal, and Frances E. Dolan. "Face Painting in Early Modern England." PMLA 109, no. 1 (1994): 119. http://dx.doi.org/10.2307/463017.
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Dolan, Frances E. "Face Painting in Early Modern England - Reply." Publications of the Modern Language Association of America 109, no. 1 (1994): 120. http://dx.doi.org/10.1632/s0030812900175789.
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Dolan, Frances E., and Annette Drew-Bear. "Painted Faces on the Renaissance Stage: The Moral Significance of Face-Painting Conventions." Shakespeare Quarterly 47, no. 2 (1996): 219. http://dx.doi.org/10.2307/2871112.
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Latto, Richard. "Turning the Other Cheek: Profile Direction in Self-Portraiture." Empirical Studies of the Arts 14, no. 1 (1996): 89–98. http://dx.doi.org/10.2190/198m-911x-pr9g-u18e.
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The spatial organization of the forty-seven self-portraits in the exhibition “Face to Face: Three Centuries of Artists' Self-Portraiture” held at the Walker Art Gallery, Liverpool, was analyzed and compared with previously published studies, all of which have obtained their data predominantly from non-self-portraits. In the seventeenth century there was a significant asymmetry in self-portraits for both the direction of profile, with most paintings showing the right profile, and the direction of lighting, with most paintings showing the light coming from the left of the painting. Both these asymmetries declined over time and were not present in eighteenth- and nineteenth-century paintings. The lighting asymmetry and the temporal change confirmed findings with non-self-portraits, but the profile asymmetry was in the opposite direction probably because of the use of mirrors to generate the image being painted. Taken together, the findings support an explanation for asymmetries in portraits of all kinds in terms of the conventions of studio organization.
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Wymer, Rowland, Annette Drew-Bear, and Judith Dundas. "Painted Faces on the Renaissance Stage: The Moral Significance of Face-Painting Conventions." Modern Language Review 90, no. 4 (1995): 974. http://dx.doi.org/10.2307/3733072.
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Parovatkina, H. Y. "THE RIDER OF THE SKY (VASYL’ BARKA – A PAINTER)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 326–28. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-326-328.
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For the first time the article reveals a so far recondite facet of Vasyl’ Barka’s creative endowment – the art of painting. On examining his artistic paintings, exhibited in the National Museum of Literature of Ukraine a few years ago, the author of the article briefly acquaints with the exhibits of the display, draws parallels with the visual art works by Čiurlionis and Roerich.
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Aymerich Goyanes, Guillermo. "Conectando energía sonora y visualidad." AUSART 4, no. 1 (2016): 129–41. http://dx.doi.org/10.1387/ausart.16690.
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Conexión pintura y música construyendo una serie de cuadros sonoros, implicando literatura, performance, danza y robótica en clave transdisciplinar e inmersa en un contexto pseudo-metropolitano. Partiendo del poema Bā yīn “Ocho sonidos” contenido en la joya literaria Sanzijing, “El Libro de los Tres Caracteres” (Dinastía Song del Sur), que encarna el ideal neo-Confucionismo aunando educación, moral y filosofía. Cualquier aspecto en la cultura china no es un fenómeno aislado, sino parte contextual referida a aspectos vitales: emergen peculiares sistemas cosmogónicos. Experiencias visuales y sonoras en un resultado mixto usando conceptos chinos presentados con soluciones Occidentales en mutua simbiosis. Se crea un sistema bā yīn careando música y pintura mientras surgen, desarrollan, desenvuelven y muestran al unísono. Vinculantes pero siguiendo una maniobra de recíproca anulación que alude a la energía del eterno ciclo vital. Tecnología y cultura presentadas bajo 4 formatos audiovisuales y 8 formatos meramente visuales.Palabras-clave: PINTURA/MÚSICA; PINTURAS SONORAS; TRANSDISCIPLINIDAD; BALLET ROBOTS; ARDUINO; CHINA VS OCCIDENTE Connecting sound energy and visualityAbstractConnecting painting and music building a series of sonorous-paintings. Involving literature, performance, dance and robotics, also, in a transdisciplinary way and within a pseudo-metropolitan environment. Based on the poem Bā yīn “Eight sounds”, part of the literary gem The Sanzijing, The Three-Character Classic (Southern Song Dynasty), which embodies the neo-Confucian ideal of uniting education, moral and philosophy. Any aspect in Chinese culture isn´t an isolated phenomenon but rather a contextual part related to diverse aspects of life: emerging special kind of cosmogonist systems. Visual and sound experiences as a mixed result by using different Chinese concepts, but presented alongside Western solutions in symbiosis. The project makes a system just taking those approaches to face music and painting, each other, while both of them emerge, develop, demonstrate and perform in unison, in a parallel and mutually binding manner. Linked but following a mutual destruction which summon the energy of an eternal vital circle. Technology and culture are showed under 4 audiovisual formats and 8 strictly visual formats, as well.Keywords: PAINTING/MUSIC; SONOROUS PAINTINGS; SOUND ART; ROBOTICS BALLET; ARDUINO; CHINA VS OCCIDENTE
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Haverkamp, Anselm. "Art is Messianicity: Radical Illustration in the Face of God — Romeo Castellucci and Antonello da Messina." Oxford Literary Review 36, no. 1 (2014): 37–47. http://dx.doi.org/10.3366/olr.2014.0085.
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Messianicity is not. Art is. Derrida, however, was not into pictures; his relationship with art remained in the quasi-transcendental mode of frames. Romeo Castellucci's use of a painting by Antonello da Messina exposes the Derridean non-messianism through art's power to illustrate – a mode abandoned by Derrida in the Heidegger-Schapiro debate on Van Gogh. In Castellucci, on the contrary, art illustrates what ‘messianicity’ is unable to illustrate and thus is bound to deny even in the negative.
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Hamrick, L. Cassandra. "‘Réalisme, un grand mot vide de sens’: Baudelaire, Gautier, and Landscape Painting." Nottingham French Studies 58, no. 2 (2019): 183–97. http://dx.doi.org/10.3366/nfs.2019.0247.
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‘On fit de [Courbet] l'apôtre du Réalisme, un grand mot vide de sens, comme bien des grands mots’, writes Gautier in his Salon of 1868. Confusion over the meaning of the term is also noted by Baudelaire: ‘… réalisme, – injure dégoûtante jetée à la face de tous les analystes, mot vague et élastique’, he writes in his 1857 essay on Madame Bovary. Later, in notes for his unfinished essay, ‘Puisque Réalisme il y a’, Baudelaire appears to question whether the word has any meaning at all. In the drive to renew art, Realism appears to have fallen off course, stripping landscape painting of the principles of unity and cohesiveness that underlie what might be called a kind of pre-ecological vision of nature. This article repositions the writings on art of Baudelaire and Gautier, two of the most progressive, yet paradoxical voices of their time, with respect to the debate on Realism and its implications for the rapidly evolving area of landscape painting
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Dolan, Frances E. "Taking the Pencil out of God's Hand: Art, Nature, and the Face-Painting Debate in Early Modern England." PMLA 108, no. 2 (1993): 224. http://dx.doi.org/10.2307/462594.
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Turan, Caner. "ICONOGRAPHY OF HANDS IN RENAISSANCE PAINTING." Imafronte, no. 28 (November 7, 2021): 1–14. http://dx.doi.org/10.6018/imafronte.470061.
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El estilo de pintura renacentista refleja todo tipo de principios, enfoques y comprensión del diseño plástico como un carácter estándar de las características históricas, políticas, religiosas, culturales y económicas de esa época. Al deshacerse de un tipo de perspectiva estricta y puramente centrada en la iglesia, los artistas del Renacimiento prácticamente comienzan a mirar la naturaleza, la ciencia, la literatura, la filosofía y, obviamente, la anatomía humana en un conjunto de mentes diferente. Una descripción razonable, equilibrada, científica y lógica de la vida humana lleva a los pintores a centrarse más en las partes del cuerpo humano. Aparte de los rostros de las figuras, las manos se convierten en partes esenciales del cuerpo para sujetar un espejo al universo interior de las figuras. Se incluyeron dentro del programa iconográfico tal que reflejaban las emociones y contemplaciones de la figura, y la conexión entre figuras y objetos. En este estudio, un examen a través de varias pinturas renacentistas arrojará luz sobre cómo los pintores como Giotto, Da Vinci, Michelangelo, Francesca y más utilizaron la representación de las manos como un aparato y como un lenguaje de sus propósitos creativos. Así, se manifestará una iconografía de manos en la pintura renacentista. Renaissance style of painting reflects all types of plastic design principles, approaches and understanding as a standard character of historical, political, religious, cultural, and economic features of that era. Disposing of unadulterated strict and church focused kind of perspective, Renaissance artists practically start to look on nature, science, literature, philosophy, and obviously human anatomy in a different set of minds. Reasonable, balanced, scientific and logical portrayal of human life leads painters to focus closer on pieces of the human body. Aside from the faces of the figures, hands become essential body parts to hold a mirror to the interior universe of the figures. They were included within the iconographic program such mirrored the emotions and contemplations of the figure, and the connection among figures and objects. In this study, an examination through various Renaissance paintings will shed light on how the painters like Giotto, Da Vinci, Michelangelo, Francesca, and more utilized the portrayal of hands as an apparatus and as a language of their creative purposes. Thusly, an iconography of hands in Renaissance painting will be manifested.
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Charney, Maurice. "Annette Drew-Bear. Painted Faces on the Renaissance Stage: The Moral Significance of Face-Painting Conventions. Lewisburg, PA: Bucknell University Press, 1994. 6 pls. + 139 pp. $29.50." Renaissance Quarterly 50, no. 1 (1997): 275–76. http://dx.doi.org/10.2307/3039344.
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., I. B. SHINDU PRASETYA, Drs Agus Sudarmawan, M. Si ., and I. Wayan Sudiarta, S. Pd ,. M. Si . "SISTEM PENURUNAN KETERAMPILAN SENI LUKIS WAYANG KAMASAN OLEH I NYOMAN MANDRA." Jurnal Pendidikan Seni Rupa Undiksha 9, no. 1 (2019): 1. http://dx.doi.org/10.23887/jjpsp.v9i1.17013.
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SISTEM PENURUNAN KETERAMPILAN SENI LUKIS WAYANG KAMASAN OLEH I NYOMAN MANDRA
 Oleh
 Ida Bagus Shindu Prasetya, NIM 1412031025
 Jurusan Pendidikan Seni Rupa
 ABSTRAK
 Penelitian ini bertujuan untuk mendeskripsikan (1) latar belakang murid I Nyoman Mandra dalam menimba keterampilan melukis wayang Kamasan, (2) tahapan-tahapan yang dikerjakan I Nyoman Mandra di dalam mengajarkan melukis wayang Kamasan pada muridnya, dan (3) hasil karya lukis para murid I Nyoman Mandra dalam pembelajaran melukis wayang Kamasan. Subjek dan objek penelitian ini adalah karya lukis I Nyoman Mandra sebagai referensi belajar murid-muridnya serta proses penurunan keterampilan seni lukis wayang Kamasan. Penelitian ini merupakan penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini menggunakan teknik (1) observasi, (2) wawancara, (3) dokumentasi, dan (4) kepustakaan.
 Hasil penelitian ini menunjukkan bahwa (1) Hal yang melatarbelakangi murid-murid Nyoman Mandra untuk belajar melukis di Sanggarnya bukan hanya karena faktor ekonomi dan sekedar hobi, namun juga karena kesadaran akan pentingnya melestarikan budaya yang sudah turun temurun. (2) Penurunan keterampilan melukis di sanggar Nyoman Mandra diawali dengan pemahaman tema untuk mengenal karakter dalam cerita pewayangan, dilanjutkan dengan pemahaman bentuk karakter wayang, seperti mata, hidung, mulut, kumis, wajah, hiasan gelung, telinga, sikap tangan, kaki, hiasan gelang tangan dan kaki, hiasan dada dan wastera sampai dengan hiasan-hiasan di luar tokoh wayang seperti hiasan bingkai, hiasan dalam ruang, hiasan batu-batuan dan hiasan pepohonan. Setelah itu diberikan pemahaman penempatan warna. (3) Hasil dari lukisan wayang Kamasan yang dibuat murid-murid dari sistem Aprentisip dan sistem Pewarisan memiliki tingkat kemiripan yang berbeda dengan hasil lukisan Nyoman Mandra, dimana hasil lukisan Wayang Kamasan dari anak-anak Nyoman Mandra lebih mendekati karya Nyoman Mandra sendiri dibandingkan dengan murid pada zaman dulu dan atau sekarang yang melalui sistem Aprentisip. Walaupun hasilnya berbeda, kedua sistem ini sama-sama memberi manfaat bagi para pebelajar antara lain mengembangkan sensitifitas, melatih kreativitas, membina sikap kecermatan, ketekunan, kerapian dan kerja sama. Selain itu, memupuk apresiasi terhadap hasil kerja keterampilan, memupuk bakat dan minat dalam keterampilan melukis Wayang Kamasan.Kata Kunci : wayang, kamasan THE INHERITANCE SYSTEM OF PAINTING SKILL OF KAMASAN PUPPET BY I NYOMAN MANDRA
 By
 Ida Bagus Shindu Prasetya, NIM 1412031025
 Art Education Department
 
 ABSTRACT
 The objectives of this study were describing about (1) background of I Nyoman Mandra’s students in drawing on painting skill of Kamasan puppet, (2) the steps which were done by I Nyoman Mandra in teaching about painting Kamasan puppet to his students, and (3) the painting results by I Nyoman Mandra’s students in learning about painting Kamasan puppet. The subject and object of this study was the painting result by I Nyoman Mandra as a reference for his children to learn and the process of lowering painting skill of Kamasan puppet. This study was descriptive qualitative research. The methods of data collection in this study were used (1) observation, (2) interview, (3) documentation, and (4) literature.
 The result of this study showed that (1) it was the background for Mr. Mandra’s students to learn painting in his studio, not only because of economy factors and hobbies, but also the awareness of the importance of cultural preservation that has been declining for generations. (2) The lowering of painting skill in the Mr. Mandra’s studio was started with the understanding of themes to know the puppet’s characters, continued with the understanding of the shapes of the characters, such as eyes, nose, mouth, mustache, face, head ornament, ears, arms, legs, hands and legs ornaments, chest ornaments and another ornaments outside of the characters such as frame, decoration in room, rocks decoration, and trees decoration. Next was given the understanding of color placement. (3) The painting results from Kamasan puppet which were made by the students from Aprentisip system and inheritance system had similar level which was different with Mr. Mandra’s painting result where the painting of Kamasan puppet from his children were more closer to Mr. Mandra’s than Mr. Mandra’s students through Aprentisip system. Although the results were different, both systems gave benefits for learners such as developing sensitivity, training creativity, developing intelligence, perseverance, tolerance, and cooperation. On the other hand, it was fostering the appreciation of result of work skills and fostering talent and interest in painting Kamasan puppet.keyword : Puppet, Kamasan
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Mani, B. Venkat. "Rights, Permissions, Claims: World Literature and the Borders of Reading." PMLA/Publications of the Modern Language Association of America 134, no. 1 (2019): 144–49. http://dx.doi.org/10.1632/pmla.2019.134.1.144.
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In 2016, in the midst of the en masse arrival of refugees in europe, the austrian library association brought out a welcome poster, a Willkommensplakat. At the center of the poster is a human figure with his back toward the viewer, standing upright on a stack of books. The figure bears an uncanny resemblance to the man in Wanderer above the Sea of Fog (circa 1817), the famous painting by the German romantic painter Caspar David Friedrich. In the welcome poster, however, Friedrich's willful, romantic wanderer, standing on the solid ground of rocks, is replaced by a migrant, forced to leave his nation of residence, seeking refuge, perched on precarious grounds. Instead of a sea of fog, the figure in the poster faces a vast screen, on which the word “welcome” is spelled out in twenty-nine world languages from Arabic to Yoruba, including sign language.
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Rodrigues Guimarães, Gustavo, Jonas Gomes da Silva, and Mariana Sarmanho de Oliveira Lima. "How to reduce craters in the painting process of a PIM company?" International Journal for Innovation Education and Research 7, no. 12 (2019): 562–76. http://dx.doi.org/10.31686/ijier.vol7.iss12.2108.
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Two Wheels sector is one of the most important in the Industrial Pole of Manaus and has recently faced a growing competition scenario, combined with the reduction in sales. Manufacture products with quality it is necessary for companies to remain competitive in the market. With this in mind, the present study was performed in the Painting process of a company located in two wheels sector, which was facing increasing crater defect in February 2012. The objective is to propose improvements in the painting process to reduce the crater defect using a descriptive method divided into seven stages (literature review, problem identification, observation, analysis, action plan, verification and standardization). The research found the main cause and proposed an action plan to solve the problem and may result in experiences to others who wish to realize further research on the subject.
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Hilje, Emil. "Slika Bogorodice s Djetetom u The Courtauld Institute of Art u Londonu - prijedlog za Petra Jordanića." Ars Adriatica, no. 4 (January 1, 2014): 213. http://dx.doi.org/10.15291/ars.496.
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A painting of the Virgin and Child, signed as “OPVUS P. PETRI”, from the former Fareham Collection (today at the Courtauld Institute of Art), has been known in the scholarly literature for a long time but has only been subject to tangential analyses. These studies attempted to attribute it to painters meeting relatively dubious criteria: that their name was Peter (Petar) and that they could be linked to the painting circle of Squarcione or, more specifically, to that of Carlo Crivelli with whose early works, especially the Virgin and Child (the Huldschinsky Madonna) at the Fine Arts Gallery in San Diego, the Courtauld painting shares obvious connections. Roberto Longhi ascribed it to the Paduan painter Pietro Calzetta in 1926, while Franz Drey, in 1929, considered it to be the work of Pietro Alemanno, Crivelli’s disciple, who worked in the Marche region during the last quarter of the fifteenth century. After the Second World War, the Courtauld painting was almost completely ignored by the experts. The only serious judgement was that expressed by Pietro Zampetti, who established that it was an almost exact copy of Crivelli’s Huldschinsky Madonna, meaning that if Calzetti had painted it, he would have done it while Carlo was still in the Veneto, before he went to Zadar.The search for information which can shed more light on the attribution of the Virgin and Child from the Courtauld is aided by the valuable records in the Fondazione Federico Zeri at the Università di Bologna. The holdings of the Fototeca Zeri include three different photographs of the Courtauld painting with brief but useful accompanying notes. Of particular importance is the intriguing inscription on the back of one of the photographs, which points to the painting’s Dalmatian origin. In a certain way, this opens the possibility that it might be linked to another painter who was close to the Crivelli brothers: the Zadar priest and painter Petar Jordanić. That he may have been the one who painted it is indicated by the signature itself, which could be read as “OPVUS P(RESBITERI) PETRI”.Archival records about Petar Jordanić provide almost no information about his work as a painter. Apart from his signature of 1493 on a no-longer extant polyptich from the Church of St Mary at Zadar, the only record of his artistic activities is one piece of information: that in 1500 he took part in a delegation which was sent from Zadar to its hinterland charged with the task of making drawings of the terrain which could be used to help defend the town against the Ottoman Turks. However, more than thirty documents which mention him do paint a picture of his life’s journey and his connection with Zadar. The most important basis for any consideration of a possible connection between Petar Jordanić and Carlo Crivelli can be found in the will of his father Marko Jordanov Nozdronja (in late 1468) where Petar was named as the executor, meaning that at this point he was of age. Therefore, it can be concluded that he was born between 1446 and 1448. This makes him old enough to have been taught by Carlo during his stay in Zadar from c. 1460 to 1466. Although relatively modest, the oeuvre of Petar Jordanić demonstrates striking connections with the paintings of Carlo and Vittore Crivelli, and Ivo Petricioli has already put forward a hypothesis that he may have been taught by one of the brothers.The comparison between the painting from the Courtauld Institute of Art in London and the known works of Petar Jordanić (the Virgin and Child from a private collection in Vienna; the Virgin and Child from the Parish Church at Tkon; fragments of a painted ceiling from Zadar Cathedral; the lost polyptich from the Church of St Mary at Zadar) reveals a multitude of similar features. Apart from the general resemblance in the physiognomies of the Virgin and Christ Child which represent the most conspicuous analogies, a number of very specific “Morellian” elements can also be noted in the manner in which the faces were painted. These similarities are particularly apparent when one compares the head of the Christ Child on the painting from London and his head on the one from Tkon, which are almost identically depicted. Further similarities between the London painting and the one at Vienna can be seen in the way in which landscapes were painted and in the similar decorations of the gold fabrics in the backgrounds with their undulating scrolls and sharp almond-shaped leaves.However, with regard to visual characteristics, it is apparent at first sight that the quality of the London painting is markedly higher and that it is stylistically more advanced than those works which are attributed with certainty to Jordanić. These differences can be explained by the possibility that this was a more or less direct copy of one of Carlo Crivelli’s painting, probably not the Huldschinsky Madonna but one that was very similar to it and subsequently lost.Naturally, if the London painting is attributed to Petar Jordanić, meaning that it was produced in Zadar, then the argument on the basis of which the Huldschinsky Madonna has been dated to the time before Crivelli’s arrival in Zadar becomes a counter-argument, and, in that way, corroborates the possibility that the Huldschinsky Madonna, which shares a large number of similar elements with the painting from the Courtauld Institute of Art, was created while Carlo was in Zadar.
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Langerholc, John. "What is the Lady Really Smiling About? Mona Lisa's Secret Admirers." Empirical Studies of the Arts 6, no. 1 (1988): 13–33. http://dx.doi.org/10.2190/ujac-jm6d-vxlu-pf8w.
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The world's most famous work of art owes its subtle fascination, usually held to be inexplicable, to the subliminal embedding of a large number and variety of male faces in the Mona Lisa's clothes and hair as well as in the surrounding land and cloudscape. This is not an isolated instance of an unconscious or accidental process, but shows all the wit, craftsmanship and sophistication we have by other means come to expect of Leonardo da Vinci. Although all the great masters seem to have clearly recognized and imitated this trick, it seems to have completely escaped the notice of academic art criticism, which generally begins recognizing facial alternatives in Arcimboldi and then skips over the centuries to Picasso or Dali. The father of modern art was impressed by a painting full of embedded faces and, realizing the extent to which practically all visual art owes its “ineffable” fascination to this simple technique, evolved the notion of “abstract art” by the simple expedient of gradually eliminating the main Gestalt. Having the key to artistic success within their grasp, Freudians vastly underestimated the extent of its use as well as its relevance to the impact of an art work. Their insistence on interpreting it as an automatic manifestation from the secret recesses of the artist's unconscious mind prevented them from seeing it as a calculated toying with one of the beholder's principal higher order feature detectors, the specialist face processor.
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Burkus-Chasson, Anne. "Chen Hongshou's Laments." Journal of Chinese Literature and Culture 6, no. 1 (2019): 96–136. http://dx.doi.org/10.1215/23290048-7496846.
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Abstract Historians of Chinese literature and philosophy have written extensively about the significance of emotion (qing 情) in late Ming times (1522–1644). But how did a pictorial image manifest emotion, and how were its visible signs of emotion conceptualized? This article considers the dilemma that painters faced in general when they represented an expressive body: How could the display of emotion in gesture and facial expression be contained within the bounds of propriety? The author examines, in particular, how Chen Hongshou 陳洪綬 (1598–1652) resolved this dilemma in two figural paintings, one of which represents a sorrowful woman, and the other, a worried drunkard. She argues that Chen's representation of sorrow and anxiety was inextricably tied to the pictorial conventions utilized by the print designers of his day to illustrate dramatic, emotionally charged moments in a story. Hence, Chen animated the actors in his paintings with emphatic gestures and poses, complementing their expressive bodies with more subtly shaped facial features. But Chen's incorporation into his painting of what was at the time readily identified as “print” disturbed his figural compositions. As much as the expressive figures aroused an empathetic response from his viewers, the juxtaposition of incompatible manners of representation also made his work seem strange and preposterous. However, Chen's visual laments were derived from poems and historical anecdotes. The author argues that the verbal texts to which he alluded not only enhanced and justified his viewers' empathetic response to his paintings but also enabled him to delineate emotions that were otherwise eschewed by the painters of his time.
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Leonov, Ivan S., and Dorota Walczak. "MOTIF OF THE ICON IN THE STORY BY BORIS SPOROV “MONK-THE SAVIOR”." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 245–57. http://dx.doi.org/10.37816/2073-9567-2020-58-245-257.
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The paper discusses the nature and role of the icon`s motif in Boris Sporov’s story “Monk-The Savior”. It analyzes artistic parameters allowing to attribute this work to missionary prose (the evolution of a hero, a combination of crisis and choice-situations, the specifics of a false choice), focusing on the complex spiritual path of a person overcoming moral crisis and taking the path of reconciliation with God. The author explores the inner world of story`s main character, Ivan Korovin, displays his gradual refusal to protest against the Divine Providence, which is made possible through the knowledge of basics of icon painting. The study results in revealing that, at the first stage, the image of Christ the Punisher dominates the character’s consciousness, which is reflected in Ivan`s iconographic images of the Savior made without hands. At a later stage, the face of Christ the Punisher acquires a new shade — Christ the Sufferer, which partly draws together the hero, who had undergone moral and physical pain, and his Creator. Salvation through iconography is not a new motif to the Russian literature: B. F. Sporov remains here within the framework of the established tradition. The paper also establishes ideological and artistic parallels between the story “Monk-The Savior” and the works of Russian classical literature (Nikolai Gogol, Fyodor Dostoevsky), as well as the cinematography (Andrei Tarkovsky’s film “Andrei Rublev”).
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Poppi, Fabio, and Peter Kravanja. "Sic vita est: Visual representation in painting of the conceptual metaphor LIFE IS A JOURNEY." Semiotica 2019, no. 230 (2019): 541–66. http://dx.doi.org/10.1515/sem-2018-0009.
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Abstract This article analyzes how the conceptualization LIFE IS A JOURNEY is conveyed within a series of paintings ranging from the fifteenth century to the twentieth century. While the previous research on visual metaphor generally aims to describe how the domains of metaphorical conceptualization interact or discusses the rhetorical effect that visual metaphor is able to induce, this article takes a historical perspective in order to identify the main conceptual aspects shared by the paintings under consideration. It is proposed that the concept of a JOURNEY is associated with a PURPOSIVE ACTIVITY that involves the start of the journey and its termination as two qualitatively different moments that are faced as a collective/shared experience and that are inspired by some human wish. This article also shows how the conceptual potential of metaphor tends to maintain a coherent representation although the paintings represent different historical sensitivities and artistic approaches.
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Mills, Victoria. "Charles Kingsley’s Hypatia, Visual Culture and Late-Victorian Gender Politics." Journal of Victorian Culture 25, no. 2 (2020): 240–63. http://dx.doi.org/10.1093/jvcult/vcz059.
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Abstract Charles Kingsley’s Hypatia or New Foes with an Old Face was first published in Fraser’s Magazine in 1852, but was reissued in numerous book editions in the late nineteenth century. Though often viewed as a novel depicting the religious controversies of the 1850s, Kingsley’s portrayal of the life and brutal death of a strong female figure from late antiquity also sheds light on the way in which the Victorians remodelled ancient histories to explore shifting gender roles at the fin de siècle. As the book gained in popularity towards the end of the century, it was reimagined in many different cultural forms. This article demonstrates how Kingsley’s Hypatia became a global, multi-media fiction of antiquity, how it was revisioned and consumed in different written, visual and material forms (book illustrations, a play, painting and sculpture) and how this reimagining functioned within the gender politics of the 1880s and 1890s. Kingsley’s novel retained a strong hold on the late-Victorian imagination, I argue, because the perpetual restaging of Hypatia’s story through different media facilitated the circulation of pressing fin-de-siècle debates about women’s education, women’s rights, and female consumerism.
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Strasik, Amanda. "The Art of Imperial Maternity: Pierre-Paul Prud'hon, Empress Marie-Louise, and The King of Rome Sleeping." Eighteenth-Century Life 46, no. 3 (2022): 101–22. http://dx.doi.org/10.1215/00982601-9955351.
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In 1811, Pierre-Paul Prud'hon painted an allegorical portrait of the infant Napoleon II for Empress Marie-Louise, Napoleon's second wife and the child's mother, that was exhibited publicly at the Paris Salon the following year. Prud'hon's painting is distinctive because it lacks conventional imperial attributes that characterized Napoleonic imagery at the time. On one level, the portrait can be understood according to Christian iconography or as an allegory of the new French order according to ancient Roman mythology. I argue, however, that Prud'hon subscribed to early nineteenth-century Romantic ideals, freely interpreting traditional artistic conventions to show the unity between childhood innocence, women, and nature. This pictorial approach appealed to Marie-Louise, who faced an increasingly unfavorable reputation in the wake of Napoleon's 1809 divorce and mounting public suspicion of the emperor's character. The empress utilized Prud'hon's romanticized image of her son to cast herself as the ideal Napoleonic woman and mother, thereby demonstrating her inherent virtue, reassuring the public of the empire's stability, and legitimizing her place at court on her own terms. Importantly, Prud'hon centralizes Marie-Louise's position as the heir's protector to imply her imperial significance—a dynamic role for the consort in this painting that has remained unexplored until now.
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Jackson, Daniel, and Kevin Moloney. "‘Uneasy lies the head that wears a crown’. A qualitative study of ethical PR practice in the United Kingdom." Public Relations Inquiry 8, no. 1 (2019): 87–101. http://dx.doi.org/10.1177/2046147x18810732.
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The dynamics of ethical behaviour has long been a preoccupation of the Public Relations (PR) field, yet in the United Kingdom, there are few empirical studies of ethical practice to date. In this article – through interviews with 22 UK Public Relations practitioners (PRPs) in small and medium-sized enterprises – we address this empirical gap. We examine three dimensions of ethical practice: societal responsibilities, truth-telling and the role of professional bodies. In the literature, the PRP is often positioned as the ethical conscience of the corporation, but in Shakespeare’s words, ‘uneasy lies the head that wears a crown’. Our findings reveal a range of ethical standards, some of which would make professional bodies blush. Many PRPs aspire towards an ethical counsel role but lack agency in the face of commercial and organisational forces. Rather than challenge such forces and the system they are part of, participants talked of coping strategies. At the same time, practitioners flow between ethical identities, painting a fluid, complex and occasionally contradictory picture of ethical practice that does not fall neatly into ethical metanarratives. While deontological ethical frameworks (typically expressed through codes of conduct) have dominated the professional field, our findings suggest that for many practitioners, such codes remain distant. Findings are discussed within ongoing debates around professionalisation, professional identity and the political economy of PR work.
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Joost-Gaugier, Christiane L. "Ptolemy and Strabo and Their Conversation with Appelles and Protogenes: Cosmography and Painting in Raphael's School of Athens." Renaissance Quarterly 51, no. 3 (1998): 761–87. http://dx.doi.org/10.2307/2901745.
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AbstractThis paper studies the group of men on the lower right side of Raphael's School of Athens. While the portrayal of Euclid is undisputed, the figures who are attached to him have not yet been firmly identified. In studying these figures as part of the intellectual fabric of the painting as a whole, it becomes clear that each of these figures has a meaningful role that cannot be deduced by mere guessing. The figure with his back to us is quite clearly the great mathematician-cosmographer Ptolemy of Alexandria. Not only because he wears a particular crown, but more importantly because the globe he holds is terrestrial - a symbol of his scientific contribution to the humanist curriculum - can we be certain of his presence. The man who faces him is most likely Strabo, the most famous geographer known throughout medieval times and one who was also appreciated by humanists, especially for his consideration of the sphere and the celestial aspects of the universe in his Geography. Both Ptolemy and Strabo are well placed next to Euclid, for both are concerned with geometry. The two men to the far right are, it is suggested here, two famous painters of Greek antiquity, Apelles (in the guise of Raphael) and Protogenes (in the guise of Timoteo Viti?), whose presence reflects the interests of artists in the early Cinquecento. All these heroes are appropriately placed on Aristotle's side of the painting.
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Mukherjee, Sayan. "Dark Portrayal of Gender: A Post-colonial Feminist Reflection of Bapsi Sidhwa’s The Pakistani Bride and The Ice-candy Man." History Research Journal 5, no. 5 (2019): 81–88. http://dx.doi.org/10.26643/hrj.v5i5.7919.
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The portrayals of women by fiction writers of Indian sub-continent can be seen in the context of postcolonial feminism. Sidhwa’s novels may be a part of postcolonial fiction, which is fiction produced mostly in the former British colonies. As Bill Ashcroft suggests in The Empire Writes Back, the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the colonizers. About the role of postcolonial literature with respect to feminism, Ashcroft writes, “Literature offers one of the most important ways in which these new perceptions are expressed and it is in their writings and through other arts such as paintings sculpture, music, and dance that today realities experienced by the colonized peoples have been most powerfully encoded and so profoundly influential.” Indian sub-continent fiction is the continuation and extension of the fiction produced under the colonial rulers in undivided India. As such it has inherited all the pros and cons of the fiction in India before the end of colonial rule in Indo-Pak. Feminism has been one part of this larger body of literature. Sidhwa has portrayed the lives of Pakistani women in dark shades under the imposing role of religious, social, and economic parameters. These roles presented in The Pakistani Bride and The Ice-Candy Man are partly traditional and partly modern – the realities women face.
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Hoványi, Márton. "Theoretical Parallels in the Exercise of the Power of Vision and Reading." Gyermeknevelés 10, no. 2–3 (2022): 337–43. http://dx.doi.org/10.31074/gyntf.2022.2.337.343.
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This paper reflects on the nature of reading and vision as analysed in a comparison between Caravaggio’s work entitled Narcissus and a famous narration of the myth describing Narcissus and Echo as found in Ovid’s Metamorphoses. In lines 428-429 of Book IV in Ovid’s poem, Narcissus yearningly approaches the image of his own love as reflected in the water’s surface and touches the water. In Caravaggio’s depiction, this gesture not only shows how vision can create illusion, but also breaks the illusion through the perception of touch that renders the object of desire unperceivable and, thus, unreachable. Since Narcissus’s face does not reflect the experience of breaking the illusion, Caravaggio offers an interpretation of Ovid’s narration which suppresses the tension between perceptions via the domination of vision. The painting appears to claim that desire may remain unbroken based on vision even if Narcissus experiences the opposite. In contrast, the linearity of the narrative in Metamorphoses relays these two moments to the reader, one after the other. Additionally, in Ovid’s version, the nature of visuality and perception appears within the story of Tiresias, the blind seer. Therefore, Ovid’s thematization of vision becomes contextually connected to the literary motifs of blindness and foreseeing. The helplessness inherent to Narcissus’s physical sense of vision and Tiresias’s ability to foresee the future despite his blindness creates an opportunity for viewers and readers alike to ponder the potential of reading and vision in literature and art.
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I.V., Nemchenko. "MARINE DIMENSION OF DMYTRO SHUPTA’S STANZAS COLLECTION “AUTUMN FACET”." South archive (philological sciences), no. 86 (June 29, 2021): 28–33. http://dx.doi.org/10.32999/ksu2663-2691/2021-86-4.
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Purpose. Many writers from various epochs and countries have been admirers and propagandists of marine literature. The article examines the marine motifs and images of the Ukrainian poet Dmуtro Shupta’s lyrics in the early 21st century. The purpose of the work is to analyze the marine space in his stanzas collection “Autumn facet”.Methods. The elements of the following methods are used in the research: aesthetic (allows analyzing each text as a phenomenon of literature and art), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic features in the writer’s literary works), intermedial (systematization of various elements of marine, musical and artistic presence in the lyrics of the poet), comparative (provides wide possibilities for the coverage of interdependence between poetry, music and painting micro-images), intertextual (links between writer’s poems and folklore songs and literary tradition), textual analysis (for coverage of the main motifs of stanzas collection). The research is based on the general method of analysis, synthesis, observation, selection and systematization of the material.Results. The effect of a hero’s co-living with the environment depicted by the author, with the marine environment in particular, is characteristic of D. Shupta’s stanzas collection “Autumn facet”. The article finds out that the Ukrainian writer has delicate understanding of music and painting, and can embody it in his own marine texts, combining different artistic elements. He uses auditory, visual and tactile impressions. Marine motifs and images of the literary works of D. Shupta play an important role in the creation of the artistic image of the world by verbal means. Marine space in his interpretation is a symbol of the nature and the world of human passions and life difficulties, their creative sources and ruinous essence. Shupta’s marine works combine real and fairy plans, have characteristics of legends, tales and mysteries. Close relations between the writer’s marine poetry and Ukrainian folklore songs and literary traditions are traced in the article.Conclusions. D. Shupta’s stanzas collection «Autumn facet» is an original artistic work on the crossing of literary, musical and descriptive imagery. The author presents different variants of stanzas, proposes many marine motifs, images, attributes, his own vision of the sea in its power and beauty. The collection confirms that the poet appertains to the best representatives of the national and the world marine literature.Key words: motif, image, metaphor, symbol, poetry, music, painting. Мета. Морська тематика є однією з найулюбленіших у доробку багатьох митців різних часів і країн – шанувальників і пропагандистів літературної мариністики. У статті розглядаються морські мотиви та образи в творчості українського поета Дмитра Шупти початку ХХІ століття. Метою нашої статті є висвітлення особливостей художнього осмислення мариністично-го простору письменником у його збірці стансів «Осіння грань».Методи. У статті використано елементи таких методів: естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), інтермедіального (здійснюється систематизація різноманітних мариністичних, музичних, живописних елементів, наявних у текстах поета), компаративного (висвітлюються взаємозалежності та взаємовпливи між поетичними, музичними, живописними мікрообразами), інтертекстуального (звертається увага на зв’язки між віршами митця та українським фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення провідних мотивів cтансової збірки). Дослідження засноване на загальнонауковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Для ліричної збірки Дмитра Шупти «Осіння грань» характерним є ефект органічного вживання героя в зображуване автором середовище й це насамперед мариністичний світ. Цей нерозривний зв’язок український письменник, який тонко розуміє музику і живопис, уміє передавати через переплетіння елементів різних мистецьких стихій. Він майстерно використовує слухові, зорові враження. Морські мотиви та образи виконують важливу функцію у творенні автором художньої картини світу. Мариністичний простір у поета символізує й природну стихію, й амплітуду людських почуттів, і складний вир життя, і творче начало, і руйнівну сутність. У мариністичних замальовках збірки Д. Шупти поєднуються реальний і феєричний плани, дійсність переплітається з легендою, казкою, містичними уявленнями. У статті простежено зв’язки між віршами письменника-мариніста та українським фольклором і літературною традицією. Висновки. Збірка стансів Дмитра Шупти «Осіння грань» є самобутнім мистецьким витвором, що заснований на перехресті літературної, музичної та живописної образності. Варіюючи різні стансові форми, видозмінюючи найрізноманітніші мариністичні мотиви, образи, атрибутику, автор зумів передати своє власне бачення моря у всій його cилі та красі. Збірка потверджує належність митця до найяскравіших представників вітчизняної і світової літературної мариністики. Ключові слова: мотив, образ, метафора, символ, поезія, музика, живопис.
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CARRIGER, MICHELLE LIU. "No ‘Thing to Wear’: A Brief History of Kimono and Inappropriation from Japonisme to Kimono Protests." Theatre Research International 43, no. 2 (2018): 165–84. http://dx.doi.org/10.1017/s0307883318000287.
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In June 2015, a small strange protest erupted in the Boston Museum of Fine Arts, around a sumptuous red kimono, provided to visitors to try on and emulate the 1876 painting La Japonaise, by Claude Monet. Protesters named themselves Decolonize Our Museums and took to the gallery and social media with strident messages condemning the Kimono Wednesdays try-on activity as racist, orientalist appropriation; soon after, counterprotesters faced off, defending the programme for sharing Japanese culture with the community. In this article, I consider the kimono protests as part of a history of kimono, internationally created yet indelibly marked as Japanese. In this context, the kimono protests provide an occasion to consider the ramifications of contemporary debates about cultural appropriation and appreciation. Through a performance-theory inflected analysis I propose a theatrical ethic of ‘inappropriation’ as a means of moving discourse and public performances of culture beyond the stultifying binaries of right/wrong or appreciation/appropriation.
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Ispánovics Csapó, Julianna. "Intercultural Passages in Ottó Tolnai’s Textual Universe." Acta Universitatis Sapientiae, Philologica 6, no. 1 (2014): 73–86. http://dx.doi.org/10.1515/ausp-2015-0008.
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Abstract The literary palette of Tolnai’s textual universe within the Hungarian literature from Vojvodina is based, among others, upon the intertwining of various cultural entities. The social and cultural spaces of “Big Yugoslavia,” the phenomena, figures, and works of the European-oriented Yugoslav and ethnic culture (literature, painting, book publishing, theatre, sports, etc.), the mentalities of the migrant worker’s life, the legends of the Tito cult embed the narrative procedures of particular texts by Tolnai into a rich culture-historical context. Similarly to the model of Valery’s Mediterranean, the narrator’s Janus-faced Yugoslavia simultaneously generates concrete and utopian spaces, folding upon one another. Above the micro spaces (towns, houses, flats) evolving along the traces of reality, there float the Proustian concepts of scent and colour of the Adriatic sea (salt, azure, mimosa, lavender, laurel). The nostalgia towards the lost Eden rises high and waves about the “grand form” of Big Yugoslavia, the related space of which is the Monarchy. The counterpoints of the grand forms are “the small, void forms,” provinces, regions (Vojvodina, North Bačka) and the micro spaces coded into them. The text analyses of the paper examine the intercultural motions and identityforming culture-historical elements of the outlined space system.
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Slavkova, Iveta. "Camille Bryen Avant-Gardist/Abhumanist: A Reappraisal of an Artist Who Called Himself the “Best-Known of the Unknown”." Arts 11, no. 2 (2022): 43. http://dx.doi.org/10.3390/arts11020043.
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French artist and poet Camille Bryen (1907–1977) is usually, and always very briefly, cited as a member of the post-Second World War (1939–1945) lyrical abstraction trend in Paris, often designated as Ecole de Paris or Nouvelle Ecole de Paris, Tachisme, or Informel. Bryen painted hybrids of plants, animals, rocks, and humans, mixing the organic with the inorganic, evoking cellular agglomerations, geological structures, or prehistorical drawings. He emphasized the materiality and the process through thick impasto, visible brushstrokes, and automatic drawing. Along with other abstract painters in post-war Paris, Bryen’s work is usually associated with vague humanist interpretations and oversimplified existentialism. If the above statement is true for a number of his peers, it does not correspond to the way he envisaged his art, and art in general. His views are reflected in his intense theoretical reflection revolving around the term of “Abhumanism”, too often completely ignored in the critical literature. Coined by his close friend, the playwright and writer Jacques Audiberti, Abhumanism claimed the inconsistency of a fallacious and pretentious humanism faced with the rawness and cruelty of recent history, and called for a revision of the humanist subject, including anthropocentrism. Both men considered art, namely painting, as a salvatory vitalist “abhumanist” act. In this paper, which is the first consistent publication on Bryen in English, I will argue that Abhumanism is essential for the understanding of the artist’s work because, separating him from the School of Paris, it is, first, harmonious with his artistic production—paintings and writings; second, it clarifies Bryen’s place in the history of the avant-garde, in the wake of Dada and Surrealism. This essay will contribute to the re-evaluation not only of Bryen’s still underestimated œuvre, but more largely to the reappraisal of the artistic life in Paris after the Second World War.
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Shankar, P. Ravi, and Christopher Rose. "Introducing Lesbian, Gay, Bisexual, and Transgender (LGBT) and Gender Identity Issues in a Medical Humanities Module." International Journal of User-Driven Healthcare 5, no. 2 (2015): 1–11. http://dx.doi.org/10.4018/ijudh.2015070101.
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Lesbian, gay, bisexual and transgender (LGBT) are ways of referring to someone's sexual orientation/preferences; gaining a better understanding as to how best serve the needs of the LGBT community are becoming increasingly important in medical education. While nations (especially developing ones) are making efforts to become more pluralistic societies that uphold and honor the rights of all their citizenry, members of the LGBT community continue to face hostility and violence. These factors cause many members of the LGBT community to be wary about identifying their sexual orientation. Curricular interventions to address LGBT issues are becoming increasingly common. The LGBT community faces a number of challenges and disparities in accessing healthcare. The authors facilitate a medical humanities (MH) module at the Xavier University School of Medicine, Aruba.. Small group, activity-based learning strategies are widely used during the module. Literature, case scenarios, paintings and role-plays are used to explore different aspects of MH. In this manuscript role-plays serve as vehicles to introduce LGBT issues to medical students during the module. The process of debriefing the role-play including students' comments are briefly discussed. One scenario deals with a young girl forced to become a worker in the sex trade, another contends with a night club owner who is diagnosed as HIV positive, a third situation portrays a young woman with a same gender life partner suffering from terminal cancer, the fourth situation explores the difficulties a female student faces when she reveals a sexual attraction for a same sex classmate. The role-plays serve to introduce students to an initial understanding of some of the issues faced by members of the LGBT community and an opportunity to put themselves in the position of a LGBT individual.
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Joshi, Shobhana. "LITERATURE IN PAINTING / PAINTING IN LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 5–9. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.899.
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English : The world is pictorial, it is also a movie. "Who is this painter"! Do not know! But a small part of the universe is born in the middle of these pictures and movies, it is time-consuming. One watches these movies during the movement of breaths and stops. This which he sees, passes through the camera of his eyes and is printed in the mind and heart. He is restless. Let me share that print. A hieroglyph of this sharing from the rest. The script rang, the pictures were painted, the colors were unrefined. Manas became fertile, art enriched by imagination. Art grew to vibrancy from the sentiments of human beings progressed by primitive barbarism. The infinite beauty of the parallel vision of creation embodied dance art, singing art with Prabhavishnuta. The instruments were unmodified. When the replica of nature was found to be a sound form, the concrete shape from the soil and stone was found in the form of "sculpture".
 Hindi : सृष्टि चित्रलिखित सी है, चलचित्र भी है। ''ये कौन चित्रकार है''! पता नहीं! पर सृष्टि का एक क्षुद्र हिस्सा भर मनुष्य इन चित्रों-चलचित्रों के बीच ही जनमता है, काल-कवलित होता है। सांसों के आने-जाने और रूक जाने की अवधि में इन चलचित्रों को देखता है। यह जो वह देखता है, उसकी आँखों के कैमरे से गुजरकर दिल-दिमाग में छपता है। उसे बैचेनी होती है। उस छपे को साझा करूँ। इस साझा करने की बैचेनी से जनमी चित्रलिपि। लिपि की बेल फैली, चित्र रचे चितेरों ने, रंग अविष्कृत हुए। मानस उर्वर हुआ, कल्पना से कला समृद्ध हुई। आदिम बर्बरता से आगे बढ़े मनुष्य के भावों से कला को स्पन्दन मिला। सृष्टि के समानांतर दृष्टि के अपरिमित सौंदर्य ने प्रभविष्णुता के साथ नृत्य कला, गायन कला को मूर्त्त किया। वाद्य अविष्कृत हुए। प्रकृति की प्रतिकृति ध्वनि रूप पा गयी तो मिट्टी और पत्थर से ठोस आकार ''मूर्तिकला'' रूप में मिला।
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Jaffe, Audrey. "Characters and Creatures." Victorian Literature and Culture 48, no. 4 (2020): 773–81. http://dx.doi.org/10.1017/s1060150320000297.
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Humans not only err, they often err willingly and explicitly, for both pleasure and edification. We accordingly “find” faces everywhere . . . most frequently, in the “faces” in paintings. And if we look at stars, clouds, and shadows we can find anything we want to find, so great is the indeterminacy of such finding places and so willing are we, for certain purposes, to accept the most minimal likenesses as “like.”Adena Rosmarin, The Power of Genre (1985)Adena Rosmarin's comment is part of a wider discussion of E. H. Gombrich's idea of the role of “schema” in perceptions of art—a concept he uses to explain, among other things, how it is that observers can perceive a face in a collection of lines and dots, and, more generally, why it makes sense to say that all art begins not with nothing but with something. A snowman starts with the schema that is snow, for example, and we “work the snow and balance the shapes till we recognize a man.” And not only do we work the snow to achieve some approximation of human faces and bodies, but we find human characteristics in—or, more accurately, make characters out of—all sorts of things, living and not. Certainly, we project character onto living nonhumans, such as cats, dogs, birds, and plants, imagining that they share our feelings of love, loneliness, and desire, but we also assign character and characteristics to inanimate objects and assorted phenomena: ships, cars, and hurricanes all get names; we may talk to the toaster, or grumble at a shoelace that, we imagine, stubbornly refuses—refuses!—to untie. Thus it is hardly surprising that literary characters, intended expressly as vehicles for imaginative occupation, take on a similarly outsize quality in our psyches. Words on a page, constructions of language, they invite us to consider them as soulmates and doppelgängers; nightmare—or perhaps ideal—versions of parents, brothers, sisters, friends, and selves: the families we might have chosen if we could; the me (or not me) nobody knows.
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Getmanskaya, Elena V. "Literary education in the context of STEAM approach (based on western research)." Literature at School, no. 6, 2020 (2020): 64–76. http://dx.doi.org/10.31862/0130-3414-2020-6-64-76.
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The development of the STEAM-approach is one of the main trends in global education. It integrates Sciences (S), Тechnology (T), Engineering (E), Arts (A), and Mathematics (M). Future Specialists need comprehensive training in the exact Sciences, Biology, Engineering, and Design – and this future is being prepared today. STEAM education is introduced in Western schools from an early age. The most important theoretical position of this approach is the statement that a student who knows the artistic beginnings of life (literature, painting, music, art design), achieves more in mathematics, and in engineering, and in Sciences. STEAM-literature curriculum is also based on an interdisciplinary and applied approach. The purpose of a lesson on the analysis of a literary text, as a rule, is associated with the creation of a material object (model) by students, in which their knowledge of all the listed disciplines is comprehensively invested. The main tool for interpreting a literary text in this approach is design. Not just design tasks are solved in the classroom with its help – design is one of the basic forms of modern visual art. The main question, which the author of the article faces, is whether it is possible to implement such the technologies at school without losses for the studied work of art. The analysis of western models leads to the conclusion that the significance of literature, as an independent subject, changes within the STEAM-approach – part of its autonomy is delegated to other disciplines. At the same time, a new, unexpected configuration of subjects appears in the classroom: literature is now integrated with biology, design, and mathematics. Thus, the interdisciplinary basis of STEAM takes the teaching of literature to a new interdisciplinary level. At the same time, it raises some questions about the degree of presence of the literary text itself in this approach, and the laws of its creation and the depth of its interpretation by students.
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Buchanan, Sophie. "Representing Medea on Roman Sarcophagi: Contemplating a Paradox." Ramus 41, no. 1-2 (2012): 144–60. http://dx.doi.org/10.1017/s0048671x00000291.
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It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and murderer—is fleshed out by her capacity to fascinate and repel. Modern scholarship fans the flames, as she remains a popular subject for scholars of Latin and Greek literature, mythology and gender studies.In contrast, Medea's visual sphere of interest has attracted less in-depth attention. Recent studies have acknowledged the implications of her presence on pots and in freestanding sculpture, and most notably, wall painting is beginning to receive careful treatment. Yet art-historians have been more reluctant to confront Medea within the enclosed and predisposed funerary context. Traditional approaches to mythological sarcophagi more generally have favoured consolado as the dominant mode of commemoration, in which empathy and pothos are paramount and protagonists like Adonis and Endymion seen as positive exempla worthy of analogy and assimilation. The deceased is elevated by association with these figures (an association which is often underlined by the use of a portrait head) and the bereaved reassured by the implied interaction of mundane and heroic, mortal and divine. In this way, desire becomes a gloss for grief and loss is translated as yearning.
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Schiralli, Martin, Constance A. Pedoto, and Donna Richardson. "Painting Literature." Journal of Aesthetic Education 29, no. 1 (1995): 108. http://dx.doi.org/10.2307/3333525.
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PATTERSON, MICHAEL. "The True Face of William Shakespeare. By Hildegard Hammerschmidt-Hummel. London: Chaucer Press, 2006. Pp. 208 + 116 illus. £25 Hb. - Painting Shakespeare: The Artist as Critic, 1720–1820. By Stuart Sillars. Cambridge: Cambridge University Press, 2006. Pp. xviii + 337 + 116 illus. £65/$120 Hb." Theatre Research International 32, no. 3 (2007): 327–28. http://dx.doi.org/10.1017/s0307883307003161.
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myhrvold, nathan. "The Art in Gastronomy: A Modernist Perspective." Gastronomica 11, no. 1 (2011): 13–23. http://dx.doi.org/10.1525/gfc.2011.11.1.13.
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In the twentieth century, Modernism swept through virtually every form of art and design—except cuisine. In painting, dance, architecture, literature, and nearly every other form of intellectual creative expression, the continual rejection of the old in favor of new, avant-garde styles became, as Renato Poggioli observed, “the typical chronic condition.” But it was not until the 1970s that Nouvelle Cuisine began to transform classical French cooking, and Nouvelle was a rather limited revolution, narrow in its focus on techniques and ingredients, and limited as well in its impact on Spanish and Italian cuisine. A true Modernist revolution in food has begun only recently, as chefs such as Ferran Adrià began consciously developing gastronomic experiences that transform meals into dialogues between chef and diner. Avant-garde cooking emphasizes novel, unconventional presentation of familiar flavor themes—the “deconstruction” of the meal by evoking diners’ memories of past meals while taking the dishes in novel directions. A meal at elBulli or other Modernist restaurants often exposes conventions that guests do not even realize exist until the innovative food violates them. Like other good art, Modernist cuisine is challenging and provocative. Dozens of chefs around the world are now advancing this culinary movement as it follows a trajectory that is similar, in many ways, to the Modernist transformations of other cultural disciplines. Like those predecessor movements, Modernist cuisine has faced some resistance and criticism. But it has arrived.
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Sumitra, Falian. "Strategi Meningkatkan Persentase Kunjungan pada Layanan Anak di Dinas Perpustakaan dan Kearsipan Kabupaten Sijunjung." Literatify : Trends in Library Developments 2, no. 1 (2021): 1–9. http://dx.doi.org/10.24252/literatify.v2i1.18678.
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This study discusses the librarian's strategy in increasing the percentage of visits to children's services at the Library and Archives Office of Sijunjung Regency. The purpose of this research is to find out how the strategies librarians use in increasing visits to children's services and what are the obstacles faced by librarians in increasing visits to children's services at the Library and Archives Office of Sijunjung Regency. The research method used is descriptive with a qualitative approach. Data collection techniques used were observation, interviews and literature. The results of this study are the strategies employed by librarians in increasing the percentage of visits to first-child services, doing competitions, be it coloring competitions, story competitions, and painting competitions. Second, doing storytelling and tutoring activities. Third, attracting children with a mobile library. As for the obstacles faced by librarians, namely the lack of facilities or facilities and infrastructure in children's services, limited labor and librarians, as well as views from the community. Penelitian ini membahas mengenai strategi pustakawan dalam meningkatkan persentase kunjungan terhadap layanan anak di Dinas Perpustakaan dan Kearsipan Kabupaten Sijunjung. Tujuan penelitian ini untuk mengetahui bagaimana strategi yang dilakukan pustakawan dalam meningkatkan kunjungan di layanan anak dan apa saja kendala yang dihadapi oleh pustakawan dalam meningkatkan kunjungan di layanan anak di Dinas Perpustakaan dan Kearsipan Kabupaten Sijunjung. Metode penelitian yang digunakan adalah deskriptif dengan pendekatan kualitatif. Teknik pengumpulan data yang digunakana berupa observasi, wawancara dan kepustakaan. Hasil dari penelitian ini yaitu strategi yang dilakukan oleh pustakawan dalam meningkatkan persentase kunjungan di layanan anak pertama, melakukan lomba baik itu lomba mewarnai, lomba bercerita, dan lomba melukis. Kedua, melakukan kegiatan storytelling dan bimbingan belajar. Ketiga, menarik pemustaka anak dengan perpustakaan keliling. Adapun hambatan yang dihadapi oleh pustakawan yaitu kurangnya fasilitas atau sarana dan prasarana di layanan anak, keterbatasan tenaga kerja dan pustakawan, serta padangan dari masyarakat.
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Lima, Yuri Fernandes, Patricia Tatemoto, Eduardo Santurtun, Emily Kate Reeves, and Zoe Raw. "The human-animal relationship and its influence in our culture: the case of donkeys." Brazilian Journal of Veterinary Research and Animal Science 58 (March 15, 2021): e174255. http://dx.doi.org/10.11606/issn.1678-4456.bjvras.2021.174255.
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Donkeys (Equus asinus) face a global crisis. Their health, welfare, and even their local survival are compromised as the demand for their skins increases. Such demand for donkey skins aims to supply the ejiao industry. Ejiao is a traditional remedy made from the collagen of donkey skins. Some people believe it has medicinal properties. It is estimated that the ejiao industry currently requires approximately 4.8 million donkey skins per year. Although the future of the donkeys is still uncertain, we must guarantee a life free from suffering to the animals under our responsibility. The trade of donkey skins also undermines the cultural role of donkeys. Donkeys have developed an essential role in Brazil, especially in the Northeast region of the country, carrying on their backs construction materials, water, and food, and, as a consequence, helping people build cities in the deepest hinterland. The close relationship between people and donkeys affords donkeys a unique place in the local culture. This central importance has been recognized by Brazilian artists throughout history. We have many examples of songs, books, “cordeis” (typical Brazilian literature), poems, documentaries, movies, woodcuts, paintings, and sculptures, created to honor this important actor. Here we describe some examples of this human-donkey relationship, and its influence on our culture.
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Liu, Jiemin. "Chinese Literature and Painting." Comparative Literature: East & West 5, no. 1 (2003): 150–60. http://dx.doi.org/10.1080/25723618.2003.12015636.
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Paramita, Divia Indri, and Hayatunnufus Hayatunnufus. "Perbandingan Hasil Face Painting Menggunakan Teknik Manual Dan Teknik Airbrush Pada Makeup Karakter." JURNAL PENDIDIKAN DAN KELUARGA 11, no. 02 (2020): 219. http://dx.doi.org/10.24036/jpk/vol11-iss02/648.
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Prias is not only required to enhance the appearance of the face and hair, but also a total appearance complete with supporting appearance that can reinforce one's character. This study aims to determine the results of face painting using manual techniques and airbrush techniques on character makeup and determine the differences in face painting results between manual techniques and airbrush techniques on character makeup. The type of this research is Quasy Experimental. The study population was 45 students with 4 samples. T test test analysis technique. Based on the research results obtained face painting cosmetology using manual techniques that the highest value is found in the aspects of time efficiency and color sharpness of 3.88 has very good criteria and the lowest on flatness with an average of 2.25 good criteria , the results of face painting make-up using airbrush technique flatness aspect average 3.81 on very good criteria, and at an average time efficiency of 3.88 very good criteria, the lowest on color sharpness with an average of 3.44 good criteria and there are differences in the face painting results between the manual technique and the airbrush technique in the aspect of flatness (p <0.05) and there is no difference in the face painting results between the manual technique and the airbrush technique in the aspect of time efficiency. solid or creamy because the results of cosmetics that are applied can be more flat and directly attached.Keywords: face painting, manual techniques, airbrush techniques, clown character makeup
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Petrie, Duncan. "The Eclipse of Scottish Cinema." Scottish Affairs 23, no. 2 (2014): 217–33. http://dx.doi.org/10.3366/scot.2014.0018.
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The 1990s marked the beginning of a period of unprecedented film production activity in Scotland, part of the wider outpouring of artistic expression – notably in literature, theatre and painting – that occurred in the aftermath of the 1979 Scottish Assembly debacle and which came to constitute a kind of cultural devolution in the absence of political self-determination. The ‘new Scottish cinema’ provided a steady stream of films like Rob Roy (1995), Trainspotting (1996), Small Faces (1996), Regeneration (1997), My Name is Joe (1998), Mrs Brown (1998), Orphans (1998) and Ratcatcher (1999). These were underpinned by a fledging infrastructure that included significant new sources of finance for feature development and production, short film schemes designed to develop new talent and encouragement and assistance for incoming international productions. Therefore, it is all the more disappointing that since the achievement of political devolution in 1999, this creative energy and excitement has largely dissipated with the result that there is now less funding available for Scottish film-making than in the period before the return of a parliament and executive to Edinburgh. This article explores the implications of this ‘cultural eclipse’, exploring the power of the moving image to contribute in powerful ways to national projection and identity and charting the ways in which cinematic representations of Scotland have changed and developed before considering some of the reasons why the creative energy of the 1990s was subsequently dissipated. This state of affairs is contrasted with the success of film and television in Denmark, another small European nation that has adopted a markedly more enlightened approach to policy-making and institution-building.
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Darmawan, Andreas James. "Visual Design Face Painting: Language Expressions Stylized for Wayang Punakawan." Humaniora 8, no. 1 (2017): 57. http://dx.doi.org/10.21512/humaniora.v8i1.3696.
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On this research, the author focused on the scope of Punakawan face painting that expected to become a starting point from the first step in making the visual standardization proposals, which the visual variety of face painting Punakawan was not consistent yet. The research objective was to become one of the methods to re-popularizing by building a visual consistency in Punakawan face painting so that it became more modern and simple without losing the original characteristics of it. The method was performed in the visual design, from visual references research, visual analysis and matching with the characteristics of each character in Punakawan, visual sketching, and computerization process, up to become final visual artwork. The benefits of the research were to be a next visual research comparison, as well as a contribution in the form of visual work; face painting Wayang Punakawan in the further development of the creative economy entered a new era. This research finds that visually, it is the necessary continuation of the design, such as attribute, proportion, gestures, and other visual elements in Punakawan face painting and it is good for Punakawan studies and other Indonesian wayang figures.
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Guo, Qing. "Development Trend of Car Painting Technology." Advanced Materials Research 591-593 (November 2012): 2573–82. http://dx.doi.org/10.4028/www.scientific.net/amr.591-593.2573.
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In recent years, a great amount of new car painting technology emerges. New wet on wet Aqueous compact coating process reduces energy consumption and improves process efficiency, which contribute to large decline in costs of car manufacturers. New nano face paint has higher performance than traditional paints in scoring preventing and resistance to body paint off. Prefilming technology gives rise to less environment pollution, facility investment, fast remodeling, which shocked the automobile painting industry. According to the current situation of painting in China and the international technology developments, this paper introduce development trend of car painting technology in terms of pretreatment, CED, floating coat, face paint painting, and film solidification.
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E, Rathika, and V. Vijayalakshmi. "Nexus Between Painting and Literature." Theory and Practice in Language Studies 12, no. 7 (2022): 1365–72. http://dx.doi.org/10.17507/tpls.1207.16.
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Painting along with the literatures written was a response to the significant social events or ethnological constructions of that era. Like other arts, literature was a voicing of a person’s feelings and thoughts. Every artist sought to share their observations, experiences and their understanding of truths. Whether artists were writing stories, composing songs, creating a film or painting a picture, they were experiencing their relationship with the world around them and their works reflected a particular structure, tone and theme pertaining to the form of art. This paper looked at the connection and compared the difference between painting and literature and its evolution in history as they complemented one another through their way of expression.
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MacKay, Barbara. "Uncovering buried roles through face painting and storytelling." Arts in Psychotherapy 14, no. 3 (1987): 201–8. http://dx.doi.org/10.1016/0197-4556(87)90002-5.
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Tao, Shilong, Anqi Peng, and Xi Chen. "“Being So Caught up”: Exploring Religious Projection and Ethical Appeal in Leda and the Swan." Religions 12, no. 2 (2021): 107. http://dx.doi.org/10.3390/rel12020107.
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This paper explores the religious projection and ethical appeal in the art and literature of Leda and the Swan created from ancient times to the contemporary era, so as to make a comparative review and reading on it, providing religious reflection and ethical enlightenment to today’s society. From ancient Greek vase paintings to contemporary English poems, the investigation shows that the story of Leda and the Swan has been continuously rewritten and revalued by history, religion and social ethics. The interaction between Leda and the swan goes from divinity to humanity, increasingly out of the cage of eroticism, symbolizing the process of transforming into a secularized life. Besides, Leda, as a representative victim of traditional patriarchy and religious persecution, goes from bondage to liberation, signaling the awakening of feminine consciousness and the gradual collapse of patriarchy; while the swan, an incarnation of power and desire under patriarchy, becomes an object of condemnation. However, as for who is the victim and who should be condemned, there are different religious and ethical standards in different historical periods, which reflects the development and evolution of religious rules and ethical orders in the historical process. By highlighting the Trojan War or woman’s sufferings, Leda and the Swan, in fact, reveals that the tragedy results from the uncontrollable animal factor and free will, and that women should face their ethical or religious identities to make correct choices.
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Emanuel, Lynn. "Bad Painting." Antioch Review 52, no. 3 (1994): 493. http://dx.doi.org/10.2307/4613007.
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