Relevant bibliographies by topics / Painting art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Painting art'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 June 2025

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Journal articles on the topic "Painting art"

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Qian, Wenhua, Dan Xu, Zheng Guan, Kun Yue, and Yuanyuan Pu. "Simulating Chalk Art Style Painting." International Journal of Pattern Recognition and Artificial Intelligence 31, no. 12 (2017): 1759026. http://dx.doi.org/10.1142/s0218001417590261.

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Different kinds of illustrations and artistic imagery can be generated or simulated through the nonphotorealistic rendering (NPR) technique. However, designing and simulating new NPR artistic styles remains extremely challenging. Chalk art style is a very famous artistic work all over the world, and few algorithms have been put forward to illustrate this style. This paper presents a novel NPR technique which generates a chalk art drawing from a 2D photograph automatically. We aim at obtaining a set of lines surface with coarse appearance and generating stroke textures of the real chalk painting. Firstly, the edge of the source image is extracted by difference-of-Gaussian filter method. To simulate chalk painting’s lines, image diffusion and enhancement techniques are proposed to produce coarse and rough lines. Secondly, we developed an improved line integral convolution and dilation operation methods to produce the chalk stroke texture. Finally, the edge image, stroke texture image and color image will be mapped to another background image to generate the chalk art drawing. Experimental results are presented to show the effectiveness of our method in producing the color chalk stylistic illustrations, and the methods can simulate the characters of the real chalk art painting. The proposed method of this paper will enlarge the research and application fields of NPR. Meanwhile, it provides a tool for the user to create chalk art paintings via computers even without painting skill.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
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Chen, Hanyi, and Hua Li. "Painting Creation in the Context of Contemporary Art: A Brief Discussion on the Painting Art of Marlene Dumas." Region - Educational Research and Reviews 3, no. 1 (2021): 20. http://dx.doi.org/10.32629/rerr.v3i1.243.

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Easel painting shined in modern art, however, its influence faded in contemporary art. Marlene Dumas, a contemporary artist in the field of easel painting, displays a form differentiated from modern art in her paintings. Her creations break the inherent traditional image mode; her thoughts on artistic concepts are based on the study of artistic language. She holds a strong concern for the issues of social life, and demonstrates true feelings and emotions in the paintings.
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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.
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Aytaç, A. "Turkish textiles which have been described in paintings of artist Şevket Dağ." Universum Humanitarium, no. 1 (July 13, 2021): 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.

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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's paintings. There are painting techniques in purely national characters. In the article there are five paintings depicting Turkish carpets. Five paintings in which the furniture and architectural features of the period are depicted together with the carpets will be emphasized.
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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.
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Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (2021): 883. http://dx.doi.org/10.3390/e23070883.

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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development process of art painting. Further, the experimental results demonstrate an important change in the evolution of art painting, and since the rise of modern art in the twentieth century, the entropy values in painting have started to become diverse. In comparison with Western paintings, Eastern paintings have distinct low entropy characteristics in which the wavelet entropy feature of the images has better results in the machine learning classification task of Eastern and Western paintings (i.e., the F1 score can reach 97%). Our study can be the basis for future quantitative analysis and comparative research in the context of Western and Eastern art aesthetics.
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Pedram, Behnam, Mahdi Hosseini, and Gholam Reza Rahmani. "The Importance of Painting in Qajar Dynasty Based on the Sociology Point of View." Journal of History Culture and Art Research 6, no. 3 (2017): 985. http://dx.doi.org/10.7596/taksad.v6i3.967.

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<p>The paintings of Qajar dynasty are the most thriving and important artworks in Qajar dynasty. Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society. Amount of influence of western culture especially during Naser al-Din Shah Era has been at the same time with the creation of these paintings and combination of these paintings with our past legacy schools lead us to the thinking and willing of Qajar artists. As Qajar art and different kinds of painting art were the foundation of contemporary Iran’s painting by a research around this Dynasty, the reasons of excellence, lacks and origins of contemporary painting of Iran can be understood. Research methodology at the beginning was based on library studies while there were little reading resources in books, magazines, internet, documentation, presence in places and photography and then studying of what was seen heard and read.</p>
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.

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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
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Dhiman, Kiran. "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3555.

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Colours are life of paintings. Without colours ‘painting’ seems incomplete and dull. Painting is visual expression, which is made combining two basic elements ‘drawing’ and ‘colouring’. Colours add the charm to an artwork. Monochrome shade is also having its own value but colours make it more appealing and lively.Since the upper paleolithic prehistoric times human being practice 'art' specially paintings in rock shelting to express their thoughts, which means it was a mode of communication from the beginning. This art creates, for the viewer, a degree of experiential contact with prehistoric art. It provides the basis for entering into the changing aspects of the living arts of man.
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Dissertations / Theses on the topic "Painting art"

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Domin, Jacqueline. "Painting perceptions /." Online version of thesis, 1990. http://hdl.handle.net/1850/10902.

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Akenson, David J. "Art in parallax: painting, place, judgment." University of Southern Queensland, Faculty of Arts, 2008. http://eprints.usq.edu.au/archive/00006176/.

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[Abstract]The point of this thesis is to undertake a critical engagement with the art and life debate. This debate involves, in particular, the question of the location of art. Does art belong to an autonomous field removed from ‘everyday life’, or is art located amongst the objects and daily activities of our lives? Contributors to this debate usually defend one or the other position; either defending autonomy or arguing that art is, or at least should be, part of life. The debate is located through three historical points: the avant-gardes of the early 20th Century Europe; the neo-avant-garde of North America in the 1950s – 1970s; and American formalist art and criticism of the 1930s – 1970s. The thesis then engages the debate through more recent examples of art where the binary art/life is again the principal issue. Minimalism, Installation art, Site-specific art and Wall Painting are examined in the context of the ‘end’ of modernist painting. The argument presented by the thesis will be informed by a recently emerging theoretical frame which engages the reception of Kantian and Hegelian forms of aesthetic judgment. This critical context includes the Slovenian philosopher, Slavoj Zizek; the Marxist-Hegelian theory of the German critic, Peter Burger, and the U.S. formalist critic, Clement Greenberg. The positions held by these theorists and critics will be examined through examples of art from both the modern period and more contemporary works. Through this context, the thesis positions the art and life debate within a structural analysis, arguing that art, including objects of ordinary life understood as art, occupy places within an art structure. The thesis argues that the choice between art and life is not so much a positive choice of one or the other, but rather a choice between one and the same thing seen differently; that is, the one thing seen in parallax.
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Gao, Jianping. "The expressive act in Chinese art : from calligraphy to painting /." Uppsala : Uppsala University, 1996. http://catalogue.bnf.fr/ark:/12148/cb376704405.

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Bundgaard, Helle. "An Indian cloth painting and its art worlds : perceptions of Orissan patta paintings." Thesis, SOAS, University of London, 1994. http://eprints.soas.ac.uk/29346/.

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This study examines how a particular kind of Indian painting comes to have value. The focus of analysis is on the social life of paintings rather than the purely aesthetic. This is explored through a detailed examination of perceptions of the paintings amongst producers, consumers and art critics. The study is an attempt to apply the sociological institutional theory of art on Orissan patta paintings by developing the sociological approach into what I consider to be an anthropological approach. The Orissan patta paintings, with which the study is concerned, are circulated not only within India but also abroad and thus move through different cultural milieus. Following Arjun Appadurai (1986) pattas can be said to have a social life, whose value and meaning change through time and place (1986). The paintings are located in several value systems. These systems will often meet in the very transaction which moves a painting from one sphere to another. One of the central questions raised in the thesis is how particular kind of paintings come to have value and whether they are endowed with different layers of value. The model I have developed is of an art world consisting of interpenetrating layers with different semantic registers. The differences in evaluation and interpretation of the paintings at different points in their "social life" lead me to argue that the layers have the character of separate yet interacting worlds.
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Wong, Sau-mui Alice, and 黃秀梅. "Fashioning food in impressionist painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46599058.

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 This thesis explores the various roles of food in Impressionism by examining paintings of food so as to sort out their relationship with one another and their linkage to modern life in Paris in the 19th century. Food was related to spectacle, class reconfiguration, gender relations, consumerism and capitalism, and leisure, all of which were part of the revolution of modernity in Paris. By analyzing Impressionist images of food production, display and consumption in relation to these modern social and historical developments, the thesis explores the relationship between food and people, meaning the social dimension of food culture. In addition to standard art historical approaches, two research methods are especially important. First is to understand the general historical context of food imagery by examining 19th-century cookbooks, novels and treatises related to food, and popular visual culture including posters, menus, and prints. Second is to identify and analyze particular food motifs by studying recipes, statistics, and dictionaries of food. Five chapters deal with five aspects of food. Chapter one talks about the crystallization of food into spectacle as a result of the conspicuous consumption facilitated by the construction of Les Halles, the central food market. Chapter two examines two different kinds of food production – rural agriculture and urban artisan cuisine – as expressions of two dissimilar attitudes towards labor, linked to competing conceptions of time as continuous and discontinuous. Chapter three raises the issue of sociability, where the pleasure of eating can only be obtained through the engendering of a semi-private space linking private eating to public identity. Chapter four shows how the coalescing of food and women in Impressionism intensifies the pleasures of visually and physically consuming the female body, while paradoxically entrapping male viewers in desire. Whereas these first four chapters emphasize social aspects of food, chapter five shows how food affected the interiority of particular artists, demonstrating the embodiment of psychological traits in Impressionist still lifes of food. Overall, the thesis shows that Impressionist paintings of food actively interpreted and defined modern food culture as a continuous process of spectacularization and systemization, and that they consciously draw parallels between food consumption and visual consumption as similar processes of pleasurable consumption. By revealing that Impressionist food imagery sometimes does not comply with other Impressionist genres in interpreting modernity, the thesis opens new ways of thinking about both food culture and Impressionism.<br>published_or_final_version<br>Fine Arts<br>Master<br>Master of Philosophy
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Branham, Barbara Leedy. "Some visual issues of painting : an exploration of the painting process." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3856.

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Gettings, Michael. "Breaking Art Apart." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2036.

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The human figure, allegory, myth, and the appropriation of other artist’s compositions are elements in my work. I aim to update traditional stories to conform to contemporary times and culture. In addition, I am striving to create a new method to visually express figurative storytelling. Breaking from the traditional flat painting surface, I use multiple shaped panels. The surface is broken into different shaped panels at varying distances from each other and from the wall. This allows for more exploration into shape and negative space while depicting the dramatic height of a story. As part of this method, my paintings explore the discrete nature of human vision, or how we focus on individual parts of a scene while the brain filters the gestalt.
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Walsh, Kerry. "Potions and painting." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040701.155706/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003.<br>"A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.
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Moffett, Jessica. "Painting the impulse." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/moffett/MoffettJ0505.pdf.

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My primary focus in my paintings is the male figure. These paintings have evolved in a non linear progression. I went from representational to partly abstract and back to representational infused with sequential art. During this development, I decided to paint my figures to resemble comic book characters of my own creation and paint them to represent emotional qualities of spontaneity and dualities of my psyche.
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Henry, Anne L. "Animated electronic painting /." Online version of thesis, 1992. http://hdl.handle.net/1850/12240.

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Books on the topic "Painting art"

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Edward, Lucie-Smith. Art deco painting. Phaidon, 1990.

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Art nouveau painting. Berghaus Verlag, 1990.

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Edward, Lucie-Smith. Art deco painting. C.N. Potter, 1990.

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Edward, Lucie-Smith. Art deco painting. Clarkson Potter, 1990.

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Wollheim, Richard. Painting as an art. Princeton University Press, 1987.

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Jones, Andy. Painting European folk art. Watson-Guptill Publications, 2001.

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Painting as an art. Thames and Hudson, 1987.

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Painting European folk art. Watson-Guptill Publications, 2001.

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Wollheim, Richard. Painting as an art. Princeton University Press, 1987.

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Tolstukhina, N. V. Decorative wood painting. Interbook Business, 2008.

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Book chapters on the topic "Painting art"

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Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Painting." In Art in the Primary School, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-8.

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Tiradritti, Francesco. "Painting." In A Companion to Ancient Egyptian Art. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch13.

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Piechowski-Jozwiak, Bartlomiej, and Julien Bogousslavsky. "Painting in Neurology." In Brain and Art. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23580-2_5.

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Ebrey, Patricia. "Court Painting." In A Companion to Chinese Art. John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch1.

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Lorenz, Katharina. "Wall Painting." In A Companion to Roman Art. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch13.

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Valette, Laura. "Painting Fog." In British Art and the Environment. Routledge, 2021. http://dx.doi.org/10.4324/9781003099215-4.

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Lax, Peter. "Painting and mathematics." In Art in the Life of Mathematicians. American Mathematical Society, 2015. http://dx.doi.org/10.1090/mbk/091/09.

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Smith, Jan, and Roman Joost. "Digital Art: Painting in GIMP." In GIMP for Absolute Beginners. Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-3169-1_8.

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Hoi-chiu, Tang. "The Art of Chinese Painting." In The Routledge Encyclopedia of Traditional Chinese Culture. Routledge, 2019. http://dx.doi.org/10.4324/9781315453491-12.

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Wang, Keping. "The Art of Painting Landscape." In Beauty and Human Existence in Chinese Philosophy. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1714-0_10.

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Conference papers on the topic "Painting art"

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Ishibashi, Ken. "Digital scratch art painting interface." In International Workshop on Advanced Image Technology, edited by Phooi Yee Lau, Kazuya Hayase, Qian Kemao, et al. SPIE, 2019. http://dx.doi.org/10.1117/12.2521491.

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Huang, Yiyuan, and Alain Lioret. "Cerebral interaction and painting." In SIGGRAPH Asia 2013 Art Gallery. ACM Press, 2013. http://dx.doi.org/10.1145/2542256.2542260.

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Zhang, Yuanming. "Aesthetic Analysis on Line Art in Chinese Painting Art." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.133.

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Chiyu, Pan. "Painting Creation Using Computer Graphics Art." In 2016 International Conference on Robots & Intelligent System (ICRIS). IEEE, 2016. http://dx.doi.org/10.1109/icris.2016.56.

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Crowley, Elliot J., Omkar M. Parkhi, and Andrew Zisserman. "Face Painting: querying art with photos." In British Machine Vision Conference 2015. British Machine Vision Association, 2015. http://dx.doi.org/10.5244/c.29.65.

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"Waterscape and Mountain Views are All Painting Materials —On Mr. Ding Congwei’s Watercolor Painting Art." In 2018 1st International Conference on Education, Art, Management and Social Sciences. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/eamss.2018.078.

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Qiaoqiao, Wang. "Analysis on Watercolor Painting Art Language and Contemporary Watercolor Painting Development." In 2014 Conference on Informatisation in Education, Management and Business (IEMB-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/iemb-14.2014.93.

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Li, Wenxiu. "Chinese Literati Painting." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.136.

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Yujun, ZhaoTian. "The Influence of Impressionist Painting on Xu Beihong’s Oil Painting." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.050.

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Neate, Timothy, Abi Roper, and Stephanie Wilson. "Painting a Picture of Accessible Digital Art." In ASSETS '20: The 22nd International ACM SIGACCESS Conference on Computers and Accessibility. ACM, 2020. http://dx.doi.org/10.1145/3373625.3418019.

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Reports on the topic "Painting art"

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7033.

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Taylor Tynes, Taylor Tynes. Fresco Painting at the University of South Carolina: Medium of the Past, Art of Today. Experiment, 2016. http://dx.doi.org/10.18258/6800.

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Haumschilt, L. P. 1990 Clean Air Act Impact on Shipyard Painting Operation. Defense Technical Information Center, 1991. http://dx.doi.org/10.21236/ada456103.

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Rajnovich, G. Reading rock art: interpreting the Indian rock paintings of the Canadian Shield. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2002. http://dx.doi.org/10.4095/216231.

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Beitelman, Alfred D. Corps of Engineers Painting and Its Compliance with Clean Air Act Regulations. Defense Technical Information Center, 1988. http://dx.doi.org/10.21236/ada200496.

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Galenson, David. Masterpieces and Markets: Why the Most Famous Modern Paintings Are Not by American Artists. National Bureau of Economic Research, 2001. http://dx.doi.org/10.3386/w8549.

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Frykman, Judith. A series of paintings, drawings, and compositions, oriented toward a fine arts direction in the use of synthetic and mixed media. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.224.

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Seamans, Thomas, and Allen Gosser. Bird dispersal techniques. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, 2016. http://dx.doi.org/10.32747/2016.7207730.ws.

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Conflicts between humans and birds likely have existed since agricultural practices began. Paintings from ancient Greek, Egyptian, and Roman civilizations depict birds attacking crops. In Great Britain, recording of efforts at reducing bird damage began in the 1400s, with books on bird control written in the 1600s. Even so, the problem persists. Avian damage to crops remains an issue today, but we also are concerned with damage to homes, businesses, and aircraft, and the possibility of disease transmission from birds to humans or livestock. Bird dispersal techniques are a vital part of safely and efficiently reducing bird conflicts with humans. The bird must perceive a technique as a threat if it is to be effective. No single technique can solve all bird conflicts, but an integrated use of multiple techniques, each enhancing the other, generally provides relief.
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10

Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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