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1
Herz, Rachel S., and Gerald C. Cupchik. "The Effect of Hedonic Context on Evaluations and Experience of Paintings." Empirical Studies of the Arts 11, no. 2 (1993): 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.
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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trials being hedonically congruent (e.g., pos-pos) and half hedonically incongruent (e.g., neg-pos). Following each cue-painting trial subjects provided their evaluations of the paintings along artistic (e.g., artistic quality, visual complexity) and subjective-emotional (e.g., personal meaningfulness, pleasantness, tense-relaxed) dimensions. As predicted, all aesthetic evaluations were intensified when the cue and painting were hedonically congruent. Moreover, evaluations of the most emotionally potent painting group (negative paintings) were least influenced by context, and women were more sensitive to congruency and emotional context in general than were men. The results were interpreted in accordance with prior research and principles in experimental psychology and aesthetics.
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Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.
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AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?
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Sargentis, G. Fivos, Panayiotis Dimitriadis, and Demetris Koutsoyiannis. "Aesthetical Issues of Leonardo Da Vinci’s and Pablo Picasso’s Paintings with Stochastic Evaluation." Heritage 3, no. 2 (2020): 283–305. http://dx.doi.org/10.3390/heritage3020017.
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A physical process is characterized as complex when it is difficult to analyze or explain in a simple way. The complexity within an art painting is expected to be high, possibly comparable to that of nature. Therefore, constructions of artists (e.g., paintings, music, literature, etc.) are expected to be also of high complexity since they are produced by numerous human (e.g., logic, instinct, emotions, etc.) and non-human (e.g., quality of paints, paper, tools, etc.) processes interacting with each other in a complex manner. The result of the interaction among various processes is not a white-noise behavior, but one where clusters of high or low values of quantified attributes appear in a non-predictive manner, thus highly increasing the uncertainty and the variability. In this work, we analyze stochastic patterns in terms of the dependence structure of art paintings of Da Vinci and Picasso with a stochastic 2D tool and investigate the similarities or differences among the artworks.
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Schaus, Gerald P. "The beginning of Greek polychrome painting." Journal of Hellenic Studies 108 (November 1988): 107–17. http://dx.doi.org/10.2307/632634.
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About the mid-seventh century, polychrome styles of vase painting appeared in five different Greek wares, and in a sixth ware a short time after. By polychrome here is meant the use of a light brown or reddish brown paint for male flesh in human figure scenes, to go with the normal colours found on seventh-century Greek vases, black, red and white. The use of this light brown or reddish brown paint may have begun a little earlier, e.g. for parts of animals, but it would be confusing to call this partial polychrome and to regard this as a preliminary step towards the distinctive use of brown for male human flesh. The six wares in which polychrome vases appear are Protocorinthian, Protoattic, Argive, Naxian, ‘Melian’ (likely from Paros), and a ware found at Megara Hyblaea. Except for ‘Melian’ polychrome which continues to the end of the seventh or early sixth century, each of these polychrome styles flourishes for a brief time and then disappears.
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Ren, Wei, and Na Cao. "Traditional Conservation and Storage Methods for Ancient Chinese Painting and Calligraphy on Silk Manuscripts." Arts 10, no. 2 (2021): 34. http://dx.doi.org/10.3390/arts10020034.
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This study investigated traditional conservation and storage methods for Chinese silk manuscripts containing painting and calligraphy from the Warring States period (475–221 BC), the Qin dynasty (221–207 BC), the Han dynasty (202–8 BC; AD 25–220), and from the end of the Han to the present. At present, there is gap in the literature regarding the application of such methods to these works. The study methods include a literature review (classical and contemporary sources), expert interviews, and observation of traditional masters. The findings provide an improved understanding of the development of traditional technologies used for painting and calligraphy conservation since 475 BC. In this way, this work contributes to the body of knowledge regarding traditional conservation and storage methods, including mounting practices, scroll unfolding, and box storage.
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Rigante, Elena C. L., Cosima D. Calvano, Rosaria A. Picca, Simona Armenise, Tommaso R. I. Cataldi, and Luigia Sabbatini. "Multi-Technique Characterization of Pictorial Organic Binders on XV Century Polychrome Sculptures by Combining Micro- and Non-Invasive Sampling Approaches." Applied Sciences 11, no. 17 (2021): 8017. http://dx.doi.org/10.3390/app11178017.
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A stony sculptural composition of the Nativity Scene is preserved in Altamura’s Cathedral (Apulia, Italy). This commonly called Apulian “presepe”, attributed to an unknown stonemason, is composed of polychrome carbonate white stone sculptures. While earlier stratigraphic tests have unveiled a complex superimposition of painting layers—meaning that several editions of the sculptures succeeded from the 16th to 20th century—a chemical investigation intended to identify the organic binding media used in painting layers was undertaken. Drawing on current literature, two strategies were exploited: a non-invasive in situ digestion analysis and an approach based on micro-removal of painting film followed by the Bligh and Dyer extraction protocol. Both peptide and lipid mixtures were analyzed by matrix-assisted laser desorption/ionization-mass spectrometry (MALDI-MS) and reversed-phase liquid chromatography coupled to mass spectrometry by electrospray ionization (RPLC-ESI-MS). Attenuated total reflectance Fourier-transform infrared spectroscopy (ATR-FTIR) examinations were also performed on micro-samples of painting films before lipids and proteins extraction. While human keratins were found to be common contaminants of the artwork’s surfaces, traces of animal collagen, siccative oils, and egg white proteins were evidenced in different sampling zones of the sculptures, thus suggesting the use of non-homogeneous painting techniques in the colored layers.
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Kaptein, Ad A., Brian M. Hughes, Michael Murray, and Joshua M. Smyth. "Start making sense: Art informing health psychology." Health Psychology Open 5, no. 1 (2018): 205510291876004. http://dx.doi.org/10.1177/2055102918760042.
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Growing evidence suggests that the arts may be useful in health care and in the training of health care professionals. Four art genres – novels, films, paintings and music – are examined for their potential contribution to enhancing patient health and/or making better health care providers. Based on a narrative literature review, we examine the effects of passive (e.g. reading, watching, viewing and listening) and active (e.g. writing, producing, painting and performing) exposure to the four art genres, by both patients and health care providers. Overall, an emerging body of empirical evidence indicates positive effects on psychological and physiological outcome measures in patients and some benefits to medical training. Expressive writing/emotional disclosure, psychoneuroimmunology, Theory of Mind and the Common Sense Model of Self-Regulation are considered as possible theoretical frameworks to help incorporate art genres as sources of inspiration for the further development of health psychology research and clinical applications.
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Zygmont, Bryan J. "Charles Willson Peale’s The Exhumation of the Mastodon and the Great Chain of Being: The Interaction of Religion, Science, and Art in Early-Federal America." Text Matters, no. 5 (November 17, 2015): 95–110. http://dx.doi.org/10.1515/texmat-2015-0008.
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Although primarily known as a portrait painter, Charles Willson Peale (1741-1827) also possessed a profound interest in natural history. Indeed, Peale eventually founded the first natural history museum in the United States, and, during the end of the eighteenth century, he began to overlap his two great interests: art and nature. The event Peale chronicled in his 1804 painting The Exhumation of the Mastodon caused an extreme stir within the intellectual and religious circles of its time, and brought about, at the very least, a serious questioning in the deeply held notion of the Great Chain of Being. Although now largely discredited, this religious conviction postulated two concepts that Peale’s Exhumation of the Mastodon seemingly contradicts. The first was the belief that no animals since creation had suffered the fate of extinction. The second was a lack of belief in geological time. Indeed, one Irish clergyman calculated the actual date of creation to 4004 BCE.
 In this paper, I explore Peale’s monumental painting, a work that is many things, a self-portrait and history painting among others. Indeed, in this painting, Peale was responding to science, religion, and their shifting positions within early-nineteenth-century America. When viewed together, Peale’s The Exhumation of the Mastodon is not merely a record of an event that occurred in New York during the early nineteenth century, and instead is a document of Peale and the interaction of science and religion in early-Federal America.
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Ryfa, Juras T. "Pursuing the Logical End: Witkiewicz and Rodčenko and the Death of Avant-Garde Painting." Russian Literature 51, no. 2 (2002): 199–214. http://dx.doi.org/10.1016/s0304-3479(02)80021-7.
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., Muhammad Rafiki, I. Gusti Made Budiarta, S. Pd ,. M. Pd ., and Dra Luh Suartini, M. Pd . "KARAKTERISTIK KARYA FINGER PAINTING ANAK-ANAK DI TAMAN KANAK-KANAK AISYIYAH BUSTANUL ATHFAL SINGARAJA." Jurnal Pendidikan Seni Rupa Undiksha 9, no. 1 (2019): 13. http://dx.doi.org/10.23887/jjpsp.v9i1.18775.
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Penelitian ini bertujuan untuk mendeskripsikan (1) alat dan bahan yang digunakan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter hasil gambar anak yang dihasilkan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja. Sasaran penelitian ini adalah anak-anak kelompok B TK Aisyiyah Bustanul Athfal Singaraja yang terdiri atas 5 kelas kelompok B. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara, (3) teknik kuesioner/angket, (4) dan kepustakaan. Data yang terkumpul kemudian dianalisis dengan cara (1) analisis domain, (2) analisis taksonomi, (3) dan analisis tema.
 Hasil penelitian menunjukkan bahwa (1) alat dan bahan yang digunakan dalam kegiatan finger painting ini adalah panci, gelas, sendok, centong, kompor gas, mangkok besar, mangkok kecil, cat/media warna finger painting, kertas gambar, tepung kanji, tepung terigu, pewarna makanan, air dan minyak goreng. 2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja dimulai dari mempersiapkan media dan perlengkapan pembelajaran, mengenalkan media dan mendemostrasikannya, mengarahkan dan membimbing, setelah selesai kegiatan anak bercerita dan guru mengapresiasi serta mengevaluasi hasil kerja anak-anak, akhir kegiatan guru melakukan penilaian dengan menggunakan portofolio. 3) Hasil karya finger painting kelompok B TK Aisyiyah Bustanul Athfal Singaraja memiliki subject matter dan visual yang beraneka ragam, penelitian ini dikelompokkan berdasarkan pada karakteristik karya yang dihasilkan oleh anak-anak, dan diperoleh hasil sebagian besar karya anak cenderung mengacu pada tipe haptic dan tipe naturalistik, serta bentuk visual yang sering muncul yaitu bentuk rumah, bunga dan orang.Kata Kunci : finger painting, karakteristik, subject matter This study aims to describe (1) tools and materials used in finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (2) the process of finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter of children's drawings produced in activities finger painting at TK Aisyiyah Bustanul Athfal Singaraja. The target of this study was children of group B TK Aisyiyah Bustanul Athfal Singaraja which consisted of 5 classes in group B. This study was a qualitative descriptive study. Data collection in this study was carried out by techniques (1) observation, (2) interviews, (3) questionnaire / questionnaire techniques, (4) and literature. The collected data is then analyzed by (1) domain analysis, (2) taxonomic analysis, (3) and theme analysis.
 The results showed that (1) the tools and materials used in finger painting activities were pans, cups, spoons, centongs, gas stoves, large bowls, small bowls, paints / color media finger painting, drawing paper, starch, flour food coloring, water and cooking oil. 2) the process of finger painting activities in TK Aisyiyah Bustanul Athfal Singaraja starts from preparing the media and learning equipment, introducing the media and demonstrating it, directing and guiding, after the completion of the activities the children talk and the teacher appreciates and evaluates the work of the children, the end of the teacher's assessment by using a portfolio. 3) The results of group B's finger painting work TK Aisyiyah Bustanul Athfal Singaraja have a variety of subject matter and visual, this research is grouped based on the characteristics of the work produced by children, and the results of most children's work tend to refer to haptic and type types naturalistic, and visual forms that often appear, namely the shape of the house, flowers and people.keyword : finger painting, characteristics, subject matter
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Davis, Michael. "MIND AND MATTER IN THE PICTURE OF DORIAN GRAY." Victorian Literature and Culture 41, no. 3 (2013): 547–60. http://dx.doi.org/10.1017/s1060150313000090.
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In chapter 8 of Dorian Gray, Dorian reflects on the terrifying discovery, which he has made the previous night, that the painting has been somehow altered to express his own moral state. He speculates thus on a possible explanation for the change in the picture: Was there some subtle affinity between the chemical atoms, that shaped themselves into form and colour on the canvas, and the soul that was within him? Could it be that what that soul thought, they realized? – that what it dreamed, they made true? (Wilde 93) At the end of the chapter, he thinks along similar lines: Might there not be some curious scientific reason for it all? If thought could exercise its influence upon a living organism, might not thought exercise an influence upon dead and inorganic things? Nay, without thought or conscious desire, might not things external to ourselves vibrate in unison with our moods and passions, atom calling to atom in secret love or strange affinity? (103) Wilde's references to “atoms” encapsulate something of the complexity and paradox which characterise the novel's representations of the mind and its connection with the body. Atoms make up the painting and Dorian's own body, and this reminder of the materiality of both reminds us, in turn, of the possibility that Dorian, and all human selves, may occupy an insignificant yet inescapable place in the wider processes of the physical world. Most pervasively in the novel, and in the fin de siècle more generally, anxieties about one such material process – that of evolution, and especially of degeneration – haunt representations of the self. In Dorian's thoughts about “atoms” lies the still more extreme possibility that the very distinction between organic and inorganic may be blurred, a vertiginous sense that human evolutionary kinship extends beyond even the simplest organisms to matter itself, and that the category of the human is thus under greater threat than ever in the light of scientific theories of the material world. At the same time, the questions that Dorian asks himself envisage not the reduction of the mind to matter but the near-opposite of this: the possibility that “thought” may somehow “influence” the matter of the painting. In a fantastical version of the Hegelian idealism which forms an important part of Wilde's philosophical position, the mind may prove to be the ultimate reality, independent of and dominant over matter, as the state of Dorian's mind is mysteriously given sensuous form in the transformations which the painting undergoes. The atoms of the painting, like the human mind, take on an ambiguous relationship to the material world. The atoms are not fixed but fluid; like the mind itself, they are material and yet seem to act in ways contrary to physical laws of cause and effect, always in process and resistant to external comprehension.
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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.
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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical treatises to courtly literature. The Museum places late medieval book production squarely in its historical and artistic context. Visitors are not only introduced to the urban culture that provided a fruitful meeting place between artists, craftsmen, and patrons, but also to the broader artistic culture of the late Middle Ages. By presenting the manuscripts in dialogue with other forms of art such as panel paintings and sculpture, the exhibition stresses that artists at times moved between various media (e.g. illumination and painting) and were influenced by iconography in other forms of art.
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Łaptaś, Magdalena. "Byzantine influence on Nubian painting: the loroi and the gender of the Archangels." Byzantinische Zeitschrift 114, no. 1 (2021): 239–54. http://dx.doi.org/10.1515/bz-2021-9011.
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Abstract The conversion of the Nubian Kingdoms, by the missions sent from Constantinople in the sixth century, was followed by Byzantine influence on Nubian art. One of the most obvious examples of this process was representing archangels dressed in loroi. This paper aims to present the evolution of loroi in Nubian art. In Byzantium, they were ceremonial stoles worn on special occasions by the emperors or the highest dignitaries. The archangels were also clad in loroi, acting as high officials at the celestial court. Interestingly, loroi were adopted only for the images of archangels in Nubia, not for the images of Nubian kings. At the end of the 10th century, the lower end of the loroi was expanded to a broader segment resembling the Byzantine thorakion, typical of female images. This could have added splendor to their garments, but could it have also highlighted the vague gender of the archangels?
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Mazurczak, Urszula. "Panorama Konstantynopola w Liber chronicarum Hartmanna Schedla (1493). Miasto idealne – memoria chrześcijaństwa." Vox Patrum 70 (December 12, 2018): 499–525. http://dx.doi.org/10.31743/vp.3219.
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The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel comprises the complex historical knowledge about numerous woodcuts which present views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractual architecture, the existing places and the unrealistic (non-existent) places. The results show that there is a common detail in all the views – the defensive wall round each of the described cities. However, in reality, it may not have existed in some cities during the lifetime of the authors of the woodcuts. As for some further details: behind the walls we can see feudal castles on the hills shown as strongholds. Within the defensive walls there are numerous buildings with many towers typical for the Middle Ages and true-to-life in certain ways of building the cities. Schematically drawn buildings surrounded by the ring of defensive walls indicate that the author used certain patterns based on the previously created panoramic views. This article is an attempt of making analogical comparisons of the cities in medieval painting. The Author of the article presents Roman mosaics and the miniature painting e.g. the ones created in the scriptorium in Reichenau. Since the beginning of 14th century Italian painters such as: Duccio di Buoninsegna, Giotto di Bondone, Simone Martini and Ambrogio Lorenzetti painted parts of the cities or the entire monumental panoramas in various compositions and with various meanings. One defining rule in this painting concerned the definitions of the cities given by Saint Isidore of Seville, based on the rules which he knew from the antique tradition. These are: urbs – the cities full of architecture and buildings but uninhabited or civita – the city, the living space of the human life, build-up space, engaged according to the law, kind of work and social hierarchy. The tradition of both ways of describing the city is rooted in Italy. This article indicates the particular meaning of Italian painting in distributing the image of the city – as the votive offering. The research conducted by Chiara Frugoni and others indicated the meaning of the city images in the painting of various forms of panegyrics created in high praise of cities, known as laude (Lat.). We can find the examples of them rooted in the Roman tradition of mosaics, e.g. in San Apollinare Nuovo in Ravenna. They present both palatium and civitas. The medieval Italian painting, especially the panel painting, presents the city structure models which are uninhabited and deprived of any signs of everyday life. The models of cities – urbs, are presented as votive offerings devoted to their patron saints, especially to Virgin Mary. The city shaped as oval or sinusoidal rings surrounded by the defensive walls resembled a container filled with buildings. Only few of them reflected the existing cities and could mainly be identified thanks to the inscriptions. The most characteristic examples were: the fresco of Taddeo di Bartolo in Palazzo Publico in Siena, which presented the Dominican Order friar Ambrogio Sansedoni holding the model of his city – Siena, with its most recognizable building - the Cathedral dedicated to the Assumption of Mary. The same painter, referred to as the master painter of the views of the cities as the votive offerings, painted the Saint Antilla with the model of Montepulciano in the painting from 1401 for the Cathedral devoted to the Assumption of Mary in Montepulciano. In the painting made by T. di Bartolo, the bishop of the city of Gimignano, Saint Gimignano, presents the city in the shape of a round lens surrounded by defence walls with numerous church towers and the feudal headquarters characteristic for the city. His dummer of the city is pyramidally-structured, the hills are mounted on the steep slopes reflecting the analogy to the topography of the city. We can also find the texts of songs, laude (Lat.) and panegyrics created in honour of the cities and their rulers, e.g. the texts in honour of Milan, Bonvesin for La Riva, known in Europe at that time. The city – Arcadia (utopia) in the modern style. Hartman Schedel, as a bibliophile and a scholar, knew the texts of medieval writers and Italian art but, as an ambitious humanist, he could not disregard the latest, contemporary trends of Renaissance which were coming from Nuremberg and from Italian cities. The views of Arcadia – the utopian city, were rapidly developing, as they were of great importance for the rich recipient in the beginning of the modern era overwhelmed by the early capitalism. It was then when the two opposites were combined – the shepherd and the knight, the Greek Arcadia with the medieval city. The reception of Virgil’s Arcadia in the medieval literature and art was being developed again in the elite circles at the end of 15th century. The cultural meaning of the historical loci, the Greek places of the ancient history and the memory of Christianity constituted the essence of historicism in the Renaissance at the courts of the Comnenos and of the Palaiologos dynasty, which inspired the Renaissance of the Latin culture circle. The pastoral idleness concept came from Venice where Virgil’s books were published in print in 1470, the books of Ovid: Fasti and Metamorphoses were published in 1497 and Sannazaro’s Arcadia was published in 1502, previously distributed in his handwriting since 1480. Literature topics presented the historical works as memoria, both ancient and Christian, composed into the images. The city maps drawn by Hartmann Schedel, the doctor and humanist from Nurnberg, refer to the medieval images of urbs, the woodcuts with the cities, known to the author from the Italian painting of the greatest masters of the Trecenta period. As a humanist he knew the literature of the Renaissance of Florence and Venice with the Arcadian themes of both the Greek and the Roman tradition. The view of Constantinople in the context of the contemporary political situation, is presented in a series of monuments of architecture, with columns and defensive walls, which reminded of the history of the city from its greatest time of Constantine the Great, Justinian I and the Comnenus dynasty. Schedel’s work of art is the sum of the knowledge written down or painted. It is also the result of the experiments of new technology. It is possible that Schedel was inspired by the hymns, laude, written by Psellos in honour of Constantinople in his elaborate ecphrases as the panegyrics for the rulers of the Greek dynasty – the Macedonians. Already in that time, the Greek ideal of beauty was reborn, both in literature and in fine arts. The illustrated History of the World presented in Schedel’s woodcuts is given to the recipients who are educated and to those who are anonymous, in the spirit of the new anthropology. It results from the nature of the woodcut reproduction, that is from the way of copying the same images. The artist must have strived to gain the recipients for his works as the woodcuts were created both in Latin and in German. The collected views were supposed to transfer historical, biblical and mythological knowledge in the new way of communication.
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Boroch, Robert. "Rethinking Milton Singer’s semiotic anthropology: A reconnaissance." Semiotica 2018, no. 224 (2018): 211–22. http://dx.doi.org/10.1515/sem-2016-0119.
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AbstractThe article discusses the possibility of using the cognitive tools of semiotics (theory of signs) for theoretical considerations of social structures from the anthropological perspective. In the literature on the subject, this approach is defined as semiotic anthropology, a term coined by Milton Singer. The article emphasizes the possibilities, untapped within Singer’s work, of further epistemological research within the scope of the “cultural theory of signs” and reduction of the paradigms of research on culture from philosophical and philological as well as anthropological and ethnographic paradigms to a semiotic paradigm, enabling the analysis of meanings of cultural messages (as broadly understood), from architecture and painting and even eating habits (e.g., cooking) to systems of values and literature. In this sense, semiotic anthropology represents the position of “mild holism” and becomes a tool supporting the exploration of culture.
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Григорак, А. К. "Newest Historiographic Studies of the Ukrainian Icon-Painting of The Last Judgment." Grani 22, no. 3 (2019): 5–11. http://dx.doi.org/10.15421/171926.
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The analysis of features of iconography, stylistics, coloring and manner of execution of compositions of the Last Judgment is devoted to many scientific works. Despite this, the issue of the peculiarities of symbolism and source potential of the Stranger Judgment icons remains inexhaustible. The article is devoted to the analysis of the latest scientific research of the XXI century. Dedicated to the Ukrainian iconography of the Last Judgment. The main achievements and discoveries in the Work of Researchers are described for the development of the research of the Contemporary Issues in the historical and artistic key words. The potential of Ukrainian iconography research is also determined in the article. Studying the historiographical aspect of the research of Ukrainian icons, the specificity of approaches and areas of analysis of iconographic samples as historical sources by historians and art historians of the XXI century is traced. Historiography of the plot of the Last Judgment of the modern age is presented by the works of several authors: Ivan Himki, Lilya Berezhnoy, Marty Fedak, Lyudmila Milyaeva, etc. Analyzing this topic, we should mention that the literature of the nineteenth and twentieth centuries more focuses on aesthetic, especially on the artistic meaning of icons. Actually, the iconography of this period is formed -first as a branch of history and archeology, and from the end of the nineteenth century, as a branch of art studies. Studies of the twentieth century have some disadvantages caused by the influence of the Soviet period, in which there was no place for the icon just as a spiritual sanctuary, as sources of religious outlook of society. Particularly, this was due to the Marxist-Leninist “methodology”, that is, the approach to the icon as a painting, without taking into account its symbolic significance. With the restoration of Ukraine’s political independence at the end of the ХХ century the anti-religious propaganda was stopped and the community began to return to the spiritual origins, one of which is Christianity, including its components to which icons also belong to the Orthodox tradition. And precisely because of the great importance of the Ukrainian icon painting of the Last Judgment, there are scientific works of the 21st century that make it possible to look at the icon with completely different approach.
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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.
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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).
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Kestner, Joseph A. "VICTORIAN ART HISTORY: RAP 2 UNWRAPPED." Victorian Literature and Culture 29, no. 1 (2001): 149–58. http://dx.doi.org/10.1017/s1060150301291098.
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AT THE END OF THE TWENTIETH CENTURY, Victorian painting experienced at least one mass media event, so far as circulation is concerned — the appearance of Frederic Leighton’s The Bath of Psyche (1890) on the wall of the drug kingpin in Paul Thomas Anderson’s notorious film Boogie Nights of 1997. As a ferocious deal is going awry, over the desperate dealers looms one of the masterpieces of the Victorian High Renaissance, a commentary through the cool classicism of the late Victorians about the corresponding fin-de-siècle of the lately finished century. It is a stunning moment — perhaps recognized only by historians of British art — but there it is nonetheless. One is to presume that the dealer has acquired the original from the Tate Gallery, since he would never own a copy, let alone a poster! Busboy superstud Mark Wahlberg has brief, violent contact with a masterpiece.
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Postma, Hugo. "Rembrandt en de Broederschap der Schilderkunst; een nieuwe hypothese voor de Pallas Athene in Museu Calouste Gulbenkian." Oud Holland - Quarterly for Dutch Art History 109, no. 1-3 (1995): 89–94. http://dx.doi.org/10.1163/187501795x00368.
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AbstractThe purchaser of a colour slide of the painting with the inventory number I488 in the Museu Gulbenkian in Lisbon will see that the work is entitled 'Palas Atcneia ou Alexandre'. This ambiguous designation is typical of the doubts surrounding this unsigned and undated painting, which is usually attributed to Rembrandt (fig. I). For some decades now, art-historical literature has put forward varying opinions about the painting, and it continues to give rise to questions. Its subject, date, backgrounds and attribution to Rembrandt are all controversial issues. The purpose of this article is to contribute to the forming of opinion regarding the Lisbon painting. The author presents a new hypothesis as to what prompted the work. On October 2I I654, painters, sculptors and their patrons gathered in the St. Joris Doelen in Amsterdam to celebrate the Feast of St. Luke. The occasion was marked by the publication of an anthology: 'Broederschap Der Schildcrkunst, INGEWYDT Door SCHILDERS, BEELDTHOUWERS En des Zelfs BEGUNSTIGERS; Op den zI van Wynmaent I654, op St. Joris Doelen, in ANISTER-DAM'. The book contains three texts, the third of which is by Asselijn. It seems to be a play that was performed during the festivities. Towards the end an election of a painter and a sculptor from among those present is described. Both must make a work of art. The painter has to paint a Minerva; the sculptor is asked to carve an Apollo from stone. Unfortunately Asselijn does not say who was the winner, although he does refer to the candidates as the foremost representatives of their profession. Jan Vos' well-known poem Strydt tusscben de Doodt en Natuur, of Zeege der Schilderkunst, also written in I654, may have been connected with the celebrations held that year. A passage in the text lists the names of a number of artists. The fact that Rembrandt comes first and the context in which this happens could suggest that Vos regarded Rembrandt as Amsterdam's leading painter at that time. Various indications support the author's assumption that this opinion was probably shared by members of Vos' circle such as Kretzer and Meures, both of whom participated in the I654 festivities, and Six and Soop, with whom Vos, Kretzer and Meures were well acquainted. All this suggests that Rembrandt was very likely a candidate for election and that he was invited to paint a Minerva at the time of the celebration. Assuming that the invitation really was issued, Rembrandt must have painted this subject in I654 or thereabouts. It could be the work which is now in Lisbon and whose subject might well be identified as Minerva.
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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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Gjesdal, Kristin. "Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life." Text Matters, no. 7 (October 16, 2017): 71–86. http://dx.doi.org/10.1515/texmat-2017-0004.
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Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a play about love lost and lives unlived—I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
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Sulikowska-Bełczowska, Aleksandra. "Old Believers and the World of Evil: Images of Evil Forces in Old Believer Art." Ikonotheka 27 (July 10, 2018): 71–91. http://dx.doi.org/10.5604/01.3001.0012.2318.
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The article considers the Old Believers’ beliefs about, and the manner of depicting, the Antichrist, the end of the world, Satan and the devils. It discusses how both Old Believer literature and philosophy relate to their art, which was created between the second half of the 17th century and 1917. The subject matter includes popular images from Old Believer iconography, such as images of John the Baptist, the Angel of the Desert, the Archangel Michael, the Archistrategos of the Heavenly Hosts, Saint Nicetas fighting a devil, or Saint George slaying a dragon, as well as several illustration sets from various editions of the Old Believer Annotated Apocalypse. Many of the Old Believer icons, drawings and craftworks from various groups and workshops display angels, but also Satan and the devils. The latter may be considered particularly controversial in the light of the doctrine of icon painting and of the Old Believers’ particular beliefs. The article attempts to answer the question as to what reasons stood behind the fear of such representations and why they were ultimately accepted by the faithful.
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Macenka, Svitlana. "Music as Metaphor and Music Metaphors in Belles-Lettres and Scientific Music-Literary Discourse." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 88–108. http://dx.doi.org/10.31861/pytlit2020.101.088.
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In view of the importance of music as metaphor in the famous works of German literature (Thomas Mann's Doctor Faustus, Hermann Hesse's The Bead Game) and with reference to numerous statements made by the authors about music as an important element of their creativity, the article offers insight into the advantages of metaphorical approach to the analysis of music in literature as one that is productive and compatible with intermediality. As some Germanic literary studies papers attest, the proponents of metaphorical understanding of the interaction between literature and music (e.g. English modernist literature researcher Sarah Fekadu, Hermann Hesse's scholar Julia Moritz, theoretician of literature and jazz relations Erik Redling) rely on leading concepts about metaphor (those by Wilhelm Köller, Hans Blumenberg, George Lakoff and Mark Johnson) to substantiate the specific idea of musicality behind literary text. In particular, J. Moritz suggests that the musicality of a literary text should be perceived as metaphor which enables different ideas, depending on context or literary phenomena. Music and literature in this case form a completely different link, in which not the forms of art themselves but the perceptions of them are transformed in such a way as to create a new image which reveals a specific quality of literary text. It is emphasized that the metaphorical model helps solve the dilemma of whether “real” music can be found in literature as we no longer speak of such medium as “music” but of musicality as a specific quality of literature. That is why, literature which possesses musicality does not need to give up its essence to imitate music. The interdisciplinary character of the metaphorical understanding of music is also discussed and exemplified by current music studies papers which study literature. Music studies scholars do not deny the interaction between the two sign systems – music and literature. Thus, Christian Thorau claims that metaphorical calling is the calling of “contrastive exemplification”, figurative and sensual calling of common and different qualities. Semiotic prospect maintains sensibility where heterogeneous sign constellations (for instance, painting and music but also music and verbalized text) produce the moment of conflict through different sign forms regardless of the strength of semantic compatibility or difference. Within the semiotic mode this conflict may be studied as cross-modal metaphorism.
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Sudliankova, Volha. "Phototextuality as a Phenomenon of Present-Day British Prose." CLEaR 3, no. 2 (2016): 9–15. http://dx.doi.org/10.1515/clear-2016-0009.
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Abstract Like many other world literatures, the English literature of the last few decades has been marked by an intensive search for new narrative techniques, for innovative ways and means of arranging a plot and portraying characters. The search has resulted, among other things, into merging literature with visual arts like painting, film and photography. This phenomenon got the name of ekphrasis and has become a popular field of literary research lately. Suffice it to cast a glance at several of the novels published around the year 2000 to see that incorporation of photographic images into fiction allows writers to use new means of organizing literary texts, to employ non-conventional devices of structuring a plot and delineating personages as well as to pose various problems of aesthetic, ethical, ideological nature. We suggest to look briefly at seven novels published in the last three decades to see the various roles assigned to photography by their authors: Out of this World (1988) by Graham Swift, Ulverton (1992) by Adam Thorpe, Master Georgie (1998) by Beryl Bainbridge, The Dark Room (2001) by Rachel Seiffert, The Photograph (2003) by Penelope Lively, Double Vision (2003) by Pat Barker and The Rain Before It Falls (2007) by Jonathan Coe. The scenes of the novels are set widely apart and have time spans of various duration. Ulverton and Master Georgie have a mid-19th century setting, The Dark Room is centered round WWII, Out of this World and The Rain before It Falls contain their heroes’ long life stories, while The Photograph and Double Vision are set at the end of the last century and their characters are our contemporaries. The novels also differ by the particular place photographs occur in the novels, by the roles they play there, as well as by the issues associated with them.
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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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Lucamante, Stefania. "Interiorizzazione e straniamento: co-originarietà di tempo, forma e contenuto nell’Orologio di Carlo Levi." Quaderni d'italianistica 35, no. 2 (2015): 167–92. http://dx.doi.org/10.33137/q.i..v35i2.23620.
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<i>L’orologio</i>, as the title of Carlo Levi’s 1950 work alludes to, marks an important time in the narrator’s life. This is a time in which the poetics of childhood and family hold a strategic importance for the narrator’s ability to come to terms with his own present and presence in the world. This study explores how Proustian notions of memory, time and self-reflection shape the narrator’s considerations on living and writing in Italy after the end of the war. As an oneiric dimension connotes the harmony of Proustian elements and segments, they also help to dispel claims of <i>L’orologio</i> as being a text connected to, and generated by, conventional Neorealism. They confirm, instead, Levi’s idea that, unlike other forms of naturalism, realism “creates reality for the first time in the act of expression” (Levi, <i>Prima e dopo le parole</i> 31). In Levi’s work, reality is created through the reality of literature and painting. The narrator’s break with linear time, as he appears less interested in the past as an external reality than in the notion of the past in the present, is the result of a personal crisis about his presence in the world. The Eternal city becomes the narrator’s companion in his existential journey, as well as its geographical focus. “Effimera e provvisoria”(<i>L’orologio</i> 3) is his via Gregoriana room, the one in which he is lodging at the time of writing. The notion of the ephemeral seems to paradoxically be the only (a perennial survival of sorts) permanent asset for Rome.
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Reeves, Bridget. "The Role of the Ekphrasis in Plot Development: The Painting of Europa and the Bull in Achilles Tatius' Leucippe and Clitophon." Mnemosyne 60, no. 1 (2007): 87–101. http://dx.doi.org/10.1163/156852507x165856.
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AbstractThis article examines the effectiveness of the ekphrasis of Europa and the bull which is placed at the beginning of Achilles Tatius' Leucippe and Clitophon, in order to shed light on its role in the development and progression of the plot in the novel. Although some critics have discussed the ekphrasis' anticipatory effectiveness with regard to the main characters, Leucippe and Clitophon, nevertheless much more can be said about the function of the set-piece description as a tool for foreshadowing events which transpire for the hero and heroine. In addition, this article demonstrates that the ekphrasis depicting Europa and the bull is not limited to prefiguring the actions of the main narrative as previously believed, but seems to act as a template for the plots of all of the mini-episodes that occur in the novel. By way of a table at the end of this article I present the template and the features common to the Europa-ekphrasis and to each of the mini-episodes in order to illuminate further the set-piece description's anticipatory effectiveness.
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Minati, Gianfranco. "The social field designed by architecture." Acta Europeana Systemica 5 (July 13, 2020): 43–46. http://dx.doi.org/10.14428/aes.v5i1.56983.
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In the literature disciplinary researches, e.g., physics, studied the behaviour of elements, such as particles, in a context provided with properties, e.g., electromagnetic and gravitational. This context is classically considered as field, i.e., a physical quantity associated to each point of space-time. Social sciences and psychology use the concept of Force Field introduced by the social psychologist Kurt Lewin (1890-1947) The Force Field or life space was assumed to be -in any individual or social group- changing with experience and intended as representation of the environment, personal values, emotions and goals. We may say the cognitive system combined with representations and stimuli of the environment. This short essay focuses on Architecture as design of structures able to represent and induce properties of the cognitive systems possessed by inhabitants as well their transformation processes relating to social processes in progress. The subject is studied by Environmental Psychology, in the conceptual framework of Space Syntax. On one hand, the structure of space created through Architecture both represents and induces the social field within which inhabitants behave. On the other hand, inhabitants behave by using such a social field. Within this conceptual framework we may hypothesise the existence of a process of self-architecture by social systems. We explore the coherence, in such social fields, between different aspects such as architecture, design, fashion, music and painting.
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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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Cooney, Martin, and Maria Menezes. "Design for an Art Therapy Robot: An Explorative Review of the Theoretical Foundations for Engaging in Emotional and Creative Painting with a Robot." Multimodal Technologies and Interaction 2, no. 3 (2018): 52. http://dx.doi.org/10.3390/mti2030052.
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Social robots are being designed to help support people’s well-being in domestic and public environments. To address increasing incidences of psychological and emotional difficulties such as loneliness, and a shortage of human healthcare workers, we believe that robots will also play a useful role in engaging with people in therapy, on an emotional and creative level, e.g., in music, drama, playing, and art therapy. Here, we focus on the latter case, on an autonomous robot capable of painting with a person. A challenge is that the theoretical foundations are highly complex; we are only just beginning ourselves to understand emotions and creativity in human science, which have been described as highly important challenges in artificial intelligence. To gain insight, we review some of the literature on robots used for therapy and art, potential strategies for interacting, and mechanisms for expressing emotions and creativity. In doing so, we also suggest the usefulness of the responsive art approach as a starting point for art therapy robots, describe a perceived gap between our understanding of emotions in human science and what is currently typically being addressed in engineering studies, and identify some potential ethical pitfalls and solutions for avoiding them. Based on our arguments, we propose a design for an art therapy robot, also discussing a simplified prototype implementation, toward informing future work in the area.
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Locher, Paul J. "A Measure of the Information Content of Visual Art Stimuli for Studies in Experimental Aesthetics." Empirical Studies of the Arts 13, no. 2 (1995): 183–91. http://dx.doi.org/10.2190/gmv3-ppwn-lu41-nqvu.
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This study was conducted to evaluate the usefulness of Mehrabian and Russell's Information Rate Scale (IRS) for measuring the information content of paintings. Forty-eight subjects, including an equal number of art-trained and untrained male and female undergraduates, rated sixteen twentieth-century paintings on each of the fourteen IRS adjective pairs and for “interest” and “pleasure.” Factor analyses performed on all rating data revealed that the information rate score, which is the sum of ratings for all IRS items, provides a measure of the complexity of art stimuli that reflects the collative nature of this property. Specifically, it was found that items reflecting both physical and statistical properties of a composition (e.g., simple-complex; redundant-varied) and viewer “familiarity” with the content of a composition (e.g., common-rare; familiar-novel) were correlates of the information rate score. This value was significantly influenced by a painting's style but not by subjects' gender, training, or aesthetic judgments of it. Results constitute evidence that the IRS is a potentially powerful tool for the quantification and analysis of the information content of visual art stimuli.
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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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Malekzadeh, M., N. Sivakugan, O. Kazum, and B. Mathan. "Effect of polyaniline-coated galvanized steel electrodes on electrokinetic sedimentation of dredged mud slurries." Canadian Geotechnical Journal 54, no. 8 (2017): 1150–57. http://dx.doi.org/10.1139/cgj-2016-0127.
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An experimental study on electrokinetic improvement of dredged marine sediments to accelerate their sedimentation for land reclamation purposes is presented. Electrokinetic stabilization is currently used to improve soils; however, its use on soils with marine sediments with low permeability is still questionable due to the deterioration of anodes caused by an electrolysis reaction. A number of traditional methods are employed in literature to reduce the corrosion degradation of metals, such as painting, galvanizing, and conversion coating. Conducting polymers, e.g., polyaniline, are of engineering interest due to their properties such as ease of preparation and their high environmental stability in protecting metals from corrosion. For this purpose, the anodes used in the electrokinetic testing cell herein were coated with polyaniline to investigate the effect on electrokinetic stabilization of the dredged mud. Two series of experiments were performed using a polyaniline-coated galvanized steel anode, and two series of experiments with noncoated galvanized steel anodes were also carried out as a control. Depending on the applied voltage, the settlement and electroosmotic permeability of the dredged mud varied during the process. Polyaniline coating increased the power consumption during the electrokinetic stabilization compared to the case where the same electric potential was applied using the uncoated electrodes. However, when 5 V electric potential was applied to the soil through the polyaniline coated anode, its settlement and electroosmotic permeability were equivalent to what was observed with the 30 V electric potential applied through the noncoated anode, with 3 times less energy consumption.
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Kozlova, Marina. "Intermediality and the City Text: Towards an Analysis of a “City Picture”." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 80, no. 4 (2021): 43. http://dx.doi.org/10.31857/s241377150013617-1.
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This paper attempts to examine a specific type of text, called the “city picture”, by use of intermedial methodology. Firstly, it distinguishes between the “city text” and the “city picture”: the latter is understood as a particular type of urban text, which structural and semantic element is represented in a text, or its fragment, by the image of the city. The urban text is defined as both a system of signs (“the city as text”, in a semiotic perspective) and as a semantically connected group of texts about the city. Then follows an analysis of the main approaches to the intermedial study to identify the tools for further work. The prerequisites for the study of the urban text in the perspective of intermedial approach are the interdisciplinary nature of the urban text and the inclusion of the visual component both in the concept of the “city picture” itself and in the selected texts. On the example of the works Ch. Baudelaire, A. Bertrand, L.-S. Mercier, É. Verhaeren, G. Rodenbach the author tries to analyze different types of intermedial connections that the “city picture” can create. This includes an analysis of the relationships between literature and painting in selected works, then in the illustrated editions, as well as a “reverse” medial transition into the field of visual art. In the end it concludes that the described approach is applicable for the analysis of urban texts.
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Sondrup, Steven P., and Göran Tunström. "Chang Eng." World Literature Today 63, no. 1 (1989): 119. http://dx.doi.org/10.2307/40145178.
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Kling, Thomas, and Andrew Duncan. "History Painting." Chicago Review 48, no. 2/3 (2002): 164. http://dx.doi.org/10.2307/25304907.
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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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Cohen-Aponte, Ananda, and Ella Maria Diaz. "Painting Prophecy." English Language Notes 57, no. 2 (2019): 22–42. http://dx.doi.org/10.1215/00138282-7716125.
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Abstract This article examines the work of the Chicana artist Sandy Rodriguez, who created the Codex Rodriguez-Mondragón, an ongoing project begun in 2017 that consists of botanical illustrations and large-scale maps of California and northern Mexico. Rodriguez’s Codex draws on pre-Hispanic, colonial, and Chicana/o/x antecedents, most notably the Florentine Codex (sixteenth century) and the Chicana/o/x codices of the early 1990s, produced in the context of the quincentenary of Columbus’s voyage. This article posits Rodriguez’s Codex as a polyphonic text that exceeds both the linguistic of the literary and the visual of the artistic, drawing on a multiplicity of sources, both historical and contemporary, visual and textual, oral and aural, in her mapping of California’s land and history. The Codex Rodriguez-Mondragón collapses precolonial, colonial, and contemporary histories to underscore continuities between the ruptures of conquest and our dangerous geopolitical moment.
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CHRISTODOULOU, A. C. "Melville's Painting." Leviathan: A Journal of Melville Studies 5, no. 1 (2003): 50–52. http://dx.doi.org/10.1111/j.1750-1849.2003.tb00065.x.
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Flint, Kate. "Painting memory." Textual Practice 17, no. 3 (2003): 527–42. http://dx.doi.org/10.1080/0950236032000140113.
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Aldouby (book author), Hava, and Albert Sbragia (review author). "Federico Fellini. Painting in Film, Painting on Film." Quaderni d'italianistica 36, no. 1 (2016): 267–69. http://dx.doi.org/10.33137/q.i..v36i1.26295.
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Corso, Simona. "Painting Literature: Tullio Pericoliʼs Robinson Crusoe". Italian Studies 74, № 4 (2019): 352–66. http://dx.doi.org/10.1080/00751634.2019.1658920.
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Samsun, Meysem. "The end of art as a capitalist discourseKapitalist bir söylem olarak sanatın sonu." International Journal of Human Sciences 12, no. 2 (2015): 1239. http://dx.doi.org/10.14687/ijhs.v12i2.3427.
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<p>In the present paper, the claim, art or painting is going through its end, is evaluated as a capitalist discourse; and some related samples were analyzed in terms of how they were passivized and become dysfunctional by the capitalist system. French thinker Jean Baudrillard is the most effective and distinguished sample of the claim, the end of art. In this point, after evaluating Danto’s ideas from the modern perspective, the claim of “end of art” will be discussed through Baudrillard’s post-modern perspective. When Baudrillard directed his gaze onto the world of art, the situation he saw was not a very optimistic one. Modern art and post-modern art, in which the thinker is also included, is the production of the Western World. As a result, in this sense, the literature of art is merely valid for the modern art taking its roots from the Western World and this domain of thinking. According to Baudrillard, art has lost its own privilege and purpose; it is not made for development of culture, but for consumption of this culture; and instead of existing through its own content of meaning, it has been unconsciously spread over all segments of the society. As a result, the discussion of what is art and what is not has progressively become more ambiguous.</p><p> </p><p><strong>Özet</strong></p><p>Bu çalışmada sanatın ya da resmin sonunun geldiği savı kapitalist bir söylem olarak değerlendirilmiş, sanatın kapitalist sistem tarafından nasıl edilgen ve işlevsiz kılındığına ilişkin örneklendirmelerle işlenmiştir. Sanatın sonu sav’ının, bu örneklendirme ile, en etkili duayen ismi Fransız düşünür Jean Baudrillard’dır. Burada, modern anlamda Danto’nun görüşlerine yer verildikten sonra ‘’sanatın sonu’’ savı, postmodern anlamda, Baudrillard üzerinden tartışılacaktır. Baudrillard bakışını sanat dünyasına çevirdiğinde gördüğü manzara iç açıcı değildir. Burada bahsedilen çağdaş sanat, postmodern sanat, düşünürün de içinde bulunduğu Batı dünyasının üretimidir. Dolayısıyla, bu bağlamda literatür, sadece Batı dünyası ve bu düşünce dünyasından beslenen çağdaş sanat için geçerlidir. Baudrillard’a göre sanat artık sahip olduğu ayrıcalığı ve amacını yitirmiş, kültürü geliştirmek için değil, tüketilmek için yapılmış ve kendi anlam içeriği ile var olmak yerine toplumun tüm katmanlarına bilinçsizce yaydırılmış ve neyin sanat olup neyin sanat olmadığı tartışmaları iyice bulanıklaşmıştır.</p>
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Mathews, Timothy, Jacqueline Chénleux-Gendron, and Jacqueline Chenleux-Gendron. "Surrealism and Painting." Poetics Today 17, no. 2 (1996): 274. http://dx.doi.org/10.2307/1773362.
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Perry, John Oliver, and Bidhu Padhi. "Painting the House." World Literature Today 74, no. 4 (2000): 806. http://dx.doi.org/10.2307/40156120.
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Brakhage, Stan. "Painting Film (1996)." Chicago Review 47/48 (2001): 61. http://dx.doi.org/10.2307/25304806.
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Jenkins, D. "What is Painting?" Cambridge Quarterly 29, no. 1 (2000): 84–87. http://dx.doi.org/10.1093/camqtly/29.1.84.
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Maleuvre, Didier. "David Painting Death." diacritics 30, no. 3 (2000): 25–38. http://dx.doi.org/10.1353/dia.2000.0021.
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Sudrajat, Dadang, Yasraf Amir Piliang, Tisna Sanjaya, and Andriyanto Rikrik Kusmara. "Colour dematerialization in spiritual literature and painting." Harmonia: Journal of Arts Research and Education 17, no. 2 (2017): 174. http://dx.doi.org/10.15294/harmonia.v17i2.10568.
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<p>Colour in variety of art expression can be interpreted differently. This study is aiming at analyzing the colour dematerialization of Javanese spiritual literature “Falsafah Jeroning Warna” by Suprapto Kadis and a painting by Ahmad Sadali entitled “Gunung Mas”. Research was done by employing qualitative research, while data was collected by observation, interview, discussion, and documentation study. The analysis of meanings in the two art works was done in descriptive way by using the theory and the knowledge of tasawwuf or sufism, the aesthetics, and arts. Results showed that both sufis, Ahmad Sadali and Suprapto Kadis, share similarities in doing dematerialization towards colour. For them, colour was initially taken from nature (the external territory) which then experienced dematerialization when it made contact with inspiration that was created from the internal area (mental). On the other hand, the difference between the two art works lies on an understanding that colour in FJW is naturalistic mimesis in nature, meanwhile, the painting of Ahmad Sadali is naturaly abstract.</p>
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Margolis, Joseph. "Toward a Phenomenology of Painting and Literature." Symposium 8, no. 3 (2004): 477–90. http://dx.doi.org/10.5840/symposium20048338.
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