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Journal articles on the topic 'Twilight in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Gallagher-Ross, Jacob. "Twilight of the Idols." Theater 50, no. 3 (2020): 29–47. http://dx.doi.org/10.1215/01610775-8651179.

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Jacob Gallagher-Ross reviews Deanna Bowen’s God of Gods: A Canadian Play, an art exhibition that investigates and departs from the legacy of a modernist Canadian production of the same name. He examines Bowen’s critique of the legacies of settler colonialism and the influence that the large-looming Canadian modernists known as the Group of Seven have had on Canadian culture and identity, illuminating her argument that God of Gods was not “a Canadian play” but “the script for Canadian racism.”

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2

GRIFFIN, R. "Nazi Art: Romantic Twilight or (Post)modernist Dawn?" Oxford Art Journal 18, no. 2 (1995): 103–7. http://dx.doi.org/10.1093/oxartj/18.2.103.

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Sharapenkova, Natalia, and Marina BAKHLAEVA. "MYTHOLOGICAL HERITAGE OF SCANDINAVIAN LEXEMES IN O. SCOTT’S FANTASY NOVEL TWILIGHT OF THE GODS." Studia Humanitatis 23, no. 2 (2022): 26–31. http://dx.doi.org/10.15393/j12.art.2022.3823.

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The current fantasy genre is inspired by the folklore and mythological tradition whose heritage is investigated in the article using the example of Scandinavian lexemes. The subject for research is a fantasy novel Twilight of the Gods by O. Scott. It describes the events taking place in Sweden at the beginning of the 13th century, when the crusade of Conrad the White was going to eradicate paganism. A large number of Scandinavian lexemes are used in the novel: they are given in italics with all the diacritical marks and special letters that were traditionally found in the Old Norse language: ð

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Hanchena, Li, and Rushana Sulaiman @. Abd Rahim. "Appreciation of Imagery Oil Painting in Contemporary Chinese Art through Cultural Context." International Journal of Religion 5, no. 11 (2024): 6696–716. http://dx.doi.org/10.61707/66bqrc83.

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This article is about the appreciation of contemporary Chinese imagery oil paintings in Henan Province, and the researcher has chosen the work "Fishing in the twilight" by Li Mingwei, a painter from Henan Province, China, as the object of discussion. This work is analysed in terms of formalism, as well as being studied in terms of the concepts of culture and imagery. The objective of the research is to identify the subject and analyse the art form in the work “Fishing in the twilight” and to explain the connection between formalism in the art of painting through socio-cultural systems and the

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Khair Allah, Raad. "Review." Exchanges: The Interdisciplinary Research Journal 11, no. 1 (2023): 85–91. http://dx.doi.org/10.31273/eirj.v11i1.1349.

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Art can be particularly an effective means of building transnational understanding across cultural divides. Specifically, the act of making art to express conflict, sexuality and identity is significant as Arab women have frequently been marginalised and excluded from such a site of visibility and meaning. Contemporary Arab women artists not only contribute to global feminist theory but also deal with their aesthetic, visual and personal concerns. The Body in Twilight: Representation of the Human Body, Sexuality and Struggle in Contemporary Arab Art is a book by the Syrian professor of visual

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6

Pariser, David. "Life in the Twilight Zone: The Persistence of Myth in Art Education." Studies in Art Education 30, no. 1 (1988): 15. http://dx.doi.org/10.2307/1320646.

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Callens, Johan. "Staging the Televised (Nation)." Theatre Research International 28, no. 1 (2003): 61–78. http://dx.doi.org/10.1017/s0307883303000154.

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The performative uses which Mark Ravenhill's Faust (Faust Is Dead) (1997) and Anna Deavere Smith's Twilight: Los Angeles, 1992 (1993), no matter how different, have made of the televised 1992 Los Angeles riots, underwrite Hal Foster's thesis that the 1990s have been confronted with a ‘return of the real’ in art and theory, through the insistence upon a renewed grounding in actual bodies and social sites, after the 1970s paradigm of art-as-text (Foucault) and the 1980s' art-as-simulacrum (Baudrillard). As such, Ravenhill's play and Smith's docudrama permit a commentary on the terrorist attacks

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Tumasov, Serhii. "Photo Art Project “First Ray”." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 302–8. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289315.

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The “First Ray” project was launched in 2009. According to the idea and concept developed, the shooting takes place in the high mountain systems of the Himalayas, Karakoram, and the Cordillera at dawn. The shooting aims to capture the first rays of the sun illuminating the snow-capped mountain peaks. A prerequisite for shooting is no later than two minutes after the first touch of the sun's ray to the peak. Since the sun is still deep below the horizon at this time, the lighting at the shooting point corresponds to twilight conditions, although the subject is in daylight conditions. This pro

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Tumasov, Serhii. "Photo Art Project "First Ray"." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 302–8. https://doi.org/10.31866/2617-2674.6.2.2023.289315.

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The "First Ray" project was launched in 2009. According to the idea and concept developed, the shooting takes place in the high mountain systems of the Himalayas, Karakoram, and the Cordillera at dawn. The shooting aims to capture the first rays of the sun illuminating the snow-capped mountain peaks. A prerequisite for shooting is no later than two minutes after the first touch of the sun's ray to the peak. Since the sun is still deep below the horizon at this time, the lighting at the shooting point corresponds to twilight conditions, although the subject is in daylight conditions. This pro

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10

Dempsey, Michael. ": Outrageous Conduct: Art, Ego and the "Twilight Zone" Case . Stephen Farber, Marc Green." Film Quarterly 41, no. 4 (1988): 59–61. http://dx.doi.org/10.1525/fq.1988.41.4.04a00350.

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11

Underhill, Justin. "The Twilight of Presence: Pictorialized Illumination in Leonardo da Vinci’s Last Supper." Leonardo 52, no. 1 (2019): 44–53. http://dx.doi.org/10.1162/leon_a_01343.

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This essay explores the relationship between pictures and the lighting conditions in which they were originally viewed. The theoretical interrelationship between brightness, illumination and depiction is explored in a case study of Leonardo da Vinci’s Last Supper mural at the refectory of Santa Maria delle Grazie in Milan. Advanced rendering software allows for the reconstruction of the refectory as it stood when Leonardo painted The Last Supper and demonstrates the complex interaction between light and space in the mural. This analysis illustrates how digital humanities might bridge tradition

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MacDonald, Margaret F. "Whistler’s Crepuscules—from Valparaíso to Venice." Nineteenth Century Studies 33, no. 1 (2021): 143–57. http://dx.doi.org/10.5325/ninecentstud.33.0143.

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Abstract The expatriate U.S. artist James McNeill Whistler (1834–1903) was an influential painter and printmaker and an important link between London, Paris, and New York. The infinite shades of half-light depicted in his work inspired a wide range of nuanced terminology. This essay discusses his twilight subjects in the words of the artist himself and his contemporaries, from the crepuscules of Trouville and Valparaíso in the 1860s to the Venetian nocturnes of 1879–80, with a focus on works in The Frick Collection in tribute to the curator emerita Susan Grace Galassi. When Whistler thanked hi

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Bychkov, Victor. "Certain aesthetic aspects of art of the Symbolists." Философия и культура, no. 2 (February 2020): 50–65. http://dx.doi.org/10.7256/2454-0757.2020.2.32137.

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This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace

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Agüero-Chapin, Guillermin, Deborah Galpert, Reinaldo Molina-Ruiz, et al. "Graph Theory-Based Sequence Descriptors as Remote Homology Predictors." Biomolecules 10, no. 1 (2019): 26. http://dx.doi.org/10.3390/biom10010026.

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Alignment-free (AF) methodologies have increased in popularity in the last decades as alternative tools to alignment-based (AB) algorithms for performing comparative sequence analyses. They have been especially useful to detect remote homologs within the twilight zone of highly diverse gene/protein families and superfamilies. The most popular alignment-free methodologies, as well as their applications to classification problems, have been described in previous reviews. Despite a new set of graph theory-derived sequence/structural descriptors that have been gaining relevance in the detection of

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Windleburn, Maurice. "Benjamin Piekut. Henry Cow: The World Is a Problem and George Henderson. Blind Joe Death’s America: John Fahey, the Blues, and Writing White Discontent (review)." Context, no. 48 (January 31, 2023): 121–25. http://dx.doi.org/10.46580/cx47064.

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In the last decade or so there has been an increase in musicological studies on the liminal space between art music and popular styles. A foremost scholar in this field (if it can be called that) is Benjamin Piekut, who wrote his first book, Experimentalism Otherwise: The New York Avant-Garde and its Limits (University of California Press, 2011) as a series of interrelated case studies. For his second book, Piekut focuses instead on a single band, Henry Cow, who sit neatly in the twilight zone between high and low art. Appropriately, this book is equally accessible to general readers and criti

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Dobosiewicz, Ilona. "“The wrathful sunset glared…”: The Krakatoa Sunsets in Victorian Science and Art." Anglica Wratislaviensia 58 (November 13, 2020): 11–20. http://dx.doi.org/10.19195/0301-7966.58.1.

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The eruption of Krakatoa on August 27, 1883 was an event both tragic and spectacular. Thousands of lives were lost; sea waves and atmospheric disturbances were detected around the globe. Billions of tons of volcanic ash were thrown into the atmosphere producing multi-coloured sunsets caused by the scattering of light by aerosol particles. The paper discusses the ways in which these so-called Krakatoa sunsets, which were experienced by most of the world, were reflected in Victorian scientific and artistic discourse. The accounts included in the section “Descriptions of the Unusual Twilight Glow

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Kylling, A., T. Danielsen, M. Blumthaler, J. Schreder, and B. Johnsen. "Twilight tropospheric and stratospheric photodissociation rates derived from balloon borne radiation measurements." Atmospheric Chemistry and Physics Discussions 2, no. 3 (2002): 715–38. http://dx.doi.org/10.5194/acpd-2-715-2002.

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Abstract. A new ligthweight multichannel moderate bandwidth filter instrument designed to be flown on balloons, is described. The instrument measures the radiation field within the short UV (center wavelength at 312nm) and long UV (center wavelength at 340nm). The angular and spectral characteristics of the instrument are discussed and the calibration procedure outlined. Measurements made during a stratospheric balloon flight at twilight conditions from Gap-Tallard, France, are presented and compared with state-of-the-art radiative transfer model simulations. The model simulations and the meas

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Rone, Vincent. "History and Reception in the Music of The Legend of Zelda Peritexts." Journal of Sound and Music in Games 1, no. 2 (2020): 44–67. http://dx.doi.org/10.1525/jsmg.2020.1.2.44.

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This article argues that the music of opening peritexts within two The Legend of Zelda games reflects their reception history and continuity within the series mythology. On the one hand, “The Legendary Hero” peritext of The Wind Waker mirrors the game's reception history as one of departure from a Zelda tradition established by Ocarina of Time, which caused controversy initially yet gained acceptance in the long term. The audiovisual components of “The Legendary Hero” all position gamers to consider the events of Ocarina of Time as old, submerged under the Great Sea. Textual references to “leg

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Kylling, A., T. Danielsen, M. Blumthaler, J. Schreder, and B. Johnsen. "Twilight tropospheric and stratospheric photodissociation rates derived from balloon borne radiation measurements." Atmospheric Chemistry and Physics 3, no. 2 (2003): 377–85. http://dx.doi.org/10.5194/acp-3-377-2003.

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Abstract. A new ligthweight multichannel moderate bandwidth filter instrument designed to be flown on balloons, is described. The instrument measures the radiation field within the short UV (center wavelength at 312 nm) and long UV (center wavelength at 340 nm). The angular and spectral characteristics of the instrument are discussed and the calibration procedure outlined. Measurements made during a stratospheric balloon flight at twilight conditions from Gap-Tallard, France, are presented and compared with state-of-the-art radiative transfer model simulations. The model simulations and the me

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20

Dempsey, Michael. "Review: Outrageous Conduct: Art, Ego and the "Twilight Zone" Case by Stephen Farber, Marc Green." Film Quarterly 41, no. 4 (1988): 59–61. http://dx.doi.org/10.2307/1212593.

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21

Chamorro, Alberto. "Twilight Zone: Reality and Fantasy in the Narrative Art of Julio Cortázar (review)." Arizona Journal of Hispanic Cultural Studies 15, no. 1 (2011): 202–3. http://dx.doi.org/10.1353/hcs.2011.0444.

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22

Isik, M. Kemal. "Act of Terror and the Sublime at the Twilight of the Islamic State." Journal of Speculative Philosophy 37, no. 2 (2023): 216–33. http://dx.doi.org/10.5325/jspecphil.37.2.0216.

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ABSTRACT In this article, the author analyzes the relationship between art and terrorism. Referring to the element of sublimity operative in philosophical writings pertaining to war and terror, the article raises questions concerning the sublimity of violence on the one hand, and the aesthetization of life and politics on the other. The article’s focus will lie particularly in Immanuel Kant’s account of the sublime in The Critique of the Power of Judgment, which will then be connected to contemporary literature on this theme. In the end, the author wishes to draw attention to the sublimity of

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23

Melbye, David. "Two divergent cinematic readings of enslavement in ‘An Occurrence at Owl Creek Bridge’." Short Film Studies 13, no. 1 (2023): 35–48. http://dx.doi.org/10.1386/sfs_00090_1.

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Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture ae

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Demchenko, Aleksandr Ivanovich. "The Russian musical art of the early 20th century: Antitheses." Manuscript 17, no. 1 (2024): 1–10. http://dx.doi.org/10.30853/mns20240001.

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The essay examines the transition from the Classical era to the Modern (the turn and the beginning of the XX century, 1890s-1920s) in Russian musical art. It is noted that for this period, the key driving contradiction was embodied in the opposition “the old world – the new world”, based on the dialogue of the ending and the ascending era. The paper gives a brief description of the trends inherent in the Russian musical art of the Classical era, its final phase, which received various expressions (this was reflected in such antitheses as “degradation, degeneracy – the great petrification”, “th

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Mrkalj, Zona. "Literary-critical thought in the interwar journal “Our Reality” (1936-1939)." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 81 (2015): 65–78. http://dx.doi.org/10.2298/pkjif1581065m.

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This work is a part of a comprehensive study of the role and importance of the magazine ?Our Reality? (1936-1939) and is an extension of the already published works by the same author: ?Our Reality? in the forties of the twentieth century, Twilight of lyric poetry in ?Our Reality? and the philosophical background of ?Our Reality?, the journal of literature, science, art and all the social and cultural issues. In addition to numerous critical articles about the old and new literary creations of writers who have worked in the interwar period, or those whose ideas were in line with program defini

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Wells, Gary. "The Moon in the Landscape: Interpreting a Theme of Nineteenth Century Art." Culture and Cosmos 16, no. 1 and 2 (2012): 373–84. http://dx.doi.org/10.46472/cc.01216.0259.

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The image of the moon in the rural landscape is such a familiar and common theme in nineteenth century art that we should ask what made this theme so popular, widespread, and persistent. The similarity among these depictions borders on formula: a field or rustic farm, a broad horizon, a full moon rising or a thin crescent moon setting, perhaps a shepherd or field worker silhouetted against the twilight sky. But what made this image so appealing to nineteenth century artists and their audiences? This paper will examine the theme of the moon in the landscape, and will suggest that the persistenc

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Liebel, Vinícius. "Ângelo Agostini and the Cartoons at the Imperial Twilight - Preliminary Notes on the Abolition in Brazil." Almanack, no. 11 (December 2015): 774–92. http://dx.doi.org/10.1590/2236-463320151111.

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Abstract This paper aims at pointing out relevant questions on the analysis of the work of nineteenth-century cartoonist Ângelo Agostini, as well as to present pertinent arguments on the analysis of images in the historiographical field. To this end, the text locates the artist's production in contextual terms, as an heir to an art tradition that has in the nineteenth century its first golden age: the political and social cartoon. Then, after a brief consideration of the analysis of images in historical studies, two cartoons produced by Agostini on the great theme of abolitionism are interpret

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Dinuš, Peter. "The Twilight of the Bourgeoisie in Art and Science. Major Trends in the Decline of Capitalist Society." Philosophica Critica 8, no. 2 (2022): 48–73. http://dx.doi.org/10.17846/pc.2022.8.2.48-73.

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Kovalyov, N. I. "The poetry of twilight, or a symphony of humanity: New reading and interpretation of the anthology <i>The Twilight of Humanity</i> [<i>Menschheitsdämmerung</i>]: A co-authored monograph." Voprosy literatury, no. 1 (August 15, 2023): 205–8. http://dx.doi.org/10.31425/0042-8795-2023-1-205-208.

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The review concerns a coauthored monograph that examines the various aspects of the famous anthology of German Expressionist poetry — The Twilight of Humanity [Menschheitsdämmerung]. For the first time Kurt Pinthus is presented as the solo architect of this complex work of art designed to resemble a symphony. The reviewer notes the originality of the comparison with Beethoven’s Symphony No. 9 and argues that the monograph discovers similarities not only on a larger scale but also on the level of specific details, i. e., the arrangement of the poems that enriches the meaning of an individual te

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Gagliastro, Donato. "“Nato nella medesima terra irrigua”. D’Annunzio, ultimo erede di Ovidio." Poznańskie Studia Polonistyczne. Seria Literacka, no. 39 (December 15, 2020): 113–38. http://dx.doi.org/10.14746/pspsl.2020.39.7.

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Throughout Gabriele d’Annunzio’s vast and multiform productions, Ovid’s presence shines through with the strength of a model both ancient and modern. Since his years at the “Cicognini”, he feels bound to Ovid by a similarity “in lyrical ways” and by a relationship of “consanguinity” based on their common origins. The assiduity in Ovid’s readings, testified to by the large number of volumes of the Augustan poet in the library of the Vittoriale, is reflected in a dense network of echoes – some perspicuous, others subtle – that can be found in the Vate’s most famous works. During his twilight yea

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Irrubai, Mohammad Liwa. "THE URGENCY OF HUMANITIES AND SOCIAL STUDIES IN INDONESIAN EDUCATION (RESPONDING TO HUMANITIES TWILIGHT IN JAPAN)." Jurnal Tatsqif 18, no. 2 (2020): 183–206. http://dx.doi.org/10.20414/jtq.v18i2.2389.

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This article aims to explain the importance of humanities studies in Indonesian education, as a response to the humanities twilight pessimism in Japan. Afterward how its effect toward the continuity of humanities and social studies in Indonesian education. The study uses a qualitative approach using library research. The data analysis method applied was in meta-analysis. Based on the data and analysis, it was explained that it is reasonable if Japan wants to erase Humanities and Social Studies because of the decreasing population numbers, the lack of manpower, industrial competition and depend

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Lindovská, Nadežda. "Ján Jamnický’s Ten Days with Soviet Theatre." Slovenske divadlo /The Slovak Theatre 65, no. 2 (2017): 121–41. http://dx.doi.org/10.1515/sd-2017-0008.

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Abstract Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice theatre director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and e

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Berdnikova, Alexandra, Alexandra Vakulinskaya, Vladimir Sidorin, Ksenia Vorozhikhina, Alexey Kuksyuk, and Anna Makarova. "New Books." Otechestvennaya Filosofiya 1, no. 1 (2023): 114–26. http://dx.doi.org/10.21146/3034-1825-2023-114-126.

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The collective material of the employees of RAS Institute of Philosophy (A. Berdnikova, A. Vakulinskaya, K. Vorozhikhina, A. Kuksyuk, A. Makarova, V. Sidorin) describes the book novelties of 2022 related to topics of Russian philosophy. Brief summaries present the main content of the books - thus, the reader is able to get acquainted with the most important and interesting publications, including: Volume 4 of Complete Works of S. Frank, "Twilight of Europe" by G. Landau, "Russian Ahasuerus: Akim Volynsky as a thinker and critic of culture" by V. Kotelnikov, Volume 6 of Collected Works of E. Il

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Miazek-Zapala, Nina, Aleksander Slusarczyk, Aleksandra Kusowska, et al. "The “Magic Bullet” Is Here? Cell-Based Immunotherapies for Hematological Malignancies in the Twilight of the Chemotherapy Era." Cells 10, no. 6 (2021): 1511. http://dx.doi.org/10.3390/cells10061511.

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Despite the introduction of a plethora of different anti-neoplastic approaches including standard chemotherapy, molecularly targeted small-molecule inhibitors, monoclonal antibodies, and finally hematopoietic stem cell transplantation (HSCT), there is still a need for novel therapeutic options with the potential to cure hematological malignancies. Although nowadays HSCT already offers a curative effect, its implementation is largely limited by the age and frailty of the patient. Moreover, its efficacy in combating the malignancy with graft-versus-tumor effect frequently coexists with undesirab

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Kozłowski, Krzysztof. "„Ku nowym czynom, ukochany mężu...” O Stukasach Karla Rittera." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 37, no. 46 (2024): 153–69. https://doi.org/10.14746/i.2024.37.46.9.

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Karl Ritter’s film Stukas has been the subject of numerous analyses centred on issues such as propaganda (Rother), Nazi films about aviators (Gwóźdź), war and music (Vaget). This article situates itself within the general discussion of art and politics in the Third Reich (Mungen, Pyta, Vaget, Werr). It starts from Goebbels’ speech on February, 15 1941 at the Reichsfilmkammer and attempts to look at Ritter’s film from the perspective of Richard Wagner’s music and the Bayreuth festival theatre as an important cultural and intermedial symbol of Nazi Germany. Further, it aims to juxtapose the f

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Savchuk, Hryhorii. "The chaos – the violin – the Сosmos in the I. Kalynets’s poem “Great-grandfather”". Journal of V. N. Karazin Kharkiv National University, Series "Philology", № 92 (15 серпня 2023): 40–46. http://dx.doi.org/10.26565/2227-1864-2023-92-05.

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In modern Ukrainian literary studies, the problem of researching intermedial relations in the artistic works of the Sixtiers, in particular, Ihor Kalynets, is relevant. At the same time, there is a lack of studies devoted to the analysis of separate texts. In our opinion, the poem ‘Great-grandfather’ from the collection ‘Kupala Fire’ demonstrates a harmonious interaction of the text levels, from the level of plot to the phonetic one. Therefore, the purpose of this article is a holistic study of the poem. A structuralist approach was used to achieve the mentioned goal. The poem ‘Great-grandfath

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LYUTY, Taras. "TWILIGHT OF METAPHYSICS: THE PROBLEM OF NOTHINGNESS AND NIHILISM IN THE MARTIN HEIDEGGER’S PHILOSOPHY." Filosofska dumka (Philosophical Thought), no. 4 (December 12, 2024): 20–33. https://doi.org/10.15407/fd2024.04.020.

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The article examines the problem of Nothingness and nihilism in Martin Heidegger’s views. In his early studies, Nothingness appears as a negation in the logical judgement. However, in further examinations, it relates to human existence. Nothingness is exposed in realization of the finitude of human life and death. Heidegger explains that human existence and Nothingness are connected through the experience of fear. To be fearful does not mean to be afraid of certain things, but to be able to see the perspective of non-existence. Nothingness that emerges in fear resembles transcendence, in other

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Brumfield, William C. "Review: Russian Art Nouveau by Elena A. Borisova, Grigory Sternin; The Twilight of the Tsars: Russian Art at the Turn of the Century; Moscow Revealed by John Freeman, Kathleen Berton." Journal of the Society of Architectural Historians 52, no. 1 (1993): 107–9. http://dx.doi.org/10.2307/990769.

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Tatipang, Devilito P. "William Shakespeare and Modern English: To What Extent the Influence of Him in Modern English." Journal of English Language Teaching, Literature and Culture 1, no. 1 (2022): 61–71. http://dx.doi.org/10.53682/jeltec.v1i1.3728.

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Shakespeare’s works at that time considered a work of high art. The influence of his work has been a source of inspiration for many artists to create paintings, operas and ballet performances. Studying Shakespeare is like studying life from multiple perspectives: psychological, political, philosophical, social, spiritual. The rhythms he uses in his words are reflected in the rhythms of our bodies. Known as the greatest English-language writer in history, and earning him the nickname of England's national poet, William Shakespeare is the author with the most-played theatrical work to date. More

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Arunima, Bhattacharya. "The Reconfiguration of Core and Periphery in Ahmed Ali's Twilight in Delhi and Aravind Adiga's The White Tiger." Trivium A multi disciplinary journal of humanities of Chandernagore College 1, no. 1 (2017): 60–71. https://doi.org/10.5281/zenodo.13826304.

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This essay discusses Ahmed Ali’s Twilight in Delhi published in 1940 and Aravind Adiga’s The White Tiger published in 2008 as two distinct examples of writers from the subcontinent employing specific stylistic devices to respond to particular periods of historical crisis through their fiction. This essay looks at the use of setting, language, intertextuality and other stylistic modes that the narratives adopt to address the historical and socio-cultural crisis that they grapple with at two distinct junctures in the city’s and by implication India’s history.In this paper

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Hext, Kate. "Oscar Wilde and Friedrich Nietzsche: ‘Rebels in the name of beauty’." Victoriographies 1, no. 2 (2011): 202–20. http://dx.doi.org/10.3366/vic.2011.0029.

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‘Oscar Wilde and Friedrich Nietzsche: “Rebels in the Name of Beauty” ’ reconsiders the intellectual confluence of Oscar Wilde and Friedrich Nietzsche. It is unlikely that Wilde and Nietzsche knew of each other. Yet, similarities between their conceptions of truth, aesthetic experience, individualism, and ethics, as well as their highly evocative, aphoristic styles, have drawn a large number of critics – from Thomas Mann to Patrick Bridgwater and Julia Prewitt Brown – to compare them. Such comparisons have, though, been brief and often focused on biographical parallels. This article provides, t

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Anokhina, Yuliya Yu. "Spatial Images in Baratynsky’s Late Lyrics: Aesthetic and Metaphysical Aspects." Transcultural Studies 15, no. 2 (2019): 91–101. http://dx.doi.org/10.1163/23751606-01502001.

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The article is devoted to the question of how in the late lyric of the Russian poet of Pushkin’s circle Yevgeny Abramovich Baratynsky (1800–1844), namely in his final book of verses Sumerki [Twilight] (1842), in spatial images metaphysical and aesthetic principles are reflected. The author focuses on three ‘programmatic’ poems: Knjazju Petru Andreevichu Vjazemskomu [an epistle to Prince Pyotr Andreyevich Vyazemsky] which opens the poetic book, a poem Osen [Autumn], kind of coda of Sumerki and poem Rifma [Rhyme], which placed in the final of the book. The embodiment of the synthesis of metaphys

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Nasipkhan Kh., Suyunova. "The theme of creativity and the image of the artist in the story "Blue snows" by Isa Kapaev." Kavkazologiya 2023, no. 3 (2023): 354–71. http://dx.doi.org/10.31143/2542-212x-2023-3-354-371.

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The article delves into the exploration of the development of the theme of creativity and the por-trayal of the author-artist in the story titled "Blue Snows" by the Nogai writer, Isa Kapaev. It recog-nizes that the writer's creative search is conducted through the lens of the postmodernist concept, drawing from the experiences of conceptualization of this theme in global, Russian, and national literature. Within the body of the author's works, this theme serves as a recurring motif, with the im-age of the artist embodying one of its central aspects. The article showcases this thesis by refere

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Rampley, Matthew. "From Potemkin Village to the Estrangement of Vision: Baroque Culture and Modernity in Austria before and after 1918." Austrian History Yearbook 47 (April 2016): 167–87. http://dx.doi.org/10.1017/s0067237816000126.

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The artistic and cultural life of Austria after World War I has often been presented in a gloomy light. As one contributor to a recent multivolume history of Austrian art commented, “the era between the two world wars is for long periods a time of indecision and fragmentation, of stagnation and loss of orientation … the 20 years of the First Republic of 1918–1938 did not provide a unified or convincing image.” For many this sense of disorientation and stagnation is symbolized poignantly by the deaths in 1918 of three leading creative figures of the modern period, Otto Wagner, Gustav Klimt, and

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Dudareva, M. A. "APOPHATICISM OF RUSSIAN CULTURE: TRADITIONS OF BUFFOONERY IN S.A. YESENIN’S POEM “I WILL NOT DECEIVE MYSELF...”." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 89 (2023): 52–57. http://dx.doi.org/10.37313/2413-9645-2023-25-89-52-57.

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The object of the article is the tradition of buffoonery in Russian culture. The subject of the research is the ambivalent image of dusk, the phenomenon of twilight in Russian poetry, which is associated with inverted reality, the antithetic world. The material for this article is represented by the creative heritage of S.A. Yesenin who is rightfully considered to be one of the best folklore poets of the early 20th century. The cultural-philosophical analysis is centred on a poem from the cycle “Moskva Kabatskaya” [Moscow of Taverns], namely “I will not deceive myself...”. This poem is interna

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Costa Júnior, Edson Pereira da. "Apesar da noite: a materialidade da figura humana em Philippe Grandrieux." ARS (São Paulo) 14, no. 28 (2016): 155. http://dx.doi.org/10.11606/issn.2178-0447.ars.2016.122455.

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No cinema de Philippe Grandrieux, o interesse em valorizar a presença da figura humana coexiste com um espaço pictórico crepuscular, na iminência de desaparecer na escuridão. Cria-se um regime aparentemente contraditório: o corpo ganha peso, materialidade, apesar do risco de sua diluição na imagem. Tendo isso em vista, o artigo discute como a modulação do negrume contribui para a sublimação visual e a restituição sensorial da figura humana em seus filmes, com foco em Sombra (Sombre, 1998) e mais brevemente em White epilepsy (2012). A partir do cotejo com as artes plásticas, sobretudo com obras

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Farkhutdinova, Fenia F., and Kanga Kedrain Steve Ndouniama. "The World of Color in I.A. Bunin's short story "Henry": coloratives and sense of Motherland." Socialʹnye i gumanitarnye znania 10, no. 2 (2024): 244. http://dx.doi.org/10.18255/2412-6519-2024-2-244-253.

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The composition, semantics and functioning of words with color meanings (coloratives) are of interest to researchers specializing in various fields of scientific knowledge. The relevance of studying this group of words is determined with an important trend: to describe the facts of culture fixed in the units of the language, as well as to highlight culturally significant information in them. This tendency is manifested in the study of the writer's language. The analysis of coloratives, their composition and role in Ivan Bunin's multi-genre works is actively conducted, but it is often carried o

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Sawczuk, Tomasz. "Plasticity and the Poetics of Inside-Out Inversion in Emmett Williams and Roman Stańczak." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 161–78. http://dx.doi.org/10.18778/2083-2931.13.09.

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Informed by the current call for a reassessment of the concepts of radicalism and extremity in the fields of literature and visual arts, my study aims to investigate the radicalities entailed by the tactics of turning inside out the materialities of poems and artworks as exemplified, respectively, by Emmett Williams’s concrete poetry and Roman Stańczak’s sculptural works conceptualized as inverted everyday objects. Taking a cue chiefly from Catherine Malabou’s explorations of plasticity, I propose to argue that by destabilizing the interior/exterior dichotomy of the forms belonging to their re

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Степаненко, А. А., and О. В. Кузьмина. "Atrworks by Yakov Weber in the collection of the Literary and Art Museum of the Chekhov’s Book “Sakhalin Island”." Iskusstvo Evrazii [The Art of Eurasia], no. 3(34) (September 29, 2024): 134–41. http://dx.doi.org/10.46748/arteuras.2024.03.008.

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Статья знакомит с двумя ранними работами художника, заслуженного деятеля искусств АССР немцев Поволжья Якова Яковлевича Вебера (1870–1958): рисунком «Unser Grossmütterlein» («Наша бабулечка», 1891) и картиной «Улица в Поволжье» (1894). Произведения переданы в фонды Литературно-художественного музея книги А.П. Чехова «Остров Сахалин» в 2023 году, который стал, благодаря ценному дару, единственным в восточной части России учреждением — обладателем работ художника. В ходе исследования установлена высокая художественная ценность произведений. Они созданы в начале творческого пути, когда Я.Я. Вебер

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Dziamski, Grzegorz. "Przemiany estetyki." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 127–47. http://dx.doi.org/10.4467/20843860pk.22.009.15754.

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Metamorphosis of Aesthetics Many aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and bea

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