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Journal articles on the topic 'Reading in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Moignard, Elizabeth. "Reading Greek Art." Classical Review 49, no. 2 (October 1999): 527–28. http://dx.doi.org/10.1093/cr/49.2.527.

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2

Beltrán-Rubio, Laura. "Reading Fashion in Art." Dress 47, no. 1 (January 2, 2021): 103–5. http://dx.doi.org/10.1080/03612112.2021.1872973.

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3

Curtin, Brian, and Steven Pettifor. "Reading Thai Art Internationally." Art Journal 64, no. 1 (April 1, 2005): 111. http://dx.doi.org/10.2307/20068371.

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4

FREEMAN, ALANNA. "READING ART, READING IRIGARAY: THE POLITICS OF ART BY WOMEN BY HILARY ROBINSON." Art Book 14, no. 3 (August 2007): 44–45. http://dx.doi.org/10.1111/j.1467-8357.2007.00842.x.

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5

Baird, Susan G. "The New Art of Reading." Acquisitions Librarian 6, no. 11 (April 27, 1994): 135–48. http://dx.doi.org/10.1300/j101v06n11_13.

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6

Azevedo, Nair Rios, and Maria José Gonçalves. "Writing and Reading With Art." Adult Learning 23, no. 2 (May 2012): 69–75. http://dx.doi.org/10.1177/1045159512443053.

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7

Kessler, Herbert L. "Reading ancient and medieval art." Word & Image 5, no. 1 (January 1989): 1. http://dx.doi.org/10.1080/02666286.1989.10435390.

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8

Deutsch, Werner. "The Changing Art Of Reading." Lezen en luisteren in moedertaal en vreemde taal 43 (January 1, 1992): 9–17. http://dx.doi.org/10.1075/ttwia.43.02deu.

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9

Davey, Frank. "(Reading) language as visual art." Journal of Writing in Creative Practice 7, no. 1 (March 1, 2014): 37–48. http://dx.doi.org/10.1386/jwcp.7.1.37_1.

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10

Ikhtiyorovna, Karimova Go’zal. "MASTERING THE ART OF EFFECTIVE SPEAKING AND READING: STRATEGIES FOR IMPROVING SPEAKING AND READING SKILLS." International Journal Of Literature And Languages 3, no. 10 (October 1, 2023): 32–38. http://dx.doi.org/10.37547/ijll/volume03issue10-06.

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Effective communication is a vital skill in today's fast-paced world. Whether it's delivering a presentation, participating in meetings, or engaging in everyday conversations, being a confident and articulate speaker can have a significant impact on personal and professional success. In this article, we will explore some valuable strategies to improve your speaking skills andbecome a more effective communicator.
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11

Poulter, Alan. "On reading “The librarian and the art of reading”." Library Review 56, no. 2 (March 6, 2007): 113–16. http://dx.doi.org/10.1108/00242530710730295.

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12

Kolb, Rachel. "Deaf People’s “Subtile Art”." Journal of Literary & Cultural Disability Studies: Volume 15, Issue 2 15, no. 2 (May 1, 2021): 133–49. http://dx.doi.org/10.3828/jlcds.2021.11.

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Mabel Bell, the deaf wife of Alexander Graham Bell, was known for being a highly skilled “speechreader,” a narrative that played into the spread of oralist education philosophies at the turn of the twentieth century through characterizing deaf people as readerly figures who tapped into the perceptual skill and American cultural values associated with literacy and literariness. The article considers Mabel Bell’s “subtle art” of deep textual deduction and its influence on other instructors of lipreading, particularly Edward B. Nitchie of the Nitchie School of Lip-Reading, and examines how reading and literature became represented as essential tools in a deaf person’s communicative arsenal. Late nineteenth and early twentieth-century accounts of lipreading conceptualize nonsigning deaf people as perceptive and profoundly literate figures who use their “intimate” knowledge of written linguistic meaning to achieve their own variety of silent, efficient, and productive reading. By aligning deaf people’s visual skill with the act of reading, rather than with the physical conspicuousness of sign language, Mabel Bell and her contemporaries framed reading language “by eye” as the culturally trained, literate, individual, acceptably American, and invisible solution for deafness.
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13

Davis, Whitney. "“Reading-In”." Representations 144, no. 1 (2018): 1–33. http://dx.doi.org/10.1525/rep.2018.144.1.1.

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The German-American anthropologist Franz Boas (1858–1942) was one of the most protean and influential anthropologists of the twentieth century. In part based on his book Primitive Art (1927), this essay considers his theory of the beholder’s share in constructing the significance of visual form and in interpreting its meaning. Boas’s analysis of what he called “contradictions” between his indigenous informants’ exegeses of form lay at the heart of his conclusion that individual agents “read-in” to form some of the most crucial aspects of social experience that are most salient and specific to them. “Reading-in,” I argue, is the verbal speaking of visual “seeing-as,” and it infuses visual form with the diversity and particularity of a speaker’s grammatical choices undertaken within their natural human language(s). This model might now seem self-evident. At the time, however, it opened up the possibility of an “anthropology” of art and, to an extent as yet unrealized, the possibilities of its sociology and history. The essay evaluates Boas’s model in relation to other well-known accounts of the beholder’s share in art history, philosophy, and elsewhere and concludes with a discussion of the uptake of his idea in the “structuralism” of Roman Jakobson and Claude Lévi-Strauss.
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14

Heigl, Antonia. "Beyond Reading." Croatian journal of philosophy 24, no. 70 (February 23, 2024): 19–34. http://dx.doi.org/10.52685/cjp.24.70.2.

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What does it mean to encounter a literary work of art? When we talk about them, we refer to literary works as characterizable entities. In a genuine encounter with a literary work, instead, our focus shifts to “what it is about”: we bring to mind the intentional objects it invites us to direct our attention to, typically through reading. If what we encounter is a work of art, however, we are invited to do something beyond that even, namely to attune ourselves to disclose something more profound. Through shifting our focus from the individual to the typical and affectively responding to a work’s characteristics, we disclose a qualitative character that presents itself as of general relevance insofar as it characterizes a specific kind of thing potentially experienced in the world. Our focus shifts from individual intentional objects, such as a character’s view of her partner as standing in need of salvation, to the kinds of values and things manifested therein, such as the peculiar kind of ambiguity inhering a specific kind of commitment. To encounter a literary work of art, I conclude, means to follow the invitation to disclose value essentials, and thus to find a specific kind of truth.
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15

Langendonk, Adriaan, and Kees Broekhof. "The Art of Reading: The National Dutch Reading Promotion Program." Public Library Quarterly 36, no. 4 (August 31, 2017): 293–317. http://dx.doi.org/10.1080/01616846.2017.1354351.

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16

Helen Cooper. "Malorys for Teaching and Reading." Arthuriana 20, no. 1 (2010): 95–99. http://dx.doi.org/10.1353/art.0.0100.

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17

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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18

Grant, John. "On Reading Collingwood's Principles of Art." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 239. http://dx.doi.org/10.2307/431862.

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19

Hetrick, Laura. "Reading Fan Art as Complex Texts." Art Education 71, no. 3 (April 19, 2018): 56–62. http://dx.doi.org/10.1080/00043125.2018.1436357.

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20

Hindley, Clifford. "Britten's Parable Art: A Gay Reading." History Workshop Journal 40, no. 1 (1995): 63–90. http://dx.doi.org/10.1093/hwj/40.1.63.

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21

Cheremisinova, Larisa I. "Art dialogues on Literature Reading Classes." Ser. Educational Acmeology. Developmental Psychology 16, no. 1 (March 18, 2016): 86–89. http://dx.doi.org/10.18500/2304-9790-2016-5-1-86-89.

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22

Ventrella, Francesco. "Seeing and Reading Modernist Art Historiography." Art History 39, no. 1 (January 13, 2016): 160–66. http://dx.doi.org/10.1111/1467-8365.12220.

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23

Warwick, Genevieve, and Gavin Parkinson. "Art History 40: Reading, Writing, Remembering." Art History 40, no. 4 (August 21, 2017): 696–703. http://dx.doi.org/10.1111/1467-8365.12344.

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24

Rowell, Charles Henry. "Reading the Art of DC-MD." Callaloo 39, no. 5 (2016): 979–82. http://dx.doi.org/10.1353/cal.2016.0137.

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25

Breidegard, Björn, Yvonne Eriksson, Kerstin Fellenius, Kenneth Holmqvist, Bodil Jönsson, and Sven Strömqvist. "Enlightened: the art of finger reading*." Studia Linguistica 62, no. 3 (December 2008): 249–60. http://dx.doi.org/10.1111/j.1467-9582.2008.00148.x.

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26

Kingkaysone, Judy. "Reading Art: Multiliteracies and History Education." Educational Forum 78, no. 4 (September 25, 2014): 409–20. http://dx.doi.org/10.1080/00131725.2014.941120.

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27

Parson, W. "The Art of Reading Sequence Electropherograms." Annals of Human Genetics 71, no. 2 (March 2007): 276–78. http://dx.doi.org/10.1111/j.1469-1809.2006.00319.x.

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28

Pullman, Philip. "The Art of Reading in Colour." Index on Censorship 33, no. 4 (October 2004): 156–63. http://dx.doi.org/10.1080/03064220408537418.

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29

Kakuzō, Okakura, and Timothy Unverzagt Goddard. "Reading "Calligraphy Is Not Art" (1882)." Review of Japanese Culture and Society 24, no. 1 (2012): 168–75. http://dx.doi.org/10.1353/roj.2012.0015.

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30

Amin, Khoirul. "Teacher's Strategy in Improving Student's Motivation Learning the Art of Reading the Qur'an." Halaqa: Islamic Education Journal 6, no. 1 (May 13, 2022): 1–9. http://dx.doi.org/10.21070/halaqa.v6i1.1597.

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This study aims to (1) determine the teacher's strategy to increase student motivation in learning the art of reading the Qur'an. (2) knowing the supporting and inhibiting factors that influence the teacher's strategy in increasing student motivation in learning the art of reading the Qur'an. This study uses a qualitative approach. data collection using participant observation, in-depth interviews, and documentation studies. data analysis technique using descriptive qualitative. The results of the study show that there are 4 teacher strategies to motivate students in learning the art of reading the Qur'an, namely (1) Giving examples of successful figures in the field of reading the Qur'an. (2) Explaining the goals and advantages of learning the art of reading the Qur'an. (3) Giving appreciation in the form of appreciation to students. (4) Provide direction for students who have difficulty. Meanwhile, there are 4 supporting factors in motivating students to learn the art of reading the Qur'an, namely (1) Students' self-interest. (2) Family support. (3) Facilities and infrastructure. (4) The influence of friends in learning the art of reading the Qur'an. While the inhibiting factors in motivating students to learn the art of reading the Qur'an are (1) lack of self-confidence. (2) Lack of openness to the problems encountered while learning the art of reading the Qur'an. (3) The influence of friends who are not good. (4) the lack of teachers who are experts in the art of reading the Qur'an.
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31

Mathews, Peter D. "Embodied Art: A Reading of A. S. Byatt’s ‘Body Art’." English: Journal of the English Association 68, no. 263 (2019): 344–63. http://dx.doi.org/10.1093/english/efz033.

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Abstract This article examines the idea of an embodied art in A. S. Byatt’s short story ‘Body Art’. In order to contextualize this concept, the essay begins with a survey of Byatt’s earlier explorations of the link between mind and body, as well as an analysis of the small amount of secondary material relating to ‘Body Art’, a text that has received little critical attention. The article then explores the story’s ties to Dutch vanitas painting, a tradition that is intimately linked to the study of anatomy. The vanitas tradition shows how medicine and art were once a unified field, and explores the consequences of their modern division. This leads to a consideration of the influence of theological debates about mind and body and their effect, in particular, on Renaissance humanist art. The next section examines the shifting meaning of the archival collection, particularly in its significance for modern formations of subjectivity. This idea is particularly important in the context of the story’s allusions to Joseph Beuys, who views the artist’s body as a locus of creativity. Like Beuys, Byatt is interested in art that draws on the imaginative power of religious storytelling and imagery while rejecting its supernatural elements. Byatt draws together all of these elements in her story in order to articulate her vision of an embodied art, one that draws together the conceptual and the physical.
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32

Chickering, Howell. "Public Reading and the Reading Public in Late Medieval England and France by Joyce Coleman." Arthuriana 8, no. 3 (1998): 107–8. http://dx.doi.org/10.1353/art.1998.0030.

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33

Sharrock, A. R. "The art of deceit: Pseudolus and the nature of reading." Classical Quarterly 46, no. 1 (May 1996): 152–74. http://dx.doi.org/10.1093/cq/46.1.152.

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Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.
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34

Nowicka, Daria. "Art-biografie Andrzeja Wróblewskiego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 35 (November 5, 2019): 55–78. http://dx.doi.org/10.14746/pspsl.2019.35.4.

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The essay concerns the ways of reading and understanding the biographies of Andrzej Wróblewski, one of the prominent representatives of modernist and post-war painters. One special case is the art-biography projectshowing the need to reinterpret the author’s current biographical facts. The reading of texts by Jan Michalski, Magdalena Ziółkowska, Wojciech Grzybała and Andy Rottenberg shows this mechanism – expanding theconstellations of Andrzej Wróblewski.
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Satria Nur Rizki, Nurul Wahdah, and Muslimah. "Training of the Art Reading Al Qur'an of Sidomulyo Community at Tumbang Tahai Village." International Journal of Community Engagement Payungi 2, no. 1 (August 6, 2022): 43–50. http://dx.doi.org/10.58879/ijcep.v2i1.29.

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The art of reading the Qur’an is the art of reading that is sung to the rhythm of thesong. This art is known as An-Nagham fil Qur’an (Beauty reading of the Qur’anaccording to its rules). Meanwhile, the object of Nagham’s knowledge is to learnthe method, method of humming or singing the recitation of the Qur’an. The art ofreading the Qur’an will be easy to understand if someone can learn the art ofreading, has mastered theory of the art of song well, understand the science ofrecitation, and can read the Qur’an with tartil. In addition, there are also mainaspect that must be mastered by someone to be perfect in the art of reading the Qur’an, namely mastery of breath, voice, fashahah, and adab. The method used in this service is ABCD (Asset Based Community Development) method. This methodhas the main focus, namely broadcasting the Qur’an with the development ofcommunity assets through the art of the reading Qur’an. This coaching activityaims to increase the potential of the community in the art of reading the Qur’an(Nagham fil Qur’an). This coaching activity aims to increase the knowledge andpotential of the community in understanding the art of reading the Qur'an(Nagham fil Qur'an). This activity was carried out for four months and wasattended by 14 participants consisting of four children, four teenagers, and sixmothers
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36

Stoyanova, Minka. "Reading Makers." Digital Culture & Society 3, no. 1 (July 26, 2017): 73–94. http://dx.doi.org/10.14361/dcs-2017-0105.

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Abstract Since its inception, digital and interactive art has been forced to negotiate the tension between the inherently spectacular nature of the technologies it uses and the desire of creators to embed relevant critical stances within the work. With the recent rise of “maker” or DIY culture, this negotiation has become even more pronounced as the production of technologies becomes more accessible and (allegedly) more democratized. In addition, our relationship with technology is becoming increasingly intimate. Whereas machines once could have been read as tools, through which we would enact our individualized wills, they now implicate themselves into our mental processes, our bodies and (one could argue) our very being. Within this cyborgian construction we risk mindless acceptance and integration of the particular logical models technology and its producers bring to the merger. A tension arises between our need to understand or recognize the logic which drives our lives and the technology, which often seeks to obfuscate that logic. This paper, through the application of philosophy of technology to a specific maker subculture - as it has been adopted by a movement in fine art (art and technology) - situates making as a form of artistic practice at the intersection of these ideas. As a mode by which technologically inclined artists can navigate the spectacular and the critical in their work, making allows these artists to enact criticality through revealing underlying technical (and social) logic in the systems (and objects) with which they engage. Thus, this paper will trace the philosophical foundations of this critical approach and finally analyse a series of works that reveal strategies through which “making” as a mode of “revealing” has been refined by artists as a critical approach to embedded technological systems.
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37

Theinová, Daniela. "Introduction." Review of Irish Studies in Europe 4, no. 2 (November 30, 2021): 8–17. http://dx.doi.org/10.32803/rise.v4i2.2836.

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RISE 4.2 is a festive anniversary tribute to one of Ireland’s most eminent poets Medbh McGuckian. The articles to be found in this issue address McGuckian’s expansive oeuvre through a number of diverse foci. These range from the work’s engagement with political violence during the Troubles and their competing representations in cultural memory; through considerations of the commemorative thrust of individual poems and collections; and questions of knowledge, faith and scepticism; to the prominence of the image and the visual in McGuckian’s poetics. The question of reading is brought up repeatedly in these pages, be it concerned with the reception of McGuckian’s poetry or her writing method, based on the reading of texts by others. In their diverse approaches to the poet’s work these articles demonstrate that while McGuckian’s own art begins with an act of reading, in her act of writing she instructs us in the art of reading. Keywords: McGuckian, Medbh; Irish poetry; Northern Irish poetry; the Troubles; intertextuality; reading
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38

Englund, Martin, Aleksandra Turkiewicz, and Pawel Podsiadlo. "Editorial: Bone Reading to Predict the Future." Arthritis & Rheumatology 70, no. 1 (December 8, 2017): 1–3. http://dx.doi.org/10.1002/art.40349.

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39

Jaussen, Paul. "The Art of Distinction." New Literary History 54, no. 2 (March 2023): 1215–20. http://dx.doi.org/10.1353/nlh.2023.a907166.

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Abstract: In this brief essay, I consider the following question: can systems thinking offer us a general theory of literary form? By "general theory," I mean the highest level of abstraction, akin to Thomas Kuhn's notion of a paradigm; I'll largely (though not entirely) pass over the "middle-level" concepts that Marjorie Levinson and Jonathan Culler call "poetics" and, lower still, the ordinary science of literary criticism that we call close reading.1 As a scholar trained in modernist poetry, I know that such abstractions are intrinsically risky; "no ideas but in things," William Carlos Williams warned.2 But I also believe that pursuing such a general theory can help us self-reflectively describe what we actually do as literary scholars, while also suggesting new modes of critical practice. Given that the last decade in literary studies was marked by a perhaps excessive attention to methodology, in this piece I'm less interested in proposing a cybernetic "way of reading" and more interested in systems thinking's capacity to help us understand why our discipline fosters so many ways of reading, more or less successful, to begin with.
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Spoo, Robert, Jane Marcus, and Louise DeSalvo. "Art and Anger: Reading like a Woman." Tulsa Studies in Women's Literature 10, no. 2 (1991): 310. http://dx.doi.org/10.2307/464026.

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41

West, Emma. "Strange Objects: Surface Reading Popular Art Periodicals." Journal of Modern Periodical Studies 13, no. 1 (June 1, 2022): 142–80. http://dx.doi.org/10.5325/jmodeperistud.13.1.0142.

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ABSTRACT Drawing on a private collection of popular British art periodicals from the 1920s to the 1950s, loaned to me during the COVID-19 pandemic, this article explores different ways of reading these magazines’ visual and verbal contents. It takes the unique circumstances of the pandemic—inability to travel, or to access libraries and archives—and asks what we can learn from reading such magazines in isolation. Designed as an “experiment,” it foregrounds acts of questioning and of description, placing an emphasis on curiosity and open-ended enquiry. Inspired by Sharon Marcus and Stephen Best’s ideas around “surface reading,” I use the collection to develop a taxonomy of image-text interactions in art periodicals such as The Studio, Colour, Drawing and Design, The Art Gallery, and Modern Masterpieces. To examine how these interactions worked in practice, I focus on The Artist (1931–present). Using creative-critical approaches, including my own practice as a watercolorist, I examine how didactic pairings of words and images helped to teach an amateur audience how to create their own art. Throughout, I seek not just to introduce readers to a new set of magazines, but to question what modes of enquiry and forms of expression constitute “proper knowledge” in periodical studies.
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42

Ezell, Margaret J. M., and Jane Marcus. "Art and Anger: Reading like a Woman." South Central Review 6, no. 1 (1989): 122. http://dx.doi.org/10.2307/3189522.

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43

Lars Johanesson, Gary A. Genosko &. "Re-reading Silent Spring & (untitled art)." UnderCurrents: Journal of Critical Environmental Studies 1 (April 1, 1989): 9–13. http://dx.doi.org/10.25071/2292-4736/37635.

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Rachel Carson's historic book Silent Spring, published in 1962, may not have marked the beginning of what we might call modern environmentalism -- although she might have been the mother of such a movement -- but it did make a major contribution to the development of a widespread ecological consciousness and encouraged environmentally sound practices.
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44

Jeffers, Carol S. "Lessons for Art Education from Reading Education." Studies in Art Education 40, no. 3 (1999): 275. http://dx.doi.org/10.2307/1320867.

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45

Criscuolo, Nicholas P. "Creative Approaches to Teaching Reading through Art." Art Education 38, no. 6 (November 1985): 13. http://dx.doi.org/10.2307/3192871.

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46

Buren, Becky Van. "Improving Reading Skills through Elementary Art Experiences." Art Education 39, no. 1 (January 1986): 56. http://dx.doi.org/10.2307/3192943.

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47

Jeunghee Kim. "Culture Education through the Reading Digital Art." Korean Journal of Culture and Arts Education Studies 10, no. 1 (February 2015): 113–31. http://dx.doi.org/10.15815/kjcaes.2015.10.1.113.

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48

Hammond, Marlé. "Reading Across Modern Arabic Literature and Art." Middle Eastern Literatures 18, no. 1 (January 2, 2015): 102–3. http://dx.doi.org/10.1080/1475262x.2015.1075287.

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49

Farmer, Julia. "Cervantes, Ariosto, and the Art of Reading." Hispania 101, no. 1 (2018): 136–42. http://dx.doi.org/10.1353/hpn.2018.0090.

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50

Bier, Carol. "Art andMithāl: Reading Geometry as Visual Commentary." Iranian Studies 41, no. 4 (September 2008): 491–509. http://dx.doi.org/10.1080/00210860802246176.

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