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Articoli di riviste sul tema "Narrative painting"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 agosto 2024

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1

Purwita, Dewa Gede. "Pengaruh Narasi pada Seni Lukis Tradisi Bali: Studi Bahasa Rupa Lukisan Wayang Kamasan dan I Ketut Gede Singaraja." Humanis 25, no. 4 (November 11, 2021): 504. http://dx.doi.org/10.24843/jh.2021.v25.i04.p10.

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Traditional Balinese painting elements contain narrative, illustrative, figurative, functional, these formed the structure of Balinese art which is closely related to the existence of the text as the background of its creation. This study aims to read the influence caused by narrative as things that affect the “wimba” and the “cara wimba” in traditional Balinese painting which is focused on Sutasoma's painting in the Kamasan painting style in Bale Kambang Kerta Gosa, Klungkung and the painting of Prabu Salya by I Ketut Gede Singaraja. This research method uses a qualitative art research with a

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2

Foskolou, Vicky A. "Telling stories with pictures: narrative in middle and late Byzantine monumental painting." Byzantine and Modern Greek Studies 43, no. 2 (September 10, 2019): 194–218. http://dx.doi.org/10.1017/byz.2019.16.

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This article explores the narrative strategies employed in the monumental painting of the middle and late Byzantine period and considers whether the different methods of narration and the degree of narrativity can reveal anything about the function of the work, its creators, its audience and finally its period; in other words whether a narratological approach to visual representation could be a tool for analysing a work of art in socio-historical terms. This is determined firstly by identifying similar narrative structures in contemporary literature and secondly by looking for information on h

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3

Sarkar, Asmita, and Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation." Journal of Aesthetic Education 57, no. 1 (April 1, 2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.

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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodimen

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4

Chelkowski, Peter. "Narrative Painting and Painting Recitation in Qajar Iran." Muqarnas 6 (1989): 98. http://dx.doi.org/10.2307/1602284.

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Chelkowski, Peter. "NARRATIVE PAINTING AND PAINTING RECITATION IN QAJAR IRAN." Muqarnas Online 6, no. 1 (1988): 98–111. http://dx.doi.org/10.1163/22118993-90000238.

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6

Yang, Dongge. "Narrative Expression of Light in Contemporary Oil Paintings." Scientific and Social Research 3, no. 4 (October 26, 2021): 63–69. http://dx.doi.org/10.36922/ssr.v3i4.1229.

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In modern and contemporary times, under the background that artists enjoy full freedom of choice, the use of light gets rid of the traditional role, takes light as the main form of expression to express the painter’s personal subjective emotion, and makes attempts in various painting styles, which makes the appearance of today’s paintings diverse. This paper studies the contemporary oil paintings of the development and innovation of light and the content expression of new forms, analyzes and summarizes the characteristics of the narrative expression of light with the word “narrative of light”

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7

Dunagin-Miller, Christine, and Jodi Jan Kaufmann. "Reimagining Cancer through Painting: An Arts-based Authoethnography." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 20–31. http://dx.doi.org/10.18432/a.r.i..v2i1.25655.

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We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.

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Dunagin-Miller, Christine, and Jodi Jan Kaufmann. "Reimagining Cancer through Painting: An Arts-based Authoethnography." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 20. http://dx.doi.org/10.18432/r2h05h.

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Abstract (sommario):

We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.

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9

Thomas, Anabel. "Illustrated Dictionary Of Narrative Painting." Art Book 2, no. 1 (January 1994): 18. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00349.x.

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Thomas, Anabel. "Illustrated Dictionary Of Narrative Painting." Art Book 2, no. 1 (January 1995): 18. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00349.x.

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11

Lauge Hansen, Hans. "Una ciudad dilatada por la luz." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 46, no. 1 (June 27, 2011): 105–26. http://dx.doi.org/10.1075/rro.46.1.05lau.

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The purpose of this article is to analyze the function of art in the narrative of Antonio Muñoz Molina. Through the interpretation of the narrative function of paintings by renowned artists like Cézanne, Rembrandt, Velázquez and Mark Rothko in four works, The Winter in Lisbon, The Polish Rider, Sefarad and The Windows of Manhattan, I will pursue the hypothesis that the works of art play the role of identity giving metaphors for the characters. At the same time the painting play the role of “entelechies” in the narrative structure, as well for the characters as for the reader, because it is onl

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12

WHITE, JAMES. "A Sign of the End Time: ‘The Monastery’, Topkapı Sarayı Müzesi H.2153 f.131b." Journal of the Royal Asiatic Society of Great Britain & Ireland 27, no. 1 (October 3, 2016): 1–30. http://dx.doi.org/10.1017/s1356186316000444.

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AbstractStudies of visual culture in the Persian-speaking world of the fourteenth and fifteenth centuries frequently discuss the literary contexts in which painting was often produced, yet scant attention has been paid to understanding how the visual can engage with the verbal beyond representing a sequential narrative. Arguing that paintings and literary texts are autonomous, yet can engage with similar ideas, this article focuses on a painting in the album TSMK H.2153 that is generally perceived to lie outside the frameworks of narrative poetry: ‘The Monastery’ (f.131b). The article investig

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Άνθης, Μιχάλης Κ. "ΜΙΧΑΛΗΣ Κ. ΑΝΘΗΣ, Κώδικες έμφυλης αναπαράστασης στο εικαστικό έργο του Νίκου Εγγονόπουλου. Διακειμενική προσέγγιση". Σύγκριση 31 (28 грудня 2022): 51–62. http://dx.doi.org/10.12681/comparison.31273.

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Decoding gender representations in some paintings of Nikos Engonopoulos. An intertextual approach This paper approaches the narrative codes Nikos Engonopoulos used to present, in some of his paintings, the theme of gender representation with the conflicting extensions at an ideological and social level. His surrealist view is potentially a form of denouncement and subversion of dominant stereotypes and traditional meanings of the gender roles of his heroes or heroines. The paintings, which are selectively presented in this paper, reveal Engonopoulos's consistency towards the ethical, ideologic

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14

Gascoigne, David. "Georges Perec's La Vie mode d'emploi; or, How to Take on Painting and Win." Nottingham French Studies 51, no. 3 (December 2012): 286–97. http://dx.doi.org/10.3366/nfs.2012.0028.

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Notes by Perec on his reaction to paintings and on his collaboration with painters suggest a complex, but potentially conflictual relationship. In his fictional masterpiece La Vie mode d'emploi (1978) he pursues an elaborate confrontation on many levels with paintings and painters, whose prestige he recognizes as a rival to writing, which is thus challenged to reassert its primacy. Intradiegetically, the narrative turns centrally on accounts of failed projects related to painting. Extradiegetically, ‘Old Master’ paintings are dismantled to provide details for insertion into quite alien context

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15

Forrester, Shannon. "Painting from the Other Side: Tracing the Reparative Turn in Contemporary Practice." Art/Research International: A Transdisciplinary Journal 5, no. 1 (February 28, 2020): 116–47. http://dx.doi.org/10.18432/ari29486.

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Painting from the Other Side, is the curatorial project section of a larger interdisciplinary practice-led research project titled Embodying the Reparative Turn: Seeking Agency through Studio Practice in Individual and Collective Contexts that investigates the potential of the reparative turn in painting, aesthetics, narrative, and curation to subvert, evade, and exit from dynamics of exclusion linked to homophobia, misogyny, and racism. It considers how systemic cultural agents propagating exclusion deploy inequity to obstruct human flourishing, then explores how they are subverted through di

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16

Wang, Yuheng. "Symbolic Iconography of Leonardo da Vinci in Relation to Nature." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 70–82. http://dx.doi.org/10.54097/ehss.v21i.13034.

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The field of Leonardo da Vinci Studies has seen rapid advancement in recent years. Multiple research projects have been conducted on Leonardo’s observation of the natural world in relation to his inventions and painting techniques. Nonetheless, there lacks a consensus on how nature has impacted Leonardo’s interpretation of religious icons, such as the Virgin and the Christ Child. Therefore, this paper emphasizes Leonardo’s recreation of visual narrative using symbolism and natural setting within his series of icon paintings. The study opens with an inspection of the preceding Byzantine style a

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Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii." Classical Antiquity 13, no. 2 (October 1, 1994): 149–66. http://dx.doi.org/10.2307/25011012.

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This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing

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18

CELINSKA, DOROTA. "Painting a portrayal of narrators with learning disabilities from two narrative perspectives." Applied Psycholinguistics 35, no. 4 (December 7, 2012): 649–75. http://dx.doi.org/10.1017/s0142716412000537.

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ABSTRACTTwo narrative perspectives, high point analysis and episodic analysis, were used to compare the ability of narrators with and without learning disabilities to fulfill the referential and evaluative narrative functions. The participants were 82 students with learning disabilities and their typically achieving peers matched on age, grade, gender, and ethnicity. The participants (48 Caucasian, 34 African American) attended urban and suburban schools (Grades 4–7). Narratives were collected within the context of a naturalistic conversation. The findings across the two narrative perspectives

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19

Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.

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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or

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20

Hawaldar, Asmita. "Manmath Pooja." Integrated Journal for Research in Arts and Humanities 3, no. 1 (February 3, 2023): 101–5. http://dx.doi.org/10.55544/ijrah.3.1.17.

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Lepakshi is a small town1 situated in Hindupur taluka of Anantpur district, Andhra Pradesh. Veerbhadra temple located in Lepakshi is famous for monumental temple architecture of Vijaynagar Empire period. The extensive mural paintings executed on the walls and temple ceilings are world famous. One of the painting ‘Girija Kalyanam’ depicts story of marriage of Shiv and Parvati. It is a narrative panel. It starts with the painting famously known as ‘Parvati’s toilet’. In this paper, I have tried to prove that it is not ‘Parvati’s toilet’ but ‘Manmath Pooja’.

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21

Hetmański, Marek. "Visual metaphor and its narrative function." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 141–67. http://dx.doi.org/10.1075/cogls.00052.het.

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Abstract The paper aims at analyzing visual metaphors and allegories in the fine arts – particularly in the symbolic paintings by J. Malczewski – as creative tools of both artistic expression and discourse storytelling in which they play a vital role. Visual metaphors are suggestive and effective in artistic performance and, therefore, in communicating abstract ideas to the individual viewer and the public. Such paintings (symbolic and surrealistic), whilst encompassing concrete (source) and universal (target) domains in their depicted metaphoric structures, can be powerful enough to create po

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Langbour, Nadège. "L’hypopeinture greuzienne et ses palimpsestes narratifs au XVIIIe siècle." Quêtes littéraires, no. 5 (December 30, 2015): 23–32. http://dx.doi.org/10.31743/ql.235.

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In the 18th century, the paintings of Greuze had much success. The literature took against these paintings. It transposed them in narrative texts. Diderot and Aubert, described paintings of Greuze by using the literary kind of the moral tale. Thus, they respected moral spirit of the painting of Greuze. But when paintings of Greuze were transposed in the novels, this moral spirit had been perverted : the novels respected stating of Greuze, but they used it to produce a different statement.

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Partridge, Loren, and Jack M. Greenstein. "Mantegna and Painting as Historical Narrative." American Historical Review 98, no. 4 (October 1993): 1282. http://dx.doi.org/10.2307/2166727.

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24

Kostner, Anna. "Painting as Drama. Staging Dialogue in Anselm Kiefer." Analele Universității de Vest. Seria Științe Filologice 61, no. 1 (December 10, 2023): 175–91. http://dx.doi.org/10.35923/autfil.61-1.12.

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It has frequently been pointed out that Paul Celan’s poems have a dialogic impulse. In this respect, Anselm Kiefer’s paintings can be considered the pictorial extension of Celan’s poetic structures. I will argue that with the inscriptions on his paintings, Kiefer exhibits dialogic moments, relating different perspectives to one another, thereby attempting to understand painting as drama; that is, to create a place for visual experience where no epic narrative is told, but an ongoing and dramatic conflict is acted out. This will be illustrated by a closer look of two of Kiefer’s paintings: The

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Ünal, Mevlüt, and Ahmet Dalkıran. "Grotesque Approaches in Contemporary Turkish Painting." Bilim, Eğitim, Sanat ve Teknoloji Dergisi (BEST Dergi) 8, no. 1 (February 21, 2024): 66–80. http://dx.doi.org/10.46328/bestdergi.105.

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The Republican period witnessed significant changes in Turkish art and the art of painting was reshaped in this process. By addressing the grotesque elements in paintings depicting mythological themes, the study aims to understand the reasons why artists use these images and the social, cultural, and political contexts of these images. The study analyzes the depiction of figures in Turkish painting in a grotesque context during the Republican period and how artists integrated the influences of Western culture as well as traditional Turkish culture. Additionally, it is examined whether the use

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Zhang, Xinyi. "The Indigenization Strategies of Catholic Painting in Early 20th Century China." Religions 15, no. 6 (May 30, 2024): 681. http://dx.doi.org/10.3390/rel15060681.

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The spread of Christianity to China initiated a process of indigenization, particularly evident in Christian art. This study explores the indigenization of early 20th-century Chinese Christian paintings through literature reviews, case studies, and comparative research. The analysis covers four forms of primary research. First, it explores the indigenization of Christian concepts, tracing their development from the introduction of Nestorian Christianity in the Tang dynasty through the establishment of Fu Jen Catholic University in the Republican era. Matteo Ricci’s implementation of the “Ricci

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Kachru, Sonam. "The Translation of Life: Thinking of Painting in Indian Buddhist Literature." Religions 11, no. 9 (September 14, 2020): 467. http://dx.doi.org/10.3390/rel11090467.

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What are paintings? Is there a distinctive mode of experience paintings enable? What is the value of such experience? This essay explores such questions, confining attention for the most part to a few distinctive moments in Indian Buddhist texts. In particular, I focus on invocations of painting in figures of speech, particularly when paintings are invoked to make sense of events or experiences of particular importance. The aim is not to be exhaustive, but to suggest a meta-poetic orientation: On the basis of moments where authors think with figurations of painting, I want to suggest that in B

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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.

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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, th

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Carlson, David Lee. "Embodying Narrative: Diffractive Readings of Ethical Relationality in Qualitative Inquiry." Qualitative Inquiry 26, no. 10 (July 22, 2020): 1147–50. http://dx.doi.org/10.1177/1077800420939205.

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This introduction provides an inquisition into the role of narrative inquiry in the field of qualitative inquiry. Drawing on Michel Foucault’s works on painting, this introduction discusses the philosophical tensions within narrative inquiry as a methodology to situate narrative in a broader context of research methodologies and to raise some questions about the very specific role of the human and anthropomorphism in narrative inquiry. The authors in this special issue were tasked with thinking through narratives with unexplored theories or theoretical perspective. The purpose of the special i

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Lima, Denise Noronha. "José Saramago “escrepintor” / José Saramago “escrepintor”." Revista do Centro de Estudos Portugueses 39, no. 62 (January 22, 2020): 15. http://dx.doi.org/10.17851/2359-0076.39.62.15-30.

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Resumo: Manual de pintura e caligrafia, de 1977, é o segundo romance publicado por José Saramago, três décadas após sua estreia na literatura. Considerando o valor transicional e formativo dessa obra, visto que ela antecede imediatamente a fase madura do autor, iniciada com Levantado do Chão, de 1980, este estudo busca examinar a forma como aquele movimento de transição se transfigura na narrativa, pela relação entre a pintura e escrita autobiográfica do protagonista. Procede-se à análise de diversos aspectos do diálogo entre literatura e pintura estabelecido no romance a partir da palavra “es

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Wulandari, Anak Agung Ayu. "The Role of Pitamaha in Balinese Artistic Transformation: A Comparison Between Kamasan and Gusti Nyoman Lempad Artistic Style." Humaniora 7, no. 4 (October 30, 2016): 463. http://dx.doi.org/10.21512/humaniora.v7i4.3599.

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The Balinese artistic traditions of wayang style paintings that were known as Kamasan lasts for generations occurred some changes. Following the collapse of Balinese traditional court, the arrival of western artists and scholars, Pita Maha association was established to prevent the excess of commercialism to Balinese arts and crafts. A new generation of artists started to emerge, not only they adopted western painting techniques taught by their western ‘gurus’, but they also showed freedom of self-expressions in their works; one considered as a genius was Gusti Nyoman Lempad. The aim of this r

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Rebello, Ivana Ferrante, and Osmar Pereira Oliva. "Grande sertão: veredas em luz e sombra." O Eixo e a Roda: Revista de Literatura Brasileira 27, no. 3 (December 21, 2018): 249–66. http://dx.doi.org/10.17851/2358-9787.27.3.249-266.

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Resumo: Este estudo lê o romance Grande sertão: veredas e as influências da arte pictórica na composição de sua narrativa. A partir dos registros do autor encontrados no material arquivado no Instituto de Estudos Brasileiros, e da apreciação de Guimarães Rosa pela pintura, apresentamos relações entre a narrativa de primeira pessoa e as variações de cor no romance. Esses jogos de luz e sombras nos ajudaram a ler a intricada dubiedade que rege a vida, a violência e a sexualidade de Riobaldo.Palavras-chave: Grande sertão: veredas; luz e sombra; pintura; dúvida.Abstract: This study reads the novel

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Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.

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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypt

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Li, Kening. "The Application of Geometry in Leonardo’s Works: Take the Annunciation for Example." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 92–97. http://dx.doi.org/10.54097/ehss.v21i.13041.

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There is a close connection between geometry and art. Since mathematicians discovered the Golden Ratio, it has been widely used in painting, design, architecture, and other fields. In the development of perspective, the mathematical principles explored by geometry played a very important role. This research uses observation and literature research methods to analyze Leonardo Da Vinci's Annunciation. The research proves that Leonardo's Annunciation used the Golden Ratio in composition and perspective in completing the narrative of the painting. In the end, the study demonstrates the impact of t

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Li Xiaojun. "From Literature to Image: Study on the Literariness of Painting Creation of Books and Periodicals." European Journal for Philosophy of Religion 13, no. 1 (March 2, 2021): 200–220. http://dx.doi.org/10.24204/ejpr.2021.3858.

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Abstract (sommario):

As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media and achieving narrative effects like literary. The reflection of literary thoughts and trends in them

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Li Xiaojun. "From Literature to Image: Study on the Literariness of Painting Creation of Books and Periodicals." European Journal for Philosophy of Religion 13, no. 1 (March 2, 2021): 200–220. http://dx.doi.org/10.24204/ejpr.2021.3696.

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Abstract (sommario):

As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media and achieving narrative effects like literary. The reflection of literary thoughts and trends in them

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Bearden, Elizabeth. "Painting Counterfeit Canvases: American Memory Lienzos and European Imaginings of the Barbarian in Cervantes's Los trabajos de Persiles y Sigismunda." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 735–52. http://dx.doi.org/10.1632/003081206x142850.

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I propose a new reading of the intersection of image and text as a site for reworkings of barbarian identity in Miguel de Cervantes Saavedra's last work, Los trabajos de Persiles y Sigismunda: Historia setentrional (1617). Through narrative manipulations of the half–barbarian character Antonio el mozo's relation to painting, Cervantes crafts complex interrelations among American pictographic language, European alphabetism, and colonial models of barbarian identity to demonstrate the adaptability and ingenuity of indigenous people. I analyze the function of ekphrastic passages that reflect Amer

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Hunt, Andrew. "Matthew Higgs interviewed by Andrew Hunt." Journal of Contemporary Painting 8, no. 1 (April 6, 2023): 59–71. http://dx.doi.org/10.1386/jcp_00039_7.

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This interview considers Matthew Higgs’s role in programming work by self-taught artists and those with developmental disabilities within the context of White Columns, a non-profit artist-run space located in Chelsea, New York City. The conversation describes the active support of work before any critical or institutional consensus emerges around it and explores how painting by self-taught artists and those with developmental disabilities can provide a productive counterpoint to self-reflexive work or art more critical of the narrative of painting as a medium. The term ‘outsider’ is also scrut

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Kalashnikova, Olga L. "REALITY THROUGH THE PRISM OF PAINTING: SIMULACRES BY MICHEL HOUELLEBECQ." Alfred Nobel University Journal of Philology 1, no. 25 (May 30, 2023): 115–30. http://dx.doi.org/10.32342/2523-4463-2023-1-25-9.

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The article examines the code of painting and the media codes of other sign systems that are inseparable from it, forming a peculiar picture of the modern information world as a world of simulacra in M. Houellebecq’s novel “La carte et le territoire” (“The Map and the Territory” in English translation). The purpose of the work is to reveal the role and functions of the painting code and related to it media codes of photography, video art, architecture, advertising, and the Internet in the author of “The Map and the Territory” narrative strategy, that permits to identify some general laws of, t

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Pop-Curşeu, Ioan. "The Witch’s Body as a Narrative and Symbolic Tool." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 1 (March 30, 2023): 15–41. http://dx.doi.org/10.24193/subbdrama.2023.1.01.

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Abstract (sommario):

"This paper aims to propose an exploration of the corporeality of witches insofar as it has been used as a medium or nexus for narratives, or as a symbolic sign in various artistic forms and arrangements. The starting point is the highlighting of an antithesis, which is permanently nuanced and overcome in the long evolution of culture, namely between the beauty of young witches and the ugliness of old ones. A first section of the article focuses on painting, looking at works by Baldung Grien, Salvator Rosa, Frans Francken, Luis Ricardo Falero. A second section looks at the corporeal duality th

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Fadeyeva, Liudmila V. "VOTIVE PAINTING AS A NARRATIVE ABOUT A MIRACLE." Folklore: structure, typology, semiotics 5, no. 1 (2022): 104–25. http://dx.doi.org/10.28995/2658-5294-2022-5-1-104-125.

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The article deals with votive paintings of the Alpine region. These attractive works of folk art (and the religious culture of the Catholic South of Europe as well) are observed from the point of view of their functional aims as testimonies of a miracle that happened in human life. Votive paintings are interesting first of all as visualized stories, therefore it’s worthy of representing the perspective of the comparison between their narrative strategies and the narrative strategy of folklore legends. The author notes that the inclusion of a special inscription in the first person is optional

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Armstrong, Frank, Trixie James, Hermina Conradie, and Shane Parker. "Males in Enabling: Painting a portrait through narrative." Student Success 9, no. 1 (February 3, 2018): 9–22. http://dx.doi.org/10.5204/ssj.v9i1.429.

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The number of males entering higher education via an enabling pathway is slowly increasing; yet, males still battle with the anti-intellectual attitude that is prevalent in regional areas of Australia. Previous research undertaken by the authors began exploring the factors that inhibited or enhanced the male experience within an enabling course. This paper expands upon this research with a deeper focus on the male experience through personalised accounts derived from individual interviews. Using qualitative methodology and narrative inquiry, the findings provide a deeper understanding of the i

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Ann Achin, Imelda, and Addley Bromeo Bianus. "FORMALISTIC AND NARRATIVE IN PROJECTION MAPPING PAINTING: HABITAT." PEOPLE: International Journal of Social Sciences 1, no. 1 (May 30, 2017): 829–41. http://dx.doi.org/10.20319/pijss.2015.s21.829841.

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Martin, John, and Patricia Fortini Brown. "Venetian Narrative Painting in the Age of Carpaccio." American Historical Review 95, no. 4 (October 1990): 1238. http://dx.doi.org/10.2307/2163616.

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Зауст, С. К. "Actualization of the Narrative Functions of the Costume in Works of Fine Art (On the Example of Paintings by Viktor Vasnetsov)." Nasledie Vekov, no. 2(30) (June 30, 2022): 47–56. http://dx.doi.org/10.36343/sb.2022.30.2.003.

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Статья посвящена выявлению и описанию нарративной функции костюма и его деталей в четырех сказочных сюжетных полотнах В. М. Васнецова. Картины рассмотрены в качестве примеров удачных визуальных нарративов, соответствующих нарративу устному (сказке). Охарактеризованы сюжетные и композиционные особенности полотен, подробно описаны костюмы изображенных персонажей. Значительное внимание уделено элементам одежды, раскрыто их внутреннее смысловое содержание в контексте изображенных сюжетов. Установлено, что актуализация нарративной функции костюма позволила выдающемуся русскому художнику обеспечить

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Ariesa Pandanwangi, Belinda Sukapura Dewi, and Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS." Jurnal Budaya Nusantara 3, no. 2 (July 20, 2020): 135–42. http://dx.doi.org/10.36456/b.nusantara.vol3.no2.a2545.

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Abstract (sommario):

Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems

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Ariesa Pandanwangi, Belinda Sukapura Dewi, and Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS." Jurnal Budaya Nusantara 3, no. 2 (July 20, 2020): 135–42. http://dx.doi.org/10.36456/jbn.vol3.no2.2545.

Testo completo

Abstract (sommario):

Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems

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48

Gawlak, Agata, Paulina Kowalczyk, and Joanna Stefańska. "Unconventional exhibition spaces as an example of the synergy of architecture and art." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 1 (March 31, 2020): 20–27. http://dx.doi.org/10.35784/teka.2414.

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Abstract (sommario):

The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author's exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the

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Sanfelice, Vinicius Oliveira. "A Bigger Splash to the Narrative." Études Ricoeuriennes / Ricoeur Studies 9, no. 1 (September 4, 2018): 90–107. http://dx.doi.org/10.5195/errs.2018.360.

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Abstract (sommario):

The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exempl

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Frankiv, Roman, and Khrystyna Boyko. "Idyllic story in the creation of modern nations narratives, on the example of German, Jewish and Ukrainian painting." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 159–64. http://dx.doi.org/10.32461/2226-3209.2.2021.239998.

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Abstract (sommario):

The purpose of the article is to identify the features of idyllic artistic plots related to German, Jewish and Ukrainian national narrative. Try to evaluate their motivating mechanism. The methodology is the use of ideological and plot analysis, methods of comparison and generalization. The scientific novelty is to expand the understanding of the plot content of some works of German, Jewish and Ukrainian art, in the context of their nation - creative motivation. Conclusions. The period of creation of modern nations became a great challenge for art. An important motivating role belongs to the c

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