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Journal articles on the topic 'French Art pottery'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

Dickinson, Oliver. "Coulié, Anne 2013. La céramique grecque aux époques géometrique et orientalisante (XIe–VIe siècles av.J.-C.)." Journal of Greek Archaeology 3 (January 1, 2018): 461–63. http://dx.doi.org/10.32028/jga.v3i.544.

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This is a finely produced volume, but the title of the series to which it belongs is significant. It is a manual, written in clear, uncomplicated French, which provides information in a succinct way, but includes more detail than most people will need about these interesting phases of Greek pottery, even (from the reviewer’s experience) if they are teaching them as part of a university course in Greek art. But it will be generally useful as an up-to-date source of information and comment and should be of considerable value to PhD students specialising in the field.

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2

Karyakina, Tatyana Dmitrievna. "Portrait in Western European porcelain of the XVIII century." Исторический журнал: научные исследования, no. 5 (May 2021): 9–20. http://dx.doi.org/10.7256/2454-0609.2021.5.36215.

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This article is dedicated to portrait images in Western European porcelain of the XVIII century. Research is conducted on the works created in various European countries, such as Germany (Meissen), France (Sevres), Austria (Vienna), and England (Wedgwood Pottery Manufactory). Prominent masters of porcelain &ndash;Kendler, Boizot, Grassi &ndash; are the authors of the portraits. Sculptural portrait images of August III &ndash; painter of the court of the French Queen Marie Antoinette and the Holy Roman Emperor Joseph II are notable for exquisite artistic merit. The article reviews p

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3

Arden, Heather, and Kathryn Lorenz. "The Harry Potter Stories and French Arthurian Romance." Arthuriana 13, no. 2 (2003): 54–68. http://dx.doi.org/10.1353/art.2003.0005.

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4

Quillen, Ethan G. "The Justice Potter Stewart Definition of Atheism." Alternative Spirituality and Religion Review 11, no. 2 (2020): 197–234. http://dx.doi.org/10.5840/asrr2021102976.

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In 1964, the United States Supreme Court affirmed by its decision in Jacobellis vs. Ohio that the French art film, Les Amants, was not, as the State of Ohio had previously defined it, “hardcore pornography.” In his concurrent opinion, Justice Potter Stewart wrote that, though he couldn’t properly define what might constitute “hardcore pornography,” it was something that would be obvious to most of us, especially when compared to a bawdy, yet otherwise harmless, foreign film. His exact words were: “but I know it when I see it.” And while Justice Stewart’s simple acknowledgment that we might “kn

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Chinita, Fátima. "A Tale of Sound and Fury Signifying Everything: Argentine Tango Dance Films as Complex Self-Reflexive Creation." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (2021): 68–85. http://dx.doi.org/10.2478/ausfm-2021-0015.

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Abstract This article equates the multidimensional artistic form of Argentine tango (dance, music and song) with the innately hybrid form of film. It compares Argentine tango culture to the height of French cinephilia in the 1950s Paris, France, arguing that they are both passionate, erotic and nostalgic ways of life. In Carlos Saura’s Tango (1998) and Sally Potter’s The Tango Lesson (1997), the intertwining of the related skills of tango practice and filmmaking are an audio-visual treat for the senses and a cognitive challenge for the mind. Their self-reflexivity promotes excess and the resul

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6

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 71, no. 3-4 (1997): 317–91. http://dx.doi.org/10.1163/13822373-90002612.

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-Leslie G. Desmangles, Joan Dayan, Haiti, history, and the Gods. Berkeley: University of California Press, 1995. xxiii + 339 pp.-Barry Chevannes, James T. Houk, Spirits, blood, and drums: The Orisha religion in Trinidad. Philadelphia: Temple University Press, 1995. xvi + 238 pp.-Barry Chevannes, Walter F. Pitts, Jr., Old ship of Zion: The Afro-Baptist ritual in the African Diaspora. New York: Oxford University Press, 1993. xvi + 199 pp.-Robert J. Stewart, Lewin L. Williams, Caribbean theology. New York: Peter Lang, 1994. xiii + 231 pp.-Robert J. Stewart, Barry Chevannes, Rastafari and other Af

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7

Rybina, M. S. "EKPHRASIS AS MEMORY SPACE IN M. PROUST’s “PORTRAITS DE PEINTRES”." Bulletin of Udmurt University. Series History and Philology 32, no. 3 (2022): 630–35. http://dx.doi.org/10.35634/2412-9534-2022-32-3-630-635.

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The article considers ekphrasis as one of the ways to create visual images in M. Proust’s “Portraits de Peintres”. The relevance of the research is resulted from arising interest to the phenomenon of literary visuality as well as the absence of specialised works devoted to the early lyric cycle of French modernist. The purpose of the article is to analyse devices of intersemiotic translation from a visual impression into a verbal description. Despite the full neglect on the part his contemporaries and researchers’ scepticism to Proust’s sole lyric cycle, this early experience contains, in our

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8

Dewald, Jonathan. "David Potter. War and Government in the French Provinces: Picardy 1470-1560. Cambridge and New York: Cambridge University Press, 1993. xv + 393 pp. $69.95." Renaissance Quarterly 48, no. 3 (1995): 625–26. http://dx.doi.org/10.2307/2862883.

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9

Hartkamp, Arthur, and Beatrijs Brenninkmeyer-De Rooij. "Oranje's erfgoed in het Mauritshuis." Oud Holland - Quarterly for Dutch Art History 102, no. 3 (1988): 181–232. http://dx.doi.org/10.1163/187501788x00401.

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AbstractThe nucleus of the collection of paintings in the Mauritshuis around 130 pictures - came from the hereditary stadholder Prince William v. It is widely believed to have become, the property of the State at the beginning of the 19th century, but how this happened is still. unclear. A hand-written notebook on this subject, compiled in 1876 by - the director Jonkheer J. K. L. de Jonge is in the archives of the Mauritshuis Note 4). On this basis a clnsor systematic and chronological investigation has been carried out into the stadholder's. property rights in respect of his collectcons and t

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10

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 69, no. 3-4 (1995): 315–410. http://dx.doi.org/10.1163/13822373-90002642.

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-Dennis Walder, Robert D. Hamner, Derek Walcott. New York: Twayne Publishers, 1993. xvi + 199 pp.''Critical perspectives on Derek Walcott. Washington DC: Three continents, 1993. xvii + 482 pp.-Yannick Tarrieu, Lilyan Kesteloot, Black writers in French: A literary history of Negritude. Translated by Ellen Conroy Kennedy. Washington DC: Howard University Press, 1991. xxxiii + 411 pp.-Renée Larrier, Carole Boyce Davies ,Out of the Kumbla: Caribbean women and literature. Trenton NJ: Africa World Press, 1990. xxiii + 399 pp., Elaine Savory Fido (eds)-Renée Larrier, Evelyn O'Callaghan, Woman version

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11

Mason, David J. "‘A GROUP OF LATE HELLADIC IIIB1 POTTERY FROM MYCENAE’ REVISITED: THE STRATIGRAPHY OF THE TRENCHES ASSOCIATED WITH THE DEPOSIT AND THE POTTERY FROM LEVEL 3 OF THE PREHISTORIC CEMETERY CENTRAL III EXTENSION EAST." Annual of the British School at Athens, February 2, 2023, 1–25. http://dx.doi.org/10.1017/s0068245422000144.

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In 1952 Sinclair Hood found a large deposit of pottery in front of the Great Poros Wall at Mycenae and published a brief account of its discovery the following year. In 1966 Elizabeth French published a paper discussing the pottery, assigning it an early Late Helladic IIIB1 date. From these accounts, we know that the deposit appeared in four trenches: Prehistoric Cemetery Central (PCC) III, where it sat on a surface of hard tramped earth; PCC IV, where it lay on bedrock; and PCC III Extension East and Area VII, where it rested on white clay plaster floors. But otherwise we learn little about t

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12

Destruel, Mathieu. "Translating Magic: balancing art and science in the translation of Harry Potter." Lingua Frankly 1 (June 16, 2016). http://dx.doi.org/10.6017/lf.v1i1.5663.

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Literature is rightfully regarded as an art, but when translation enters the fray, it can require a somewhat scientific approach. Throw in a little bit of “Harry Potter” magic, and it can really become tricky. Translation is challenging, as it requires us to look not only at problems such as equivalence and the use of names, but also culture itself. Linguistic factors are also an issue, as a certain type of word might be abundant in the source language, but not very common in the target language. The role of the translator is therefore to distinguish what in a text is potentially translatable

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13

Sherratt, Susan. "ELIZABETH (LISA) BAYARD FRENCH (1931–2021)." Annual of the British School at Athens, July 25, 2022, 1–7. http://dx.doi.org/10.1017/s0068245422000089.

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Lisa French (1931–2021) was the first woman to be appointed as Director of the British School at Athens, from 1989–1994. Most of her adult life and career were devoted to the site of Mycenae, where she excavated with her father, Professor Alan Wace, in the 1950s and after his death in 1957 with Lord William Taylour. Thereafter, she continued studying and publishing the results of the excavations and studying and publishing on Mycenae and Mycenaean material culture more generally for the rest of her life. In 2013 she donated the Mycenae archive, containing records of all the British excavations

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14

French, David, and Oliver Dickinson. "LEFKANDI PHASE I, WITH SPECIAL REFERENCE TO THE POTTERY, ITS CHRONOLOGICAL POSITION, AND ITS ANATOLIAN CONNECTIONS." Annual of the British School at Athens, April 26, 2022, 1–75. http://dx.doi.org/10.1017/s0068245422000028.

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The aim of this article is to publish David French's manuscript on Lefkandi Phase I, in as close a form as possible to what he wrote. Some changes have been necessary to improve the presentation of the material, to correct occasional errors, and to conform with BSA stylistic requirements. The material discussed is essentially that from the lowest levels of the ‘Deep Sounding’ in Trench CC. The discussion has four sections. The first section is a very brief comment on the stratigraphical data, including sections of the Lefkandi Phase I stratum in Trench CC and plans of the remains of sub-phases

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15

French, David, and Oliver Dickinson. "LEFKANDI PHASE I, WITH SPECIAL REFERENCE TO THE POTTERY, ITS CHRONOLOGICAL POSITION, AND ITS ANATOLIAN CONNECTIONS." Annual of the British School at Athens, April 26, 2022, 1–75. http://dx.doi.org/10.1017/s0068245422000028.

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The aim of this article is to publish David French's manuscript on Lefkandi Phase I, in as close a form as possible to what he wrote. Some changes have been necessary to improve the presentation of the material, to correct occasional errors, and to conform with BSA stylistic requirements. The material discussed is essentially that from the lowest levels of the ‘Deep Sounding’ in Trench CC. The discussion has four sections. The first section is a very brief comment on the stratigraphical data, including sections of the Lefkandi Phase I stratum in Trench CC and plans of the remains of sub-phases

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16

Mahon, Elaine. "Ireland on a Plate: Curating the 2011 State Banquet for Queen Elizabeth II." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1011.

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IntroductionFirmly located within the discourse of visible culture as the lofty preserve of art exhibitions and museum artefacts, the noun “curate” has gradually transformed into the verb “to curate”. Williams writes that “curate” has become a fashionable code word among the aesthetically minded to describe a creative activity. Designers no longer simply sell clothes; they “curate” merchandise. Chefs no longer only make food; they also “curate” meals. Chosen for their keen eye for a particular style or a precise shade, it is their knowledge of their craft, their reputation, and their sheer abi

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17

Franks, Rachel. "A True Crime Tale: Re-imagining Governor Arthur’s Proclamation to the Aborigines." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1036.

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Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over r

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18

Tofts, Darren John. "Why Writers Hate the Second Law of Thermodynamics: Lists, Entropy and the Sense of Unending." M/C Journal 15, no. 5 (2012). http://dx.doi.org/10.5204/mcj.549.

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If you cannot understand my argument, and declare “It’s Greek to me,” you are quoting Shakespeare.Bernard LevinPsoriatic arthritis, in its acute or “generalised” stage, is unbearably painful. Exacerbating the crippling of the joints, the entire surface of the skin is covered with lesions only moderately salved by anti-inflammatory ointment, the application of which is as painful as the ailment it seeks to relieve: NURSE MILLS: I’ll be as gentle as I can.Marlow’s face again fills the screen, intense concentration, comical strain, and a whispered urgency in the voice over—MARLOW: (Voice over) Th

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19

Cashman, Dorothy Ann. "“This receipt is as safe as the Bank”: Reading Irish Culinary Manuscripts." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.616.

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Introduction Ireland did not have a tradition of printed cookbooks prior to the 20th century. As a consequence, Irish culinary manuscripts from before this period are an important primary source for historians. This paper makes the case that the manuscripts are a unique way of accessing voices that have quotidian concerns seldom heard above the dominant narratives of conquest, colonisation and famine (Higgins; Dawson). Three manuscripts are examined to see how they contribute to an understanding of Irish social and culinary history. The Irish banking crisis of 2008 is a reminder that comments

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20

Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash

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21

Ambrosetti, Angelina. "The Portrayal of the Teacher as Mentor in Popular Film: Inspirational, Supportive and Life-Changing?" M/C Journal 19, no. 2 (2016). http://dx.doi.org/10.5204/mcj.1104.

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The mediocre teacher tells. The good teacher explains. The superior teacher demonstrates. The great teacher inspires. — William Arthur WardIntroductionThe first documented use of the term Mentor can be traced back to the 8th century BC poem by Homer entitled Odyssey (Hay, Gerber and Minichiello). Although this original representation of Mentor is contested in the literature (Colley), historically the term mentor has evolved to imply a wise and trusted other who advises, teaches, protects and supports someone younger who is inexperienced and not so knowledgeable with the ways of the world. The

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22

Brien, Donna Lee. "“Porky Times”: A Brief Gastrobiography of New York’s The Spotted Pig." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.290.

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Introduction With a deluge of mouthwatering pre-publicity, the opening of The Spotted Pig, the USA’s first self-identified British-styled gastropub, in Manhattan in February 2004 was much anticipated. The late Australian chef, food writer and restauranteur Mietta O’Donnell has noted how “taking over a building or business which has a long established reputation can be a mixed blessing” because of the way that memories “can enrich the experience of being in a place or they can just make people nostalgic”. Bistro Le Zoo, the previous eatery on the site, had been very popular when it opened almos

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23

Crouch, David, and Katarina Damjanov. "Extra-Planetary Digital Cultures." M/C Journal 18, no. 5 (2015). http://dx.doi.org/10.5204/mcj.1020.

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Digital culture, as we know it, owes much to space exploration. The technological pursuit of outer space has fuelled innovations in signal processing and automated computing that have left an impact on the hardware and software that make our digital present possible. Developments in satellite technologies, for example, produced far-reaching improvements in digital image processing (Gonzalez and Woods) and the demands of the Apollo missions advanced applications of the integrated circuit – the predecessor to the microchip (Hall). All the inventive digital beginnings in space found their way bac

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24

O'Meara, Radha, and Alex Bevan. "Transmedia Theory’s Author Discourse and Its Limitations." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1366.

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As a scholarly discourse, transmedia storytelling relies heavily on conservative constructions of authorship that laud corporate architects and patriarchs such as George Lucas and J.J. Abrams as exemplars of “the creator.” This piece argues that transmedia theory works to construct patriarchal ideals of individual authorship to the detriment of alternative conceptions of transmediality, storyworlds, and authorship. The genesis for this piece was our struggle to find a transmedia storyworld that we were both familiar with, that also qualifies as “legitimate” transmedia in the eyes of our prospe

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