Relevant bibliographies by topics / Face painting – Juvenile literature

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

Academic literature on the topic 'Face painting – Juvenile literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Face painting – Juvenile literature"

1

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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3

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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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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5

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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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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7

Coker, David C. "Education, Policy, and Juvenile Delinquents: A Mixed Methods Investigation During COVID-19." Journal of Education and Learning 10, no. 1 (2020): 22. http://dx.doi.org/10.5539/jel.v10n1p22.

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COVID-19 mitigation efforts resulted in many schools making the transition to online and remote instruction. Juvenile delinquents, as a group, attained lower academic achievement before the pandemic, and little was known how juvenile delinquents’ education fared after schools ceased face-to-face instruction. Using a mixed methods approach, three steps were conducted to analyze the education of juvenile delinquents in the United States: a qualitative literature review, a grounded theory study of teachers’ concerns in traditional schools, and an instrumental case study of juvenile delinquents’ enrollment during COVID-19. Researchers and experts recommended the development of a community online and in remote instruction, but most teachers felt overwhelmed and unable to rise to the challenge. Juvenile delinquents responded by most students disappearing from school attendance rolls. A grand theme, to shift the nature of online learning, is offered based upon the convergence of the research findings. A theory of humanistic schooling online, centered on a community of learners with the dimensions of academics, physical health, social, and attention to the individual, offers to radically transform practices and past recommendations.
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8

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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9

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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10

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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Dissertations / Theses on the topic "Face painting – Juvenile literature"

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Gendron-Bouchard, Pierre-David. "La subjectivité poétique face à la peinture : le cas de L'Atelier contemporain de Francis Ponge." Thèse, 2015. http://hdl.handle.net/1866/12559.

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L’Atelier contemporain recueille la plupart des textes sur l’art de Francis Ponge. Malgré sa réputation de « poète des choses », celui-ci n’y écrit pourtant pas avant tout sur les œuvres finies (les tableaux), mais plutôt sur les artistes mêmes. S’appuyant sur un approfondissement de la conceptualisation de la poétique pongienne comme érotique entre le sujet et l’objet, ce mémoire cherche à découvrir, à travers les questions particulières que la peinture pose à l’écriture de Ponge, les raisons du déplacement du regard de l’écriture de la chose muette à la personne parlante. Il semble que Ponge, face à des œuvres artistiques non verbales, soit à la recherche d’une signifiance qu’il ne peut trouver, ce qui l’oblige à se tourner vers les personnes. Mais ces personnes finissent toujours par céder la première place, dans L’Atelier contemporain, au « je » du poète.<br>Francis Ponge’s L’Atelier contemporain is a collection of most of his texts on art. In those texts, despite Ponge’s reputation of “poet of things”, his primary focus is not put on the finished works (the paintings), but rather on the artists themselves. Supported on a deepening of the conception of Ponge’s poetic as an erotic relation between the subject and the object, this master’s thesis aims at discovering, through the specific questions that painting asks to writing, the reasons of the shifting of the look from the mute things to the talking persons. It seems that Ponge, facing non-verbal artistic works, is seeking a power of significance that he cannot find, which forces him to turn towards the persons. However, these persons always yield, in L’Atelier contemporain, to the poetic subject.
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Books on the topic "Face painting – Juvenile literature"

1

ill, Mukhida Zul, ed. Face painting. Thomson Learning, 1994.

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Zul, Mukhida, ed. Face painting. Wayland1994., 1994.

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ill, Lim Mei, and Shott Stephen ill, eds. Face painting. Carolrhoda Books, 1997.

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4

Caudron, Chris. Face painting. Scholastic, 1997.

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Caudron, Chris. Face painting. Scholastic, 1997.

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ill, Shone Rob, ed. Face painting. Copper Beech Books, 1997.

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7

Alègre, Jean-Paul. Face painting. Magnet, 1988.

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Beaton, Clare. Face painting. Warwick Press, 1990.

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9

Face painting. Impact Books, 1992.

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10

Face painting. Kingfisher, 1990.

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Book chapters on the topic "Face painting – Juvenile literature"

1

Grethlein, Jonas. "Representation Delimited and Historicized." In Metalepsis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846987.003.0002.

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This chapter enriches the volume’s overall diachronic approach with an additional transmedial perspective as it compares cases of metalepsis in archaic and classical vase-painting with violations of levels of representation in epic and lyric poetry. It focuses, first, on how characters in texts and figures in painting address the recipients, either with apostrophe (in texts) or en face gaze (in pictures). It then considers cases in which the represented world of a painting seems to acknowledge its own representation, for instance when figures apparently lean against the edges of the vessel on which they are painted. The chapter argues that medial differences have a significant impact on metalepsis: not all textual metalepses have pictorial parallels, nor can we find equivalents to all pictorial metalepses in literature. However, it concludes that ancient literature and vase-painting nevertheless share traits that reveal a distinct tendency of ancient metalepsis: in both media the boundaries between the representation, the represented object, and the recipient were less clear-cut than in our modern view. The chapter concludes by suggesting a possible reason for this in the rootedness of ancient representations in specific contexts: specifically, performative settings for literature, and pragmatic utility for painted pots.
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2

Eisner, Martin. "The Veronica (Tipped-in)." In Dante's New Life of the Book. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869634.003.0010.

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This chapter explores the significance of Dante’s use of the Veronica in the final chapters of the Vita nuova. Beginning with a tipped-in illustration from Botticelli in an early twentieth-century Spanish translation, this chapter uses the Veronica to highlight the work’s entanglement in the world and Dante’s desire to share the miracle of Beatrice with a larger public. Making Beatrice into a substitute Veronica, Dante draws on the unusual relation between original and copy that is already present in the Veronica itself, which is the impress of Christ’s face. Although the copy is honored as an original, the point of the image to produce copies, just as Dante wants later readers to reproduce his book. To copy Dante’s book gives Beatrice new life. Returning to Botticelli’s image, the chapter examines how Dante reprises many of the Vita nuova’s features discussed in the preceding chapters for his encounter with Beatrice in Earthly Paradise. The chapter concludes by taking up the controversial identification of Botticelli’s painting as a representation of Philology to argue for the connection between this lush and flowering figure and the conjunction of philology and world literature explored in this book.
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