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1
Lauster, Jörg. "Metamorphosis." Svensk Teologisk Kvartalskrift 99, no. 1 (April 7, 2023): 5–20. http://dx.doi.org/10.51619/stk.v99i1.25072.
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Approaching the numinous is something that has forged a deep bond between art and religion in European cultural history. In the wake of Kant and Schleiermacher, the German theologian Ulrich Barth elaborates four constitutive elements that distinguish both aesthetic and religious experience: Fullfillment of meaning, interruption, passivity, and transcendence. From Raphael to Caspar David Friedrich to Vincent van Gogh and Paul Cézanne, impressive examples can be found of how these dimensions oscillate between religion and art. Nevertheless, there is a limit: art can, but does not have to, approach the numinous. Art can act as an eye-opener, as a school of perception, as an initiation into what Robert Bellah calls "beyonding"; art can lift the veil that lies over our everyday perception. Religion lives from the numinous. The task of religion is to use symbolic, ritual, and conceptual means to present the mystery of the world and the prospect of salvation in a way that is so tangible and concrete that people can receive support and comfort for their lives from it.
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Sacks, Edward S. "Theater, Performance, and Illusion in Ovid Metamorphoses 11." Illinois Classical Studies 47, no. 1 (April 1, 2022): 102–31. http://dx.doi.org/10.5406/23285265.47.1.05.
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Abstract Themes of theater, performance, and illusion course through Metamorphoses 11. The theme of “theater” and its disintegration is established in the opening Orpheus episode and culminates in Ceyx-Alcyone, where Morpheus's self-conscious acting in Alcyone's dream shatters the usual harmony between actor and role. The unveiling of theater is also connected with the unveiling of metamorphosis. This latter disruption, in the Peleus-Thetis episode, involves crucial disclosures about metamorphosis by one metamorphic deity Proteus to defeat the transformations of another (Thetis). These disintegrations are part of connected motifs, wherein art, artist, and metamorphosis are severed into component parts and exposed to view.
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Barolsky, Paul. "As in Ovid, So in Renaissance Art." Renaissance Quarterly 51, no. 2 (1998): 451–74. http://dx.doi.org/10.2307/2901573.
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AbstractThis essay is a prolegomenon to the general study of Ovid's relations to Renaissance art and art theory. As is well known, the Metamorphoses determined the subjects of numerous works of art during the Renaissance. What is not sufficiently appreciated, however, is the extent to which the ancient poet's sense of "metamorphosis" as a figure of poesis, making or "poetry," helped shape Renaissance notions of poetic transformation in the visual arts. The emergent taste for the non finito in the Renaissance, most notably in the work of Michelangelo, had important roots in Ovidean aesthetics.
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Kawashima. "Metamorphosis as Origin–Koji Yamamura’s Short Animation Franz Kafka’s A Country Doctor." Arts 8, no. 2 (April 22, 2019): 54. http://dx.doi.org/10.3390/arts8020054.
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In the beginning was metamorphosis. This paradoxical thought, which the ancient Roman poet Ovidius and modern author Franz Kafka represented in their literary works, is visualized in Koji Yamamura’s short animation Franz Kafka’s A Country Doctor. Diverse metamorphoses that do and do not appear in the Kafka original are so elaborately and dynamically depicted in this animation that no live-action film could possibly represent them. In addition, the film itself can be seen as a metamorphosis, as it is an animation converted from a short story. Such a dominance of metamorphosis is also true for the transculturality and transnationalism of Yamamura’s animation. In a sense, the film results from a cultural integration of foreign language and image. However, this integration is also part of the swirl of metamorphosis. The traditional performance art Kyogen, which the director uses to voice the main characters in the animation, could not integrate foreign culture without its own diversification. Yamamura’s animation demonstrates that transculturality is another name for fundamental metamorphosis in which diversification and integration occur simultaneously.
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Gaižutytė-Filipavičienė, Žilvinė. "André Malraux’s Comparative Theory of Art." Dialogue and Universalism 30, no. 3 (2020): 263–80. http://dx.doi.org/10.5840/du202030346.
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The article deals with André Malraux’s (1901–1976) comparative theory of art. He, a French intellectual, novelist, and philosopher developed an original philosophical approach to art works and their transformations in time which has still a significant impact to contemporary comparative studies of art. The idea of metamorphosis expresses Malraux’s radical turn from classical academic aesthetics and his closeness to existential philosophical and aesthetical thinking. It reinforces the concept of the imaginary museum and provides a more philosophical background. Each culture perceives and accepts the art of other cultures according to its own viewpoints in a process which is defined by Malraux as metamorphosis. The full significance of metamorphosis appeared in modern civilisation—the first which collected art forms from any period and place. The work of art lives its own life deliberated from history and its consequential postulation of human permanence. The metamorphosis is the key to Malraux’s humanist metaphysics of art.
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Perricone, Christopher. "ART AND THE METAMORPHOSIS OF ART INTO HISTORY." British Journal of Aesthetics 31, no. 4 (1991): 310–21. http://dx.doi.org/10.1093/bjaesthetics/31.4.310.
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Ribner, Jonathan P., and Dorothy Johnson. "Jacques-Louis David: Art in Metamorphosis." American Historical Review 100, no. 5 (December 1995): 1586. http://dx.doi.org/10.2307/2169961.
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Barker, Emma. "Jacques-Louis David: Art in Metamorphosis." French History 9, no. 1 (March 1, 1995): 101–3. http://dx.doi.org/10.1093/fh/9.1.101.
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Mattick, Paul. "Jacques-Louis David, art in metamorphosis." History of European Ideas 22, no. 2 (March 1996): 173–74. http://dx.doi.org/10.1016/s0191-6599(96)90079-0.
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Kwag, Hyungyu. "An analysis of works of Ligeti that reflects Escher’s metamorphosis pattern." Korean Society of Music Education Technology 30 (January 16, 2017): 183–200. http://dx.doi.org/10.30832/jems.2017.30.183.
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Art, which was once dichotomized into space and time by G.E. Lessing (1729~1781), has expanded its temporal and spatial concept of 4D. As a result, it cannot be regulated to any specific area. Artistic works have expanded their area by means of temporal space or spatial time. For example, Escher attempted to express visualized time on the engraving, a spatial art. And, Ligeti attempted to express visualized space to temporal art, which is music art. Works of Escher and Ligeti have a common feature, which is co-existence of time and space in their work. In addition, they had structurally similar attitude in their awareness of peculiar characteristics, namely metamorphosis. Just as Escher did, Ligeti created metamorphosis patterns using clusters that caused auditory and cognitive response, and combined them into work in a complicated and combined way for juxtaposition and mix. In doing so, he created a double partition structure enabling to exchange front view and background. It has reflexive circulatory metamorphosis structure in which complicated polyphony part motives have metamorphosis connection and circulation. Accordingly, this study paid attention to the fact that artistic world and features of Escher are reflected into the works of Ligeti. And, the study attempted to have an opportunity to figure out virtual and real space and metamorphosis, which were pursuit by different methods in the areas of painting and music.
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Shinkareva, Maya I. "A Fugue as Art: Between Form and Metamorphoses." Contemporary Musicology, no. 2 (2022): 159–71. http://dx.doi.org/10.56620/2587-9731-2022-2-159-171.
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The article explores the informative value of the most common oppositions “typical vs. individual”, “traditional vs. unique”, “stable vs. dynamic” for the study of evolutionary processes in music. The dichotomous method helps to reveal the dialectic of the general and the individual. On top of that, it is instrumental in discovering new approaches and meanings behind them. At the same time, the concepts of “typical”, “traditional”, and “stable” are understood as a generally accepted, recognizable (at the level of a compositional solution), essential and basic property of the form, while the concept of “metamorphosis” is understood as something special, changeable and non-conventional. The study focuses on the fugue as the key polyphonic form commonly perceived as the embodiment of strict traditions of academicism and, to a certain degree, of conservatism. At the same time, the fugue effectively demonstrates the interaction of technical and aesthetic aspects of the archetype and its numerous stylistic modifications. This is extremely important as regards studies into the evolution of the fugue and the discovery of its internally open and creative nature. Examples of fugues in various composing practices—from the heyday of the Baroque to the present day—show metamorphoses as an organic process that naturally permeates the entire history of the form. Diverse and sometimes paradoxical compositional solutions of the fugue provide a ground to supplement the above list of antonymic pairs with one more opposition: “morph vs. metamorphosis” (“morph” is a Greek word for “form”). This opposition makes it possible to identify the relations between different compositional and structural units of the invariant form and their variants in a modified form.
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Davies, Malcolm. "A convention of metamorphosis in Greek art." Journal of Hellenic Studies 106 (November 1986): 182–83. http://dx.doi.org/10.2307/629653.
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As part of his recent study of ‘Narration and allusion in Archaic Greek Art’, Professor A. M. Snodgrass has cause to treat of the famous Attic black-figure vase which depicts Circe handing a cup containing her sinister brew to one of Odysseus’ sailors. She is stirring it with her wand the while, and yet this sailor, and three companions besides, have already been transformed into various animals (or at least his head, and their heads and arms have been). Professor Snodgrass has no difficulty in explaining the apparent simultaneity of separate events here and elsewhere on this vase-painting as relating to what he calls the ‘synoptic’ technique of early Greek Art, that familiar device whereby several successive episodes in a narrative are presented together within the same picture. And he is inclined towards a similar line of explanation as regards the partial transformation of Odysseus’ ἑταῖροι: the artist ‘wished to express the passage of time by indicating a half-way stage in the transformation’.
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Allan, Derek. "Vanquishing Temporal Distance: Malraux, Art and Metamorphosis." Australian Journal of French Studies 53, no. 1-2 (January 2016): 136–48. http://dx.doi.org/10.3828/ajfs.2016.11.
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Cong, Maoping. "On the Narrative Art of Kafka’s The Metamorphosis." Journal of Education, Teaching and Social Studies 5, no. 3 (August 10, 2023): p139. http://dx.doi.org/10.22158/jetss.v5n3p139.
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The Metamorphosis is one of the most famous novels written by Franz Kafka. Through depicting such a bizarre and absurd story as the transformation of the main character Gregor into a beetle, the work reveals the reality that people are eventually alienated under the environment of capitalist society and the great pressure of social life. The Metamorphosis is quite distinctive in its narrative technique, and scholars have done a lot of research on it. This paper tries to analyze the novel from the perspective of narratology and reveal the irreplaceable role of the integration of different narrative techniques in the expression of the characters’ hearts and the dystopian theme of the novel.
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Chanda, Jacqueline, and Dele Jegede. "Art by Metamorphosis: Selections of African Art from the Spelman College Collection." African Arts 23, no. 4 (October 1990): 92. http://dx.doi.org/10.2307/3336958.
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Shirinova, Raima, Uljan Qarshibayeva, Dilnoza Tursunmuratova, Musallam Khasanova, and Guliston Shamuratova. "Metamorphosis as an Object of Linguistic Research." International Journal of Early Childhood Special Education 14, no. 1 (March 17, 2022): 145–51. http://dx.doi.org/10.9756/int-jecse/v14i1.221019.
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Current scientific work is devoted to the comparative analysis of how the term "metamorphosis" is given in linguistic dictionaries. The use of the term metamorphosis in various fields of science is based on the analysis of the phenomenon of metamorphosis in their lexical meaning and application, in particular when translating works of art. In this study, we tried to cover the problems and issues related to the subject of metamorphosis in the field of translation. One of the oldest and most difficult problems of translation is the translation of cultural units in modern linguistics, the adequate transfer of the content of texts from one language to another in the process of translation. There are some clear terms and expressions in world languages that cannot be translated into other languages of the world. Those words or phrases are usually closely connected with culture, history and literature of a nation. In linguistics, the phenomenon of metamorphosis is characterized by a semantic transformation or transformation of the image of a concept, event, and an animate or inanimate object. Metamorphosis interprets translation change. Metamorphosis is the leading fantasy motif of evolution in fantasy fairy tales in literature. In this article, we have tried to analyze the lexical meaning, interpretation and scientific definitions of the phenomenon of metamorphosis.
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Childs-Johnson, Elizabeth. "The Ghost Head Mask and Metamorphic Shang Imagery." Early China 20 (1995): 79–92. http://dx.doi.org/10.1017/s0362502800004442.
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The meaning of Shang ritual imagery has long baffled scholars. Art historians and anthropologists have wrestled with its meaning every since 1928 when bronzes began to be excavated at Anyang, the Late Shang capital. It is now possible to explore various data to identify the religious significance of Shang ritual art From an art historical point of view, it is evident that certain standard modes of representation were designed to symbolize the theme of metamorphosis from the human to the animal spirit realm. This symbolism also helps to explain why the ubiquitous animal image in Shang art is conceived as a mask. Epigraph-ical data support the interpretation that Shang religion was based on the belief of metamorphosis as represented in art, and that the Shang king once acted as shaman-priest, chief-in-charge of invocation and a mask wearing rite. This interpretation depends on data provided by key terms in Shang bone inscriptions, such as gui 鬼, usually translated spirit ghost and others, directly related, such as the unpronounceable ff and zhu 祝. My intention is to elucidate why spirit ghosts of ancestors, gui were envisioned as anthropomorphized animal masks and how this conception is connected with the shamanic foundation of Shang religion. Although bone inscriptional data indicates that there is a dramatic shift away from exorcistic practices of shamanic origin to cult worship focused on dead royal ancestors, the combined evidence from art and epigraphy strongly argues for a Shang religion founded on the belief in metamorphosis and the king as shaman-priest.
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Dhupkar, Jaiwantika Dutta. "The Grotesque in Kafka: A study of the other in Kafka’s ‘Metamorphosis’." International Journal of English Literature and Social Sciences 8, no. 6 (2023): 229–34. http://dx.doi.org/10.22161/ijels.86.34.
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In Kafka, The Other takes on an alien and otherworldly form. Gregor Samsa, Kafka’s protagonist in the ‘Metamorphosis’, leads an uneventful life until his transformation into a grotesque monster incites the worst in his family. According to Bakhtin, the grotesque in literature and art was used as a form of satire to question the hypocrisy and hegemony of the dominant class. In ‘Metamorphosis’,Gregor morphs into an interstitiality that his family finds extremely threatening. He is no more their own, he is The Other and his grotesqueness is proof of this fact. In this paper, we study the relationship between grotesqueness and The Other in Kafka’s ‘Metamorphosis’.
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Germ, Tine. "The Paradigm of Decline-Metamorphosis-Rebirth in Fine Arts." Ars & Humanitas 9, no. 2 (December 4, 2015): 5–13. http://dx.doi.org/10.4312/ars.9.2.5-13.
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The triad of decline-metamorphosis-rebirth constantly reappears in the history of civilisation, it is current in all historical periods and cultural environments, in different areas and the most diverse contexts. Its manifestations are countless and the same is true of its interpretations. They are especially frequent in the area of art, because the evolutionary model, grounded in the idea of cyclic development comes very handy for explanations and illustrations which seek to present complicated things in a simple and clear way. The history of art, mainly in the 19th century, advocated a tripartite development of art which seeks greater perfection and maturity and reaches its peak just to be then inevitably followed by a decline in artistic originality and power. Already for some time now the evolutionary model has been shown too ineffective in addressing scholarly questions, especially due to oversimplification and a priori classification of subject matter which cannot possibly be classified. The perception that the art of the Early Renaissance was a preliminary period for more mature and accomplished achievements of High Renaissance which at some point began to lose its drive and went into decline either by repeating outmoded forms or their decomposition, is not only naive, but simply wrong and represents a misunderstanding of the essence of art. In much the same way it would be equally wrong to label in advance the early works of a certain artist as not-mature-yet or possessing less artistic authenticity.
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Germ, Tine. "The Paradigm of Decline-Metamorphosis-Rebirth in Fine Arts." Ars & Humanitas 9, no. 2 (December 4, 2015): 5–13. http://dx.doi.org/10.4312/ah.9.2.5-13.
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The triad of decline-metamorphosis-rebirth constantly reappears in the history of civilisation, it is current in all historical periods and cultural environments, in different areas and the most diverse contexts. Its manifestations are countless and the same is true of its interpretations. They are especially frequent in the area of art, because the evolutionary model, grounded in the idea of cyclic development comes very handy for explanations and illustrations which seek to present complicated things in a simple and clear way. The history of art, mainly in the 19th century, advocated a tripartite development of art which seeks greater perfection and maturity and reaches its peak just to be then inevitably followed by a decline in artistic originality and power. Already for some time now the evolutionary model has been shown too ineffective in addressing scholarly questions, especially due to oversimplification and a priori classification of subject matter which cannot possibly be classified. The perception that the art of the Early Renaissance was a preliminary period for more mature and accomplished achievements of High Renaissance which at some point began to lose its drive and went into decline either by repeating outmoded forms or their decomposition, is not only naive, but simply wrong and represents a misunderstanding of the essence of art. In much the same way it would be equally wrong to label in advance the early works of a certain artist as not-mature-yet or possessing less artistic authenticity.
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Barnett, Heather, and Robert Whittle. "Drawing the Line: Some Observations on an Art/Science Collaboration." Leonardo 39, no. 5 (October 2006): 458–60. http://dx.doi.org/10.1162/leon.2006.39.5.458.
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The authors describe their project Metamorphosis & Design, an examination of the place of design and transformation in biological systems across research areas from nanofibers to cuttlefish display. They also discuss the collaborative process between artist and scientists.
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Mamoona Khan. "Metamorphosis of Aesthetic Visual Culture, an Aftermath of War." PERENNIAL JOURNAL OF HISTORY 2, no. 2 (December 16, 2021): 187–209. http://dx.doi.org/10.52700/pjh.v2i2.71.
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Creative brains are kept only by sensitive creatures, and the most empathetic are of those associated with visual arts fields, affected even by a minor stir in their surroundings, which is reflected in their creative endeavours. They sub consciously interpret their time. Unpleasantness of war or situations analogous to war have always left a negative mark on their aesthetic interpretations. History is replete with such examples. But the most stunningly heinous transgressions were exercised by modern mechanisms of war that violated ethics par human perception. The era shattered beliefs of man on humanitarian values. It also caused transformation in the field of aesthetics which is beyond human comprehension. The metamorphosis was so rapid that it brought aesthetics and beauty at antithetical stages, which led the French artist Paul Duchamp to display a urinal as a piece of sculpture in an art exhibition. Hence, weirdness replaced beauty; logical delineations substituted the abstruse, and crafty ousted the artistic, still protected under the umbrella of art. It is labelled as modern, subjective or abstract but not viewed as a repercussion of war trauma. The paper will be exploratory research to probe reasons behind the apparently unreasoned transformations delineated through art. Modern art specimens of post-war era along with those resulted from a few chaotic situations will be analysed to draw conclusions. It will be based on deductive methods of reasoning to scrutinise history, psychology and the field of art in order to comprehend the impact and reactions of war trauma on sensitive souls of artists that led them to transform the entire visual field of aesthetics.
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Bednarik, Robert G. "Rock Metamorphosis by Kinetic Energy." Emerging Science Journal 3, no. 5 (October 1, 2019): 293–302. http://dx.doi.org/10.28991/esj-2019-01192.
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The objective of this work was to test the hypothesis that weathering-resistant surface layers found in intensively hammered petroglyphs at many sites worldwide and on other heavily battered metamorphosed rocks are the result of kinetic energy-induced tribological reactions. The methods of material testing included extensive fieldwork and in-situ studies at an Indian site that had been subjected to fluvial battery in the distant geological past; the removal of numerous surface and subsurface samples; and their analysis by several laboratory methods. These included binocular light microscopy, scanning electron microscopy, thin sectioning and elemental composition determination of crucial sites. It was confirmed that samples show evidence of crystallization by ductility of formerly amorphous silica cement in quartzite, yielding a tectonite of fully crystalline quartz. This finding confirms that the surficial application of very high levels of kinetic energy to certain rock types that are susceptible to metamorphosis can yield exceptionally weathering-resistant surface layers. This phenomenon has not been described before. Although it was first observed in rock art it is now thought to occur much more widely in numerous geological contexts, such as at fault mirrors, in the form of what has been regarded as glacial polish and on ventifacts.
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Tame, Peter. "The Metamorphosis of Places in André Malraux’s Les Noyers de l’Altenburgand Romain Gary’s Education européenne." Literatūra 64, no. 4 (October 29, 2022): 95–105. http://dx.doi.org/10.15388/litera.2022.64.4.6.
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This article examines the importance of imaginary spaces and places (literary isotopias) in André Malraux’s Les Noyers de l’Altenburg (1943) and Romain Gary’s Education européenne (1945). It analyses the metamorphoses of space and place, together with the relationships between those spaces and the novels’ characters, in order to identify commonality as well as differences between the approaches of the two authors. The roles of nature, art and myth in the two novels are also considered, particularly in the context of war. Moreover, the article takes into account the humanism of both authors against the background of wartime. André Malraux’s crucial concept of metamorphosis finds significant echoes in Romain Gary’s novel Education européenne, particularly in the aspiration to transform the world, change mentalities and remake communities both in the national and international contexts. For both writers, the metaphysical struggle against death is often portrayed as being more important than the military conflict with the enemy. Moreover, the novels of both writers have undergone a number of literary metamorphoses in terms of textual genesis and generation. Although Romain Gary’s work is probably less well known today than that of André Malraux, we may find, in conclusion, that the former’s approach, style and content of thought are actually just as “modern” and appealing to readers nowadays.
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Todi, Cristina. "The Metamorphosis of Performing Arts." Theatrical Colloquia 9, no. 1 (June 1, 2019): 173–86. http://dx.doi.org/10.2478/tco-2019-0004.
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Abstract This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this article integrates a few contemporary tendencies of intersection in performing arts, mainly the pervasive presence of ballet and theatre. Subsequently, in considering live performance, the impact on the audience is also assessed, as well as the harmony of perception created between the performer and the public. Further on, the paradigm development in performing arts is determined due to the augmenting of the new technological tools being used. The aim of using these tools is to create special effects that emphasize the quality of the performance. In addition to a comprehensive influence, this article explains how contemporary social and political changes, scientific and technological progress have determined more changes in the performing arts than they had in the previous centuries.
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Ashraf, Aqsa, and Shreyasi Jha. "The Madhubani Metamorphosis: The Intersection of Art, Ritual and Gender Roles." International Journal of Culture and History (EJournal) 6, no. 1 (2020): 1–7. http://dx.doi.org/10.18178/ijch.2020.6.1.141.
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Cox, Donna J. "Caricature, Readymades and Metamorphosis: Visual Mathematics in the Context of Art." Leonardo 25, no. 3/4 (1992): 295. http://dx.doi.org/10.2307/1575854.
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Bao, Hongwei. "Metamorphosis of a butterfly: Neo-liberal subjectivation and queer autonomy in Xiyadie's papercutting art." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 243–63. http://dx.doi.org/10.1386/jcca_00006_1.
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Abstract Celebrated as 'China's Tom of Finland', Xiyadie is probably one of the best-known queer artists living in China today. His identity as a gay man from rural China and his method of using the Chinese folk art of papercutting for queer artistic expression make him a unique figure in contemporary Chinese art. As the first academic article on the artist and his works, this article examines Xiyadie's transformation of identity in life and his representation of queer experiences through the art of papercutting. Using a critical biographical approach, in tandem with an analysis of his representative artworks, I examine the transformation of Xiyadie's identity from a folk artist to a queer artist. In doing so, I delineate the transformation and reification of human subjectivity and creativity under transnational capitalism. Meanwhile, I also seek possible means of desubjectivation and human agency under neo-liberal capitalism by considering the role of art in this picture. This article situates Xiyadie's life and artworks in a postsocialist context where class politics gave way to identity politics in cultural production. It calls for a reinvigoration of Marxist and socialist perspectives for a nuanced critical understanding of contemporary art production and social identities.
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Okuyade, Ogaga. "Aesthetic Metamorphosis Oral Rhetoric in the Poetry of Tanure Ojaide." Matatu 40, no. 1 (December 1, 2012): 33–50. http://dx.doi.org/10.1163/18757421-040001003.
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The writer's imaginative craft is usually inspired and shaped by the environment s/he hails from. This in turn gives room for constant communication between the creative mind and the immediate physical social world; the environment becomes a determinant of the writer's experiences. The influence of the Urhobo oral tradition on the poetic corpus of Tanure Ojaide is remarkable. The poet's cultural background occupies a looming space in his choices of generic style. Close examination of Ojaide's poetry reveals the exploration and appropriation of the orature of the Urhobo people, which ranges from myth, folksongs, proverbs, riddles, indigenous rhythms to folktales. Ojaide deploys orature to criticize contemporary ills as well as to locate solutions for Nigeria's socio-economic problems. The aim of this essay is essentially to demonstrate that orality accounts for the distinctiveness of Ojaide's writing. Also interrogate is the mingling of the oral and written in Ojaide's art. This approach will, it is hoped, open up what has been a restricted economy, through the inscribing of orature as a cardinal and integral constituent of the poet's art.
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Loginova, Maria, and Natalia Prokhorova. "TRANSFORMATIONS AND INTERPRETATIONS OF THE CONCEPT OF "HOME" IN CONTEMPORARY ART." Herald of Culturology, no. 1 (2022): 165–77. http://dx.doi.org/10.31249/hoc/2022.01.08.
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The article considers the transformations of the concept of «home» as if a universal marker of the metamorphosis in contemporary art. It investigates separate interpretations of the concept of «home» in the work by artists I. Kabakov, R. Magritte, G. Matt-Clark, V. Pivovarov, M. Rosler and others. The sense of «home» depends on the cultural situation and the framework of the artistic direction. The concept of «home» shows a tendency towards deconstruction, its semantic boundaries are subject to displacement, «scattering» of meanings fixed in culture.
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Campesato, Lílian. "A Metamorphosis of the Muses: Referential and contextual aspects in sound art." Organised Sound 14, no. 01 (March 26, 2009): 27. http://dx.doi.org/10.1017/s1355771809000053.
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Rubenstein, Ruth. "A Postmodern Metamorphosis: The Process of Michael Sgan-Cohen’s Reception into the Israeli Art Field." Images 10, no. 1 (December 14, 2017): 65–83. http://dx.doi.org/10.1163/18718000-12340076.
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Abstract This essay looks at Michael Sgan-Cohen’s reception in the Israeli art field over a period of 25 years. It suggests that whereas Sgan-Cohen’s signature style of referencing and reworking Jewish sources did not change much over that time, the Israeli art field did shift in its reception of his work, from an unfavorable stance in 1978, to a somewhat more accepting one in 1994, to recognition of Sgan-Cohen as an artist of merit in 2004. Critical commentaries on his exhibitions and interviews with key personalities within the field shed light on Sgan-Cohen’s reception and elucidate the changes within the field itself. Moreover, by focusing on the emergence of postmodern discourse and its influence on the Israeli art field and framing these findings within the realm of field theory, this study creates a context for understanding these structural shifts in the Israeli art field, as it came face-to-face with postmodern discourse.
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Sokolnikova, Tatiana. "Un manuel de dessin de Maxime Kantor : la société russe croquée par un peintre." Chroniques slaves 5, no. 1 (2009): 171–83. http://dx.doi.org/10.3406/chros.2009.947.
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Published in 2006, a polemical roman by M. Kantor is an attempt to comprehend transformations happened to Russia since 1985 in the light of art. Considering numerous facts of the contemporary Russian history, the author draws an extremely pessimistic portrait of the Russian society : Russia became one of raw material supplies of the new world empire and the intelligentsia and artists are partially responsible for it. This metamorphosis is presented by the narrator as a logic end of the long process that began in early XX century when art lost its ethical function opening the way to totalitarism and liberalism.
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Kiuntsli, Romana, Andriy Stepanyuk, Iryna Besaha, and Justyna Sobczak-Piąstka. "Metamorphosis of the Architectural Space of Goetheanum." Applied Sciences 10, no. 14 (July 8, 2020): 4700. http://dx.doi.org/10.3390/app10144700.
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In the beginning of the XX century, political, economic, and demographic revolutions contributed to the emergence of extraordinary people. In architecture, they were Frank Lloyd Wright, Antonio Gaudí, Frank Owen Gary, Le Corbusier, Hugo Hering, Alvar Aalto, Hans Sharun, Walter Burley Griffin, and Marion Mahony Griffin. Each of them was given a lot of attention in the media resources and their creativity was researched in different fields of knowledge. However, Rudolf Steiner’s work remains controversial to this day. Although many of the architects mentioned above enthusiastically commented on Steiner’s architectural works, there was always ambiguity in the perception of this mystic architect. Such a careful attitude to the work of the architect is due primarily to his worldview, his extraordinary approach to art and architecture in particular, because it is in architecture that Steiner was able to implement the basic tenets of anthroposophy, which he founded. The purpose of this study is to determine the content of the spatial structure of Steiner’s architecture, which makes it unique in the history of architectural heritage. The authors offer the scientific community the first article in a series of articles on the anthroposophical architecture of Rudolf Steiner and the philosophical concept that influenced the formation of this architecture.
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Luostarinen, Nina. "Building, becoming, believing: Participatory land art for empathy and meliorism." International Journal of Education Through Art 19, no. 1 (March 1, 2023): 59–67. http://dx.doi.org/10.1386/eta_00118_3.
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In this participatory land art workshop, nature was used as a play material to represent the motif of metamorphosis while participants role-played herrings for empathy. The aim was to shift the perspective from our materials – which are agentic in co-constituting conditions evocative of empathy – to observing the outcome from a bird’s-eye view. The workshop sought to demonstrate the power of collaboration, by presenting an allegory of the collaboration of herd species such as herrings. Alone they/we are nothing but, with determination and a clear goal, we can create visible change in the environment and in emotions and attitudes like environmental empathy. Earlier research and this case demonstrate how ecological paradigms can be stimulated with the use of place-based art.
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Hughes, Edward J. "Proustian Metamorphosis: The Art of Distortion in "A la Recherche du temps perdu"." Modern Language Review 94, no. 3 (July 1999): 660. http://dx.doi.org/10.2307/3736992.
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Chrisman-Campbell, Kimberly. "From Caterpillar to Butterfly and Back: A Waistcoat of the French Revolution." Costume 45, no. 1 (March 1, 2011): 63–74. http://dx.doi.org/10.1179/174963011x12978768537573.
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This paper analyses the construction, colour and enigmatic embroidered motifs of an extremely rare Revolutionary-era waistcoat or gilet, recently acquired by the Los Angeles County Museum of Art. Though the garment’s provenance is unknown, it must have belonged to a noble convert to the Revolutionary cause; through his clothing, he declared his allegiance to the political and sartorial ideology of the Revolution. The gilet provides a snapshot of a man and a nation in the midst of a metamorphosis.
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Russell, Jesse B. B. "The Anthropological Sea Change behind Jacques Maritain’s Poetic Metamorphosis from Art and Scholasticism to Creative Intuitive in Art and Poetry." Études maritainiennes / Maritain Studies 35 (2019): 107–22. http://dx.doi.org/10.5840/maritain2019358.
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Burrai, Francesco, and Giovanni Salis. "Umanizzazione delle cure: curare con l'arte." Giornale di Clinica Nefrologica e Dialisi 32, no. 1 (June 30, 2020): 92–95. http://dx.doi.org/10.33393/gcnd.2020.2154.
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Art can be a way, together with Nature, to intercept that landscape and inner climate characterized by the rhythm of silence. That dimension of iridescent calm imbued with creative and vital energy, which pushes towards a universal, seductive, profound sphere. Man can, with courage, abandon himself in this harmony and melody of thoughts that suggest a vast and visionary possibility. Each person has the inner possibility to be Art, to get out of the continuous distortions of daily life, to produce a metamorphosis of one’s life. Art triggers the unconscious side of seeing, a rhythmic, dynamic principle, on which every gesture of maximum spontaneity depends, not touched by the artificial, by masks of fugacity and by false personalities. Without Art, it seems that part of real life is missing. The deep artistic power is fluid, without space or time, pulsating with new forms and substance and creating a new personal identity, contiguous to the real world, which inspires new desires. Many diseases of today and yesterday are produced by the lack of expressiveness or by the repression of personal creativity. Art produces well-being because it is the transformation of unconscious expressive energies, so life for our health.
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Solioz, Christophe. "Reading Sarajevo City." SEER 25, no. 2 (2022): 237–50. http://dx.doi.org/10.5771/1435-2869-2022-2-237.
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In this essay, introducing a new volume considering Sarajevo as a ‘multiplex city’ – ceaselessly active and perpetually changing, rooted in the existence of a multidimensional and collaborative system composed of separate projects – the author scrutinises Sarajevo’s urban space from diverse standpoints inspired by architecture, urbanism, literature, art, anthropology, history, philosophy, social sciences and politics. In the process, he draws expressly on Sarajevo’s history allowing people to be one with another. Here examining graffiti and outdoor wall art, which not only structure the urban space but facilitate the city to speak to and of itself, the author demonstrates how outdoor art, and walls, operates additionally as an agent of power to mediate resistance and to contest, subvert and negate violence. In the process, he addresses how ‘being with’ – co-existence, exposure to each other and hybridisation – is translated into the permanent metamorphosis of a city bonding its past and its future and, in so doing, healing the tragedies, suffering and failures of humanity of its recent past.
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Meyer, Christine. "Canetti et Aristophane." Austriaca 61, no. 1 (2005): 215–34. http://dx.doi.org/10.3406/austr.2005.4501.
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Canetti uses Aristophanes as a crown-witness against the bourgeois psychological drama of his time and as an argument against Brecht’s revolutionary drama, rejecting his pedagogy of “alienation” in favour of a dramaturgy of affects and “metamorphosis”. This reference to the Old Comedy signifies for him the possibility of a drama involving the human being “as a whole”, and yet (or therefore) capable of changing the world. In his plays, Canetti puts into practice this dramatic art, which is based on an extravagant “main idea”, transporting the audience into a slightly transposed world.
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Popović-Bodroža, Ana. "Constructing of the narcissistic artistic character in the autobiography of Salvador Dali: Salvador Dali with an insight into the painting metamorphosis of narcissus, and the Dali museum/bequests." Kultura, no. 170-171 (2021): 167–78. http://dx.doi.org/10.5937/kultura2171167p.
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By applying the methodology of transdisciplinary studies, this work examines the phenomenon of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali "I am the genius" (The Secret World of Salvador Dali), in the paining "The Metamorphosis of Narcissus", and in Dali's original poetry through the prisms of mythology, psychoanalysis and psychosexuality by constructing of the narcissistic character (artistic "Persona") as a model for identity strategies in contemporary art practices. The text is analysing some of Dali's unique personality characteristics and creative and personal expression, with a special insight into his childhood and the term of narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his work, from the "Surrealism Manifesto" and the Surrealism practices. In a case study, the text analyses the painting "Metamorphosis of Narcissus", its content, symbolism, style and visual elements. A possible influence of Sigmund Freud is described, and Dali's original method of "Critical Paranoia" is elaborated. The closing sections are describing the fascinating dimensions of the personality cult that Dali and his narcissistic character reached in the last years of his life. A special focus is made on the musealisation of Dali - his numerous museums and bequests, memorials and collections, the founding of which has contributed to the building of a permanent monument to the artist and finally to the establishment of his status of a mythical personality - the "Dali" brand.
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Leja, Ilga. "Nova Scotia College of Art & Design Library: past, present, and future." Art Libraries Journal 22, no. 4 (1997): 29–40. http://dx.doi.org/10.1017/s0307472200010646.
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Although the Library of the Nova Scotia College of Art and Design (NSCAD) can trace its history to the origins of the College itself, its metamorphosis into a modern library began in 1972 when two professional librarians were hired to establish a library resource to match the expanding programs of the College. John Murchie was hired as Director of the Library and Mary Snyder was hired as the Slide Librarian. Largely through their efforts and those of the library staff, the NSCAD Library has grown to become the premier library collection for the visual arts and design in Atlantic Canada. As a member of the Novanet consortium of university libraries, the NSCAD Library has joined the ranks of Nova Scotia universities in offering a full-scale library service to its immediate community and to practising artists, academics, and the general public in the region.
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Nwabuoku, Kennette Dikens, and Lovina Ebele Onwuakpa. "THE ENGLISH ALPHABET AND ABSTRACTISM: THE METAMORPHOSIS OF TEXTS TO SYMBOLS." Review of Artistic Education 28 (April 1, 2024): 394–403. http://dx.doi.org/10.35218/rae-2024-0045.
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The 26 letters of the English alphabet are undoubtedly, within the scope of the most recognizable forms globally even some of the non-English speaking communities. The English alphabet has been subjected to varied elements from speaking to writing. The words used in most local parlances are formulated and written by means of the letters of the English alphabet. However, this English alphabet from the design perspective, as this paper intends to unravel, there is so much to be extracted from the letters of the English alphabet, which has not been addressed. Digital applications were used to harness the abstracted design concepts that emanated from this study. Finally, the recurrent issues of concept generation will be given a significant boost as intrinsic findings from this study show that the methodical exploitation of the letters of the English alphabet can be used to generate infinite thematic genre of abstracted art or flourishes worthy of a variety of elucidations.
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BILOHRYVA, Daniella. "SATIRE AND ITS METAMORPHOSIS IN THE PERIOD OF ANTIQUITY." Filosofska dumka (Philosophical Thought) -, no. - (September 27, 2023): 159–72. http://dx.doi.org/10.15407/fd2023.03.159.
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The article considers the question of the study of satire in philosophy. The study found that satire is an underdeveloped topic in the field of Ukrainian philosophy and the philosophy of Englishspeaking countries. For instance, the works of the last five to six years by such philosophers as D. Ab rahams and D. Declercq, who echoed the opinion of C. W. Mendell concerning the close connection of satire with philosophy. In the work “Satire as Popular Philosophy” created at the be ginning of the 20th century Mendell proved that ancient satire was a type of philosophy. Ne vertheless, the issue of the first place of appearance of the genre of satire in the period of Antiquity, whether in ancient Roman or ancient Greek art, needs to be clarified. Therefore, the purpose of the article is to solve a number of related questions, namely: where previously appeared satire as a genre — in Ancient Rome or in Ancient Greece, why it got such a name, and what metamorphoses took place with it over time Antiquities. One of the primary sources about the history of satire was Aristotle’s work “Poetics”, which describes iambic (humorous) and satirical poetry. According to Aristotle, the nature of satiric poetry undergo metamorphosis from the “dance” tetra meter to the iambic meter characteristic of mocking poetry. In this regard, the main part of the work is devoted to proving that satiric poetry got its name from mythological goat-like satyrs and if the performers of iambic (derisive lyrics) could be ordinary people, then the performers of satirical poems — only mythological goat-like satyrs. As a result of the research, it was found that initially the genre called satire had a poetic form and was borrowed by ancient Roman poets from ancient Greek artists. The adopted type of satire received the name “satura”, in Latin meaning “miscellany or medley” of prose and verse form of presentation of the creation.
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Phillips, Noah Travis. "Rhizomatic Remediation: Adaptation in a Web-Based Art Praxis During Time(s) of Crises." INSAM Journal of Contemporary Music, Art and Technology, no. 5 (December 15, 2020): 58–73. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.58.
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Willingness and the ability to adapt is vital in time(s) of crises. Remediation provides one novel and useful example of adaptation in contemporary digital art. This study explores the personal experiences of an art practice moving to virtual exhibition spaces, both by choice and as a response to multiple simultaneous crises (pandemic, environmental, racial, and democractic). This research reflects on three distinct examples of individual, subjective experiences of art making and exhibiting during this sudden shift. Each example highlights different approaches and possibilities, and examines similarities and contrasts in scales (local, national. and international) as well as more specific forms of remediation and relocation. Key findings include the different forms of remediation (different ways the art is translated for digital presentation) as well as the value of postinternet aesthetics, posthuman metamorphosis, and the nonsite. These themes help narrate these experiences and reflect more on these scenarios in ways that might be useful to other artists, curators, creative thinkers and practitioners. A suggestion is made that these groups would benefit from recognizing the value of rhizomatic (multi-centered, interrelated, and inclusive) approaches that include active remediation and adaptation.
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Sama, Iwayan. "Transformation In Virtual Dance: The Existence Of Dance In The Dance Art Study Program." Terob : Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (October 31, 2023): 1–14. http://dx.doi.org/10.20111/terob.v14i1.53.
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The article "Transformation in Virtual Dance: The Existence of Dance in the Dance Art Study Program "explained the change that occurs when a dance work performed on a performance stage is artistically transformed into a virtual dance work. This study employed a qualitative ethnographic methodology along with methodologies from observation, interviews, and literature study to explore the idea of metamorphosis in dance works. Following the completion of this research, it was evident that there had been a change in the character, situation, and presentation of virtual dance works in terms of form and presentation. The character feels light and instant while the situation clarifies that the virtual dance work can be viewed anytime, anywhere, and under any circumstances. The dance work's form is realized through editing a video recording document
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Simas, Mônica. "A poesia de Isabel Meyrelles entre o rumor e o rugido." Cadernos de Literatura Comparada, no. 49 (2023): 77–88. http://dx.doi.org/10.21747/21832242/litcomp49a4.
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This text tries to demonstrate the relevance of surrealism, hglighting contemporary issues based on the Venice Biennale of Art in 2022. The study analyses poems from four books by Isabel Meyrelles, starting from the hypothesis that there is a relational unity ‘I’ - ‘you’ in metamorphosis in her work. Additionally, the temporal relationship between past and future is emphasized, highlighting the surrealistic perfect present of the love question. The work is revisited through the analysis of past repertoires and transgressions of the present, bringing Isabel Meyrelles’perspective closer to that of Donna Haraway’s perspective of the blasphemous myth.
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Yang, Dong. "Robert Breer’s Perpetual Motion Machine." Film-Philosophy 26, no. 2 (June 2022): 219–41. http://dx.doi.org/10.3366/film.2022.0196.
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Embodying and balancing the European avant-garde movement of the 1920s and the dialectical U.S. neo-avant-garde aesthetics of the 1960s, Robert Breer encompassed various art forms in his painting, sculpture and film. In doing so, he created a distinct style that embraces both photographic representation and non-figurative abstraction – a heterogeneous assemblage of sorts – to advocate taking an intermediate stance in the act of rendering the relation between artistic tradition and innovation. By looking at A Man and His Dog Out for Air (1957), Fuji (1974) and LMNO (1978), I show three strategies devised by Breer that help generate the vital energy in these animations: metamorphosis, gradational abstraction, and self-moving objects. All three strategies point to Breer’s dualistic endeavour to experiment with the aesthetic and ontological possibilities of moving images and with the animated objects within the frame in spite of photographic, realist and rational confinements.
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Zhou, Yu. "Mixed media in neo-academic art objects." Философия и культура, no. 8 (August 2023): 127–38. http://dx.doi.org/10.7256/2454-0757.2023.8.43497.
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The study of the artistic heritage of neo-academicians in the context of the study of mixed techniques is quite relevant. To date, the analysis of the creativity of artists, representatives of non-academism as an artistic trend of the late twentieth century in Russia, is based on the artistic criticism of art critics, art critics who were part of this trend and considered the work of non-academicians from the perspective of the artistic life of this period in the context of the socio-cultural processes of Russia during the Perestroika era. Also, the works of neo-academist artists are studied from the position of "creative rebellion" and the search for new forms in art. In this article, the works of T. Novikov, G. Guryanov, K. Goncharov, V. Mamyshev-Monroe and other representatives of NAII are studied from the position of "mixed techniques" in art objects. The main emphasis is placed on the analysis of art objects in mixed techniques in the context of overcoming formalism, embodying stylistic diversity, metamorphosis of forms and states, pictorial symbols and universal meanings. The realization of the principle of the infinity of choice and the infinity of meaning and diversity is associated with postmodernism in art, the introduction to which became decisive in Russian art of the late twentieth and early twenty-first centuries. The appeal to the study of art objects of neo-academicians made in mixed technique allows us to enrich and supplement the understanding of the term "mixed techniques" in modern art practices related to the search for new forms, compositional solutions, the formation of a unique author's language, the originality of the work.