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Journal articles on the topic 'Titles of art works'
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1
Boyko, Lyudmila. "ON TRANSLATING TITLES IN ARTISTIC DISCOURSE." Vertimo studijos 4, no. 4 (2017): 35. http://dx.doi.org/10.15388/vertstud.2011.4.10571.
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As a specific type of proper names, the titles of works of art constitute a very important and highly translation-sensitive element of art discourse. This paper aims to demonstrante how specific titling in arts affects the translation process. To that end, a brief overview of the title’s role in verbal and non-verbal discourse is given. Further on, it is shown how, due to the involvement of heterogenic semiotic codes, specific functioning of titles results in a different perception strategy, making most routine title translation strategies inapplicable. The paper concludes that the choice of translation strategy is determined by various extra-linguistic factors, such as alternative titling, back-translation situations, and the requirements of the commissioner.
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Polizzi, Gilles. "Fantômes et contrefaçons dans l’oeuvre de Béroalde de Verville : ouvrages virtuels, fictifs et fictionnels." Renaissance and Reformation 34, no. 3 (2012): 91–110. http://dx.doi.org/10.33137/rr.v34i3.17022.
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This article proposes to take inventory of and examine, in the abundant vervilienne production, the absent works, non-existent or “disguised.” Reflecting upon the relationship between title and identity, as well as our aptitude to deduce from a title the content and character of a work, the author of this article defines the process of “bibliographical illusion,” used frequently by Verville, who, in his bibliography, multiplies these ghosts. Hence, this article sorts the works while considering, in an approximately chronological order, virtual books (announced, but not published and perhaps not written), fictitious books (those whose title suggests camouflage or forgery), and invented disguises; because the science of the book is fueled by invention. This article concludes with the unexpected restoration of a book as real, from the category of fictitious works. Bibliography is then not only the art of listing titles, but also the art and the science of linking titles with works the art of testing the game of bookish inventions and trickery.
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Hermawan, Agus. "Gaya Bahasa Puisi Pada Buku Kumpulan Puisi Buku Latihan Tidur Karya “Joko Pinurbo”." JURNAL SOSIAL : Jurnal Penelitian Ilmu-Ilmu Sosial 21, no. 2 (2020): 48–52. http://dx.doi.org/10.33319/sos.v21i2.60.
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Abstract— Literary works are works of art created by the author, through the writing of literary works that he makes, writers or authors use their imagination and are expressed through words, forming language as a form of his imagination. For this reason, understanding of literary works cannot only be studied for its intrinsic elements, but also for its extrinsic elements. The author's Sleeping Exercise Book for Poetry Collection “Joko Pinurbo” presents poetry titles that are very interesting and easy to remember by literary lovers and audiences. Based on this, the researcher is interested and wants to prove and describe the uniqueness and attractiveness of the poetry titles of "Joko Pinurbo" Poetry Sleeping Exercise Book, especially in the style of language used in the work. Keywords—: Literary works; Poutry; language style.
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Kondala, Shadreck. "Didactic Titles in Literature: A Look at Selected Zambian-Language Literary Works." Journal of Law and Social Sciences 3, no. 1 (2020): 101–14. http://dx.doi.org/10.53974/unza.jlss.3.1.448.
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This paper is a descriptive exploration of selected titles of Zambianlanguage literary works that contain in them didactic aspects, that is, forms of general advisory statements and proverbs/sayings as actual titles of the particular books. It demonstrates that the use of proverbial titles makes these works of fiction more concerned with didacticism rather than
 entertainment. This moralistic disposition which apparently seems to be
 a trademark of many authors in Zambian languages is a manifestation of the influence of traditional African orature in general and Zambian oral cultures in particular which places emphasis on the teaching of moral values in storytelling. This paper is guided by two literary theoretical approaches namely: the sociological approach which posits that literature should act as a mirror of society as well as to provide solutions for the society; and the ethical approach especially the idea that art should be morally sound.
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Bourdeau, Laurent, and Jean-Charles Chebat. "The Effects Of Signage And Location Of Works Of Art On Recall Of Titles And Paintings In Art Galleries." Environment and Behavior 35, no. 2 (2003): 203–26. http://dx.doi.org/10.1177/0013916502250209.
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Nassr, Z., N. Sael, and F. Benabbou. "PREPROCESSING ARABIC DIALECT FOR SENTIMENT MINING: STATE OF ART." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-4/W3-2020 (November 23, 2020): 323–30. http://dx.doi.org/10.5194/isprs-archives-xliv-4-w3-2020-323-2020.
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Abstract. Sentiment Analysis concerns the analysis of ideas, emotions, evaluations, values, attitudes and feelings about products, services, companies, individuals, tasks, events, titles and their characteristics. With the increase in applications on the Internet and social networks, Sentiment Analysis has become more crucial in the field of text mining research and has since been used to explore users’ opinions on various products or topics discussed on the Internet. Developments in the fields of Natural Language Processing and Computational Linguistics have contributed positively to Sentiment Analysis studies, especially for sentiments written in non-structured or semi-structured languages. In this paper, we present a literature review on the pre-processing task on the field of sentiment analysis and an analytical and comparative study of different researches conducted in Arabic social networks. This study allowed as concluding that several works have dealt with the generation of stop words dictionary. In this context, two approaches are adopted: first, the manual one, which gives rise to a limited list, and second, the automatic, where the list of stop words is extracted from social networks based on defined rules. For stemming two, algorithms have been proposed to isolate prefixes and suffixes from words in dialects. However, few works have been interested in dialects directly without translation. The Moroccan dialect in particular is considered as the 5th dialect studied among Arabic dialects after Jordanian, Egyptian, Tunisian and Algerian dialects. Despite the significant lack in studies carried out on Arabic dialects, we were able to extract several conclusions about the difficulties and challenges encountered through this comparative study, as well as the possible ways and tracks to study in any dialects sentiment analysis pre-processing solution.
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Berdnikova, Olga A. "On the Poetics of Titles in I. A. Bunin’s Poetic Heritage." Izvestia of the Ural federal university. Series 2. Humanities and Arts 22, no. 4 (202) (2020): 238–55. http://dx.doi.org/10.15826/izv2.2020.22.4.074.
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This article considers I. A. Bunin’s poetic oeuvre from the point of view of title poetics in order to identify the main patterns and author’s strategies in working with the title complex. The methodology is based on the correlation of the title with the text, subtext, and metatext of the poem, taking into account textual refinements. In Bunin’s principle of working with the title complex, there is a noticeable striving for accuracy and at the same time for a metaphorical semantic comprehensiveness that includes existential, natural, and cultural constants. Thus, the main features of Bunin’s poetics of titles are changes in the titles of one text, removal of titles and dedications, repetition of titles in two or more poems, combination of the theme and genre in a number of titles, and the addressing factor. In recurring titles, the researcher finds key images of Bunin’s poetry that include him in the Russian poetic tradition. However, a tendency to modernism is also noticeable in Bunin’s poetry in the titles of poems that contain Bunin’s philosophical and poetical reflection. The titles of such poems refer to the theme of death and often contain the words “grave” / “tomb”, but the text of the poem enters into an antinomic relationship with the title, i.e. a person belonging to the “world of art”, culture, and tradition (myth and religious tradition) has already ascended over the world and is doomed to immortality. The removal of titles as a strong position in texts on political topics shifts the reader’s attention from the temporary to the eternal and metahistorical, which is found in the text itself and clarifies the author’s position.
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김석모. "Title of Art Works in the Western Art History - Origin and art historical development of title -." Korean Journal of Art and Media 15, no. 1 (2016): 9–40. http://dx.doi.org/10.36726/cammp.2016.15.1.9.
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Wilsmore, S. J. "The Role of Titles in Identifying Literary Works." Journal of Aesthetics and Art Criticism 45, no. 4 (1987): 403. http://dx.doi.org/10.2307/431331.
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WILSMORE, S. J. "The Role of Titles in Identifying Literary Works." Journal of Aesthetics and Art Criticism 45, no. 4 (1987): 403–8. http://dx.doi.org/10.1111/1540_6245.jaac45.4.0403.
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Brown, Bronwen. "A Dictionary of Art Titles: The Origins of the Names and Titles of 3,000 Works of Art2000355Adrian Room. A Dictionary of Art Titles: The Origins of the Names and Titles of 3,000 Works of Art. Jefferson, NC and London: McFarland & Co 2000. 288 pp, ISBN: 0 7864 0770 0 £41.25 UK distribution by Shelwing Ltd, London." Reference Reviews 14, no. 7 (2000): 31. http://dx.doi.org/10.1108/rr.2000.14.7.31.355.
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Zavarkina, Marina. "Unidentified Names in the “First” Notebook of F. M. Dostoevsky (1864–1865)." Неизвестный Достоевский 8, no. 2 (2021): 107–21. http://dx.doi.org/10.15393/j10.art.2021.5461.
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The notebooks of F. M. Dostoevsky contain personal names and titles of works, many of which were left without comment or were reproduced incorrectly from the manuscript. The article examines the names of real persons from the “first” notebook of Dostoevsky in 1864–1865 (presently at The Russian State Archive of Literature and Arts. F. 212.1.3), the attribution of which was problematic for preceding researchers. In addition to academic publications, such as the Complete Works in 30 volumes or the series of Literary Heritage (vol. 83), the same issues arise in some modern electronic publications. Sometimes there is a confusion of names in the comments, for example, Panteleev / Panteleeva / the Panteleev brothers; similar confusion is observed with the Filippov brothers. Some names suggest a different reading: Blagosvetlov instead of Blagoeva, Voronov instead of Voronin. Dostoevsky often indicated the names of works instead of the names and surnames of the authors. This applies primarily to the entries in the Epoch magazine. Many of these works have never been published anywhere, thus, establishing the identity of the authors is difficult for the researcher. Within the framework of this study, individual entries from the “first” notebook of Dostoevsky were read with regard to the typical features of the writer's handwriting, and new explicatory comments to them were proposed, the failed authors of the Epoch magazine were identified (B. A. Pavlovich, V. A. Sleptsov, V. M. Sikevich, N. A. Neklyudov). The interpretation and attribution of personal names from Dostoevsky's notebook of 1864–1865 presented in the article are of a debatable nature and require further elaboration.
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Zeynalli, Ilaha. "Structural Models of Titles and Subtitles (on the Materials of the English and Azerbaijani Languages)." International Journal of English Linguistics 5, no. 6 (2015): 145. http://dx.doi.org/10.5539/ijel.v5n6p145.
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<p>This paper explores the investigation of structural models of titles and subtitles on the materials of the English and Azerbaijani languages. The problem has been studied diachronically at first on the materials of the English language and then these issues have been considered on the materials of the Azerbaijani language. Attempts have been made to explain structural models of titles in the following paragraphs of the article.</p><p>In this paper a special attention is paid to the expressive devices and semantic variations. Alongside the semantic peculiarities, structural problems associated with the titles and subtitles have been explored as well.</p><p>Titles and subtitles of the texts as it is mentioned above is studied in diachronic-historical aspect, mainly dealing with the titles and subtitles of the works of art-literature. As to the view of the author this paper is of practical and theoretical importance and which has been substantiated with theoretical-scientific provisions. In the investigation of the problem comparative-typological, diachronic method has been used.</p>
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Andruschenko, Elena. "D. S. Merezhkovsky’s Ploy: The Article Written by the Critic for A. G. Dostoevskaya." Неизвестный Достоевский 8, no. 2 (2021): 157–73. http://dx.doi.org/10.15393/j10.art.2021.5381.
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This paper is the first to analyze the typewritten copies of D. S. Merezhkovsky’s famous article “Prophet of the Russian revolution (For Dostoevsky’s anniversary)” (1906) with the author’s notes. The article is believed to have been written at the request of A. G. Dostoevskaya for the anniversary edition of F. M. Dostoevsky’s complete works (to commemorate the 25th anniversary of the writer’s death). After having read it and heard the opinions about D. S. Merezhkovsky’s lecture, given on the occasion of the 25th anniversary of the writer's death, A. G. Dostoevskaya turned down the article. D. S. Merezhkovsky immediately published it in the Vesy magazine, and subsequently as a separate brochure and then in both editions of his complete works. However, an examination of the article’s typewritten copies reveals that D. S. Merezhkovsky was working simultaneously on two versions of it: a short one for A. G. Dostoevskaya and an extended one for journal publication. Judging by the author’s notes, he intended to edit the article’s short version in accordance with A. G. Dostoevskaya’s comments, but she was unsatisfied with the result. Instead, the writer’s widow included S.N. Bulgakov’s biographical essay in the complete works. A textual analysis of the variants and revisions of D. S. Merezhkovsky’s article leads to conclusions about the evolution of his intent, the genre and semantics of the titles of the article, written under the influence of the events of the first Russian revolution as a polemically oriented journalistic text.
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Antal, Eva. "Jacques Derrida’s (Art)Work of Mourning." Perichoresis 15, no. 2 (2017): 25–39. http://dx.doi.org/10.1515/perc-2017-0008.
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Abstract Derrida’s highly personal mourning texts are collected and published in a unique book under the title The Work of Mourning edited by Pascale-Anne Brault and Michael Naas, two outstanding translators of Derrida’s works. The English collection is published in 2001, while the French edition came out later in 2003 titled Chaque fois unique, la fin du monde (Each Time Unique, the End of the World). In his deconstructed eulogies, Derrida, being in accordance with ‘the mission impossible’ of deconstruction, namely, ‘to allow the coming of the entirely other’ in its otherness, seems to find his own voice. In my paper, I will focus on this special segment of Derrida’s death-work (cf. life-work); namely, on his mourning texts written for his dead friends, paying special attention to the rhetoric ‘circling around’ fidelity, friendship, and the other in his textual mourning.
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Xue, Yan Min, Qing Liang Han, Jian Hang Wang, and Rui Bai. "Analysis of Brockmann’s Posters Based on Geometry of Design." Advanced Materials Research 490-495 (March 2012): 1960–66. http://dx.doi.org/10.4028/www.scientific.net/amr.490-495.1960.
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Josef Müller-Brockmann was a Swiss graphic designer and teacher, who is famous of his use of typography. This paper systematically analyzes his six poster works from the perspective of design geometry. The posters’ titles are ‘Junifestkonzert’,‘Tonhalle Quartett’,‘Der Nussknacker’,‘Musica Viva’,‘Helmhaus Zurich’ and ‘Protegez L Enfant’. In these posters, different geometric elements are used in delicate, planned ways to express specific themes. Format, proportion and scale are the main focus of the analysis. Auxiliary lines are used to show how geometry is used to create beautiful art. This paper is intended to help designers understand the ways in which geometry can be applied to graphic design, creating works with strong visual dynamics and easily recognized focal points.
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Gatto, Eduardo Augusto G. "Considerações a Respeito de Música a partir do Pensamento de Heidegger." Philosophy of Music 74, no. 4 (2018): 1043–76. http://dx.doi.org/10.17990/rpf/2018_74_4_1043.
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The purpose of this paper is to elaborate some considerations about the musical issue from the poetic-hermeneutic ontology started by Heidegger. It has for support, among others, the essay ‘Der Ursprung des Kunstwerkes’ (The Origin of the Work of Art), but during our discussion, other works and authors will appear as possibilities of dialogue from the necessities of the path. Under the musical perspective, the paper takes on principle the thesis which affirms the music in a pre-representational condition as original poetic responding to the primordial question that starts all philosophy. Having it in focus, we structure the text in three main pillars of inquiry based on the musical happening: a) the reference between music and musical works; b) the role of the musicians and the audience-listeners; c) the musical knowledge. Guided by both, thesis and principles, we structure four parts interrelated whose titles are: 1) work and sound/sonority; 2) music and musical creation; 3) work, musical performing interpretation, and musical composition; 4) knowledge [coda]. The present way of organization has the intention of merging the issues proposed by the titles in order for them to be thought from the own perspectives of each section.
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Liu, Rey-Long, and Chih-Kai Hsu. "Issue-Based Clustering of Scholarly Articles." Applied Sciences 8, no. 12 (2018): 2591. http://dx.doi.org/10.3390/app8122591.
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A scholarly article often discusses multiple research issues. The clustering of scholarly articles based on research issues can facilitate analyses of related articles on specific issues in scientific literature. It is a task of overlapping clustering, as an article may discuss multiple issues, and hence, be clustered into multiple clusters. Clustering is challenging, as it is difficult to identify the research issues with which to cluster the articles. In this paper, we propose the use of the titles of the references cited by the articles to tackle the challenge, based on the hypothesis that such information may indicate the research issues discussed in the article. A technique referred to as ICRT (Issue-based Clustering with Reference Titles) was thus developed. ICRT works as a post-processor for various clustering systems. In experiments on those articles that domain experts have selected to annotate research issues about specific entity associations, ICRT works with various clustering systems that employ state-of-the-art similarity measures for scholarly articles. ICRT successfully improves these systems by identifying clusters of articles with the same research focuses on specific entity associations. The contribution is of technical and practical significance to the exploration of research issues reported in scientific literature (supporting the curation of entity associations found in the literature).
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Picot, Nicole. "L’edition D’art francaise." Art Libraries Journal 16, no. 4 (1991): 16–19. http://dx.doi.org/10.1017/s0307472200007380.
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The publication of art books in France is increasing in response to the growth of public interest in art; approximately 1,200 titles are now being published each year. Most French art books are published by commercial publishers; while French publishing in general is concentrated in the hands of a relatively few publishing houses, art publishing is undertaken by a wider range of bodies including, in many cases, smaller establishments dedicated to quality and having particular interests and strengths. Publications from these smaller concerns tend to be printed in editions of around 6,500; sales are generally too few to encourage the issue of paperback editions, although co-editions, produced in conjunction with publishers in other countries and thus reaching a wider public, are becoming more frequent. Although the range and the nature of art books from the commercial publishers is limited by the constraints of profitability, many art publications, including exhibition catalogues and works of scholarships, are also produced by cultural institutions such as museums. Art publishing of all kinds benefits from sponsorship, including prizes. Purchasers of art books include collectors of beautiful books; art books purchased by the general public are mostly bought during the Christmas season, although currently efforts are being made to promote sales at other times of year. Although French art publishers cannot compete with English-language art publishing in quantity or diversity, the quality of their volumes are of the highest order.
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BES, LENNART. "Sultan among Dutchmen? Royal dress at court audiences in South India, as portrayed in local works of art and Dutch embassy reports, seventeenth–eighteenth centuries." Modern Asian Studies 50, no. 6 (2016): 1792–845. http://dx.doi.org/10.1017/s0026749x15000232.
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AbstractFrom the fourteenth century CE onwards, South Indian states ruled by Hindu kings were strongly influenced by politico-cultural conventions from Muslim-governed areas. This development was, for instance, manifest in the dress and titles of the rulers of the Vijayanagara empire. As has been argued, they bore the title of sultan and on public occasions they appeared in garments fashioned on Persian and Arab clothing. Both adaptations exemplified efforts to connect to the dominant Indo-Islamic world. From Vijayanagara's fragmentation in the sixteenth and seventeenth centuries, new Hindu-ruled kingdoms arose. We may wonder to what extent those succeeding polities continued practices adopted from Islamic courts. With that question in mind, this article discusses royal dress at court audiences in four Vijayanagara successor states, chiefly on the basis of embassy reports of the Dutch East India Company and South Indian works of art. It appears that kings could wear a variety of clothing styles at audiences and that influences on these styles now came from multiple backgrounds, comprising diverse Islamic and other elements. Further, not all successor states followed the same dress codes, as their dynasties modified earlier conventions in different ways, depending on varying political developments.
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Gadamska-Serafin, Renata. "Norwid’s Roma antiqua in its full version." Studia Norwidiana 37 English Version (2020): 227–47. http://dx.doi.org/10.18290/sn.2019.37-13en.
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Magdalena Karamucka’s book Antyczny Rzym Norwida [Norwid’s Ancient Rome] is the first monographic study of the problem addressed in the title. Ancient Rome is presented in this valuable study from different perspectives: as a geographical, historical and cultural reality and as a literary topos. The starting point for the discussion is a chapter devoted to a Roman episode of Norwid’s biography and his Roman readings. Another subject of analysis are the poet’s political, religious and historiosophical reflections about Rome and his remarks on literature, art and Roman theatre. The main, comparative part is devoted to a meticulous analysis of reminiscences, quotations (paraphrases), titles, etc. taken from works of Roman authors (including Catullus, Horace, Juvenal, Ovid, Virgil), Norwid’s translational work and his Roman correspondence. However, Norwid’s Roma antiqua presented in the monograph is not frozen in a dead form. The author shows in an interesting and convincing way how this romanitas becomes a starting (or reference) point for the author of Quidam in his reflections on almost all aspects of his contemporary times.
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Sidorowicz-Mulak, Dorota. "Księgozbiór Magdaleny Morskiej (1762-1847) w Bibliotece Ossolineum." Z Badań nad Książką i Księgozbiorami Historycznymi 12 (December 24, 2018): 123–50. http://dx.doi.org/10.33077/uw.25448730.zbkh.2018.5.
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Magdalena Morska, the owner of the Zarzecze residence, where she created a sentimental-romantic park and garden was a Polish aristocrat and keen organizer of cultural life in Galicia province of Poland. She donated a collection of 358 titles of books and periodicals in 1228 volumes to the Ossolineum Library in 1847. They were mostly books in French published between 1785-1835. In the article an overview of this collection is given. The collection consists mostly of belles-lettres, historical and political works. Also books on geography, especially itinerary accounts are vastly represented, as well as philosophy, including leading authors of European Enlightenment, books on art, poetry, drama, works on botanic and gardening. In Morska’s library there were also volumes of typically women’s literature of the period: romances, moralizing literature, educational books, language dictionaries and grammar manuals. In spite of a substantial book collection of count Morska, there was no separate library room in the Zarzecze palace.
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Speth, Sebastian. "Reynard the Fox and the Art of Printing (Reineke Fuchs und die Buchdruckerkunst)." Daphnis 46, no. 1-2 (2018): 264–307. http://dx.doi.org/10.1163/18796583-04601019.
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Johann Christoph Gottsched glorifies the benefits of printing for the acquisition, conservation, and distribution of knowledge. Praising the Low German Reynke de vos he expects furthermore the inspiration from the art of printing for the emergence of a contemporary German epic. This article compares different versions of Reineke-stories relating to their variable peritextual presentation. This includes titles, covers, and other paratextual dimensions of the works. But as a product of collective retelling, the fox epic joins completely different literary genres. Johann Christoph Gottsched preist die Leistungen des Buchdrucks bei der Aneignung, Bewahrung und Verbreitung von Wissen. Ausgehend von einem Lob des niederdeutschen Reynke de vos hofft er darüber hinaus, die Druckkunst werde zur Inspirationsquelle für ein zeitgenössisches ‘Heldengedicht’ in deutscher Sprache. Im vorliegenden Beitrag wird der Vergleich verschiedener Reineke-Fassungen nicht auf die bloße Vershandlung reduziert. Im Zentrum steht die Inszenierung durch textgeschichtlich variable Titelbilder, -formulierungen sowie weitere peritextuelle Werkdimensionen. Als Produkt eines gemeinsamen Wiedererzählens von Verfassern und Überlieferungsbeteiligten gerät die Fuchsgeschichte jedoch in ganz andere Gattungskontexte.
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Korompot, Ratu Ratna, and Nurul Miqat. "PROTECTION ON CULTURAL EXPRESSION AS A COPYRIGHTS OF THE KAKULA TRADITIONAL MUSIC." Tadulako Law Review 1, no. 2 (2016): 139. http://dx.doi.org/10.22487/j25272985.2016.v1.i2.7133.
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Legal instruments that can be used to protect music Kakula as traditional cultural heritage namely Intellectual Property Rights, in this case the rules relating to Copyright can be used as a basis for the protection of traditional musical art music Kakula. Copyright law provisions can be used as a basis for protecting cultural works are included in the scope of knowledge of art and literature. Kakula is a traditional musical instrument which is the traditional cultural heritage which is always used at events such as marriage ritual, the coronation of noble titles or formal occasions regions. The approach method in use is normative and normative anthropology, which takes secondary data and primary data through interviews with the parties relating to the cultural resources in the city of Palu, Donggala, and Sigi. As a result of the research after proposed in 2015, in 2016 coincided Kakula has been proposed to register as one of the Objects of Folklore.
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Bezkorovaynaya, Galina. "Germanic Nominations of British Titles and Their Functioning in the 19th Century Fiction Texts." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 3 (August 2020): 135–43. http://dx.doi.org/10.15688/jvolsu2.2020.3.12.
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The article concerns identification of semantic potential of lexical units with a Germanic origin joined into thematic group "English titles of nobility", and actualization of their meanings in the literary texts of the 19 th century. The sources of language material were the works of early Victorian period writers. The undertaken semantic and functional analysis of lexemes earl, knight, lord / lady enabled the author to conclude that when they indicate social status of the character depicted in the work of art or are used as an etiquette form of address, they implement direct meaning. It has been noted that alongside with lord / lady, the French loanwords sir / madame are used as forms of polite address in dialogues between the characters. The lexemes-titles can function in figurative meaning, i.e. knight maybe used to indicate valour as one of the main qualities of a noble person of high social status, Lord is used to denote the Creator, lady – to speak about any woman, as well as a wife, a mistress. The analysis of the data obtained resulted in deduction that in literary texts of the 19 th century the meanings of lexemes-titles, comprising thematic group English Nobility Titles, can express the following: the noble origin in the name of a person, a polite form of address in communication, nomination of a social status as well as some commonly shared character traits inherent to an aristocratic class representative; nomination of people in accordance with a family status or gender.
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Hernández López, Adday. "Qur'anic Studies in al-Andalus: An Overview of the State of Research on qirāʾāt and tafsīr". Journal of Qur'anic Studies 19, № 3 (2017): 74–102. http://dx.doi.org/10.3366/jqs.2017.0303.
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In this paper I aim to offer a state-of-the-art assessment of extant studies on qiraʾāt and tafsīr, and an overview of the development of research in Qur'anic exegesis, in al-Andalus. Over the last decade, humanities research has embraced the use of new methodologies, and different types of bio-bibliographical resources have recently become available within the field of Andalusī studies. As a result, we have at our disposal new tools that allow us to manage a larger amount of data, such as the HATA online catalogue, which will be employed to study the transmission of Andalusian exegetical knowledge in the Islamic world. Pilgrimages and studies trips (riḥlāt fī ṭalab al-ʿilm) have always been the main connection between al-Andalus and the Islamic East and, as it will be shown, certain Andalusī works are known nowadays in the contemporary Islamic world because of this medieval link. Therefore, this contribution will not only discuss the most famous tafsīr titles and authors within the Andalusian literary tradition, but also the diffusion of these Andalusian works to the Islamic East, as well as the reciprocal spread of major Arabic works into Andalusia.
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Kharitonova, Natalya S. "Synthesis of Arts in Vasily Kandinsky's Creative Work." Journal of Flm Arts and Film Studies 9, no. 4 (2017): 96–104. http://dx.doi.org/10.17816/vgik9496-104.
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The author analyzes the processes associated with synthesis of arts at the turn of the 19-20th centuries basing on Russian artist Vasily V. Kandinskys creation. He felt a certain relationship between different kinds of art and the need for combining them to create something special, new and unique. For the first time, the artist wrote about this in his book Concerning The spiritual in art, where he articulated the idea of affinity of all kinds of art, especially music and painting. Defining pictorial art as a part of spiritual life that promotes the movement forward and upward, Kandinsky develops not only the theory of the influence of color and color combinations on the viewer, but argues that the form (abstract or geometric) has an inner sounding in turn. Thus, straight lines are youthful, the curves convey maturity, the point is a small world, the horizons sound cold and flat, the verticals are warm and sublime, sharp corners are warm, while straight lines are cold and austere. Vasily Kandinsky believed that the composition was a chord of colorful and picturesque forms that exist independently as such, which are caused by inner necessity and constitute the whole, called a painting. The artist claimed that our harmony is based mainly on the principle of color and sound contrast. Not accidentally, Vasily Kandinsky, noting a strong impression in his youth from Wagners operas, entered the Monogram signature on his works in the triangle, and used musical terms for titles of his works: improvisation, composition, Fugue, Concerto, Suite, and others. Defining the scenic arts as part of spiritual life, which contributes to moving forward and upward, Kandinsky developed not only the theory of color effects and color combinations on the viewer, but argued that the form (abstract or geometrical) has inner sound in turn.
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Bolaji, David. "Emurobome Idolor and the Discourse of Nigerian Art Music: A 60th Birthday Celebration." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (2020): 58–68. http://dx.doi.org/10.4314/ijah.v9i1.6.
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This article focused on some of the contributions of Emurobome Idolor in the Nigerian music studies. His scholarly contributions cut across different areas of Art Music including Ethnomusicology, Music Composition, Conducting, African Music and Music education in Nigeria. This article identifies and acknowledges the ideological concept of Idolor’s Philosophy towards excellence. Also, this article justified and abstracted some musical attributes that he portrayed as a scholar in Nigerian Art music. Empirical method of research was used for this study, through the holistic overview of some of his scholarly publications and two of his art music compositions titled “Glory Hallelujah and Nigeria’ Otoro So Owan. Through abstractive analysis of these creative works, younger art composers will learn and acquire divers’ compositional techniques that can be used and adopted in promoting African indigenous music.
 Key Words: Hard Work, Philosophical Perspective, Art Music and African Music
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Kohn, Karen. "Using Logistic Regression to Examine Multiple Factors Related to E-book Use." Library Resources & Technical Services 62, no. 2 (2018): 54. http://dx.doi.org/10.5860/lrts.62n2.54.
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Many studies have tried to identify factors that make electronic books (e-books) in academic libraries more likely to be used. For instance, are demand-driven acquisitions used more than titles in packages? Are e-books in the sciences used more than e-books on art? Most of these studies are limited to one or two variables. This study introduces logistic regression, which can incorporate multiple variables to determine which factors are the most useful in predicting e-book usage. The variables considered in this study are LC class, university press or other publisher, and platform. In the collection studied, the classes with the highest odds of being used were A (General Works), followed by F (History of the Americas), H (Social Sciences), and Q (Math and Science).
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Elmes, Simon. "The Shock of the New." English Today 32, no. 2 (2015): 45–48. http://dx.doi.org/10.1017/s0266078415000565.
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It was the late Robert Hughes's remarkable TV series and book on modern art, The Shock of the New, first seen in the early 1980s, that with its title so deftly captured the both the excitement and the puzzlement to the beholder of creative novelty and innovation. And it is in many ways a self-fulfilling phrase, since epigrammatic, yet meaning-laden titles and names are the stuff of the broadcast programmer and the namer of new products. The new can indeed be shocking to the beholder, and Hughes's title says it in a sharp, monosyllabic manner whose five-word cadence has both balance and rhythm. Shuffle the words – or render them in a different grammatical format (‘novelty shocks’, for example) – and it falls apart. Words applied to new things and events matter, because they need to be repeated and, the makers hope, be talked about; resonance and repeatability are important to original things being launched on an unsuspecting public.
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Salakhov, A. M. "Arabic-speaking manuscript from Sterlibashevo." Minbar. Islamic Studies 11, no. 4 (2019): 819–32. http://dx.doi.org/10.31162/2618-9569-2018-11-4-819-832.
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The article provides a concise description of a collection of texts in Arabic. The copy is preserved in the Ibragimov Institute of Language, Literature and Art of the Tatarstan Academy of Sciences, Kazan, Russian Federation. The copy originates from the Sterlibash district / Bashkortostan. The MS book comprises a collection of works on tajwid (recitation of the Holy Qur’an), Islamic creed and medicine. The aim of the publication is to introduce another hitherto unknown item, since the general descriptions available are far from being satisfactory. The item has entered the collection in 2017 under the shelfmark 7879 and assigned to the collection no. 39. The description offered provides titles of the work, their contents and authorship as well as the summary of the contents. The text in the MS was compared to the printed text of the same works (subject to availability). The cataloguer came to the conclusions as follows: the Tatars based their education on classical Islamic works in Arabic and Persian. The education was modelled after the system used in Central Asia. In the areas located remotely from the centres of education people also had a recourse to the texts, which comprised information, which was different from that from the “orthodox” writings. The Tatar medical writings used both local and classical medical texts.
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Campos, Vitor Valerio de Souza, Jacques Duílio Brancher, Francyelcyo Pussi Farias, José Luiz Villela Marcondes Mioni, and Pedro Luiz Garbim Brahim. "Review and comparison of works on heterogeneous data and semantic analysis in Big Data." Semina: Ciências Exatas e Tecnológicas 42, no. 1 (2021): 113. http://dx.doi.org/10.5433/1679-0375.2021v42n1p113.
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In integration approaches, heterogeneity is one of the main challenging factors on the task of providing integration among different data sources, whose solution lies in the search for equality among them. This work describes the state of the art and theoretical foundation involved in the structural and semantic analysis of heterogeneous data and information. The work aims to review methods and techniques used in data integration in Big Data, considering data heterogeneity, reviewing techniques that use the concepts of Semantic Web, Cloud Computing, Data Analysis, Big Data, Data Warehouse and other technologies to solve the problem of data heterogeneity. The research was divided into three stages. In the first stage, articles were selected from digital libraries according to their titles and keywords. In the second stage, the papers went through a second filter based on their summary, and, besides that, duplicate articles were also removed. The works’ introduction and conclusion were analyzed in the third stage to select the articles belonging to this systematic review. Throughout the study, articles were analyzed, compared and categorized. At the end of each section, the interrelationships and possible areas for future work were shown.
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Drakopoulou, Eugenia. "Review of: Carol M. Richardson, Kim W. Woods and Michael W. Franklin (eds), Renaissance Art Reconsidered: An Anthology of Primar y Sources,." Historical Review/La Revue Historique 13 (February 24, 2017): 156. http://dx.doi.org/10.12681/hr.11562.
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The title of this volume refers to the course of the Open University entitled Renaissance Art Reconsidered and more particularly to its three course books, which reflect three reference fields in the modern history of art: the method and arduous work of making works of art; the centres of art production, the trade networks and the relations between artists and clients; and the means of viewing art, whether in the context of religious practice, theory or patronage, during the fifteenth and early sixteenth centuries.
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Zavyalova, Anna E. "Alexandre Dumas’s Works in the Art of Alexandre Benois." Observatory of Culture 16, no. 2 (2019): 184–95. http://dx.doi.org/10.25281/2072-3156-2019-16-2-184-195.
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The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The relevance of this article is determined by this fact. The scientific novelty of this article lies in revealing new literary sources of creative work of A. Benois — Dumas’s novels “Joseph Balsamo (Doctor’s Notes)” (1846—1848), “Louis XIV and his Century” (1844), “Louis XV and his Epoch” (1849) — and determining parallels between them and art practice of the artist: painting, graphics and art of book. The author analyses content of the artist’s memories, his literary works, diaries, as well as diaries by E. Lanceray, and complements these information details by a comparative textological analysis of Benois’s memoirs and Dumas’s novels in Russian translations. This method allows to deepen the formal analysis of A. Benois’s works (primarily the two Versailles series) and partially reveal the mechanism of complex figurative synthesis in the artistic consciousness at the turn of the 19th—20th centuries, on the basis of which they were created, to expand the existing perceptions about the literary sources of the artist’s creative work. The author concludes that the novels by Dumas “Joseph Balsamo”, “Louis XIV and his Century” had an influence on the artist’s perception of the theme of court culture and Versailles in the historical, cultural and natural aspects. It was reflected in the appeal to the plot of “fish feeding” in the late 1890s, in the formation of the images of Versailles and King Louis XIV in old age. The article also finds that the novel “Joseph Balsamo” had an influence on Benois’s creation of Trianon’s everyday image in the past. At the same time, the artist turned to the interpretation of the image of Marquise de Pompadour as “sultana” under the influence of Dumas’s novel “Louis XV and his Epoch”. In addition, the three musketeers — characters of Dumas’s novel with the same name — are placed in the drawing of the title page of Benois’s “Versailles” album. It is important that it does not come about direct illustration of the novels, but about an artistic process of creating a figurative system of images and forming the artist’s stylistics.
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Huys Janssen, Paul. "De schiet- en loterijprijzen van de Delftse schutters uit 1621 en 1631." Oud Holland - Quarterly for Dutch Art History 115, no. 3-4 (2001): 187–99. http://dx.doi.org/10.1163/187501701x00235.
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AbstractIn the municipal archives in Delft are two unique printed lists that inform us about events organised by the Delft civic guard in 1621 and 1631. In 1621 a shooting contest was being held and the prices were several pieces of silver and a number of paintings. These were mainly by Esaias van de Velde, but there were also works by Bartholomeus van Bassen, Cornelis Jacobsz Delff, Joos de Momper together with Jan Brueghel the Elder, Pieter van Bronckhorst, the unknown Pieter Jacobsz Lupert and two works by Hendrick Gerritsz Pot. In the document he titles of the paintings are given, but it is not possible to trace any of these works. In 1631 the civic guard organised a lottery. A large number of paintings were to be won, mainly by painters from Utrecht. The first prize was a series of the five senses by Gerard van Honthorst, Abraham (or maybe Hendrick ?) Bloemaert, Paulus Moreelse, Jan van Bijlert and Hendrick ter Brugghen. There were also paintings by Roelandt Saverij, Adam Willaerts, Joost Cornelisz Droochsloot and Gijsbert and Gillis Hondecoeter. Prom Delft Leonaert Bramer, Cornelis Jacobsz Delff, Anthonie Palamedesz together with Barthomeus van Bassen, Palamedes Palamedesz and Jacob Vosmaer are represented. Also two paintings by Esaias van de Velde are mentioned. Again the titles are given, but they offer no clues to any present whereabouts. From a notarial act it appears that in 1644 again a shooting contest was being held. Now there were only seven paintings to be won. They were supplied by the still life painter Evert van Aelst, and he undoubtedly painted them. No titles are given. Again in 1647 and 1661 shooting contests were being held. Now the prices were simple pieces of silver. According to this pattern, over the decades the populariry of paintings in Delft was diminishing.
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Xasay qızı Osmanova, Asiya. "Artistic solution of aesthetic aura in the works of batik masters of modern Azerbaijan." SCIENTIFIC WORK 66, no. 05 (2021): 154–59. http://dx.doi.org/10.36719/2663-4619/66/154-159.
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The people of Azerbaijan have created a rich and different culture, an important part of which is decorative and applied art. It can be said that the growing interest of young creative people in batik over time is the greatest support for the preservation of our national customs and traditions. Continuing the traditions of this art in their future activities is an indication that Azerbaijani national art and batik will always be in the center of attention. Considering that the art of kalagai is a UNESCO non-profit organization under the title "Traditional kalagai art and symbolism, preparation and use of women's silk headdresses". The Representative List of Intangible Cultural Heritage was included in the 9th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in Paris on November 24-28, 2014, and therefore in modern times batik and kalagai are already of interest to local scholars as well as foreign scholars. was. As we know, the breadth of opportunities created by art in the modern era, many artists express their individual style in different ways. Among such artists there are currently working batik masters. Key words: Batik, kalagai, modernity, tradition, plot, composition, color
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Wiśniewska, Halina. "Mikołaj Rej jako wzorzec dla pisarza Józefa Wereszczyńskiego (syna podsędka chełmskiego)." Białostockie Archiwum Językowe, no. 8 (2008): 223–40. http://dx.doi.org/10.15290/baj.2008.08.16.
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The subject of the article is the political-moral treatise by Józef Wereszczyński entitled “Reguła to jest nauka abo postępek dobrego życia króla każdego chrześcijańskiego” from 1587 as the imitation of ”Żywot człowieka poćciwego” by Mikołaj Rej. In the 16th century, imitation (following a model) was valued art of writing. That is why J. Wereszczyński repeats M. Rej’s “Żywot” on 40 out of the 86 pages of “Reguły”. Both works are juxtaposed and compared by the author in philological terms to show how J. Wereszczyński, writing his treatise, imitated M. Rej’s work. Such issues as, inter alia, those referring to the titles and contents of the chapters, text composition, the names of the characters – exempla from the “Bible” and ancient history, have been analyzed therein. What is more, the article also presents the chapter on justice from “Reguły” and “Żywot” to show J. Wereszczyński’s imitation in a better way.
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Tobin Stanley, Maureen. "La guerre est fini y/o ¿La guerra ha terminado?: El film de Alain Resnais y Jorge Semprún y su papel en la exposición permanente del Centro de Arte Reina Sofía." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (2020): 133–61. http://dx.doi.org/10.5399/uo/peripherica.1.2.7.
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This article analyzes the ambiguity in the film La guerre est finie ([The War Is Over] 1966, director Alain Resnais, screenwriter Jorge Semprún) whose declarative title becomes a question in the title of the permanent exhibit at the Reina Sofía National Museum in Madrid: Is the War Over? Art in a Divided World (1945-1968). The works invite the viewer to question the nationalism that catapulted the Spanish Civil War, whose victory marked the first triumph for European fascisms and concomitant genocides. While the film entirely lacks symbols of irrefutable national identity, the paintings incorporate and subvert certain icons of (regional, Francoist, Nazi or Fascist) nationalism, as well as emblems of the Spanish Republic and Spain. The artworks respond in theme and form to nationalist ideology and esthetics. Although the film—whose screenwriter Jorge Semprún had been imprisoned in the Nazi camp at Buchenwald—limits itself to implicit allusions to the eradication of the domestic enemy on Iberian soil and the so-called stateless undesirables exiled in foreign lands, the exhibit explicitly references Nazism and other 20th-century genocides. The collection of works exemplifies Aharon Appelfeld’s assertion: that only art has the ability to redeem suffering from the abyss. The film and the plastic works respond not only to nationalist ideologies and concomitant lived and witnessed experiences, but also to nationalist art. Through the visual counternarratives that give voice to myriad victimizations, these works make manifest and denounce, in theme and form, the anti-intellectualization and the fervent sentiment of political zeal.
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McClelland, Charles E. "Artists for the Reich: Culture and Race from Weimar to Nazi Germany. By Joan L. Clinefelter. Oxford and New York: Berg. 2005. Pp. x+182. $74.95 (cloth); $24.95 (paper). ISBN 1-84520-200-7." Central European History 39, no. 2 (2006): 320–22. http://dx.doi.org/10.1017/s0008938906280129.
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The law of diminishing returns can arguably be applied to historical research as well as larger economic enterprises. What had previously been described in a few paragraphs and notes of such standard works as those by Paul O. Rave and Hildegard Brenner has now been brought to the light of day in a full monographic treatment of Bettina Feistel-Rohmeder and the Deutsche Kunstgesellschaft (German Art Society). For those attracted by the majestic sweep of Joan Clinefelter's book title, however, a more accurate (if still overstated) description is found in the title of her 1995 Indiana University doctoral dissertation, “The German Art Society and the Battle for ‘Pure German’ Art, 1920–1945.”
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Kołodziej, Piotr. "They were never wrong… Masters of Word and Picture about Suffering." CLEaR 3, no. 1 (2016): 61–72. http://dx.doi.org/10.1515/clear-2016-0007.
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Abstract To handle physical, mental or existential pain, man resorts to medicine, psychology, religion, philosophy ... This issue has also been discussed by writers and painters of all epochs. Artists have the advantage though - using the language of art, they can reach the truth about human life which cannot be accessed in a different way. The departure point for the deliberations about suffering and the sense of debating about it by means of words and pictures is a poem by W. H. Auden “Musée des Beaux-Arts”, from which the title quotation is derived. Auden refers to P. Bruegel’s Landscape with the Fall of Icarus, which applies to Ovid. In this paper, besides the aforementioned works (Auden, Bruegel; Metamorphoses), other paintings by Bruegel as well as the prose by Z. Herbert The Passion of our Lord Painted by an Anonymous Hand from the Circle of Rhenish Masters are used, allowing one to reflect on suffering, on the language of art, on making sense of the work in the reception process, and also on the morality of art and the morality of art understanding.
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Zolotareva, L. R., and Y. A. Zolotareva. "Heritage of al-Farabi in art-culturaland pedagogical understanding." Pedagogy and Psychology 42, no. 1 (2020): 196–206. http://dx.doi.org/10.51889/2020-1.2077-6861.25.
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The relevance of the scientific article is due to the significant date of 2020 – the 1150th anniversary of the birth and 1060th anniversary of the death of Abu Nasr Ibn Muhammad al-Farabi-an outstanding thinker-scientist of the East, philosopher, encyclopedic, great humanist. At the world art history classes on the theme «Culture of the Arab-Muslim East», at creative seminars on the history of arts of Kazakhstan, the image of al-Farabi, recreated in the visual arts, and his humanitarian heritage are discussed. Al-Farabi is the author of commentaries on the writings of Aristotle (hence his honorary title of «Second teacher») and Plato. He is credited with the creation of the Otrar library. It should be recalled that in 1975, on a large international scale, Moscow, Alma-Ata and Baghdad celebrated the 1100th anniversary of the birth of al-Farabi. His irreplaceable intellectual heritage: he has works on ethics, politics, psychology, natural science, music, but especially known works on logic and philosophy. The main questions of the article: a brief biographical sketch of al-Farabi, about the artists A. Ismailov, S. Kalmakhanov, K. Azhibekuly, the creation of the image of al- Farabi in their creative heritage.
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Ilhan, Ayse Cakir. "Artists participating in the 15th Istanbul biennial in Turkey." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (2018): 106–13. http://dx.doi.org/10.18844/prosoc.v5i6.3846.
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The Istanbul Foundation for Culture and Arts has been organising the Istanbul Biennial since 1987. The biennial aims to create a meeting point in İstanbul in the field of visual arts between artists from diverse cultures and the audience. The 14 biennials that İKSV has organised up to now have enabled the formation of an international cultural network between local and international art circles, artists, curators and art critics by bringing together new trends in contemporary art every 2 years. Curated by the artist duo Elmgreen and Dragset, the Istanbul Biennial exhibited works by 56 artists from 32 countries which discuss the concepts of house, neighborhood and belonging under the title ‘a good neighbour’. The works of the nine Turkish artists participated in the 15th Istanbul Biennial are included in this review. A descriptive study in the screening model, the data of the report, was obtained by scanning the source.Keywords: 15th Istanbul Biennial, Turkey artists.
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Bybyk, Svitlana. "Concept «fair» in Ukrainian laughable culture." Culture of the Word, no. 91 (2019): 87–103. http://dx.doi.org/10.37919/0201-419x-2019.91.8.
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The article analyzes prose works of the 19th–20th centuries, presenting verbal pictures of the fair environment. The concept of «fairs» is modeled on the material of the language of works of art by G. Kvitka-Osnovianenko, I. Nechui-Levytskii, S. Rudanskii, O. Vishnia.Several subconcepts have been implemented in them: fair as a cluster; fair as a voice; fair as a living element; fair and grassroots literature; fair as entertainment. The objects of analysis were the vocabulary and phraseology of the respective contexts, as well as stylistic techniques for creating a fair humorous color. There are several varieties of folklore texts (or folklore texts) used by writers as a means of stylizing the animal element at fairs in Ukraine, as well as expressing the variety of socio-cultural masks presented to them (salesman, Jew, gypsy, blind musician, petitioner, gambler, etc.). It is emphasized that the concept of «fair» in the relevant narrative texts retains signs of burlesque and enlightenment. Particular attention is paid in the article to the fact that the texts of fair laughter culture are focused on the traditions of the «bottom», which contrast with the traditions of secular literature and culture in general, that is, the traditions of «the top». In analyzing the verbal imagery of the fair in prose works, it is taken into account that the basic techniques of creating a humorous color are the amplification of titles, actions, processes, as well as pun, the contractual blending of high into low, book and spoken, concepts related to the concept. «yourown – someoneelse's».
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Skrābane, Astra. "Vai viegli tulkot Sagānu?" Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 254–65. http://dx.doi.org/10.37384/aplkp.2021.26-2.254.
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Françoise Sagan’s (1935–2004) work is popular in France and Latvia for two reasons: the world of her characters that draws the reader into a vortex of life cravings and love surprises, and her writing which is classic, clear and seemingly light, but saturated with cultural references and quotes. If the plot and characters appear to be self-sufficient, the translator has a problem with the titles of Sagan’s novels. When comparing the original to a translation, the writer’s style setting (for example, “Bonjour tristesse” in the Latvian translation “Esiet sveicinātas, skumjas”) or symbolism (for example, “La laisse” in the Latvian translation “Akordi”) is often lost. Sagan’s novels include references to literature, cinema, art, popular in the French society of her time, that make up the intertextuality of the literary works and give an additional dimension and, at the same time, economises on means of artistic expression. A transfer into a cultural environment risks losing some multicoloured layers of the source text. Sagan’s language’s relatively rare findings also lose their originality in translation, turning them into standard phrases. Thus, it should be concluded that the apparently well-formed, seemingly easily-written works of the French author remain within the so-called “women’s literature” or “French novel” without any indication of the sharpness with which Sagan has seen the brilliance and misery of her environment.
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Clement, Tracey. "Making The Drowned World Manifest: Re-reading Ballard’s Novel Through Art." Open Cultural Studies 3, no. 1 (2019): 563–78. http://dx.doi.org/10.1515/culture-2019-0050.
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Abstract In 1970, J.G. Ballard used a London gallery as a laboratory in which to test ideas he was toying with, ideas that eventually found their way into his 1973 novel, Crash. Ballard found that art and literature were a fecund combination. Considering the richness of his imagery and the complexity of his ideas, it is not surprising that Ballard’s works have gone on to inspire artistic responses. Perhaps the most well known of these is Robert Smithson’s masterpiece, Spiral Jetty, 1970. However, most works inspired by Ballard’s writing respond to vague notions of things Ballardian rather than to a particular novel or short story. In this essay I will focus specifically on recent contemporary Australian artworks which were made in direct response to Ballard’s 1962 novel, The Drowned World, for a 2015 exhibition I initiated and coordinated titled Mapping The Drowned World. Using my own artworks as examples, as well as work made by fellow Australian artists Roy Ananda, Jon Cattapan and Janet Tavener, I will demonstrate that art and Ballard’s literature continue to make a great synergistic team: together they produce more than the sum of their parts.
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Kant, Marion. "Mark Morris: Musician-Choreographer." Dance Research Journal 50, no. 1 (2018): 104–11. http://dx.doi.org/10.1017/s0149767718000104.
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Mark Morris: Musician-Choreographer by Stephanie Jordan is unusual in many ways, and there are hardly any volumes to which it can be compared. That alone sets this study apart from other recent titles on choreographers and their works. Jordan's book was published by Dance Books; yet, it is about music more than anything else—a choreographer's relationship to music, his formation and evolution as a dancer and dancemaker through music, the exploration of music through dance, and eventually Mark Morris's arrival in music as a conductor.
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Wincencjusz-Patyna, Anita. "Attractive lives on attractive pages. Polish illustrated biographical books for young readers." Problemy Wczesnej Edukacji 34, no. 3 (2016): 107–17. http://dx.doi.org/10.5604/01.3001.0009.4847.
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This paper focuses on an exceptionally interesting kind of books dedicated to young readers, quite popular recently in Poland, namely picture biography books for children and teenagers. Polish publishing houses, especially Muchomor from Warsaw, for the last few years have been coming up with a number of intriguing titles, both in the matter of words, and also in their graphic contents, especially the series “Gdansk Trilogy”. Brave ideas, young talents, novel artistic solutions, and original illustrations make the lives of famous people, not so very well-known figures and some unknown names – from both far and near, homeland and neighbourhood history – attractive reading matter. The author also looks back at the history of Polish illustrations included in biographies published in the second half of the 20th century. By combining the traditions of Polish applied graphic art with its up-to-date condition the author wants to trace the impact of the old and the novelty of contemporary books. She wants to stress the expressive power of an image turning illustrations into independent works of art. The number of illustrations and the graphic concept of an up-to-date language of visual forms make them genuine picture stories (especially in the designs by Ignerska). By means of comparative analyses of form and style, as well as a theory of image, she is going to focus on features of the visual side of the aforementioned books. The author would also like to stress the change in the way of perceiving the common history of places with such a complicated history as Gdańsk itself (in which Elisabeth and Johannes Hevelius, Fahrenheit, Schopenhauer, despite their German roots, are treated as part of the common heritage).
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Rowberry, Simon Peter. "Commonplacing the public domain: Reading the classics socially on the Kindle." Language and Literature: International Journal of Stylistics 25, no. 3 (2016): 211–25. http://dx.doi.org/10.1177/0963947016652782.
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Amazon leads the market in ebooks with the Kindle brand, which encompasses a range of dedicated e-reader devices and a large ebook store. Kindle users are able to share the experience of reading ebooks purchased from Amazon by selecting passages of text for upload to the Kindle Popular Highlights website. In this article, I propose that the Kindle Popular Highlights database contains evidence that readers are re-appropriating commonplacing – the act of selecting important passages from a text and recording them in a separate location for later re-use – while reading public domain titles on the Kindle. An analysis of keyness in a corpus of 34,044 shared highlights from public domain titles suggests that readers focus on words relating to philosophy and values to draw an understanding of contemporary society from these classic works. This form of highlighting takes precedence over understanding and sharing key narrative moments. An examination of the top ten most popular authors in the corpus, and case studies of Jane Austen’s Pride and Prejudice and William Shakespeare’s Hamlet, demonstrate variation in highlighting practice as readers are choosing to shorten famous commonplaces in order to change their context for an audience that extends beyond the original reader. Through this analysis, I propose that Kindle users’ highlighting patterns are shaped by the behaviour of other readers and reflect a shared understanding of an audience beyond the initial highlighter.
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Hasbi, Hasbi. "Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (2021): 37–46. http://dx.doi.org/10.33153/dewaruci.v16i1.3234.
Full textAbstract:
Lontara is a traditional script of the Bugis-Makassar community, derived from the word lontar, a type of plant in South Sulawesi, which is still used and maintained. Sappo (Bugis): fence used to limit (surround, insulate) land and houses. The Bugis-Makassar community as a whole always has a Sappo / fence to protect themselves, their families, and their nation. Sulapa eppa (four sides) is a mystical form of classical Bugis-Makassar belief that symbolizes the universe’s composition, wind-fire-water-earth. Walasuji is a kind of bamboo fence in a rhombic ritual. Walasuji comes from the word wala, which means separator/fence/guard, and suji means daughter (metaphor of something of value, which must be under protection). The research aims to create three-dimensional paintings with the idea of creation, Sappo: Sulapa eppa walasuji. The symbolic expression concept borrows the Lontara tradition’s idioms, making works of metaphorical Sappo (montage) titles; Posi’ Symbolic expressions are used as research methods to create works. Researchers borrow traditional idioms as a place of expression. Symbolic abstraction works are conceptually a form of modern art by utilizing the Lontara tradition's idiom as a basic element of preparing the work. The contextual use of idioms is no longer intact because there is a degradation in the artists’ processing when interpreting symbolic forms. The expression of tradition is no longer a thematic pouring of ideas, still, as a textual symbol offered by artists to provide freedom of interpretation, Sappo: Sulapa eppa walasuji as the idea of creating paintings. The results of the study explore the elements of form and express the message conveyed through the work of three-dimensional images with the concept of creation, Sappo: Sulapa eppa walasuji, a work of metaphorical painting Sappo (montage) title: Posi, which is essentially God, as the protector of everything from the whole Sappo metaphor. Sappo, an idiom of tradition, is portrayed as a form of the symbolism of reflections on researchers’ lives visualized in the entire artwork. The visual elements used, stone, wood, bamboo, and paint, are at the same time a metaphor for the universe, which is God’s creation.
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Demchuk, Stefaniia, та Yuliia Kizyma. "Between the sacred and the decorative: Сhristian iconography in the sketches for "Lily" decorative panel by Mykhailo Zhuk". Text and Image: Essential Problems in Art History, № 1 (2020): 102–13. http://dx.doi.org/10.17721/2519-4801.2020.1.07.
Full textAbstract:
Mykailo Zhuk was a graphic artist and a writer who is among the most famous and influential figures in the history of the early 20th century Ukrainian art. His artworks bear the mark of the in-depth reception of the Art Nouveau style. Although art historians who studied Zhuk’s early period (1904 - 1918) did mention the complex symbolism of his works (including that of the sketches for the floral panels which we shall examine), they avoided plunging deeper in the semantic interweaving he indulged himself in. Thus, this essay shall examine the two panels titled “Lilies”, which were treated mostly as ornamental works deprived of any hidden meaning. It seems that the formal and stylistic analysis should be complemented with the other methods. The iconographic analysis shall allow us to interpret Zhuk’s symbolic language and to discern different semantic layers, and the comparative historical analysis shall help to distinguish typical and individual features in Zhuk’s artworks, which, in its turn, shall allow us to put the artist's work within the pan-European artistic context.Images in Zhuk’s case were supplemented with texts. We could not avoid studying them along with the sketches for they contained the same motives as his graphic works. By means of content analysis we analysed how the artists addressed the image of lily and discovered the biblical bias of its representation in Zhuk’s texts and images. The iconography of the “Lilies”, we suggest, has no direct predecessors and is mainly based on the author’s interpretation of St. John’s Revelation or on works of his teacher at the Krakow Academy of Arts, Stanislaw Wyspiański. For Wyspiański used floral motifs on numerous occasions and experimented with the iconographic types of Virgin Mary in his monumental religious works.