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1
Gultyaeva, Galina S. "CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 127–38. http://dx.doi.org/10.17223/22220836/41/10.
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Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.
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Su, Tung-Ching, Tsung-Chiang Wu, Ming-Hung Wun, and Cheng-Wei Wang. "Style Recognition of Door God Paintings by Hypothesis Testing for Texture Features of Painting Patterns." Applied Sciences 12, no. 5 (2022): 2637. http://dx.doi.org/10.3390/app12052637.
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Many studies in the literature have presented multiple remote sensing techniques for defect inspection of paintings. At present, however, papers on defect inspection and restoration of oriental architectural arts—such as door god paintings—are still rare. If an aged and damaged door god painting needs a restoration, then following the style and treatment skill of the original artist as much as possible is important for the restoration. Unfortunately, it is usually difficult to access the original artists for some of the aged door god paintings. This paper considers the texture features of auspicious patterns of armors on warrior door gods as useful information to recognize styles of door god paintings by unknown artists. First, a two-level two-dimensional discrete wavelet transform coupled with co-occurrence matrix calculation was adopted to analyze the texture features, based on the descriptors of angular second moment (ASM), entropy (ENT), contrast (CON), homogeneity (HOM), dissimilarity (DIS), correlation (COR), and cluster tendency (CLU), in the four orientations of 0° (horizontal), 45° (vertical), and 90° and 135° (double diagonal). Second, a two-tailed t-test based on the analyzed texture features was introduced into the hypothesis testing for demonstrating the master and apprentice relationships between the surveyed artists, and for recognizing the door god painting styles of unknown artists as well. The experimental results show that the proposed method effectively describes the texture features of the auspicious patterns of the surveyed door god paintings, and is able to determine the useful co-occurrence features for recognizing unknown artists’ painting styles.
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Antherjanam, Sindu. "A Comparative Study of Malayalam Literature and Paintings: Trajectories of Evolution." Artha - Journal of Social Sciences 17, no. 2 (2018): 39–58. http://dx.doi.org/10.12724/ajss.45.3.
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Art and literature are part as well as a reflection of life. Literature and arts help to observe and interpret the world. They can also change the world. Visual arts stand in the forefront of knowledge dissemination. However the significance accorded to literature has never been given to painting. The paper traces how literature has always preceded and given more priority against painting and other visual arts form in the region of Kerala. This also goes with the fact that in discussing the history of arts, rural arts and artists are never discussed sufficiently. This is despite the fact that there is always a closer relationship between alphabets, scripts and paintings of various forms. The paper traces this close relationship to the earlier times when the scripts and written forms essentially evolved from hand drawings and stone carvings in the context of the south Indian language Malayalam. That the scripts and alphabets essentially evolved from those early pictographs should be a useful background to understand the relationship. The paper also marks the historical transitions in the Malayalam alphabets and scripts under various influences.Keywords: Evolution of Malayalam Script, Vamozhi
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Mirabile, Andrea. "“Fili d’oro”: Literature, painting, and blindness in D’Annunzio’s Notturno." Forum Italicum: A Journal of Italian Studies 51, no. 2 (2017): 356–77. http://dx.doi.org/10.1177/0014585817698397.
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This article analyzes the relationships between literature and the arts in D’Annunzio’s Notturno. The verbal and the visual constantly intersect in the poet’s corpus. Nevertheless, the Notturno is unique: according to the narrator, he composes the text during a period of semi-blindness caused by a war-related accident. Consequently, the protagonist is unable to see his favorite works of art, which are described through the filters of memory, desire, and imagination. D’Annunzio’s nocturnal ekphrasis blends wake and dream, asceticism and eroticism, narrative linearity and poetical fragmentation. Vision and writing deconstruct their own conventional separations: the elements of each form mingle in a dimension that reflects simultaneously the influence of the Decadent age and the birth of Modernism. Despite the scarce scholarly attention devoted to the Notturno outside the borders of Italy, D’Annunzio’s text anticipates the current debates on the aporias of sight (Derrida), the ambiguous temporality of the visual arts (Didi-Huberman), and the contradictory distinction between ‘internal’ and ‘external’ vision (Belting).
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Kässer, Christian. "The Body is Not Painted On: Ekphrasis and Exegesis in Prudentius Peristephanon 9." Ramus 31, no. 1-2 (2002): 158–74. http://dx.doi.org/10.1017/s0048671x00001430.
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Simonides once called painting silent poetry and poetry articulate painting. Comparing the two ‘sister arts’ in the sixth or fifth century BCE, he wrote the first chapter of a story which, even if one thinks only of antiquity, is a rather long one, and in which many of the issues raised seem tremendously complex. In addition, many ancient authors wanted to add their own passages to this story, and quite naturally different writers arrived at very different conclusions about the two arts' respective relationships. Yet however different these conclusions were, no writer, as a writer, could avoid agreeing with Simonides on a basic thing: any statement about the visual arts is inevitably a hermeneutical effort to make the visual speak, and in doing so it equally inevitably implies a deficit of the visual arts: namely, that art cannot speak and needs some form of ‘translation’ to be communicated. Discussing art in written texts, then, cannot but entail implicitly a statement about writing's hermeneutical superiority; this is the case even if the statement may explicitly deny any such superiority. It has been argued that this deficit in art is real and that there does exist a ‘Hermeneutic Gap’ in painting; whereas verbal discourse, so the argument goes, operates with a ‘hermeneutic of understanding’, painting, by contrast, is bound to a ‘hermeneutic of calculated misunderstanding’. Certainly there are paintings for which such a statement is correct—but there may be as many cases in which a text only construes such a gap and uses it as a good opportunity to establish its own hermeneutic superiority by contrasting itself with an image which is supposedly less precise in communicating meaning.
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Florea, Eleonora, and Stela Cojocaru. "The Presence of the Phenomenon of Artistic Synesthesia in Painting." Review of Artistic Education 22, no. 1 (2021): 244–52. http://dx.doi.org/10.2478/rae-2021-0030.
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Abstract The present study elucidates the presence of the phenomenon of artistic synesthesia in painting, describes the types of synesthesia and their effects, sensory symbiotic relationships, correlations with different genres of art: dance, music, literature. Early art forms were initially distinguished by an archaic and primary syncretism, being interconnected and dependent on each other. Subsequently, during the historical evolution, these artistic forms were dispersed in separate art genres, while preserving this specific intermediarity and interrelation, of artistic synesthesia. Synesthetic phenomena in painting are stylistically interconnected with music, dance, literature.
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Russell, P. A., and D. A. George. "Relationships between Aesthetic Response Scales Applied to Paintings." Empirical Studies of the Arts 8, no. 1 (1990): 15–30. http://dx.doi.org/10.2190/au1r-6uxe-t14r-04wq.
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Relationships among seven aesthetic response scales were studied by requiring subjects to rank fifteen paintings on each scale, using a between-subjects design. Three of the five evaluative scales used, likeability, pleasingness, and preferability were strongly positively intercorrelated. Using these scales to examine painting content (landscape, portrait, still-life) and style (Impressionism, Surrealism, etc.) effects, however, revealed that the scales did not always yield similar results. Although content effects were similar on all three scales, likeability and preferability were relatively insensitive to style effects, while pleasingness was more sensitive. These sensitivity differences appear to be linked to variation in the degree of intersubject agreement on the different scales, leading to the suggestion that some scales, such as pleasingness, are relatively homogeneous while others, such as likeability, are more heterogeneous. Another commonly-used evaluative scale, interestingness, was unrelated to the other four but was relatively sensitive to style effects. Data are also presented on an additional evaluative scale, wish to see again, and on two descriptive scales, complexity and familiarity. Overall, the results suggest that conclusions drawn from studies using aesthetic scales may depend crucially on the particular scale used and in particular that the commonly used likeability and preferability scales, despite their apparent ecological validity, may not be the most informative ones.
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Buchloh, Benjamin H. D. "A Conversation with Jutta Koether." October 157 (July 2016): 15–33. http://dx.doi.org/10.1162/octo_a_00257.
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Benjamin Buchloh speaks with German artist, musician, and critic Jutta Koether about the many ways in which Koether blurs the lines between painting and performance in her practice, “reinstalling,” in her words, painting as a “platform, a potential, [and] a performance.” Koether discusses the formative role of New Wave and punk culture in her practice, particularly her time at Spex magazine; her studies in Cologne in the late 1970s and the anti-aesthetic impulse in painting from Picabia to Polke to Kippenberger; and her time in New York in the late 1980s and ′90s. Special attention is paid to her relationship to Poussin, both in her paintings The Seasons and The Sacraments and in her performance at Harvard in April 2013, as well as to early works like Inside Job (1992).
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Luo, Yupan. "Ekphrasis in “The Disquieting Muses” : A Dialogue Between Poetry and Painting." Learning & Education 10, no. 5 (2022): 82. http://dx.doi.org/10.18282/l-e.v10i5.2679.
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The American Confessional poet Sylvia Plath(1932-1963) has created a series of poems based on well-known western 
 paintings at the early ages of her writing. “The Disquieting Muses” is one of these ekphrastic poems, which depicts the noncommunicative relationship between her and her natural mother. If we approach this poem from the perspective of inter-arts 
 poetics, that is to say, to analyze the poem side by side with its painting copy, we can discover different approaches of dialogue 
 between the poem and the painting. This paper is meant to explore unique charm and beauty in ekphrastic literature as well as to 
 add new perspectives to the study of Plath’s poems.
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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.
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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.
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Marcondes, Carlos H. "Towards a Vocabulary to Implement Culturally Relevant Relationships Between Digital Collections in Heritage Institutions." KNOWLEDGE ORGANIZATION 47, no. 2 (2020): 122–37. http://dx.doi.org/10.5771/0943-7444-2020-2-122.
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Cultural heritage institutions are publishing their digital collections over the web as LOD. This is is a new step in the patrimonialization and curatorial processes developed by such institutions. Many of these collections are thematically superimposed and complementary. Frequently, objects in these collections present culturally relevant relationships, such as a book about a painting, or a draft or sketch of a famous painting, etc. LOD technology enables such heritage records to be interlinked, achieving interoperability and adding value to digital collections, thus empowering heritage institutions. An aim of this research is characterizing such culturally relevant relationships and organizing them in a vocabulary. Use cases or examples of relationships between objects suggested by curators or mentioned in literature and in the conceptual models as FRBR/LRM, CIDOC CRM and RiC-CM, were collected and used as examples or inspiration of cultural relevant relationships. Relationships identified are collated and compared for identifying those with the same or similar meaning, synthesized and normalized. A set of thirty-three culturally relevant relationships are identified and formalized as a LOD property vocabulary to be used by digital curators to interlink digital collections. The results presented are provisional and a starting point to be discussed, tested, and enhanced.
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Schmitter, Monika. "TheQuadro da Portegoin Sixteenth-Century Venetian Art*." Renaissance Quarterly 64, no. 3 (2011): 693–751. http://dx.doi.org/10.1086/662848.
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AbstractDuring the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. The intended placement of the paintings affected their size, format, composition, subject matter, and contemporary interpretation. At the same time, the works of art themselves reflected upon and helped to define the social meanings of the space and the activities taking place there. Analyzing documentary sources and surviving paintings reveals the degree to which we can speak of thequadro da portegoas a distinctive type of Venetian painting.
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Taplin, Oliver. "A disguised Pentheus hiding in the British Museum?" Letras Clássicas, no. 8 (November 1, 2004): 27. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p27-35.
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During the last twenty-five years, two opposing trends have dominated over the debate about the relationship between mythological narratives in vase-painting and those in tragedy. On the one hand, there are those who regard the paintings as dependent upon works of literature; on the other hand, there are those who argue that the artistic tradition is fully self-explanatory with no need of any reference to any literature. This paper analyzes some cases, in which the whole phenomenon seems to be more complex, and to be inextricable from the part played both by painted pottery and by the theatre in the whole lives of those who were the public for these pots and these plays.
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Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii." Classical Antiquity 13, no. 2 (1994): 149–66. http://dx.doi.org/10.2307/25011012.
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This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are (also) copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings (both extant and lost) of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons.
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Abramkin, I. A. "Metamorphoses of Portrait Genre in Russian Art at the Turn of the 18th–19th Centuries." Art & Culture Studies, no. 4 (December 2021): 216–31. http://dx.doi.org/10.51678/2226-0072-2021-4-216-231.
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The article is dedicated to the research of changes in the development of portrait painting in Russian art at the turn of the 18th–19th centuries. A more common approach in the academic literature is a study of typological variants for the portrait image within the stable system, formed under the influence of classicism, or the review of a new concept in portrait painting, embodied by the artists of Romantic period. In that regard the transitional stage, related to the fundamental revision of portrait’s nature as a specific genre, lacks the close attention of researchers. The crisis of Enlightenment’s ideals at the end of the 18th century causes a rethinking of the relationship between a person and the outside world. This tendency directly influences the art of portraiture, which is now distinguished by more expressed dynamism of image. This is particularly important to the national tradition of portrait painting in the 18th century, which before showed the static approach for the representation of model and the moderation of portrait characteristic. Meanwhile, the fluidity becomes not only a method of artistic expression in a single work, but also a guiding principle for the modification of portrait painting at the system level. In other words, there is a new understanding of the fundamental categories inherent in the portrait genre: the popularity of more compact forms of portrait art, the ratio of ceremonial and chamber trends, new relationships between the master and the model, the active interaction of the individual and the surrounding nature. The interest in English culture also plays an important role in these processes. Despite the transitional nature of the era and external influences, Russian portrait painting at the turn of the 18th–19th centuries remains one of the main national features of genre — the prevalence of semi-ceremonial variants of image.
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Lima, Denise Noronha. "José Saramago “escrepintor” / José Saramago “escrepintor”." Revista do Centro de Estudos Portugueses 39, no. 62 (2020): 15. http://dx.doi.org/10.17851/2359-0076.39.62.15-30.
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Resumo: Manual de pintura e caligrafia, de 1977, é o segundo romance publicado por José Saramago, três décadas após sua estreia na literatura. Considerando o valor transicional e formativo dessa obra, visto que ela antecede imediatamente a fase madura do autor, iniciada com Levantado do Chão, de 1980, este estudo busca examinar a forma como aquele movimento de transição se transfigura na narrativa, pela relação entre a pintura e escrita autobiográfica do protagonista. Procede-se à análise de diversos aspectos do diálogo entre literatura e pintura estabelecido no romance a partir da palavra “escrepintor”, com a qual o narrador-personagem se define. Decorre da discussão desses aspectos a conclusão de que o Manual de pintura e caligrafia simboliza o nascimento de uma nova forma de narrativa de Saramago, cuja consolidação se efetivará na fase seguinte do escritor.Palavras-chave: Saramago; pintura; romance.Abstract: Manual of painting and calligraphy, 1977, is the second novel published by José Saramago, three decades after his debut in the literature. Considering the transitional and formative value of this work, since it immediately precedes the author’s mature phase, which began with Raised from the ground, in 1980, this study aims to examine how that transitional movement is transformed in the narrative by the relationship between painting and autobiographical writing of the protagonist. It proceeds to the analysis of various aspects of the dialogue between literature and painting established in the novel from the word “escrepintor”, with which the character storyteller defines himself. From the discussion of these aspects the conclusion is that the Manual of painting and calligraphy symbolizes the birth of a new form of Saramago’s narrative, whose consolidation will take place in the next phase of the writer.Keywords: Saramago; painting; novel.
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Toutziaraki, Marianna. "The dialogic relationship between literary texts and paintings and its application to Literary Education in High School." Journal of Literary Education, no. 2 (December 6, 2019): 130. http://dx.doi.org/10.7203/jle.2.12779.
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The object of the present paper is the functional utilisation of the artistic image in the teaching of literature in Secondary Education. The proposal for the introduction of paintings to literary education is founded on Bakhtin’s principle of dialogism. The wider spirit of the theory of dialogism allows us to detach the literary text from the solitude of its autonomy, connecting it not only to other literary texts but also to other forms of art, which unfold within a particular historical and cultural context. One example of the dialogic relationship between literature and painting could be the dialogue between Kostas Karyotakis’ poem ‘We are just some…’ and Egon Schiele’s paintings, which was deployed in a teaching session for Greek eleventh graders. The teaching course, which is described thoroughly in the article, gave prominence to the dialogic relationship between the poetic text and the artistic images on a thematic, on a style and on a sociohistorical level. It also brought out the students’ role as active participants in the dialogue between the poem and the paintings and as crucial agents of the completion and the renewal of their meaning. This sample teaching has proven that the utilisation of the visual artwork material can be fully incorporated into the implementation framework of the current teaching methods of literature, can reignite pupils' own interest in the ideas and expressive ways of poetry and initiate them successfully into the fundamental issues of art in general.
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Turner, Kate, and Bill Freedman. "Nature as a theme in Canadian literature." Environmental Reviews 13, no. 4 (2005): 169–97. http://dx.doi.org/10.1139/a05-013.
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The relationships of people with the natural world are expressed in diverse ways, including painting, photographs, sculpture, song, video, and literature. In this document, we review historical and contemporary portrayals of nature as a theme in Canadian literature. Our assessment is intended to explore how Canadians have articulated their feelings about nature through literary expression, and to thereby gain insight into their empathy for natural ecosystems and native species, and their concern about damage caused to those values. We begin with a broad overview of nature as a theme in cultural expression, including overarching ones in Canadian literature, and discuss the influential literary views of Northrop Frye, Margaret Atwood, and their critics. We then examine the expression of nature within seven focal areas: early aboriginal expression, narratives of explorers, stories of settlers, the genre of animal stories, 20th-century poetry, recent aboriginal literature, and environmental ideas in contemporary prose. We identify six dominant themes of the expression of nature in Canadian literature: (1) humans as a part of nature; (2) a bounty of natural resources; (3) fear of an adversarial wilderness; (4) improvement of nature; (5) regret of environmental damage and perhaps despair of the future; and (6) love and respect of species and natural landscapes. Finally, we discuss how nature as a theme embedded in Canadian literature can be harnessed to further the compelling objectives of environmental literacy by providing sympathetic insights into the relationships of people and society with the species and ecosystems with which they share Canada.Key words: nature, literature, culture, Canada, environmental literacy.
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Giełdoń-Paszek, Aleksandra. "Literary contexts of Józef Hołard’s works." Świat i Słowo 35, no. 2 (2020): 263–79. http://dx.doi.org/10.5604/01.3001.0014.5477.
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The aim of the article is to demonstrate the relationship between the work of Józef Hołard and literature that inspired his work. A valuable document explaining this issue is found in the unpublished text of the artist entitled Credo, written in connection with the conduct of proceedings at the university. Associated with Bielsko-Biała, Professor Józef Hołard died in January 2015, but his painting, drawing and design works have not been sufficiently explored. They contain many symbolic elements derived from the esoteric and occult sciences. However, they are used and understood very freely by the artist, who gives priority to artistic creation. For many years he drew inspiration from literature dealing with similar subjects, especially Foucault’s Pendulum by Umberto Eco. The series of drawings and paintings According to Umberto Eco is best known in Hołard’s oeuvre.
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Mei, Lin. "A brief analysis of the relationship between chinese traditional painting "Guohua" and literature." Искусство и образование, no. 6 (2021): 57–61. http://dx.doi.org/10.51631/2072-0432_2021_134_6_57.
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Park, Lo-Jong. "A Study on Modernity Produced through the Relationship between the Painting and Chinese Literature : Focusing on SuManshu’s Duanhonglingyanji and Painting Poetry." Chinese Studies 55 (June 30, 2016): 233–58. http://dx.doi.org/10.14378/kacs.2016.55.55.13.
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Park, Lo-Jong. "A Study on Modernity Produced through the Relationship between the Painting and Chinese Literature : Focusing on SuManshu’s Duanhonglingyanji and Painting Poetry." Chinese Studies 55 (June 30, 2016): 233–58. http://dx.doi.org/10.14378/kacs.2016.55.55.14.
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Nel, A. "Die kleur van vers en verf: Antjie Krog in gesprek met Marlene Dumas." Literator 22, no. 3 (2001): 21–38. http://dx.doi.org/10.4102/lit.v22i3.1054.
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The colours of poem and paint: Antjie Krog in conversation with Marlene Dumas Antjie Krog engages South African born painter Marlene Dumas in an intertextual dialogue in her most recent anthology Kleur kom nooit alleen nie. This series of poems is titled “skilderysonnette” (sonnets of a painting). Six of the nine of Krog’s “word paintings” are eponymous with Dumas’s paintings and therefore almost require an examination of the interplay of the respective texts. This article examines the relationship between the relevant poems and paintings. The specific conversation between Krog’s word texts and Dumas’s paintings within the context of Krog’s anthology ultimately indicates intriguing similarities. It includes, inter alia, the struggle of both artists with the problem of “belonging” – Krog from an African perspective and Dumas from a European angle. Both are also concerned with the politics of colour. The politics of sex also figures in both their oeuvres in the third instance. The complexity of sexuality, eroticism and love is examined in the work of both these artists and is ultimately expressed in the voice/vision of the emancipated woman.
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ŞAHİN ÇEKEN, Kübra, and Yasemin KURTLU. "ILHAN BERK IN THE RELATIONSHIP OF PAINTING AND POET IN LINE WITH THE CONCEPT OF INTER-ARTISTS "SEKER AHMET PASA / PRIVATE PROMISES"." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 21 (2021): 88–98. http://dx.doi.org/10.38064/eurssh.246.
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In this study; The painting-poetry relation by Şeker Ahmet Paşa's "Education Men" painting and the poem "Şeker Ahmet Paşa / Talim Making Erler" with the same name, named İlhan Berk, were examined with the inter-art method chosen as a subject. The link between the structure and content of postmodern poetry and painting has formed the backbone of this study. In this context, it is aimed to examine the sources of modern and postmodern art, without leaving their own special fields, and while paying attention to their special fields, common concepts and images have been brought together. The research was conducted with the content analysis method on the basis of qualitative approach. In addition, in the study, the table of "Education Performers" was read with the method of visual reading and the poem titled "Şeker Ahmet Paşa / Talim Making Erler" was examined by content analysis technique. Ecfrasis has been handled in the relationship between painting and poetry, which has been intimate throughout the history of art, and two works have been researched in this direction. In the study, ecfrasis was explained and it was explained how it found a place in inter-arts. Berk presented a replica made with letters, which makes the work visible thanks to the formality of the poem. By looking at Şeker Ahmet Pasha's painting, he determined the credits of the painting and wrote his poem in line with this line. Thus, the content of the poem was included in the composition in terms of form, as well as the picture. In addition, while Berk attributes this work to himself, he emphasized Şeker Ahmet Pasha by placing the name of the painter in the name of the poem. The poet has made it a mission to serve and advertise the painting in this inter-art work in which poetry is the framework for the painting. With this study, which is thought to contribute to the literature, it is predicted that it will constitute a different example where ecfrasis and self-appropriation methods are used together.
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Candeloro, Antonio. "Luis Cernuda y Ramón Gaya: miradas especulares." Monteagudo, no. 26 (March 17, 2021): 101–22. http://dx.doi.org/10.6018/monteagudo.472731.
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Tras el análisis de Retrato de poeta, poema que Luis Cernuda le dedica a Ramón Gaya en 1950, se llevará a cabo una reflexión sobre las relaciones siempre complejas y productivas entre literatura y pintura a partir de la técnica de la écfrasis. Seguidamente, intentaremos leer los retratos que Gaya le dedica a Cernuda para ver cómo se desarrollan y se entretejen las miradas especulares entre el pintor y el poeta. After the analysis of Retrato de poeta, a poem that Luis Cernuda dedicated to Ramón Gaya in 1950, a reflection will be carried out on the always complex and productive relationships between literature and painting based on the technique of ekphrasis. Then we will try to read the portraits that Gaya dedicates to Cernuda to see how the specular gazes develop and interweave between the painter and the poet.
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Zhao, Jia. "L'Écrit et l'image: la question de l'énonciation et de la narrativité dans la peinture de Robert Combas." Nottingham French Studies 58, no. 1 (2019): 102–19. http://dx.doi.org/10.3366/nfs.2019.0238.
Full textAbstract:
The present article considers the ways in which written enunciations are superimposed upon painted enunciations, and the ways in which the former stratify, modify and break the unity of the latter. We take as our examples some paintings by the French painter Robert Combas, a leading light in the ‘Figuration libre’ movement of the 1980s, which sought to invest painting with narrativity. Combas frequently uses writing in his pictorial creations. The written word introduces a new level of enunciation, an alternative voice, a different world – which, taken in and of itself, constitutes an autonomous entity, and placed in parallel to the image, creates a sort of polyphony in which the two sometimes clash. We analyse writing within Combas's paintings, and the ‘paratexts’ that accompany these, interrogating the relationship between text and image in the works' different enunciatory levels.
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Houghteling, Sylvia. "Dyeing the Springtime: The Art and Poetry of Fleeting Textile Colors in Medieval and Early Modern South Asia." Religions 11, no. 12 (2020): 627. http://dx.doi.org/10.3390/rel11120627.
Full textAbstract:
This paper explores the metaphorical and material significance of short-lived fabric dyes in medieval and early modern South Asian art, literature, and religious practice. It explores dyers’ manuals, paintings, textiles, and popular and devotional poetry to demonstrate how the existence of ephemeral dyes opened up possibilities for mutability that cannot be found within more stable, mineral pigments, set down on paper in painting. While the relationship between the image and the word in South Asian art is most often mutually enhancing, the relationship between words and color, and particularly between poetry and dye color, operates on a much more slippery basis. In the visual and literary arts of South Asia, dye colors offered textile artists and poets alike a palette of vibrant hues and a way to capture shifts in emotions and modes of devotion that retained a sense of impermanence. More broadly, these fragile, fleeting dye materials reaffirm the importance of tracing the local and regional histories even of objects, like textiles, that circulated globally.
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Samperio Jiménez, Daniel. "Emulación pictórica y experiencia ilusoria: pictorialismo en El biombo y los frutos de Jesús Gardea." Acta poética 43, no. 1 (2021): 93–112. http://dx.doi.org/10.19130/iifl.ap.2022.43.1.458725.
Full textAbstract:
Belonging to the last stage of Jesús Gardea, El biombo y los frutos is one of his most enigmatic and perplexing novels. This article examines the relationship with painting in this work under the notion of pictorialism as a textual phenomenon that creates pictorial effects in the narrative. In particular, the dialogue between painting and gaze is analyzed, where the narration plays with both the vivid and illusory experience of representation in the story. With this, it sets out to elucidate one of the most suggestive elements of Gardea’s writing, especially manifested in this novel, not without seeking to contribute to a greater understanding of the author’s latest creative stage and aesthetic proposal.
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Griswold, Wendy. "Formal capacities and relational understandings: Greed in literature, art and sociology." Sociologias 20, no. 48 (2018): 86–104. http://dx.doi.org/10.1590/15174522-020004804.
Full textAbstract:
Abstract In considering the uses of literature for the sociologist, we recognize that literature, art, and sociology all depict relationships. Producers (authors, artists, sociologists) craft relationships into cultural objects (novels, paintings, monographs); thereupon, receivers (readers, viewers) draw or infer relationships from these objects; producers, objects, receivers mutually construct and reconstruct one another over time. Literature, art, and sociology have different formal properties, however, and these different capacities shape how the receivers infer relationships from them. This article takes the example of greed to analyze sociological, artistic, and literary objectifications and to illuminate how the three genres’ distinctive formal properties influence their specific capacities to engender relational understanding. This analysis indicates why sociologists should view none of these genres as a subset of another.
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Romano, Dennis. "Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*." Renaissance Quarterly 46, no. 4 (1993): 712–33. http://dx.doi.org/10.2307/3039020.
Full textAbstract:
Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship between patron and client was essentially a legal one in which the artist agreed to render a specific service in return for a preestablished or a negotiable sum of money. With the completion of the commission, the relationship essentially ended, unless succeeded by another commission.
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Polovina, Marko, and Slobodan Markovic. "Structure of aesthetic experience." Psihologija 39, no. 1 (2006): 39–55. http://dx.doi.org/10.2298/psi0601039p.
Full textAbstract:
This study investigated the strructure of aesthetic experience and the relationship of this structure and other dimensions of the subjective judgements of paintings. Aesthetic experinece was defined by nine descriptors selected from relevant literature: fascinating, irresistible, unique, eternal, profound, exceptional, universal, unspeakable, I would like to have this painting. 24 paintings were judged of on nine unipolar seven-step scales that were made of the up-mentioned descriptors. The factor analysis extracted one principal component. Multiple regression has shown weak correlation between aesthetic expirience (averaged nine judgements) and the factors of the subjective judgements of paintings (the factors were measured by the instrument SDS 16; Radonjic & Markovic, 2005). Factor Arousal was a significant predictor of aesthetic experience, but the percent of explained variance was relatively low (circa 23%). The prediction of other factors, Regularity, Atraction and Serenity, was not significant. For the purpose of this analysis we used the data from the previous study (Radonjic and Markovic, 2005). Further regression analyses indicated the role of aesthetic experience in the similarity judgments of paintings: the distributions of the paintings within 2-D and 3-D MDS space were partially explained by the measure of aesthetic experience. The MDS data were taken from the previous study (Radonjic i Markovic, 2004). The results of this study suggest that the aesthetic experience is a unique and relatively independent phenomenon: internally, it is not dividable into components, and externally, it is weakly correlated with the other subjective dimensions.
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Joshi, Shobhana. ""RANGA IN LITERATURE"." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3612.
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The whole of nature and human society; The sensitive creator, living between them, connects their relationship with them, taking experience. A world of its own emotions and thoughts, of dreams and fantasies, of hopes and aspirations is created, which is internal. With his keen desire for expression, he chooses some medium for communication. This medium can be painting, music, sculpture, literature, anything. But the medium of every art is different and in every medium there is autonomy of expression. The color-line shape in the picture, the melody-rhythm in music, the word-symbol in poetry, the myth, the sign, the shape-formation is predominant in sculpture. But in spite of all this, the artist, the creator, while being in his own medium by default and trespassing, also passes through the galleries of any other genre and enriches his art.
 सम्पूर्ण प्रकृति और मनुष्य समाज; संवेदनशील रचनाकार इन दोनों के बीच रहते हुए, इनसे अपने रिश्ते जोड़ता है, अनुभव लेता है। उसका अपना भावों और विचारांे का, सपनों और कल्पनाओं का, आशा और आकांक्षाओं का, एक संसार निर्मित होता है, जो आंतरिक होता है। इसकी अभिव्यक्ति की प्रखर अभिलाषा के साथ वह कोई माध्यम सम्प्रेषण के लिये चुनता है। यह माध्यम चित्रकला, संगीतकला, मूर्तिकला, साहित्य कुछ भी हो सकता है। पर हर कला का माध्यम भिन्न होता है और हर माध्यम में अभिव्यक्ति की स्वायŸाता होती है। चित्र में रंग-रेखा आकार, संगीत में स्वर-ताल-लय, काव्य में शब्द-प्रतीक, मिथक, संकेत तो मूर्Ÿिा में आकार-गठन प्रधान है। पर इस सबके बावजूद भी कलाकार, रचनाकार व्यतिक्रम और अतिक्रम कर अपने ही माध्यम में रहते हुए भी किसी अन्य विधा की वीथियों से भी गुजरता है और अपनी कला को समृद्ध करता है।
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Tortonese, Paolo. "Amour et Gibelotte, ou l'appétit des titres." Nottingham French Studies 58, no. 2 (2019): 210–25. http://dx.doi.org/10.3366/nfs.2019.0249.
Full textAbstract:
In the Salon of 1859, Baudelaire wonders about the title of a painting he had not seen: Amour et Gibelotte, and formulates hypotheses about what it could represent: An idyllic scene? a caricature? an allegory? This painting being lost, we can carry on the interpretation of the title after Baudelaire, with the help of the available information about its creator, the painter Ernest Seigneurgens, and the practices of the time in the use of titles. The outcome is a dossier that prompts a reflection on the modalities of representation and, particularly, on the relationship between comedy and realism in Baudelaire's literary thought and practice.
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Verdonk, Peter. "Painting, poetry, parallelism: ekphrasis, stylistics and cognitive poetics." Language and Literature: International Journal of Stylistics 14, no. 3 (2005): 231–44. http://dx.doi.org/10.1177/0963947005054479.
Full textAbstract:
Ekphrasis is a sub-genre of poetry addressing existent or imaginary works of art. Though now a term in poetics, its cultural roots go back to classical rhetoric, which shows that the two have always been in an osmotic relationship. In a wider context, ekphrasis is also the natural outcome of the traditionally strong bond in Western art between poetry and the visual arts, which Aristotle regarded as imitative arts because both make use of mimetic representation. This close link found its fullest expression in Horace’s famous simile Ut pictura poesis. Different periods of Western art history had different ekphrastic agendas, ranging from Homer’s description of the making of the shield of Achilles in the Iliad to Auden’s ‘Musée des Beaux Arts’ on some pictures by Pieter Brueghel the Elder. Auden may have set the fashion, but as it happened this 16th-century Flemish painter became the favourite muse of a great many other 20th-century poets, in both Europe and the USA. As an illustration of this genre, I present a reading of William Carlos Williams’ s ekphrastic poem ‘The Dance’, which was inspired by Brueghel’s picture ‘The Kermess’. In my analysis I combine the tools of stylistics with those of cognitive poetics, which has embraced the cognitive linguistic theory that any act of language use can potentially be related to some underpinning mental faculty, for example, experience, memory, perception, imagination, and emotion. Along these lines, I try to show how my analysis and reading of the poem’s rhetorical elements, or perceived effects, might be traced to certain underlying cognitive structures such as mentally stored real-world experience, memories and images, genre knowledge, the human delight in repetitive formal patterns, the embodied experience of movement, spatial perception, figure-ground alignments in visual and other sensory perceptions, etc.
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Viveros Granja, David Jacobo. "Un episodio en la pintura viajera. El artista de César Aira." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 12, no. 1 (2015): 44. http://dx.doi.org/10.26564/16926250.535.
Full textAbstract:
ResumenEste artículo pretende mostrar la relación entre literatura y pintura; para ello, se remite a una serie de ejemplos en textos literarios de diversos autores. Posteriormente, se detiene en la novela Un Episodio en la Vida del Pintor Viajero de César Aira, donde se aborda no solamente a un pintor que existió en la realidad como lo fue Rugendas, y que se presenta como personaje de la novela, sino que su trabajo puede entenderse como la labor en general del artista y sus procedimientos, del artista y su búsqueda de un objetivo oculto, secreto.Palabras clave: Rugendas, pintura, literatura, paisaje, artista, procedimiento.********************************************************************An episode in travelling painting. The artist by César AiraAbstractThis article intends to show the relationship between language and painting; for that purpose, a series of examples in literary pieces by different authors is referred to. Later, a stop is made in the novel Episodio en la Vida del Pintor Viajero by César Aira, where a painter who actually existed is boarded, that is Rugendas, and is presented as a character in the novel, but also his work can be understood as the general labor of the artist and his procedures, of the artist and his search of a hidden, secret goal.Key Words: Rugendas, painting, literature, landscape, artist, procedure********************************************************************Um episódio na pintura viageira. O artista de César AiraResumoEste artigo pretende mostrar a relação entre literatura e pintura; para tanto, se remete a uma série de exemplos de textos literários de diversos autores. Posteriormente se detém no romance Un Episodio en la Vida del Pintor Viajero de César Aira, onde se aborda não só a um pintor que viveu na realidade como foi Rugendas, e que se apresenta como personagem do romance, mas que seutrabalho pode ser entendido como o lavor em geral de um artista e seus procedimentos, do artista e sua busca de um objetivo oculto, secreto.Palavras chave: Rugendas, pintura, literatura, paisagem, artista, procedimento.
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Prikhodovskaya, Ekaterina A., and Anna А. Okisheva. "THE RELATIONSHIP BETWEEN THE ELEMENTS OF THE MUSICAL LANGUAGE AND INTERDISCIPLINARY ANALOGS IN THE WORK OF THE PIANIST-PERFORMER." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 222–30. http://dx.doi.org/10.17223/22220836/43/18.
Full textAbstract:
The performing process is the creative process of reproducing musical material. The performer not only "deciphers" the meaning of the work laid down by the composer, but also creates new images in real time. In order to understand the composer's intention, the performer pianist should turn to the works of painting, literature, etc. The first place among related art forms that create a number of interdisciplinary analogues is rightfully given to literature: in literature, as well as in speech in general (colloquial speech, in this case, we consider as a material, "raw material" of literature), one of the leading expressive elements is intonation (remember the relevant research by B. Asafiev). Thanks to the synthesis of music, literature, painting, the performer assimilates an artistic image, which makes it possible to combine disparately fixed means of expression into a single emotional message. It is the integral emotional message that is the subject of the transfer of the artistic message from the addressee - the author of the music - to the addressee (listener). Therefore, on the part of the pianist called to convey this message, it is of great importance to pay attention to the components of this message, among which the most significant are: musical melody, as in the human language, consists of phrases and sentences. Some basic types of melody are distinguished: horizontal movement, upward movement, downward movement, wavy melody, melody with leaps. Harmony is an important element of the musical language. Along with painting, literature, music also cannot exist without a harmonic foundation. She gives variety and color, is responsible for the semantic and emotional load of the entire work. Rhythm is important. The existence of a piece of music is impossible without rhythm. We can find rhythm in literature in the form of proportionality of lines. It is impossible to imagine a piece of music without tempo. The tempo affects the character of the piece. If the tempo distorts the character of the music, then a mismatch of the musical image occurs. The tempo in speech can be different. It depends on the content of the statement. Dynamics play an important role in music. With its help, the form of the composition is built. Dynamics is able to divide the work into structural parts, as well as contribute to the development of thematic material. The dynamism of the plot is also found in literary works, where there is a constant change in the situation and states of the heroes. So, all the elements of the musical language are combined in the pianist's work. It should be noted the special role of interdisciplinary analogies: music does not exist by itself, analogs of many phenomena of musical speech can be seen both in colloquial speech and in its literary refraction. The presence of such analogs significantly expands the "field" of the pianist's creative activity from mono-timbral art to a complex interdisciplinary approach.
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Davis, Michael. "MIND AND MATTER IN THE PICTURE OF DORIAN GRAY." Victorian Literature and Culture 41, no. 3 (2013): 547–60. http://dx.doi.org/10.1017/s1060150313000090.
Full textAbstract:
In chapter 8 of Dorian Gray, Dorian reflects on the terrifying discovery, which he has made the previous night, that the painting has been somehow altered to express his own moral state. He speculates thus on a possible explanation for the change in the picture: Was there some subtle affinity between the chemical atoms, that shaped themselves into form and colour on the canvas, and the soul that was within him? Could it be that what that soul thought, they realized? – that what it dreamed, they made true? (Wilde 93) At the end of the chapter, he thinks along similar lines: Might there not be some curious scientific reason for it all? If thought could exercise its influence upon a living organism, might not thought exercise an influence upon dead and inorganic things? Nay, without thought or conscious desire, might not things external to ourselves vibrate in unison with our moods and passions, atom calling to atom in secret love or strange affinity? (103) Wilde's references to “atoms” encapsulate something of the complexity and paradox which characterise the novel's representations of the mind and its connection with the body. Atoms make up the painting and Dorian's own body, and this reminder of the materiality of both reminds us, in turn, of the possibility that Dorian, and all human selves, may occupy an insignificant yet inescapable place in the wider processes of the physical world. Most pervasively in the novel, and in the fin de siècle more generally, anxieties about one such material process – that of evolution, and especially of degeneration – haunt representations of the self. In Dorian's thoughts about “atoms” lies the still more extreme possibility that the very distinction between organic and inorganic may be blurred, a vertiginous sense that human evolutionary kinship extends beyond even the simplest organisms to matter itself, and that the category of the human is thus under greater threat than ever in the light of scientific theories of the material world. At the same time, the questions that Dorian asks himself envisage not the reduction of the mind to matter but the near-opposite of this: the possibility that “thought” may somehow “influence” the matter of the painting. In a fantastical version of the Hegelian idealism which forms an important part of Wilde's philosophical position, the mind may prove to be the ultimate reality, independent of and dominant over matter, as the state of Dorian's mind is mysteriously given sensuous form in the transformations which the painting undergoes. The atoms of the painting, like the human mind, take on an ambiguous relationship to the material world. The atoms are not fixed but fluid; like the mind itself, they are material and yet seem to act in ways contrary to physical laws of cause and effect, always in process and resistant to external comprehension.
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Haverkamp, Anselm. "Art is Messianicity: Radical Illustration in the Face of God — Romeo Castellucci and Antonello da Messina." Oxford Literary Review 36, no. 1 (2014): 37–47. http://dx.doi.org/10.3366/olr.2014.0085.
Full textAbstract:
Messianicity is not. Art is. Derrida, however, was not into pictures; his relationship with art remained in the quasi-transcendental mode of frames. Romeo Castellucci's use of a painting by Antonello da Messina exposes the Derridean non-messianism through art's power to illustrate – a mode abandoned by Derrida in the Heidegger-Schapiro debate on Van Gogh. In Castellucci, on the contrary, art illustrates what ‘messianicity’ is unable to illustrate and thus is bound to deny even in the negative.
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Damisch, Hubert. "Staking the Subject: The Self's Own Gamble with Art." October 167 (February 2019): 149–70. http://dx.doi.org/10.1162/octo_a_00340.
Full textAbstract:
Devoted to the Freud-Signorelli case, this study by French art-historian/philosopher Hubert Damisch offers an in-depth analysis of “the implication of the subject in the various dimensions of perception, remembering, analysis, and interpretation.” To better reflect the complex relationships between art, psychoanalysis, and interpretation, Damisch's commentaries take the form of a diary. By discussing his comings and goings between the 1960s and 1990s and by making an effort to remember his own life and practice, Damisch builds a dispositif where Freud's analyses of the mechanisms of oblivion, Signorelli's painting of “the damned,” Dante's Inferno, and Primo Levi's testimony on the Shoah reverberate with each other. This study, which is one of the chapters of the unfinished book La machine d'Orvieto, was first published in French in Y voir mieux, y regarder de plus près (Rue d'Ulm, 2010).
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Zhaopo, Shao. "National Image Construction in Minority Theme Animation and Cigarette Painting Research." Tobacco Regulatory Science 7, no. 5 (2021): 997–1007. http://dx.doi.org/10.18001/trs.7.5.17.
Full textAbstract:
Objectives: Playing an important role in the history of Chinese animation art, the minority theme animation not only contains strong national spirit and historical tradition, but also has a close relation with social-historical evolution and the characteristics of its historical stage during its development, thus making ontology language more abundant in social changes. In this paper, the development of minority theme animation is described macroscopically according to the statistics and analysis on the output, theme and object of Chinese minority animation. The “pluralistic integration” theory-based systematic analysis on the relationship between minority theme animation and Chinese social-economical development, national literature and art, ethnic policy, ethnic culture, etc. helps us to outline the nationalimage of new China.In the development of Chinese animation, tobacco advertising is often involved in the form of anime painting. In this context, the presented cultural phenomenon and value shouldattract the attention of scholars.
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Tes, Agnieszka. "Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych." Argument: Biannual Philosophical Journal 9, no. 1 (2019): 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.
Full textAbstract:
Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
 conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
 represent some tendencies in abstract painting. I start by summarizing this concept, taking
 into consideration the elements of its reconstructions that are present in the source literature,
 especially those aspects that concern art. Although Ingarden’s idea can be used with many
 examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists
 Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend
 to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that
 allows me to enrich the interpretation of these artworks by showing them in a new light. By
 recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples
 and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline
 aspects that are distinctive of the presented artists and are related to the exceptional ability of
 abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of
 view I maintain the relationship between aesthetic and metaphysical sense that creates a kind
 of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to
 transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link
 philosophical and critical ways of approaching these artistic phenomena with special regards to
 their metaphysical connotations that tend to be overlooked in contemporary discourses.
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Knudsen, Karin Esmann. "“It was a sweet view – sweet to the eye and the mind.” Jane Austen og det pittoreske landskab." K&K - Kultur og Klasse 45, no. 123 (2017): 291–308. http://dx.doi.org/10.7146/kok.v45i123.96911.
Full textAbstract:
It is obvious in Jane Austen’s novels that she was interested in the ongoing debate of ’the picturesque garden’, and in all her novels the characters are discussing how to look at the landscape, how to ‘improve’ the estates according to certain rules, and how taste and moral are connected to each other. The picturesque garden is inspired by paintings from the 17th century by Claude Lorraine and Nicolas Poussin, and in that way a clear line can be drawn back to Theocritus and Virgil, who introduced topoi as ‘locus amoenus’ and the ‘pastoral’. This article is examining how the relation is between these topoi, which are ideal landscapes that only exist in literature and painting, and the discussions of the design of real physical landscapes of contemporary England. It is difficult to decide on which side Austen was in the discussions of the picturesque. The article concludes that Austen’s voice is to be heard in the narrative, the development of the characters, and that she ends up with an attempt to reach an authentic relationship with landscape and nature that foreshadows a romantic feeling of nature. An appendix shows the later reception of Austen’s relationship to landscape, by analyzing a scene from modern films based on Jane Austen’s novels.
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Speidel, Klaus. "“Telling in Time” Extended." Poetics Today 41, no. 4 (2020): 669–704. http://dx.doi.org/10.1215/03335372-8720127.
Full textAbstract:
Temporality has long been recognized as a defining trait of narrative. This article introduces new concepts, methods, and arguments to analyze the relationships between represented and representational timelines for a transmedia narratology with a strong focus on emotions, rethinking such fundamental concepts as complication, resolution, and illustration. Since Gotthold Ephraim Lessing (1766) distinguished the temporal arts like poetry, where signs are consecutive, from the spatial arts like painting, where signs are juxtaposed, the latter have been considered to be limited when it comes to conveying stories autonomously. Opposing this point of view, this article explains how monochronic pictures can convey timelines by relying on the depiction of traces, as well as an appeal to anthropological and cultural knowledge. It then shows how some monochronic pictures intended as illustrations sometimes convey stories autonomously. The author argues based on a choice of photographs that inducing suspense or curiosity is possible even through a monochronic picture. The article also shows how single pictures induce experiences of duration or instantaneity, concluding that single monochronic pictures can convey essential story events in a predetermined order and reliably convey the timeline of these events. This implies that such single pictures can be narratives even according to narrow definitions of the concept.
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Song, Yang. "A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty." Region - Educational Research and Reviews 3, no. 2 (2021): 5. http://dx.doi.org/10.32629/rerr.v3i2.294.
Full textAbstract:
In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore, studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji, It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.
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Paixão, Vergiana dos Santos, Pablo Suárez, Willam Oliveira da Silva, et al. "Comparative genomic mapping reveals mechanisms of chromosome diversification in Rhipidomys species (Rodentia, Thomasomyini) and syntenic relationship between species of Sigmodontinae." PLOS ONE 16, no. 10 (2021): e0258474. http://dx.doi.org/10.1371/journal.pone.0258474.
Full textAbstract:
Rhipidomys (Sigmodontinae, Thomasomyini) has 25 recognized species, with a wide distribution ranging from eastern Panama to northern Argentina. Cytogenetic data has been described for 13 species with 12 of them having 2n = 44 with a high level of autosomal fundamental number (FN) variation, ranging from 46 to 80, assigned to pericentric inversions. The species are grouped in groups with low FN (46–52) and high FN (72–80). In this work the karyotypes of Rhipidomys emiliae (2n = 44, FN = 50) and Rhipidomys mastacalis (2n = 44, FN = 74), were studied by classical cytogenetics and by fluorescence in situ hybridization using telomeric and whole chromosome probes (chromosome painting) of Hylaeamys megacephalus (HME). Chromosome painting revealed homology between 36 segments of REM and 37 of RMA. We tested the hypothesis that pericentric inversions are the predominant chromosomal rearrangements responsible for karyotypic divergence between these species, as proposed in literature. Our results show that the genomic diversification between the karyotypes of the two species resulted from translocations, centromeric repositioning and pericentric inversions. The chromosomal evolution in Rhipidomys was associated with karyotypical orthoselection. The HME probes revealed that seven syntenic probably ancestral blocks for Sigmodontinae are present in Rhipidomys. An additional syntenic block described here is suggested as part of the subfamily ancestral karyotype. We also define five synapomorphies that can be used as chromosomal signatures for Rhipidomys.
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Hartoyo, Rachmat, and Hady Efendy. "Development of Training Needs Analysis in Organization." Journal of Management Research 9, no. 4 (2017): 140. http://dx.doi.org/10.5296/jmr.v9i4.11866.
Full textAbstract:
Competition encourages the organization to always improve its performance, so as to achieve competitive advantage. One of the steps taken is to conduct extensive and continuous training and employee development. A training need assessment is a strategic step to find out the right training program for the organization and employees. In addition, to produce effective training, training professionals need to emphasize doing the right things the first time. The type of data used in this study is qualitative, and the source of data in this study is the source of literature. Data analysis technique used in this research is descriptive analysis technique to describe and describe object to be studied. The purpose of this descriptive is to make the description, description or painting systematically, factually and accurately about the facts, properties and relationships between the phenomena investigated. The study consists of evaluating the components of the training system and planning of training needs based on competence. The evaluation is aimed to find out the training system and human resource development within an organization that includes the components of the training system.
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Mieville, China. "The Conspiracy of Architecture: Notes on a Modern Anxiety." Historical Materialism 2, no. 1 (1998): 1–32. http://dx.doi.org/10.1163/156920698100414176.
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AbstractWe, the residents of modernity, live in an unquiet house.This essay examines the relationship between human subjects and their built environment, but it does so less by focusing on architecture than on what one might call ‘architecture once removed'. It is less concerned with the built environment itself than with a prevalent image of that environment in ‘high’ and ‘popular’ culture, in literature, in film and painting. It is my contention that a particular unsettling image of buildings has gained increasing currency in the modern epoch. I will attempt to show that such an image — and a concomitant anxiety — exists, and to offer an explanation for its provenance.
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Cage, Timothy, and Lawrence B. Rosenfeld. "Ekphrastic poetry in performance: An examination of audience perceptions of the relationship between poetry and painting." Text and Performance Quarterly 9, no. 3 (1989): 199–206. http://dx.doi.org/10.1080/10462938909365931.
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I Puig, Montserrat Roser. "DISCUSSING ART AND PAINTING POETRY? A COMMENTARY ON 97 NOTES SOBRE FICCIONS PONCIANES (1974) BY J.V. FOIX AND JOAN PONÇ." Catalan Review 19, no. 1 (2005): 155–71. http://dx.doi.org/10.3828/catr.19.10.
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The article looks at the peculiarities of this collaborative work between the poet J.V. Foix and the painter Joan Ponç. It discusses and illustrates the dialogic relationship between Art and Literature by focusing on the book’s physical construction, its heteroglossic nature and the magnetic effect that the ludic interaction between the written and the plastic languages produces on the reader.
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Rustom, Mohammed. "Approaching Mull? ?adr? as Scriptural Exegete: A Survey of Scholarship on His Quranic Works." Comparative Islamic Studies 4, no. 1-2 (2010): 75–96. http://dx.doi.org/10.1558/cis.v4i4.1-4.2.75.
Full textAbstract:
This article offers the first comprehensive survey of scholarly literature devoted to the Qur??nic works of the famous Muslim philosopher, Mull? ?adr? (d. 1050/1640). While taking account of the merits and shortcomings of studies on ?adr?’s Qur??nic writings, we will also be concerned with highlighting some of the methodological problems raised by the diverse range of approaches adopted in these studies. Chief amongst them is the tendency to pit ?adr? the philosopher against ?adr? the scriptural exegete. Such a dichotomy is not entirely helpful, both with respect to painting a clearer picture of ?adr?’s religious worldview, and to addressing broader questions pertaining to the intimate relationship shared between the “act” of philosophy and the “act” of reading scripture.