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Journal articles on the topic 'Referential Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Kirichenko, Alexander. "The Art of Transference." Mnemosyne 69, no. 1 (2016): 1–28. http://dx.doi.org/10.1163/1568525x-12341697.

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Inspired by insights of modern cognitive science, this article investigates the use of self-referential metaphors in Pindar’s epinicians and demonstrates that these metaphors serve to enhance the cognitive effect of the rhetoric of praise. The starting point of the argument is the (dis)analogy between the self-referential deixis that religious hymns use to map aetiological myths to their performance context and the self-referential metaphors that Pindar uses to blend the observable context of the victory celebration with the context of the original victory. It is to emphasize the ‘presentifica

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Stanowski, Mariusz. "Conceptual Art and Abstraction: Deconstructed Painting." Leonardo 53, no. 5 (2020): 485–91. http://dx.doi.org/10.1162/leon_a_01859.

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This article proposes a new conception of art and presents a form of painting that exemplifies that concept. Considering the developments in twentieth- and 21st-century art, the author notes that art created after the conceptual period has failed so far to take account of the profound transformation that occurred within it in the twentieth century. This change consisted in the identification of art with reality, achieved by incorporating into art all significant spheres/objects of reality. One result has been the dominance of referential art following the conceptualist period. Referential artw

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Kacunko, Slavko. "Roads to Recursion. Some historiographical remarks on a core category of Media Art." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 12, no. 2 (2014): 70–85. http://dx.doi.org/10.7195/ri14.v12i2.682.

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In this paper, the general arena between analogue and digital media art is explored with special respect to the concept of the ‘newness’ of media. The first part confirms the Closed Circuit as an ‘open system’ related to its right to an evolution towards increasing complexity without the reciprocal playing-off of self-referential ‘life’ against ‘hetero-referential’ technique. The second part refers to the continuity of research undertaken in media, art and art-history and discussion in related fields while the concepts of ‘new’ media have repeatedly admitted the Closed Circuit as a core catego

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Franklin, Michael A. "Know thyself: Awakening self-referential awareness through art-based research." Journal of Applied Arts & Health 3, no. 1 (2012): 87–96. http://dx.doi.org/10.1386/jaah.3.1.87_1.

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Lee, Jeungchan, Ekaterina Protsenko, Asimina Lazaridou, et al. "Encoding of Self-Referential Pain Catastrophizing in the Posterior Cingulate Cortex in Fibromyalgia." Arthritis & Rheumatology 70, no. 8 (2018): 1308–18. http://dx.doi.org/10.1002/art.40507.

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Guerra, Aníbal, Jaime Lotero, José Édinson Aedo, and Sebastián Isaza. "Tackling the Challenges of FASTQ Referential Compression." Bioinformatics and Biology Insights 13 (January 2019): 117793221882137. http://dx.doi.org/10.1177/1177932218821373.

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The exponential growth of genomic data has recently motivated the development of compression algorithms to tackle the storage capacity limitations in bioinformatics centers. Referential compressors could theoretically achieve a much higher compression than their non-referential counterparts; however, the latest tools have not been able to harness such potential yet. To reach such goal, an efficient encoding model to represent the differences between the input and the reference is needed. In this article, we introduce a novel approach for referential compression of FASTQ files. The core of our

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Campesato, Lílian. "A Metamorphosis of the Muses: Referential and contextual aspects in sound art." Organised Sound 14, no. 01 (2009): 27. http://dx.doi.org/10.1017/s1355771809000053.

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Giraldo, Veronica. "Referential iconicity in music and speech." Public Journal of Semiotics 9, no. 1 (2020): 41–77. http://dx.doi.org/10.37693/pjos.2019.9.20283.

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Musical meaning is multifaceted. It is highly sensory and yet often abstract; able to cross cultural boundaries and yet embedded in specific traditions. For the most part music as a semiotic system is characterized by non-referential meaning (Monelle, 1991). Nevertheless, in so-called programmatic music, musical themes are intended to refer to worldly objects and events on the basis of iconic (and indexical) grounds. Such non-arbitrariness has been extensively documented in the case of speech as well (Ahlner and Zlatev, 2010; Sonesson 2013; Imai and Kita, 2014). In an experimental study,

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Balme, Christopher B. "Interpreting the Pictorial Record: Theatre Iconography and the Referential Dilemma." Theatre Research International 22, no. 3 (1997): 190–201. http://dx.doi.org/10.1017/s0307883300017004.

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In 1926 the German theatre critic and scholar Julius Bab compared the endeavour of the theatre historian engaged in reconstructing past performances with that of the art historian required to study paintings solely on the basis of descriptions. The analogy serves as a justification for Bab's own study of contemporary theatre based on personal observations: only the privileged status of the eye-witness account can do justice to the transitory nature of theatrical performance, he argues. What today may seem like a self-evident truth was in the 1920s by no means so. German Theater-wissenschaft of

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Lorente, Jesús Pedro. "Avant-garde art display recreations historised: Muzeum Sztuki in Łódź as a referential case?" Muzeológia a kultúrne dedičstvo 9, no. 3 (2021): 5–15. http://dx.doi.org/10.46284/mkd.2021.9.3.1.

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Museums can no longer pretend to be mere containers of art or other cultural treasures; their fascinating legacy for posterity is definitely not just the respective collection, but also its idiosyncratic articulation and ulterior resignification. This essay surveys sifting trends in the re-staging of modern museographies; but instead of using New York’s MoMA as the obvious paradigm, pride of place is given here to the Muzeum Sztuki in Łódź (Poland). Its original Neoplastic Hall survived only from June 1948 until October 1950; but it was reconstructed ten years later, prefiguring other museogra

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Florea, Silvian. "Theater Aesthetics from the First Signs to Postmodern Echoes." Theatrical Colloquia 8, no. 1 (2018): 317–35. http://dx.doi.org/10.2478/tco-2018-0012.

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Abstract In the second part of The Art of Theatre (the first presentation of the evolution of theatre aesthetics written by a Romanian author), George Banu highlights the dynamic essence of the performance, without excluding the existence of referential terms that structure its manifestations on the whole. The author calls them “means of communication that were imposed at the time”, means that start from a unitary significance given to the theatrical act. This significance is, according to George Banu, affiliated to a certain aesthetics, formulated with the help of historical determinations sp

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Pepperell, Robert. "Problems and Paradoxes of Painting and Perception." Art and Perception 7, no. 2-3 (2019): 109–22. http://dx.doi.org/10.1163/22134913-20191142.

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This illustrated essay highlights some conceptual problems that arise when we consider the nature of visual perception and its relationship to art. Science proceeds on the assumption that natural phenomena operate rationally and can be explained rationally. Yet the study of art shows that many ordinary acts of perception, such as looking at a picture, can be paradoxical, logically contradictory and self-referential. I conclude that we must confront these problems if we are to reconcile the scientific approach to explaining visual perception with artistic and philosophical discoveries.

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Andergassen, Lisa. "Digging Up the Narrative: Forensic Practices between Objectivity and Interpretation." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 48–51. http://dx.doi.org/10.47659/m1.048.art.

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Photography traditionally generates a truth-claim, while at the same time undermining it by holding the potential of being altered or staged. Since the rise of digital techniques, we are facing different (and easier) ways to manipulate pictures, leading to the notion of the digital photograph as generally mutable and therefore not trustworthy. But as there have been more and easier ways to “manipulate” photographs, so has there been an increase in the ways to detect them. Which today puts digital forensics in the position of re-establishing “reality” as a referential point by tracing every ste

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Bosman, Frank G. "When Art is Religion and Vice Versa. Six Perspectives on the Relationship between Art and Religion." Perichoresis 18, no. 3 (2020): 3–20. http://dx.doi.org/10.2478/perc-2020-0013.

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AbstractIn the discussion of religion and art, it is quite difficult to exactly define what makes art ‘religious’. In this article, the author suggest six different perspectives in which a work of art—any work of art—could be interpreted as ‘religious’, as an embodiment of the complex relationship between art and religion. These perspectives are not mutually exclusive: one and the same art work could be approached on multiple levels at once. Nor do they disqualify other methodologies of studying art and religion. These perspectives provide conceptual windows to understand what people (could) m

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Stefanovic, Ana. "Traditional vocal music as a reference in contemporary Serbian art song." Muzikologija, no. 20 (2016): 151–70. http://dx.doi.org/10.2298/muz1620151s.

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The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano

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Liu, Kris, J. Trevor D'Arcey, Marilyn Walker, and Jean Fox Tree. "Referential Communication Between Friends and Strangers in the Wild." Dialogue & Discourse 12, no. 1 (2021): 45–72. http://dx.doi.org/10.5210/dad.2021.103.

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The Map Task (Anderson et al., 1991) and Tangram Task (Clark & Wilkes-Gibbs, 1986) are traditional referential communication tasks that are used in psycholinguistics research to demonstrate how conversational partners mutually agree on descriptions (or referring expressions) for landmarks or unusual target objects. These highly-controlled, laboratory-based tasks take place under conditions that are relatively unusual for naturally-occurring conversations (Speed, Wnuk, & Majid, 2016). In this study, we used the Artwalk Task (Liu, Fox Tree, & Walker, 2016) – a real world-situated ble

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ARFARA, KATIA. "Denaturalizing Time: On Kris Verdonck's Performative Installation End." Theatre Research International 39, no. 1 (2014): 47–56. http://dx.doi.org/10.1017/s0307883313000540.

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Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and

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Jäger, Gottfried. "Concrete Photography: (In-Between) Light Image and Data Image." Leonardo 51, no. 2 (2018): 146–54. http://dx.doi.org/10.1162/leon_a_01350.

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The author discusses his works of concrete photography contributed to the Peter C. Ruppert Collection, Concrete Art in Europe after 1945, in the Museum im Kulturspeicher Würzburg. He discusses Concrete Photography as a form of nonrepresentational photography in which the medium itself moves away from its classical role of representing the external world to take on a strict self-referential role, in between both traditional light-images and images of the digital world.

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Goffen, Rona. "Renaissance Dreams." Renaissance Quarterly 40, no. 4 (1987): 682–706. http://dx.doi.org/10.2307/2862448.

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Family, marriage, and sex—although it seems to me that the sequence is uncertain—are naturally interrelated in life but not always so in art or, for that matter, in art history. While family and marriage have been much discussed in recent years by historians, they have received very little attention indeed from art historians. Sex, on the other hand, we have always had with us. And while all of one's work is self-referential to some extent, whether one is an artist or an historian of art, it may be that this psychological truth carries a particular danger when one is dealing with matters that

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Arteel, Inge. "Experimental Acoustic Life Writing: Gerhard Rühm's Radio Plays." CounterText 5, no. 3 (2019): 332–51. http://dx.doi.org/10.3366/count.2019.0169.

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In this article I focus on a selection of radio plays by the Austrian author Gerhard Rühm and analyse them from the perspective of life writing, starting with Irene Kacandes' findings on the increased referential effect of experimental life writing (2012). I want to extend the notion of experimental life writing to the medium of the experimental radio play and investigate whether and how the experiments with spoken language, voice, and musicalisation of language contribute to an effect of realness and create an aural world infused with lived experientiality. I'm particularly interested in the

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Castiblanco, Olga, and Diego Vizcaino. "Tittle book: An introduction to qualitative research. Author: Uwe Flick." Góndola, enseñanza y aprendizaje de las ciencias 15, no. 1 (2019): 171–75. http://dx.doi.org/10.14483/23464712.15330.

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This book is a good referential guide for both novice and experienced researchers because it gives detailed descriptions of qualitative research and offers information that leads to a deeper understanding of the subject. Additionally, it is noted that the book introduces current issues, including ethics in qualitative research, the use of literature in qualitative research, the relationship between qualitative and quantitative research and qualitative online research, in relation to each topic. In the final chapter, the author proposes the future of qualitative research as a combination of art

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Oeler, Karla. "Eisenstein and Horror." Journal of Visual Culture 14, no. 3 (2015): 317–31. http://dx.doi.org/10.1177/1470412915608138.

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‘Eisenstein and Horror’ places Eisenstein’s unfinished work, Method (2002 [1932–46]) in dialogue with key concepts that have been brought to bear on cinematic horror: ambivalence, excess, affect, and abjection. It argues that in Method, Eisenstein, largely through the astounding range of his examples, de-emphasizes the difference between narrative and non-narrative in favor of a broader compositional perspective that can only strengthen accounts of horror as reflex, and of self-referential horror. In Method, Eisenstein develops the idea that foundational structures of art (metaphor, metonymy,

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Silveira, Sarita, Verena Graupmann, Dieter Frey, et al. "Matching Reality in the Arts: Self-Referential Neural Processing of Naturalistic Compared to Surrealistic Images." Perception 41, no. 5 (2012): 569–76. http://dx.doi.org/10.1068/p7191.

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How are works of art that present scenes that match potential expectations processed in the brain, in contrast to such scenes that can never occur in real life because they would violate physical laws? Using functional magnetic resonance imaging, we investigated the processing of surrealistic and naturalistic images in visual artworks. Looking at naturalistic paintings leads to a significantly higher activation in the visual cortex and in the precuneus. Humans apparently own a sensitive mechanism even for artistic representations of the visual world to separate the impossible from what potenti

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Küchler, Susanne. "Differential Geometry, the Informational Surface and Oceanic Art: The Role of Pattern in Knowledge Economies." Theory, Culture & Society 34, no. 7-8 (2017): 75–97. http://dx.doi.org/10.1177/0263276417730600.

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Graphic pattern (e.g. geometric design) and number-based code (e.g. digital sequencing) can store and transmit complex information more efficiently than referential modes of representation. The analysis of the two genres and their relation to one another has not advanced significantly beyond a general classification based on motion-centred geometries of symmetry. This article examines an intriguing example of patchwork coverlets from the maritime societies of Oceania, where information referencing a complex genealogical system is lodged in geometric designs. By drawing attention to the interpl

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von Ehrenkrook, Jason. "Sculpture, Space and the Poetics of Idolatry in Josephus' Bellum Judaicum." Journal for the Study of Judaism 39, no. 2 (2008): 170–91. http://dx.doi.org/10.1163/157006308x252795.

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AbstractJosephus' writings depict a rather tumultuous relationship between Jews and figurative art, especially sculpture. When taken at face value, this material seems to indicate that Jews during the Second Temple period interpreted the second commandment as a prohibition against any form of figural representation, regardless of context or function. Using his Bellum Judaicum as a test case, I aim to complicate this picture by shifting attention away from the referential value of these so-called iconoclastic narratives to their rhetorical function, i.e. to the way in which these narratives are

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Diller, Christopher. ""Fiction in Color": Domesticity, Aestheticism, and the Visual Arts in the Criticism and Fiction of William Dean Howells." Nineteenth-Century Literature 55, no. 3 (2000): 369–98. http://dx.doi.org/10.2307/2903128.

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Given that William Dean Howells was the leading spokesperson for literary realism in the late nineteenth century, critics have traditionally cited him for his failure to define a formal aesthetic theory, or, more recently, they have located such a theory in its very absence. Neither view acknowledges how Howells appropriated a central tenet of genteel society-domesticity-as ground for a pragmatic appraisal of fine art under the impress of capitalism. Especially in his fictional descriptions of painting and illustration, Howells delineates how disinterested rationales of fine art like aesthetic

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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.

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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the

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Giannoukakis, Marinos. "Narrative in Form: A topological study of meaning in transmedial narratives." Organised Sound 21, no. 3 (2016): 260–72. http://dx.doi.org/10.1017/s1355771816000236.

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This article is an attempt to demonstrate the relation between appreciation of morphology and structure in form on the one hand, with higher symbolic structures – crucial for meaning formation routines – on the other, and to evaluate their significance in transmedial narratives, primarily in the case of media-based artworks. The use of catastrophe theoretical models to classify forms, their structure and dynamics is proposed, and the question of how these models can give us insight into the meaning that is carried through transmedial narratives (referential or abstract) is examined. Finally, t

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Acquisto, Joseph. "Listening, Touching, Meaning: On Translating Musical Experience, Answering the Call of Art, and Aesthetic Subjectivity in Baudelaire and Proust." Music and Letters 100, no. 4 (2019): 597–614. http://dx.doi.org/10.1093/ml/gcz032.

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Abstract This essay examines the way Baudelaire and Proust respond to music in terms of trying to account for being ‘touched’ or ‘struck’ by it. I contrast dramatic music, as it figures in Baudelaire’s writing on Wagner, with the newly emergent notion of ‘absolute music’, as it manifests itself in the fictitious chamber music of Vinteuil in Proust’s novel. The essay thereby demonstrates how emptying music of referential meaning allows writers to fill up that blank space with a verbal reply to the call of music, which itself becomes an act of aesthetic creation. Such an approach to listening, w

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Chepurina, Irina. "HAMLET’S IMAGE AS A POET AND ITS INTERPRETATION IN VALERIY ANANYIN’S TRANSLATION." Studia Humanitatis 16, no. 3 (2020): 38–44. http://dx.doi.org/10.15393/j12.art.2020.3641.

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The article analyzes the image of Hamlet as a poet which is developed in a new translation of The Tragedy of Hamlet, Prince of Denmark (2010) by a Karelian translator Valeriy Ananyin. The novelty of the translation accompanied by the translator’s valuable commentaries and notes contributes to the importance of the research, because the image of Hamlet as a poet, which appears to be off the radars of Russian and foreign researchers, is reflected by Valeriy Ananyin for the first time. The article attempts to explore the image of Hamlet as a poet in the context of Valeriy Ananyin’s translation st

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Stanford, Charlotte A. "Andrew Brown and Jan Dumolyn, eds., Medieval Urban Culture. Studies in European Urban History 43 (1100–1800). Turnhout: Brepols, 2017, 213 pp, ill." Mediaevistik 31, no. 1 (2018): 242. http://dx.doi.org/10.3726/med012018_242.

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The editors of this volume are to be commended for bringing together a thematically tight-knit and self-referential collection of essays to investigate the topic of how we understand the term medieval “urban culture.” The grouping of twelve essays in this collection utilizes a blend of the literary, historical and art historical, focusing on western European examples, notably England, France, Italy and the Low Countries, with a concluding chapter on China. Nevertheless, the purpose of this volume is not one of providing thorough coverage, but rather of demonstrating a series of interlinking in

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Justus, Timothy. "Toward a Naturalized Aesthetics of Film Music." Projections 13, no. 3 (2019): 1–22. http://dx.doi.org/10.3167/proj.2019.130302.

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In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber’s Adagio for Strings—I follow the example set by Murray Smith in Film, Art, and the Third Culture and discuss the complemen

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Hafner, Markus. "Ἀμήχανόν τι κάλλος. Re-evaluating the Concept of Beauty in Heliodorus’ Aithiopika". Nova Tellus 39, № 1 (2021): 107–29. http://dx.doi.org/10.19130/iifl.nt.2021.39.1.27546.

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Of the extant ancient Greek novels, Heliodorus’ Aithiopika is by far the most ‘sophisticated’. One of its topics is the virtually irresistible, and almost ‘divine’, beauty of both protagonists, Theagenes and Charicleia. Whereas earlier scholarship brought Heliodorean beauty into line with Platonic concepts and highlighted its ethical value or even metaphysical character, this article tries to throw into relief another aspect of Heliodorean κάλλος, emphasising a link between the Aithiopika and rhetorical exercises based on beauty. Thus, κάλλος makes explicit the persuasive effect of the text it

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Chen, Ying, and Feng Yu Yang. "Analysis of Iris Images Segmentation Methods Based on Level Set." Advanced Materials Research 753-755 (August 2013): 2985–89. http://dx.doi.org/10.4028/www.scientific.net/amr.753-755.2985.

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Iris recognition plays an important role in personal identification. In this study, we utilized CREASEG experimental platform to analyze the performance of some state-of-the-art image segmentation algorithms based on level set. Performance evaluation criteria include segmentation accuracy and computation time of pupil and iris localization. Four iris images were taken as experimental samples. The experimental results on those image samples demonstrate that Chan-Vese model achieve the best performance among all six algorithms. Furthermore, experimental results also show that energy functions pl

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Ujszászi, Zsuzsanna. "The Pre-Raphaelite Journey into the Middle Ages." Acta Universitatis Sapientiae, Philologica 7, no. 1 (2015): 29–43. http://dx.doi.org/10.1515/ausp-2015-0033.

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Abstract The Pre-Raphaelite artists and poets rejected contemporary conventional style in art, and did not concern themselves with the representation of contemporary life either. They viewed the surrounding social life as sordid, and reached back to the Middle Ages both for technique and subject matter. Dante Gabriel Rossetti, Holman Hunt, John Everett Millais, and later William Morris found inspiration in late medieval art and literature. They took their subjects from history, legend, religion or poetry, focusing on moral or psychological issues, and expressed fascination for beauty as a valu

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Jaworski, Adam. "Word cities and language objects." Linguistic Landscape. An international journal 1, no. 1-2 (2015): 75–94. http://dx.doi.org/10.1075/ll.1.1-2.05jaw.

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The focus of this paper is on language objects in contemporary ‘word cities’, or urban landscapes, shaped by art and consumer culture. I define ‘language objects’ as two- or three-dimensional pieces of writing (e.g. needlework samplers, fridge magnets, wooden or metal sculptures, etc.) that do not serve any apparent informational or utilitarian purpose, i.e. they are not ‘attached’ to or displayed on any objects with identifiable practical functions, e.g. buildings, t-shirts, mugs, paper weights, and so on. Two specific language objects considered here are Robert Indiana’s LOVE sculpture and a

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Bertocci, S., M. Bigongiari, P. Becherini, and A. Cottini. "ARCHITECTURAL HERITAGE BUILDING IN THE STATE OF SÃO PAULO: SURVEY AND DIGITAL DOCUMENTATION OF A JESUIT MISSION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 241–48. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-241-2020.

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Abstract. This paper describes the digital survey activities carried out in Brazil, in the state of São Paulo, in order to document historical architectures and his vernacular features. After introducing the researches performed in Brazil in the last years, the Brazilian state-of-art of architecture is summarised, so that it is possible to understand the complexities and the referential typological and cultural models. Typical Paulistano vernacular building techniques are thereafter deepened, before outlining the case-study of the Jesuit mission of Carapicuiba, one of the few rammed earths bui

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Maksimovich, V. A. "Literary canon in Maksim Bogdanovich’s poetic heritage: genealogy, reception, semiosis." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 4 (2020): 476–85. http://dx.doi.org/10.29235/2524-2369-2020-65-4-476-485.

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On the example of works of the classic of Belarusian literature Maksim Bogdanovich, there is studied the role of literary canon in aesthetic selfidentification of national literature. It is noted that the literary canon acts as a strategy of cultural identity, one of the effective forms, and important condition of formation of the cultural symbolic world of meanings funded by the general cultural values of humankind. It is stated that historical, cultural, artistic, ontological, existential values and meanings explicated in the poetic canon of Maksim Bogdanovich became an important part of sp

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Abel, Mark. "Is Music a Language?" Historical Materialism 26, no. 4 (2018): 59–86. http://dx.doi.org/10.1163/1569206x-00001616.

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AbstractMarxists regard works of art as meaningful, and look for political meanings in apparently non-political literature, films and paintings. But where does music’s meaning lie? The conventional view is that music is non-referential, capable only of supporting other artforms or of expressing emotions. Adorno rejects the idea of music as a language of emotions, and does not believe that music has universal grammatical and syntactical rules. Yet he claims that music has language characteristics which make it as political as other artforms. What does he mean, and is he right? To answer those q

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Genova, Pamela A. "Crossing Cultural and Aesthetic Frontiers: Yves Bonnefoy and the Dynamics of Haiku." Irish Journal of French Studies 15, no. 1 (2015): 25–40. http://dx.doi.org/10.7173/164913315817039216.

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Ever since the opening of the ports of Japan to the West in 1854, French authors have participated in a fruitful dialogue of East-West exchange, to which the work of Yves Bonnefoy adds an engaging dimension. Bonnefoy, who reads Japanese and has spent time in Japan, has carried on throughout his career an equivocal relationship with Japanese aesthetics, especially notable in his complex views on haiku. Early on, Bonnefoy critiqued the form as a hollow discursive structure inattentive to the crucial referential relationship between art and world that he underscored in his own work as primary. Ye

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Chirumbolo, Paolo. "CONTAMINAZIONI INTERMEDIATICHE E IBRIDAZIONI POSTMODERNE: LE COMMEDIE DI ALDO, GIOVANNI E GIACOMO TRA TEATRO, TELEVISIONE E CINEMA." Forum Italicum: A Journal of Italian Studies 42, no. 1 (2008): 114–28. http://dx.doi.org/10.1177/001458580804200107.

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The essay examines the works of Aldo, Giovanni and Giacomo, one of the most popular comic trios in contemporary Italy. After a brilliant career spent between theater and television, in 1997 the three comedians made their first feature film, Tre uomini e una gamba, and were immediately blessed with huge commercial success. The film was followed by five more equally successful productions: Così è la vita (1998), Chiedimi se sono felice, (2000), La leggenda di Al, Jack e John, (2002), Tu la conosci Claudia? (2004), and Anplagghed al cinema (2006). Although I make several references to these films

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Bertram, Georg W. "Autonomie als Selbstbezüglichkeit: Zur Reflexivität in den Künsten." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 2 (2010): 61–74. http://dx.doi.org/10.28937/1000106159.

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Wie kann ästhetische Autonomie begriffen werden, ohne daß man den Zusammenhang zwischen Kunst und menschlicher Praxis nicht mehr erläutern kann? Der vorliegende Aufsatz geht von der These aus, daß Hegel umwillen einer Erläuterung dieses Zusammenhangs die ästhetische Autonomie verfehlt. Er vermag es nicht, die sinnlich-materialen Momente eines Kunstwerks in ihrer Eigenständigkeit zu begreifen. Goodman korrigiert dieses Defizit mit dem Begriff der Exemplifikation. Aber auch in seiner Erläuterung der Bedeutung eigenständiger sinnlich-materialer Momente wird keine Autonomie des Ästhetischen begrei

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Haaland, Torunn. "The Art of Writing from the Border: Narrative Decentralisation and Pluricultural Identity Construction in Tomizza’s Franziska (1996)." Quaderni d'italianistica 41, no. 1 (2020): 95–116. http://dx.doi.org/10.33137/q.i..v41i1.35896.

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This article examines one of Tomizza’s unjustifiably understudied texts within two primary contexts: one formed around the historical, political and social background of early 20th-Century Trieste, the other around the author’s recurrent concern with hybrid characters and geopolitical, cultural and linguistic borderlands. At the surface, these contexts are dramatised to revisit a political and ethnic conflict from the viewpoint of one of its most invisible victims. To uncover the novel’s more deep-running operations, however, this study takes a narratological approach and applies perspectives

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PERRY, SEAMUS. "Tennyson and the Legacies of Romantic Art." Romanticism 14, no. 1 (2008): 1–12. http://dx.doi.org/10.3366/e1354991x08000056.

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Everyone knows that a number of important concepts gained a new resonance and prestige around the turn of the nineteenth century: the phenomenon is called (or is symptomatic of what is called) ‘romanticism’; and any account of romanticism's legacies might well choose to consider the continuing life of those new significances within subsequent literary thinking. The terms that matter are words such as art, aesthetic, imagination, literature, poetry; and the intricate pattern of changes in their meanings has been drawn most influentially by Raymond Williams, initially in Culture and Society and

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Marcello, Flavia, and Paul Gwynne. "Speaking from the Walls." Journal of the Society of Architectural Historians 74, no. 3 (2015): 323–43. http://dx.doi.org/10.1525/jsah.2015.74.3.323.

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The Città Universitaria (or University City), built in Rome in the mid-1930s, used the reception of classical culture as a propaganda tool through its architecture, art, urban layout, and use of epigraphy. As Flavia Marcello and Paul Gwynne demonstrate, these elements communicated the broad sociopolitical construct of militarism and education characteristic of the Italian Fascist period. Building inscriptions using the immortal words of classical authors had both didactic and referential functions: they spoke peremptorily of accepted modes of behavior and highlighted the role of educated youth

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Kotelevskaya, V. V. "ON THOMAS BERNHARD’S NARRATIVE THINKING: «ETERNAL RETURN» AND A POLYPHONIC WRITING." Human Being: Image and Essence. Humanitarian Aspects, no. 3 (2020): 27–54. http://dx.doi.org/10.31249/chel/2020.03.03.

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The article explores the typological principles and genesis of narrative thinking of Thomas Bernhard (1931-1989). It reveals the paradoxical nature of his writing, which combines, on the one hand, archetypal structures, implied ‘genre memory’, and on the other hand, a unique, innovative style. Bernhard’s constructive principle is repetition, which allows the embodiment of the idea of «eternal return» (Eliade) throughout the poetical structure, whether it is a sacred event of a myth or an «obsessive repetition» (Freud) of the traumatic memories of the protagonist or the narrator. The fragmented

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Altybayeva, S. М. "Cognitive Thesaurus of Cultural Code: Communicative and Epistemological Aspects." Pedagogy and Psychology 43, no. 2 (2021): 234–43. http://dx.doi.org/10.51889/2020-2.2077-6861.32.

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The article discusses the problem of the formation of the cognitive thesaurus of the developed theory of the cultural code, defines some aesthetic-communicative strategies of the literary discourse of Kazakhstan. It is noted that in the implementation of these strategies a specific role is played by specific epistemes– cultural codes. The cultural code is defined as a significant semiotic unit of text included in its conceptual core. Such concepts of the theory of cultural code as philosophical, ideological, conceptual core, ethnostereotype, heterotopic markers, detailed multicultural landscap

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von Stuckrad, Kocku. "Utopian Landscapes and Ecstatic Journeys: Friedrich Nietzsche, Hermann Hesse, and Mircea Eliade on the Terror of Modernity." Numen 57, no. 1 (2010): 78–102. http://dx.doi.org/10.1163/156852710x12551326520571.

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AbstractAgainst the background of fascism and the disasters of two world wars, during the first decades of the twentieth century many European intellectuals were formulating negative responses to “modernity” and to what they regarded as the decline of human civilization. Often, these intellectuals sought for alternatives to the modern conditio humana and looked for solutions in religion, art, or philosophy. Friedrich Nietzsche’s conceptualization of the Dionysian and the Orphic is of particular importance for such a discourse of modernity. After introducing Nietzsche’s contribution as a refere

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Cvejić, Žarko. "Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin." New Sound 53, no. 1 (2019): 37–52. http://dx.doi.org/10.5937/newso1901037c.

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In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin

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Gerrie, Vanessa. "On metamodernism: Virgil Abloh’s borderless fashion practice." Critical Studies in Men’s Fashion 7, no. 1-2 (2020): 73–90. http://dx.doi.org/10.1386/csmf_00018_1.

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The contemporary global fashion system is at a unique point of convergence between ‘high’ and ‘low’ culture and across creative disciplines and representational spaces. Fashion designers are no longer confined to the catwalk, nor to the physical object of clothing, but are multi-hyphenate creators bringing together design principles from other fields such as architecture, graphic design and fine art. Within this shifting design landscape, ‘meta’ has entered the millennial colloquial vernacular to describe anything that is self-referential, and has become a trait common to a generation whose cu

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