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Journal articles on the topic 'Literary structure'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Frederking, Volker, Sofie Henschel, Christel Meier, Thorsten Roick, and Dickhäuser Petra Stanat. "Beyond Functional Aspects of Reading Literacy: Theoretical Structure and Empirical Validity of Literary Literacy." L1 Educational Studies in Language and Literature 12 S.I. Literature, Interpretation of Literature (June 2012): 1–24. http://dx.doi.org/10.17239/l1esll-2012.01.02.

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2

Anheier, Helmut K., and Jurgen Gerhards. "Literary Myths and Social Structure." Social Forces 69, no. 3 (March 1991): 811. http://dx.doi.org/10.2307/2579476.

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3

Toman, Jindrich, Jurij Striedter, and Matthew Gurewitsch. "Literary Structure, Evolution, and Value." Russian Review 51, no. 3 (July 1992): 434. http://dx.doi.org/10.2307/131129.

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4

Miller, James. "The Literary Structure of Mark." Expository Times 106, no. 10 (July 1995): 296–99. http://dx.doi.org/10.1177/001452469510601003.

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5

Smith, Christopher R. "The Literary Structure of Leviticus." Journal for the Study of the Old Testament 21, no. 70 (June 1996): 17–32. http://dx.doi.org/10.1177/030908929602107002.

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6

Anheier, H. K., and J. Gerhards. "Literary Myths and Social Structure." Social Forces 69, no. 3 (March 1, 1991): 811–30. http://dx.doi.org/10.1093/sf/69.3.811.

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7

Crew, Louie. "Importing Vocabularies to Describe Literary Structure." Journal of Technical Writing and Communication 22, no. 1 (January 1992): 77–93. http://dx.doi.org/10.2190/xd1j-3whq-leqb-8rf4.

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With the vocabularies of their own disciplines, students majoring in technical subjects can access fresh insights into how writers write. For example, the symbols of computer flowcharts may bring insights when used to monitor rhetoric. Charts of organizational hierarchies, such as those that many corporate executives use, may illuminate equally well the shifting hierarchies of the characters in a work of fiction. Graphs and charts of syntactic and lexical networks may reveal the hidden structures of a narrative. An engineering major needs to see how a writer engineers words, a business major to see how a writer establishes hierarchies, a computer science major to see how a writer devises the flow of rhetoric. If we encourage students to explain literature with the professional vocabularies of their own disciplines, we can train them as lively apprentices, not as drudges. If we English teachers heed our students' special vocabularies, we may expect students to examine our own jargon more thoughtfully, such as the vocabulary by which we chart subordination and punctuation. Literature is everyone's heritage. No discipline monopolizes the critical insight or the vocabulary with which to articulate it.

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8

Carroll, J. "The Deep Structure of Literary Representations." Evolution and Human Behavior 20, no. 3 (May 1999): 159–73. http://dx.doi.org/10.1016/s1090-5138(99)00004-5.

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9

Thomas, John Chistopher. "The Literary Structure of 1 John." Novum Testamentum 40, no. 4 (1998): 369–81. http://dx.doi.org/10.1163/156853698323282117.

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10

Monroe, James T. "Arabic literary elements in the structure of the Libro de buen amor (II)." Al-Qanṭara 32, no. 2 (December 15, 2011): 307–32. http://dx.doi.org/10.3989/alqantara.2011.v32.i2.259.

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11

Herrando Rodrigo, María Isabel. "A reflection on literary canon and translation: the case of Spain in the Late 1990s and early 2000s." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 15-17 (February 26, 2011): 376. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.200415-1716.

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The term Literary Canon has always been a complex issue to describe. The debate that this fact origins affects either the editorial market and higher education. In this exploratory reflection, based on the literary market observation in the last ten years, a lot of parameters are questioned. I question from the personal criteria that lead somebody to gather an anthology to the relation between canon and power. Fowler, Evan-Zohar, Sullà and Reyes, among others, have presented different approaches to the possible structure of Literary Canon: dynamic, hierarchic, primary, secondary, etc. Nonetheless, there are neither sources nor academics that openly claim if there is a known identity that establish the Canon under political, social, cultural or globalisation factors. Though, it is generally conveyed that the quality of a work is measured according to the number of languages to which it has been translated. El concepto de Canon literario siempre ha sido una cuestión compleja. El debate que origina afecta tanto al mercado literario, y por tanto editorial, como a la educación de los estudiantes españoles (en este caso). En esta breve reflexión, basada en la observación del mercado literario de los últimos diez años, se plantean desde los criterios personales que llevan a elaborar una antología literaria hasta la relación entre poder y el canon literario. Fowler, Evan-Zohar, Sullà, Reyes (entre otros escritores) han planteado distintos modelos que definen la posible estructura del canon literario: dinámica, jerarquizada, primaria, secundaria, etc. Sin embargo, ninguna fuente o académico puede identificar con claridad si tras la identidad que establece el canon podemos encontrar factores políticos, sociales, globalizantes o culturales. Pese a ello, se sigue creyendo, a nivel general, que la calidad de una obra literaria se puede medir según el número de lenguas al cual se traduce dicha obra.

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12

Monroe, James T. "Arabic literary elements in the structure of the Libro de buen amor." Al-Qanṭara 32, no. 1 (May 25, 2011): 27–70. http://dx.doi.org/10.3989/alqantara.2011.v32.i1.249.

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13

Aytekin, Cemile Arzu. "On the Tracks of Literary Structure in Literary Work (a Sumerian Poem)." Procedia - Social and Behavioral Sciences 158 (December 2014): 43–50. http://dx.doi.org/10.1016/j.sbspro.2014.12.031.

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14

Kanev, A. I. "HANDEL's OPERAS: LITERARY SOURCES, STRUCTURE, LIBRETTO LANGUAGE." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 517–23. http://dx.doi.org/10.35634/2412-9534-2019-29-3-517-523.

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This article studies thirteen Italian libretti of music dramas that were staged with Handel's music in the first half of the XVIII century. The libretti texts were written by a range of authors such as N. F. Haym, A. Salvi, P. Rolli, A. Zeno, V. Grimani, A. Hill, G. Rossi, N. Minato, A. Piovene. The majority of stories are based on famous Italian and French literary pieces. The article looks at literary and linguistic aspects of libretti. The literary components are the problem of primary sources, plot features and their transformations, drama structure and texts form. The linguistic components are rare verb forms, syntactical and lexical features of libretti. Attention is paid to the sound organisation of the texts - euphonia. Examples are drawn of the usage of alliteration and assonance.

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15

Mottram, Ron, and David Packman. "Vladimir Nabokov: The Structure of Literary Desire." Journal of the Midwest Modern Language Association 18, no. 2 (1985): 38. http://dx.doi.org/10.2307/1315186.

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16

Bell, Michael, and David Packman. "Vladimir Nabokov: The Structure of Literary Desire." Modern Language Review 82, no. 1 (January 1987): 194. http://dx.doi.org/10.2307/3729944.

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17

Smelik, K. A. D. "The Literary Structure of King Mesha's Inscription." Journal for the Study of the Old Testament 15, no. 46 (February 1990): 21–30. http://dx.doi.org/10.1177/030908929001504603.

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18

Leshchenko, H. V. "LITERARY TEXT AS A (MULTI)FRACTAL STRUCTURE." Тrаnscarpathian Philological Studies 2, no. 17 (2021): 203–7. http://dx.doi.org/10.32782/tps2663-4880/2021.17-2.38.

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19

Garcia, Mario. "Literary narrative as a cognitive structure in the brain." Narrative Inquiry 25, no. 1 (December 31, 2015): 22–36. http://dx.doi.org/10.1075/ni.25.1.02gar.

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This paper proposes that literary narrative is the result of an unconscious computation in the brain, a computation that arises from the dynamical interaction of specific innate and representational lower-order neuronal circuits and mappings. It is also proposed that these specific circuits constitute the fundamental building blocks of literary narrative. The analysis further suggests that as literary narrative evolves in the brain, its development is influenced by an evolutionarily-biased broad class of attractors known as archetypes. In this context, a description of literary narrative is devised, and six phases leading to the production of literary narrative are then identified. The description presented here may have applications in the production of literary narrative by artificial systems.

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20

양동국. "A Structure and a Literary Value of Abashirimade." Journal of Japanese Language and Literature 83, no. 2 (November 2012): 391–409. http://dx.doi.org/10.17003/jllak.2012.83.2.391.

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21

HINTZE, ALMUT. "On the literary structure of the Older Avesta." Bulletin of the School of Oriental and African Studies 65, no. 1 (February 2002): 31–51. http://dx.doi.org/10.1017/s0041977x02000022.

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This article argues that the Yasna Haptaŋhāiti constituted the kernel of a ritual text recited during the Yasna ceremony. Zaraθušhtra's Gathas were arranged around it, and so were the holy prayers and later additions in Younger Avestan. The arrangement of the extant Older Avesta is probably the original one, and may go back to the composer himself. Its compositional principle is that of parallelism and ring composition, a pattern which can be found both in individual Gathic hymns, two of which (Y 28 and 43) are analysed, and in the structure of the entire Yasna.

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22

Melugin, Roy F., and Robert H. O'Connell. "Concentricity and Continuity: The Literary Structure of Isaiah." Journal of Biblical Literature 116, no. 2 (1997): 345. http://dx.doi.org/10.2307/3266238.

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23

Noble, Paul R. "The Literary Structure of Amos: A Thematic Analysis." Journal of Biblical Literature 114, no. 2 (1995): 209. http://dx.doi.org/10.2307/3266936.

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24

Auffret, Pierre. "Note on the Literary Structure of Psalm 134." Journal for the Study of the Old Testament 14, no. 45 (October 1989): 87–89. http://dx.doi.org/10.1177/030908928901404507.

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25

Kudryasheva, F. S., and L. A. Fatykhova. "The temporal structure of the French literary text." Vestnik Bashkirskogo universiteta 7, no. 2 (2018): 417. http://dx.doi.org/10.33184/bulletin-bsu-2018.2.27.

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26

Walker, Denis. "The structure of literary response in Chaucerian texts." Parergon 3, no. 1 (1985): 107–14. http://dx.doi.org/10.1353/pgn.1985.0003.

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27

Kolarič, Jožef. "Billy Woods’s Literary Intertexts." Text Matters, no. 10 (November 24, 2020): 182–93. http://dx.doi.org/10.18778/2083-2931.10.11.

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While—like all artistic forms—it allows for deviation from this standard rule, rap is heavily reliant on building blocks of sixteen bars and a refrain. In addition, rhyme plays a prominent role in structuring rap, which is why the form is also colloquially referred to as “rhyming.” In view of this, Billy Woods’s record Today, I Wrote Nothing was a considerable departure from the existing rap norm. On the record, Woods stylistically adapted a collection of works by Russian absurdist writer Daniil Kharms, which was also called Today, I Wrote Nothing. Kharms was known for writing short prose without any formal structure. Most of his stories deal with absurd situations and slapstick humour. The structure of the fragmented fiction is adapted into rap on Woods’s record. The long rap verses are replaced by short songs without any specific narrative. The record maintains the non-structure of Kharms’s writing, as well as its absurdity, but it abandons any semblance of traditional rap. The second important stylistic and structural choice made in Woods’s record was the integration of aspects of Flannery O’Connor’s writing, particularly its humour and darkness. The article will focus on how Billy Woods integrates intertextuality into his lyrics to give the songs additional layers of meaning.

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28

Llorca-Tonda, María Ángeles. "El marco epistolar de los artículos de crítica literaria de Mme d'Épinay." Estudios Románicos 28 (December 19, 2019): 77–88. http://dx.doi.org/10.6018/er/379801.

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The aim of this paper is to analyse the literary criticism that Mme d'Épinay consecrates to the Correspondance littéraire of Grimm and Meister. The epistolary framework in which the critical articles studied are presented deserves particular attention, since it allows us, on the one hand, to establish the different functions developed by Louise d'Épinay in the circle of Grimm's collaborators, and, on the other hand, to highlight the dialogic structure that will dominate the literary style of Mme d'Épinay. El presente trabajo tiene como objetivo analizar la obra de crítica literaria que Mme d’Épinay consagra a la Correspondance littéraire de Grimm y de Meister. El marco epistolar en el que se presentan los artículos críticos estudiados merece una atención particular, ya que nos permite, por un lado, establecer las diferentes funciones desarrolladas por Louise d’Épinay en el círculo de los colaboradores de Grimm, y por otro lado, poner de manifiesto la estructura dialógica que dominará el estilo literario de Mme d’Épinay.

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29

MONTEMURRO, MARCELO A., and PEDRO A. PURY. "LONG-RANGE FRACTAL CORRELATIONS IN LITERARY CORPORA." Fractals 10, no. 04 (December 2002): 451–61. http://dx.doi.org/10.1142/s0218348x02001257.

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In this paper, we analyze the fractal structure of long human language records by mapping large samples of texts onto time series. The particular mapping set up in this work is inspired on linguistic basis in the sense that is retains the word as the fundamental unit of communication. The results confirm that beyond the short-range correlations resulting from syntactic rules acting at sentence level, long-range structures emerge in large written language samples that give rise to long-range correlations in the use of words.

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30

Shal'nova, Elena Petrovna. "Pattern of the literary work (based on the “formula” of the literary work of S. I. Sukhikh)." Филология: научные исследования, no. 7 (July 2021): 61–72. http://dx.doi.org/10.7256/2454-0749.2021.7.36078.

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The subject of this research is the structure of the literary work. The goal consists in the establishment of correlation between the parts of the literary work, expressed in the research of S. I. Sukhikh “The Theoretical Poetics of A. A. Potebnja”. The author meticulously examines such aspects of the theory of literary work of A. A. Potebnja as the interrelation between the external form, internal form, artistic image, and content of the literary work, as well as outlines the structure of the literary work. The article describes the parts of the literary work (external form, internal form, artistic image, content). The article offers the patter of the literary work, distinguishing the parts and interrelation between them. The author formulates the definitions of external form, internal form, artistic image, and content of the literary work; reveals the characteristics and distinctive features of each part of the literary work. This led to the formation of representation of the literary work as a structure, where each of the parts expresses its own meaning, and serves as a means of creating the meaning for the other part. The result this research consists in the creation of the pattern of literary work that gives an idea on the structure of the literary work. The acquired materials can be used in studying the general concepts of the theory of literature: the form, content, artistic image, definition of artistic merit of the literary work. The offered pattern of the literary work cab be also applied to the analysis of the literary work. The scientific novelty of this study lies in the formation of representation of the literary work as a structure, where each part expresses its own meaning and serves as a means of creating meaning for the other part, as well as in creation of the pattern that conveys this idea.

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31

Kudryashova, F. S., and L. A. Fatykhova. "RETROSPECTION IN THE TEMPORAL STRUCTURE OF A LITERARY TEXT." Vestnik Bashkirskogo universiteta 8, no. 2 (2019): 515. http://dx.doi.org/10.33184/bulletin-bsu-2019.2.45.

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32

Kim, Young Ok. "The Rhetorical Structure of Rashomon as a Literary Adaptation." Korean Journal of Rhetoric 30 (December 31, 2017): 33–53. http://dx.doi.org/10.31325/kjr.2017.12.30.33.

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33

Lyons, M. A. "TYLER D. MAYFIELD, Literary Structure and Setting in Ezekiel." Journal of Semitic Studies 57, no. 2 (July 3, 2012): 419–22. http://dx.doi.org/10.1093/jss/fgs013.

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34

Martínez‐Prieto, Miguel A., Pablo de la Fuente, Jesús M. Vegas, Joaquín Adiego, and Carlos E. Cuesta. "Enhancing literary electronic books with logical structure: electronic work." Electronic Library 26, no. 4 (August 8, 2008): 490–504. http://dx.doi.org/10.1108/02640470810893747.

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35

Smith, Stephen H. "The Literary Structure of Mark 11:1-12:40." Novum Testamentum 31, no. 2 (1989): 104–24. http://dx.doi.org/10.1163/156853689x00027.

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36

NICHOLLS, PETER. "FROM FANTASY TO STRUCTURE: TWO MOMENTS OF LITERARY CUBISM." Forum for Modern Language Studies XXVIII, no. 3 (1992): 223–34. http://dx.doi.org/10.1093/fmls/xxviii.3.223.

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37

Özmen, Emre. "“Aunque las mujeres no son Homeros con basquiñas y enaguas y Virgilios con moño…”: Zayas y su arte de novelar." JANUS. Estudios sobre el Siglo de Oro, no. 10 (September 13, 2021): 458–88. http://dx.doi.org/10.51472/jeso20211024.

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RESUMEN: Las dos entregas de Honesto y entretenido sarao (1637 y 1647) son fruto de un planteamiento trabado, en el que la escritora hace literatura sobre cómo hacer literatura. El topos elegido (un sitio semi-privado), la reunión de varios personajes y el tono usado en un sarao con tintes de discusiones académicas obedecen a la finalidad de reflexionar sobre la literatura en sí y sobre el mundo literario. Zayas introduce sus reflexiones sobre la literatura en su propia creación literaria convirtiéndolas en un factor importante en la articulación narrativa de las dos partes de su obra. ABSTRACT: The two parts of Honesto y entretenido sarao (1637 and 1647) is a result of a meticulous approach, in which Zayas writes about "how to write". The chosen topos (a semi-private place), the reunion of various characters and the tone used in the soiree with overtones of academic discussions comply with her purpose of reflecting her thoughts about literature and the literary world. Zayas, introduces her reflections on literature in her own literary creation in a unitary structure of the two Saraos.

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38

Amlinger, Carolin. "Being an Author: Literary Identities of Work in the Contemporary German Literary Field." Swiss Journal of Sociology 43, no. 2 (July 1, 2017): 401–22. http://dx.doi.org/10.1515/sjs-2017-0021.

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Abstract This article considers the normative conceptions and images that contemporary German fiction authors associate with their own work. On the basis of twenty narrative interviews, the article examines the extent to which the different self-reflections of authors manifest themselves in subjective interpretations and literary practices, which in turn reflect the economic and social structure of the literary field. This study aims at an empirical reconstruction of typical notions of authorship.

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39

Kurbonalieva, Makhfirat. "THE STRUCTURE ANDTHEFEATURES OF “TAZKIRAT-USH-SHUARA” MUTRIBI SAMARKANDI." INTERNATIONAL JOURNAL OF WORD ART 2, no. 3 (February 28, 2020): 139–44. http://dx.doi.org/10.26739/2181-9297-2020-2-19.

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The anthology “Tazkirat-ush-shuara” of Mutribi Samarkandi is one of the most important literary sources of the 16th century, which was written in Moweraunnahr. In general, this work contains information about poets who were either contemporaries of Samarkandi or related to poetry. The value of this anthology as a literary source, although it has not been been entirely studied by researchers,is in that it represents information about the lives, personalities and works of the poets, which is relevant to the study of poetry and the overall literary situation of that period, and which is the subject of separate and in-depth studies.

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40

Jahantab, Zakira. "Poetic Structure and Arts of Prose in Modern Arabic Literature." Al Hikmah International Journal of Islamic Studies and Human Sciences 4, Special Issue (June 28, 2021): 208–56. http://dx.doi.org/10.46722/hkmh.4.si.21i.

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Literature is a form of expression of human feelings and emotions, and it is one of the methods that a person uses to express thoughts and present his ideas with a space that he creates for himself from words, and literature is known in every language of the earth as the set of texts written by writers and poets around the world in the language, and the arts of literature differ in all languages; Some writers express his thoughts and feelings in poetry, and some express it in prose, and prose has types as well, and this diversity of art is based on the tools and on his own literary tendencies that each writer possesses, and literature in the modern era in the Arab world has taken a new turn with the recognization of new Arab literary arts to literature, these arts were not known before or prevalent among Arab writers. Theatrical prose and poetic art recognized for the first time in the entire history of Arab literature. The Studies of Criticism have developed in the modern era and critics discovered other worlds in the Arabic literary text and monitored the developments of the literary text through the ages and explained the linguistic and semantic lexicon in every literary text. These studies have given criticism additional areas and new critical theories that were not known and circulated in previous literary eras, and this article will highlight on literature in the modern era with its various arts.

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41

M, Ramadevi. "The Literary Genre of Narpatu." International Research Journal of Tamil 3, no. 2 (March 9, 2021): 27–32. http://dx.doi.org/10.34256/irjt2124.

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The literary which is based on Time, place and meaning by using forty venbas is called Naarpathu. This study reveals the origin, growth and history of this literature. The Study of research explains the structure pattern of the poem and also analyzing the concept of the poem. Moreover this study is based on comparative Method, Analytical Methods and Performance Method.

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42

Kelle, Brad E. "Literary Structure and Setting in Ezekiel - By Tyler D. Mayfield." Religious Studies Review 38, no. 2 (June 2012): 88. http://dx.doi.org/10.1111/j.1748-0922.2012.01599_8.x.

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43

Murai, Hajime. "Database System for Archiving the Literary Structure of the Bible." Journal of the Japanese Association for Digital Humanities 1, no. 1 (2015): 44–57. http://dx.doi.org/10.17928/jjadh.1.1_44.

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44

Margolin, Uri. "Reference, Coreference, Referring, and the Dual Structure of Literary Narrative." Poetics Today 12, no. 3 (1991): 517. http://dx.doi.org/10.2307/1772649.

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45

Makarova, О. A. "STRUCTURE OF THE IMAGE OF WOMAN IN AUSTRALIAN LITERARY TEXTS." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 30(69), no. 2 (2019): 93–98. http://dx.doi.org/10.32838/2663-6069/2019.2-1/17.

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46

Siker, Jeffrey S., and David R. Bauer. "The Structure of Matthew's Gospel: A Study in Literary Design." Journal of Biblical Literature 109, no. 3 (1990): 536. http://dx.doi.org/10.2307/3267074.

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47

Anistratenko, L. S. "The Features of the Etymology Structure of Japanese Literary Terminology." Oriental Studies 2015, no. 70 (June 30, 2015): 3–10. http://dx.doi.org/10.15407/skhodoznavstvo2015.70.003.

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48

MANCHENKO, ELENA S., ELENA M. TORBIK, and GULFINUR S. KADYRBIRDIEVA. "ON THE STRUCTURE OF LINKS IN A HYPERTEXTUAL LITERARY WORK." HUMANITARIAN RESEARCHES 76, no. 4 (2020): 104–10. http://dx.doi.org/10.21672/1818-4936-2020-76-4-103-109.

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The article explains the relevance of the research that is determined by the interest of modern linguistics in the study of the author's composition of literary works, which differs from the usual forms of the printed text. The aim of the research is to study the lexical and grammatical features of hypertext by examining the autobiographical novel “My Body" by Shelley Jackson. The material for the research is the hypertext of the autobiographical novel “My Body” by Shelley Jackson, which represents a new electronic form of the novel and is considered to be a lexicographic hypertext. When considering hypertext as a special branching structure of written communication, the definition of "hypertext" is suggested, the main types of hyperlinks presented in the novel under study are considered and illustrated. The analysis of the structure of the hypertext links presentation based on the novel under consideration showed that there are four types of relations between determinative and determinant in external syntagmas: attributive, objective, relational and predicative ones. Syntagmas in hyperlinks are studied according to the types of word combinations: nuclear and non-nuclear word combinations. Hyperlinks in the form of sentences (sentences and quasi-sentences) can also be found in the hypertext. The article analyses lexical and grammatical features of fictional e-hypertext by examining the novel “My Body" by Shelley Jackson. It has been found that relations between language units of different levels within the framework of the hypertext novel are systemic in nature. By using hyperlinks, the author helps the reader generate new ideas, preserving coherence of a literary work.

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Salkhanova, Zhanat K., and Aray S. Utebekova. "Diary as a literary genre." Neophilology, no. 22 (2020): 368–76. http://dx.doi.org/10.20310/2587-6953-2020-6-22-368-376.

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Abstract:

The specifics of the diary as a genre of literature is considered. An attempt is made to understand the genre nature of the diary and identify the characteristic features of its narrative structure. Turning to the diary entries of Bakhyt Kairbekov, we analyze the subspecies of the diary as a genre and pose the question of the intertextual specifics of the poet’s diaries. We reveal such characteristic features of the narrative structure of diaries as chronology, dating, aphorism, dialogics, evaluation. It is proved that the specific form of the diary is one of the individual style of a artistic person who realizes his abilities in various fields of artistic work. We establish that the diary form of writing is characterized by a number of features that can be implemented to a greater or lesser extent in each diary: 1) the frequency, regularity of recordings; 2) the relationship of records with current, and not with long-past events; 3) the spontaneous nature of the records; 4) literary rawness of records; 5) addresslessness or uncertainty of the addressee; 6) the intimate and therefore sincere, private nature of the notes.

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Pakzad, Zahra. "Color Structure in the Persian Painting." Review of European Studies 9, no. 1 (November 30, 2016): 1. http://dx.doi.org/10.5539/res.v9n1p1.

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Abstract:

Written manuscripts and literary treatises are among the most important documents of knowledge on traditional color production techniques related to painting, and as they have survived thanks to desirable maintenance and preservation from the ancient times to the present time, they can be good sources for identifying and extracting traditional color production methods related to paining. Especially, the illustrated books simultaneously with their writing are an evidence of the contents presented in those manuscripts and treatises. Therefore, by an aim to identify and revive traditional color production techniques, the present descriptive-analytic research examines some of the available handwritten manuscripts and literary treatises. Then, with emphasis placed on the knowledge acquired and the modern facilities, some of the colors are made. The present study was performed by raising the major question that what ancient literary books are the sources of production colors used in Persian painting, and what were the nature of color production techniques and traditional color characteristics in the past. Thus, the study population includes Golestan Honar, Qanun al-Sovar, Majmoueh al-Sanaye’ and 14 other treatises relevant to this issue, and the data collection was performed in a library- and experimental-based manner. The result of this study was the extraction, preparation and remaking of seven main mineral colors in Persian painting.

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