Journal articles on the topic 'Artist characters'
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1
Malița, Ramona. "The Masks of the Commedia Dell’arte Depicted in the Paintings of Arcimboldo and Tiepolo." Analele Universității de Vest. Seria Științe Filologice 60, no. 60 (December 20, 2022): 25–41. http://dx.doi.org/10.35923/autfil.60.02.
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This interdisciplinary study (literature – painting) focuses on Italian carnival masks. As objectives, we propose a) to illustrate the aesthetic connection between the characters of the Commedia dell’arte and the allegorical portraits made by Arcimboldo and the painters of the Tiepolo artistic dynasty, and b) to highlight the dramatic character of the figures depicted in Mannerist paintings. We have identified some features of the carnivalesque character behind the mask, such as social and professional type, satirized human defects, and moral and physical qualities. Our critical working hypothesis is that, while one may encounter symbolic characters in literature, such as Orpheus, Narcissus, Prometheus, in the case of painting there are artists who place themselves differently concerning their art: homo contemplativus (the artist contemplating nature); homo faber (the artist whose art has a clear purpose); homo contentus (the artist admiring his own work). We have applied this interpretative framework, belonging to Rosario Assunto, to the carnivalesque characters of the Commedia dell’arte and to the allegorical characters created by Arcimboldo and Tiepolo.
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Zaarour, Meriem, Eman Mukattash, and Yousef Abu AwadAmrieh. "Coming of Age in the Arab Diasporic Künstlerroman: Sinan Antoon’s The Corpse Washer (2013) and Nada Awar Jarrar’s An Unsafe Haven (2016)." World Journal of English Language 13, no. 2 (January 13, 2023): 16. http://dx.doi.org/10.5430/wjel.v13n2p16.
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This study explores the künstlerroman from an Arab diasporic viewpoint. It aims to illuminate the first years of the formative process that the Arab diasporic artist undergoes in The Corpse Washer (2013) by Sinan Antoon and An Unsafe Haven (2016) by Nada Awar Jarrar as Arab diasporic künstlerromans. The article traces the childhood of Antoon’s Jawad and Jarrar’s Anas as young aspiring Arab artists against the backdrop of the novels’ socio-political contexts, which include religion, family, and the political conditions in the protagonists’ countries. Since Arab diasporic writers relocate the genre into an Arab transnational setting, this study draws attention to the violence and suffering in the lives of artists as children and the fact that they are brought up in an Arab household that does not feature in the traditional genre plot. It as well explores the environment the characters grow up in like social class and religious milieu and expounds on the way each character has seeds of artistic sensibility from a young age. The Arab characters face the issue of generational conflict about art as a proper career choice. Their parents play a role in the suppression of their artistic aspirations since they assume that they have a better-planned future for their children. Due to family expectations, religion, and political unrest, the characters have their future planned for them by others. The article concludes that the Arab diasporic künstlerroman provides alternative coming-of-age stories where the artist of Arab descent faces more challenges than his counterpart in the traditional genre.
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Kurniawan, Anton Sugito. "Pentingnya Pengetahuan Anatomi Untuk 3D Artist." Humaniora 2, no. 1 (April 30, 2011): 236. http://dx.doi.org/10.21512/humaniora.v2i1.2974.
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No matter how far the current technological advances, anatomical knowledge will still be needed as a basis for making a good character design. Understanding anatomy will help us in the placement of the articulation of muscles and joints, thus more realistic modeling of 3d characters will be achieved in the form and movement. As a 3d character artist, anatomy should be able to inform in every aspect of our work. Each 3D/CG (Computer Graphics)-artist needs to know how to use software applications, but what differentiates a 3d artist with a computer operator is an artistic vision and understanding of the basic shape of the human body. Artistic vision could not easily be taught, but a CG-artist may study it on their own from which so many reference sources may help understand and deepen their knowledge of anatomy.
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Hafezikermani, Ehsan, and Roshanak Fazli. "Survival of the Artist in Margaret Atwood’s Cat’s Eye." Khazar Journal of Humanities and Social Sciences 16, no. 4 (December 2013): 41–52. http://dx.doi.org/10.5782/2223-2621.2013.16.4.41.
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The present paper is to explicate different sorts of responses to the normalizing rubrics of society specifically in a microcosm of Margaret Atwood’s Cat’s Eye as an epitome. Three different groups of characters are taken under observation to illuminate the processes of enacting domination on human being and their various reactions; moreover, their struggle for survival. Applying different critics’ theories- particularly Foucault- the authors try to demonstrate and attest the need of having an artistic character to be able to fight back the subjugating rules and invent a new life line and a new character.
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Rabinovich, Irina. "Hawthorne’s True Artist in The Marble Faun: The Jewish Miriam?" ATHENS JOURNAL OF PHILOLOGY 8, no. 4 (September 9, 2021): 283–96. http://dx.doi.org/10.30958/ajp.8-4-3.
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The Marble Faun (MF), besides being a travelogue account of Rome, is a story about sin, guilt, suffering and abuse; it is also a tale about love and friendship. It is a story about the relationships between four different individuals united by their mutual love of art. The more interesting and convincing woman of the two female characters in the novel is unquestionably Miriam. Miriam is a rebel, an artist, and a compassionate and redemptive figure. Nevertheless, her art has been almost totally neglected, probably because most critics maintained that Miriam is an allegorical character lacking moral development or growth, whose function in the romance is limited to bringing about the Model’s murder and enacting the romance’s moral drama. The aim of this paper is to rectify a long and undeserved history of neglect and award Miriam her due status of Hawthorne's sole genuine artist. Keywords: art, Hawthorne’s female artists, The Marble Faun
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Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.
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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
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Tan, Ian. "The Artist in and of the Work." Exchanges: The Interdisciplinary Research Journal 7, no. 1 (October 22, 2019): 1–14. http://dx.doi.org/10.31273/eirj.v7i1.400.
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This paper will explore the problematic link between biography and literature as it is self-consciously demonstrated by Stephen’s theory about Shakespeare in the ‘Scylla and Charybdis’ episode of James Joyce’s Ulysses. I argue how Stephen’s construction of the link between Shakespeare’s life and his work both illuminates and repeats a larger critical gesture between biography and literature. This is based on a mode of hermeneutical temporality which sees the present moment as containing within itself temporal fullness to be realised in a teleological fashion. However, Joyce’s own ironic construction of Stephen, who disavows his own theorizing, should alert us as to how much we can take this theory at face value with respect to a character who invokes the name of Shakespeare as much to construct a theory of him as to deconstruct it. In response to this, I argue that Rene Girard’s reading of Shakespeare in terms of mimetic desire provides a more compelling picture of the ways in which not only his characters, but the characters in Ulysses understand and articulate sexual desire as mediated by a prior belatedness patterned on the desire of the Other. However, I problematize Girard’s reading of Shakespeare and Joyce, and my final contention is that the desire of reading and self-fashioning is set in motion not so much by mimetic recognition as it is by the Lacanian notion of misrecognition. This forms the discursive conditions of the articulation of that desire while irrevocably fracturing not only the Girardian idea of the triangulation of desire, but also the ‘loop’ of literature and biography by thwarting all attempts to speak and desire from the place of the Other, as the Other.
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Monroy Zuluaga, Leonardo. "Entre el artista y el crítico: Basura de Héctor Abad Faciolince." LA PALABRA, no. 25 (September 3, 2014): 57. http://dx.doi.org/10.19053/01218530.2870.
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Este artículo interpreta la novela Basura de Héctor Abad Faciolince, enfocando el análisis en dos grandes personajes tipo: el artista y el crítico. La reflexión sobre el artista está basada especialmente en las tesis de Rafael Gutiérrez Girardot; en este sentido este artículo sugiere un diálogo entre Basura y la denominada "novela de artistas". El proceso de Davanzatti, el escritor dentro de la novela, desde su confianza en el arte a su fracaso en la vida es de esta forma explorado. Por otro lado, el crítico –un periodista que lee constantemente los productos de Davanzatti- es analizado en sus diferentes etapas: desde sus lecturas especializadas hasta el extraño interés por la vida de su vecino. Palabras clave: Basura, artista, crítico, novela colombiana. AbstractThis article interprets Basura, the novel written by Héctor Abad Faciolince, focuses on two main characters: the artist and the critic. The refl ection about the artist is specially based on the thesis of Rafael Gutiérrez Girardot; in that way, this article suggest a dialogue between Basura and the well known “artist novel”. The process of Davanzatti, the writer inside the novel, from confi dence on art to a failure in life is then explored. On the other hand, the critic –a journalist that constantly read the products of Davanzati- is analyzed in his different stages: from his specialized readings to a strange interest for the life of his neighbor. Key words: Basura, artist, critics, Colombian novel.
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Virtanen, Riika J. "Artists and Society in Modern Tibetan Literature." Studia Orientalia Electronica 8, no. 1 (August 7, 2020): 85–119. http://dx.doi.org/10.23993/store.8662.
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It is usually thought that modern forms of Tibetan culture started to emerge largely in the latter halfof the twentieth century, although there existed some signs and developments of modernizationalready in the first half. Since then, modern and traditional arts have existed side by side, ofteninfluencing each other and even appearing in hybrid forms. This situation is reflected in storiesabout artists in contemporary Tibetan fiction: these literary works include stories about artistswhich reflect both traditional Tibetan arts and folk culture and modern arts. This essay focuses onprose works by three writers: Dhondup Gyal (1953–1985), Tashi Palden (b. 1962), and TseringDhondup (b. 1961). In the works discussed, the main characters are representatives of differentart forms. The stories contain descriptions of the lives of artists and themes related to becoming,practising, and living as an artist. After the occupation of Tibet by the People’s Liberation Army ofthe People’s Republic of China in the 1950s, Tibetan society underwent a considerable transformation.The changes in society and its norms and values are also reflected in the descriptions of theartists’ lives. The relationship between artists and the surrounding society cannot be characterizedunidimensionally. The stories describe highly differing attitudes and values towards culture andart, which range from appreciating and being supportive to limiting and being negative. The relationshipbetween the artist and society may also undergo changes within a single story, reflectingthe influence of different attitudes and cultural policies in the society towards the practice of anartistic vocation. Examining the descriptions of artists and the theme of living as an artist, thisessay contributes to the discussion of the genre of artist stories in Tibetan culture.
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Adascalita, Lucia. "Satirical graphics in the creation of the plastic artist Iurie Rumeanțev." Arta 30, no. 1 (August 2021): 112–17. http://dx.doi.org/10.52603/arta.2021.30-1.16.
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d cultural barometer, it highlighted the perception and plastic reflection of events and changes typical of the weather. Quite a few plastic artists contributed to this, among whom the graphic artist Iurie Rumeanțev. The artist showed skill, artistry and originality in the perspective of emphasizing some interesting facets of everyday life. During his creative activity, the artist creates numerous satirical sheets that see the light of day in various publications, including the satire and humor magazine "Chipăruș", the magazine "Femeia Moldovei", the newspaper "Tinerimea Moldovei", etc. Frequently participating in international exhibitions, Iurie Rumeanțev is appreciated with diplomas and medals both for his caricatures and for his book graphics. Artistically reflecting the social life of the era in which he worked, Iurie Rumeanțev managed to create valuable graphic sheets in which, situations, frequently encountered in everyday life, are mirrored in an ironic way. At the same time, the artist excludes distortions of shape and hideousness in the representation of the characters, emphasizing the artistic revelations of the human essence. Simultaneously with the satirical graphics, Iurie Rumeanțev also manages to persevere in book graphics by making reference works.
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Mangunsong, Hasprita Restiamangastuti Boru, and Djuli Djatiprambudi. "Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas." Gelar : Jurnal Seni Budaya 19, no. 1 (July 17, 2021): 75–85. http://dx.doi.org/10.33153/glr.v19i1.3410.
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The interaction of Nusantara with various nations that has occurred since long ago led to the acculturation of local and immigrant cultures and produced a new culture. One of them is Wayang Potehi which comes from China and develops in Java. The purpose of this study is to find and describe the facial proportions of the female character of Wayang Potehi in Gudo, Jombang. The method used is a quantitative research method by measuring the facial proportions of several female characters of Wayang Potehi in Gudo with the golden ratio theory and calculating the average. In addition, this research also applies interviews with the chairman, Toni, and the puppeteer of Hok Ho An (Wayang Potehi Gudo group), Sonny, as well as direct observation. The golden ratio theory is not used to assess the proportion of Wayang Potehi but as a tool to find the average size of the proportion. The result of this study is the acculturation of Chinese and Javanese culture in visuals, language, stories, characters and characteristics as well as the artists behind the Potehi Wayang. The majority of Wayang Potehi are recognized by the symbols on their clothes and accessories, especially for female characters. Some of the female characters of Wayang Potehi created by the sculptor and Toni's team are quite different from the female characters of Wayang Potehi from China. This shows that the background of the artist (Javanese) influences the work of Wayang Potehi production.
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Jones, Robert A. "The scientist as artist: a study of The Man in the White Suit and some related British film comedies of the postwar period (1945-1970)." Public Understanding of Science 7, no. 2 (April 1998): 135–47. http://dx.doi.org/10.1177/096366259800700203.
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The Man in the White Suit is perhaps the major representation of a scientist in mainstream British films of the postwar period. The film was immensely popular at the time of its release in 1951 and continues to be influential today. This paper, which is part of an ongoing study of the image of scientists presented by the cinema during this period, analyzes The Man in the White Suit by comparing it with another film of the period, The Horse's Mouth, which presents an image of an artist, and two related film comedies. Many similarities can be seen between the characters of the scientists and the artists presented in these films. The reason for this, and the origin of the artist stereotype in the Romantic period of the early nineteenth century, are discussed. It is concluded that the stereotype of the artist is used as a model for the scientist because of the lack of familiarity with the nature of scientific creativity; artists and scientists may be treated similarly because both are seen as existing outside of the British class system. The question of whether the apparent innocence of the scientist in these films is seen as admirable or reprehensible is also discussed.
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Boszorád, Martin. "Doctor Who meets Loving Vincent Van Gogh (A case study of the “tortured artist” stock character in popular culture)." Ars Aeterna 11, no. 2 (December 1, 2019): 55–67. http://dx.doi.org/10.2478/aa-2019-0010.
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Abstract Methodologically connecting at its core the experience-based and interpretation-based aesthetic approach to popular culture/popular art(s) on one hand and the basis-building views of what is called arch-textual thematology on the other, the paper seeks to examine, following its particular embodiment, one of the most stable, recurring and probably therefore one of the most iconic stock characters - the “tortured artist” stock character. This example of a “stereotyped character easily recognized by readers or audiences from recurrent appearances in literary or folk tradition” (Baldick, 2008, p. 317) can be - besides other principal and distinctive examples such as the “mad scientist”, the “lady/damsel in distress” or, let’s say, the “everyman” - witnessed all across culture, including the sub-sphere of popular culture, and the arts. The implied cultural significance and “omnipresence” of the “tortured artist” stock character can be aptly illustrated by Vincent Van Gogh and not only as a real-life tortured artist prototype or even archetype but also as a popular model for numerous and various cultural depictions - from poems by Charles Bukowski through the “moving pictures” of Loving Vincent to an episode of the well-recognized British TV show Doctor Who.
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Kontoulis, Cleopatra, and Eliza Kitis. "Don DeLillo’s The Body Artist." Janus Head 12, no. 1 (2011): 222–42. http://dx.doi.org/10.5840/jh201112117.
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Don DeLillo’s The Body Artist portrays a world inhabited by characters whose unified, other-proof subjectivity crumbles around them to reveal the basic fibres of the biological, organicist body as this is mutated across bodies and projected across images. Such sameness and connection are primarily played out in the language and the style used. The paper examines linguistic techniques such as the use of logical conjunction (e.g., and) and causal connectives, such as because, which instead of signaling causality, constantly rephrases the same as an expanded other, thus effectively subverting our common sense perceptions. In this context, the absence of representational means of identity resulting in the redefinition of Lauren’s subjectivity on a broader biological plane also reconciles her to the grief felt at her husband’s death.
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Márquez, Israel. "Street Art y videojuegos: el caso de Invader." Revista de Humanidades, no. 39 (May 29, 2020): 135. http://dx.doi.org/10.5944/rdh.39.2020.21655.
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Resumen: El presente artículo analiza las relaciones entre street art y videojuegos como un ejemplo concreto de nueva práctica artística en el espacio urbano. Para ilustrar esta relación analizamos el proyecto artístico del artista urbano francés Invader, quien ha construido su identidad artística a partir de la apropiación material de los famosos personajes del videojuego Space Invaders y su traslado del espacio digital de la pantalla al espacio público de la calle.Abstract: The article analyzes the relationship between street art and video games as a new type of art practice in urban space. To illustrate this relationship, we analyze the work of the French street artist known as Invade. This artist has appropriated the characters from Space Invaders classic video game to build his artistic identity, transferring them from the digital space of the screen to the public space of the street.
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Dyachenko, S. I. "ANTIQUE TOPOS IN A STORY “AN ARTIST” BY TARAS SHEVCHENKO." Shevchenko Studies, no. 1(23) (2020): 97–112. http://dx.doi.org/10.17721/2410-4094.2020.1(23).97-112.
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The article analyzes the use of individual names, images and concepts from the great ancient heritage in the story "The Artist" by Taras Shevchenko. The tale selected for the study, as well as other prose works of the writer, testified a thorough knowledge of their author in the history of Greek and ancient Roman culture and literature, skillful use of certain plots, characters from ancient times to characterize individuals, their personal qualities, or when the master as a highly educated art historian has told readers about fine art works by world-class artists or in other similar situations. Following the wise instructions of many of his friends, particularly the outstanding classicist painter, brilliant master of ceremonial portrait K. Bryullov, T. Shevchenko thoroughly researched the works of ancient historians, philosophers and poets, studied European languages, and in most cases he used topics from Bible, ancient Greek and Roman history for his paintings and art works. The ancient topos of the Ukrainian artist were formed first in painting, and later or in parallel - in words that accompanied throughout his creative career. Realizing ancient and life phenomenon, the writer has reproduced them through the prism of his own artistic vision; it is especially masterful in the tale genre. T.Shevchenko lived the inner life of his characters, worked out and applied a whole range of feelings and experiences, through which he resorted to demonstration of new and more significant means of artistic expression. In the story "The Artist" the author employed a lot of antique images that are connected with the direct artistic function of the story of the fate of a young artist, who in a short period of life turned from an apprentice "in a shabby greasy robe" into a trendsetter. The writer depicted the young author of paintings practically from the time of his redemption from serfdom until the last days of his life. In this tale the young artist overcame various difficulties, sufferings, found the strength and cleverness to develop creativity, at the same time he expressed respect and obedience to friends, teachers, mentors. The writer was leading his young artist through a number of different situations and simultaneously was presenting the great cultural importance of the ancient world. In his story "The Artist" T. Shevchenko revealed the fascinating and unique world of Hellenic antiquity, presented to the reader a great number of the ideals that he professed.
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Parta, I. Wayan Seriyoga, and I. Wayan Suardana. "Subconscious Memory Narrative In The Exploration Of Iconic Puppet Of I Ketut Teja Astawa’s Painting." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 3, no. 1 (August 6, 2020): 8–14. http://dx.doi.org/10.31091/lekesan.v3i1.1042.
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The process of creation in creating works of art is stimulated by various factors, one of which is the personal experience of the artist who is so imprinted that makes it an inspiration and motivation in the work. In the context of the creation of experiential works of art, it then undergoes a process of internalization and interpretation in an artist, which is then reconstructed back into the medium of art. The reconstruction is related to the reimagining process, which at the level of implementation can vary by artist. Similarly, the work process of Teja Astawa, a young artists who grew up in the coastal environment of Sanur, Bali. Teja’s works highlight his childhood experiences when playing with frangipani leaves and jackfruit leaves which then made into various forms of puppets. That experience made an impression and room in Teja’s artistic life as an adult, especially in the media of painting. Teja also re-knits the series of experiences by bringing back the puppet figures in his work. To begin the reconstruction process, Teja conducted a field study by observing various forms of puppets with their respective symbolic characters.
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Кобзей, Наталія. "ОБРАЗ ГЕРОЯ-ХУДОЖНИКА НА МАТЕРІАЛІ ТВОРІВ ВОЛОДИМИРА ВИННИЧЕНКА." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 4, no. 1 (2022): 23–31. http://dx.doi.org/10.15804/ppusn.2022.01.02.
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In modern science of literature there is a growing interest in the subject of the artist and his creative process as one of the ways of self-expression of extraordinary personality in the real world in general and in the art world in particular, and to study the nature of the artist. Fine art occupied a significant place in the aesthetics and poetics of Vladimir Vynnychenko. The themes and issues of some of his literary works were influenced by the creative environment of Paris, where the writer spent many years, as well as personal acquaintance with individual Impressionist artists. Vynnychenko’s characters are the protagonists, they always conflict with the world, although they do not always win in these confrontations. They are often lonely, lacking support and understanding, but strong. Innovative artists are not afraid to loudly declare a decisive break with tradition, call for the improvement of technology and depiction of exclusively human material, choose emotional and highly psychological subjects of paintings, observe and depict feelings. This approach in painting was quite obvious for Vynnychenko, an artist, and the literary work of the great Ukrainian is considered in the context of the world’s leading psychoanalytic currents of the twentieth century. So it is not surprising that psychologism in the work of the writer was decisive. In Vynnychenko’s analyzed works of art we meet various images of artists, observe their work, hear their thoughts on painting, imagine the era in which they lived and worked. We understand that for both them and Vynnychenko, the focus is on the direct fixation of impressions and observations, on deep psychologism and philosophical understanding of reality. The themes of Vynnychenko’s paintings are diverse. However, unifying for all is the focus on the so-called “humanity” of the paintings. Artists focus on facial expressions, conveying expectations, hopes, inner anxiety. Psychological interpretation of images and expressiveness in the transfer of human character are welcome. The degradation of classical art with its primitive and stereotypical paintings focused on the rich bourgeoisie becomes obvious to all. Aesthetic ideals are also changing. Ugliness often breaks through external beauty, or the ugly manifests internal beauty. The concepts of “aesthetics of the ugly” and “beauty of pain” become identical with “new art”.
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Hermansyah, Mawardi. "PENGARUH EKSTERNAL DAN LINGKUNGAN ALAM PADA PERKEMBANGAN MOTIF BATIK CIREBON JAWA BARAT." Jurnal Dimensi Seni Rupa dan Desain 3, no. 2 (February 1, 2006): 139. http://dx.doi.org/10.25105/dim.v3i2.1250.
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AbtrakThe motif development of Batik Pesisir in general, particularly Batik Cirebon is the major discussion in this thesis. It begins with prevailing order of the value systems and the artist beliefs interacting with the primary-secondary needs as well as combining external culture and nature as the idea resources followed tc be patterns and attitudes of the artist / craftsmen in their creations. The creativity of those artists/craftsmen refers to the value systems and beliefs poured into the works based on the themes, characters/styles, techniques, and symbols attached to the batik motifs.AbtrakPerkembangan motif batik pesisir secara umum dan khususnya batik Cirebon menjadi bahasan utama. Pembahasan dimulai dari berlakunya tatanan sistim nilai dan keyakinan seniman, berinteraksi dengan kebutuhan primer-sekunder termasuk memadukan budaya luar dan lingkungan alam sebagai sumber ide yang dianut menjadi pola dan perilaku seniman/pengrajin dalam berkarya. Kreativitas para seniman/pengrajin mengacu pada sistim nilai dan keyakinan yang dituangkan dalam berkarya berdasar pada tema, sifat/gaya, tehnik, dan perlambangan yang melekat pada motif batik.
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Griffith, Suzannah. "Play in Melbourne City." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 353–67. http://dx.doi.org/10.32891/jps.v5i4.1420.
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Play in Melbourne City outlines a series of playful incursions in Melbourne, Australia’s central city that hopes to act as a reminder of the potential power and influence that individual citizens have in disrupting, creating and recovering public space. This is a practice-based exploration that uses Melbourne city as its site. Through a series of playful guerrilla theatre style incursions, the artist creates and embodies fictional characters that spontaneously appear throughout the city. Notions of the carnivalesque are harnessed through the use of masks, costumes and puppetry. Each character investigates and responds to a specific issue of spatial politics within the city, with the works importantly sitting outside of the scheduled template of gallery exhibitions and festivals. For the conceptual framework, the artist draws on Henri Lefebvre’s ideas of the production of space and Chantal Mouffe’s ‘agonistic’ model of public space.
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Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.
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The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.
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Markov, Alexander. "Rubens in Russian poetry: from ecfrasis to ideology and vice versa." Literatūra 61, no. 2 (December 15, 2019): 150–61. http://dx.doi.org/10.15388/litera.2019.2.11.
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Although the name of Rubens was included in the canon of well-known Western European artists in the Russian 18 century and his style was quite recognizable, an appeal to the artistic poetics of Rubens was rare, and Rubens’s eccentricities, created by Valery Bryusov and Nikolai Oleinikov, are full of ambiguities and obscure places. The article clears up all these obscurities based on the enlightening notion of Rubens as an artist capable of only a local mimesis, of portraying the life of Flanders, but not of a classic imitation of nature. This thesis was adopted by Pushkin and Dostoevsky and gradually acquired a moralistic and historicist meaning: Rubens depicts the characters, not the nature of a person, which means that he portrays the vice mainly and draws the viewer into the vicious circle of vice. The reevaluation of Baroque art at the beginning of the 20th century and the symbolists’ dreams of immersive theater required a different look at the audience’s involvement, thereby turning Rubens into an artist who could simulate the revolutionary activity of the crowd. At the same time, Pushkin’s idea of Rubens as an artist of arbitrariness, and not freedom, supported by the cultural image of Paul I as a collector of Rubens, was retained in Russian literature of the twentieth century.
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Sinclair, Gwen. "Constitution Illustrated." DttP: Documents to the People 49, no. 1 (April 5, 2021): 7. http://dx.doi.org/10.5860/dttp.v49i1.7535.
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Fans of comics and cartoons will revel in the creative deployment of characters from the funny pages throughout Constitution Illustrated. Artist R. Sikoryak is a contributor to The New Yorker and The New York Times Book Review and is the author of several illustrated books. In his latest work, he has concocted an ingenious ploy to enliven the text of the Constitution. Each page features a different section of the Constitution being recited by cartoon characters. Sikoryak has imitated the style and borrowed the characters of dozens of cartoonists. Readers will find favorites both classic and contemporary, from Bud Counihan’s Betty Boop and Chester Gould’s Dick Tracy to Alison Bechdel’s Dykes to Watch Out For and Harvey Pekar’s American Splendor. Aficionados will have fun figuring out the artist being imitated on each page, and a helpful index provides a key to the source of each drawing for those who aren’t able to recognize the myriad cartoonists represented.
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Fomin, Dmitry V. "Book Graphics by Nikolay Pavlovich Akimov. To the 120th Birth Anniversary of the Artist." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 2 (June 10, 2021): 149–62. http://dx.doi.org/10.25281/0869-608x-2021-70-2-149-162.
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The article is devoted to the art work of the outstanding Russian artist, stage director, theatre figure Nikolay Pavlovich Akimov. Using bibliological, art history and source study methods, the author analyzes the least known works of the master in the field of book graphics and posters, which have been overlooked by most researchers. The article traces the relationship between the stage director’s graphic experiments and his theatrical work. The author disputes the statement that most of Akimov’s covers of the 1920s belong to the “illustrative type”, which is often found in the bibliological literature, and emphasizes the generalized, symbolic, conditional nature of the portraits of literary characters. The examples show the coincidences and differences between the poster interpretation of the characters’ images and their book interpretation. The article considers not only the early works of the master, but also his design experiences of the late 1950s — early 1960s. The author reveals the most significant features of Akimov’s graphics: strongly pronounced fantasy spirit, the artist’s predilection for the eccentric and grotesque, for unexpected angles and lighting effects, distortion of real proportions for the sake of sharpening the character of the image, the inclusion of letters in the structure of figurative compositions.
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Kuronov, Dilmurov Khaydaralievich, and Nurmuhammad Nematullaevich Azizov. "The Fantastic Elements In The Image Of Spirit As An Artist." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 338–43. http://dx.doi.org/10.37547/tajssei/volume03issue04-50.
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The article explores the norealistic elements used as a poetic tool in illuminating the protagonist’s psyche. In particular, the problem of artistic psychologism was seriously studied through the analysis of the image of a driverless bus in the novel “A Thousand and One Images” (Ming bir qiyofa) and the motives of the characters to change places with the demands of the situation.
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Smirnova, Ekaterina L. "“Nero (artist)” in Fedor Dostoevsky’s Workbook of 1864—1867." Неизвестный Достоевский 7, no. 1 (March 2020): 118–32. http://dx.doi.org/10.15393/j10.art.2020.4441.
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The article examines the problem of attribution of an essay from F. M. Dostoevsky's workbook of 1864—1867 (Russian State Archive of Literature and Art. Fund 212.1.5. p. 10), titled “The Usurer”. The novelty of the study is in that Nero (the artist), a character who emerged from the writer’s knowledge and concept of Emperor Nero, for the first time becomes the subject of detailed analysis. Based on the evidence from the classical and early Christian writers, as well as on scientific and literary works written during Dostoevsky’s lifetime, the author makes an argument for Nero’s figure to be considered a junction of at least three elements. He is not merely Nero-the-artist, but also Nero-the-persecutor of Christians and Nero-the Antichrist. This image reveals a ramified network of extensive ties with the preparatory materials for an early draft of “The Idiot”. Thus, it augments the aggregate of B. N. Tikhomirov’s arguments regarding other records, characters, motifs and prototypes in this essay. It also support his theory regarding “The Usurer”, which states that it is not the author’s independent and unexecuted idea, but, rather, should be examined in the framework of the creative history of “The Idiot”, specifically, its initial stage.
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Setyanto, Daniar Wikan, Santosa Soewarlan, and Sumbo Tinarbuko. "MENAKAR KUALIFIKASI PEMERAN JAGOAN PEREMPUAN PADA FILM LAGA INDONESIA." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 01 (April 16, 2022): 109–24. http://dx.doi.org/10.33633/andharupa.v8i01.5795.
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AbstrakKesetaraan gender menjadi salah satu isu yang sering diangkat dalam dunia perfilman. Film-film laga populer saat ini mudah ditemukan karakter perempuan yang tampil sebagai seorang jagoan yang kuat dan mahir bela diri. Meskipun belum sebanyak Hollywood, film-film di Indonesia mulai memperkenalkan karakter jagoan perempuan di film-film layar lebar. Namun karakter jagoan perempuan dalam film Indonesia masih dianggap sebagai karakter minor, kemunculan mereka juga masih dianggap belum bisa menaikkan film dari segi kualitas dan perolehan penonton. Penelitian ini mencoba untuk mencari tahu alasan dibalik mengapa karakter tersebut masih belum berhasil mencuri hati penonton, yaitu dengan cara menakar kualifikasi setiap artis yang memerankan jagoan perempuan tersebut. Teori yang digunakan adalah teori dikotomi antara aktor (actrees) dan bintang (star). Metode penelitian yang digunakan yaitu metode campuran (mixed method) dengan teknik pencarian data dengan wawancara tokoh salah satu sutradara terkenal Indonesia yaitu Garin Nugroho. Hasil dari penelitian ini adalah film jangan hanya mengeksploitasi tubuh perempuan dengan menonjolkan visualisasi kecantikan dan kemolekan tubuh perempuan tetapi perlunya kemampuan akting dan keahlian dalam bela diri sebagai nilai tambah pemainnya. Selain itu perlunya memperkuat penulisan naskah film laga dan pendalaman karakter sehingga kualitas film laga di Indonesia akan semakin berjaya dan bisa bersaing di kancah film Internasional. Kata Kunci: artis peran, film Indonesia, jagoan perempuan, kajian film AbstractGender equality is an issue that is often raised in the world of cinema. Popular action films nowadays are easy to find female characters who appear as strong and proficient in martial arts. Although not as many as in Hollywood, films in Indonesia have begun to introduce female hero characters in big screen films. However, female hero characters in Indonesian films are still considered minor characters, their appearance is also still considered unable to increase the quality of the film and the audience gain. This study tries to find out the reason behind why the character still hasn't been liked by the audience, that is by measuring the qualifications of each artist who plays the female hero. The theory used is the dichotomy theory between actors and stars. The research method used is a mixed method with data search techniques by interviewing the famous Indonesian directors, namely Garin Nugroho. The result is that the film does not only exploit women's bodies by highlighting the visualization of the beauty and beauty of the female body, but also the need for acting skills and martial arts skills as an added value for actresses. In addition, it is necessary to strengthen the writing of action film scripts and character development so that the quality of action films in Indonesia will be more victorious and can compete in the international film scene. Keywords: artists, Indonesian film, female heroes, film studies
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Kazmi, Ismail Khalid, Lihua You, and Jian Jun Zhang. "A hybrid approach for character modeling using geometric primitives and shape-from-shading algorithm." Journal of Computational Design and Engineering 3, no. 2 (November 6, 2015): 121–31. http://dx.doi.org/10.1016/j.jcde.2015.10.002.
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Abstract Organic modeling of 3D characters is a challenging task when it comes to correctly modeling the anatomy of the human body. Most sketch based modeling tools available today for modeling organic models (humans, animals, creatures etc) are focused towards modeling base mesh models only and provide little or no support to add details to the base mesh. We propose a hybrid approach which combines geometrical primitives such as generalized cylinders and cube with Shape-from-Shading (SFS) algorithms to create plausible human character models from sketches. The results show that an artist can quickly create detailed character models from sketches by using this hybrid approach.
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Sajjad, Noor-ul-Ain, and Ayesha Perveen. "Private Heterotopia and the Public Space: An Incongruity Explored Through Orhan Pamuk’s My Name Is Red." SAGE Open 9, no. 1 (January 2019): 215824401882449. http://dx.doi.org/10.1177/2158244018824490.
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The article studies art, as presented in Orhan Pamuk’s My Name Is Red, as a heterotopia based on Michel Foucault’s six principles. After outlining the six principles of heterotopia as enunciated by Foucault, the study excavates heterotopia of crisis and deviation from the novel. Art as a medium of representation has cathartic potential creating heterotopia in societies dominated by public discourses against art. It provides the artist with a medium for personal and private expression, thus creating a desanctified space. The notion that art that is made public restricts such liberty for the artist is proposed and justified. In My Name Is Red, characters such as Elegant Effendi and Olive can be seen tormented by the conflict between the social and the heterotopic. True expression of their art makes both of them lose their place, albeit in different ways. This implies that if a heterotopia of deviation has to be made public, in most cases, the honesty of expression is tampered with by the artist, even if unconsciously, because of societal pressures. Heterotopia of deviation is not compatible with the public gaze and making it public will create a heterotopia of crisis for the honest artists. This is why the artist hides his real creative inspiration. If art could be accepted as a desanctified medium without any moral or hegemonic judgment, it might attain its desired impact which politicization of the medium restricts in many judgmental societies. Pamuk pens this dilemma down by taking his readers back to the 16th-century Istanbul while drawing a parallel to the present era.
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Gelmini, Lorenzo. "Balzac: An Artist and an Entrepreneur." Asian Journal of Social Science Studies 4, no. 1 (January 14, 2018): 1. http://dx.doi.org/10.20849/ajsss.v4i1.538.
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Balzac has been widely regarded as one of the greatest storytellers of humanity; his ability to describe an entire universe of characters makes his work a real living system, truly devoted to an ambitious project. At the same time his sparkling and puzzled existence is itself a novel.As such, analyzing some key moments in Balzac's life, from a specific financial standpoint and business perspective, allows us to better understand the genesis of his work: and vice versa.In effect, the main research question of this paper is to identify some key moments in Balzac's life that have affected him from a financial perspective and that have drawn him to a mature and profound knowledge of the social and economic mechanisms, essential for writing his great masterpieces.At the same time, and on the contrary direction, attention will be devoted to some of his novels that have a clear economic and financial plot: as above, they certainly have emerged from the knowledge of the social life in France in the nineteenth century via his daily vicissitudes.
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Paudel, Rudra Prasad. "Mainali’s “A Blaze in the Straw” as a Fine Work of Art." Tribhuvan University Journal 27, no. 1-2 (December 30, 2010): 143–48. http://dx.doi.org/10.3126/tuj.v27i1-2.26397.
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Art refers to the product of creative human activity in which concepts are shaped and selected to convey an idea or emotion. A short story is an art form, a particular type of artistic activity and a product of the author’s imagination. Unlike novels that usually depict conflicts among many characters, developed through a variety of episodes, stimulating a complexity of responses inreaders, a short story is a brief fictional narrative prose disclosing one character’s inner conflict with others having one thematic focus. It concisely presents events and stirs our imagination.
Guru Prasad Mainali (1900-1971), one of the prominent writers and a leading personality in Nepali literature, develops the modern short story in Nepali language and becomes popular with a few stories. His most famous stories have been collected in The Ward (Naso) (1969) in which an elderly Brahman who has no children is obliged to marry a second wife in order to clear his way to paradise. He writes stories in a new model and each is considered a classic. He isa modern artist in Nepali short story writing. In “A Blaze in the Straw,” Mainali focuses on a way of living of husband and wife in Nepali context and proves that the quarrel between husband and wife is not more than a blaze in the straw as shown in the life of Chame and Gaunthali. He, very skillfully, expresses the experience of the characters as it is, which is the greatness of the artist suggested in the art. Based on this fact, this article discusses Guru Prasad Mainali as a modern artist and his “A Blaze in the Straw” as Nepali proverb implied in the title.
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Farahmandian, Hamid, and Lu Shao. "Stephen’s neurotic self-estrangement: A case study of James Joyce’s A Portrait of the Artist as a Young Man." Journal of European Studies 52, no. 1 (February 14, 2022): 24–35. http://dx.doi.org/10.1177/00472441211072609.
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This article examines neurosis in the personality of Stephen Dedalus in James Joyce’s A Portrait of the Artist as a Young Man as a means to understand his intellectual and artistic development. Although Joyce’s fictional characters have been studied from various psychoanalytic perspectives, the psycho-neurotic aspect of these characters – particularly Stephen – has been largely overlooked. We use Karen Horney’s theory of neurosis as an analytic device to reveal how Stephen’s self-estrangement and neurotic personality bring about his successful evolution as a creative artist, suggesting that Stephen moves away from other people because of his neurotic need of perfection, self-sufficiency and narrow limits on his life. The uncertainty of these needs leads Stephen to become hostile to his society, as he is estranged from it. Consequently, he adopts a detached personality. His self-estrangement leaves Stephen neurotic inasmuch as it increases his artistic power.
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Shtolko, Maryna. "Specifics modeling pictures of childhood I. Zhylenko, P. Tychyna, N. Surovtseva, V. Symonenko and V. Stus in a biographical novel in the short stories «Rainbow in the Sieve» by M. Pavlenko." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 97–105. http://dx.doi.org/10.28925/2412-2475.2020.16.14.
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The purpose of the article is to trace the ways of constructing paintings of the childhood of Ukrainian writers of the ХХ century (Dmytro Pavlychko, Nadiya Surovtseva, Vasyl Symonenko, Vasyl Stus, Iryna Zhylenko) on the material of a biographical novel in the short stories «Rainbow in the Sieve» by Ukrainian poet, writer, artist, scientist, teacher Maryna Pavlenko. The relevance of the study is determined by the search for new perspectives on the coverage of childhood in the biographical literature. Particular attention is paid to the features of the author’s expression in the text. An attempt is made to analyze the informative value of story headings. The factors of influence on personality formation and ways of their reproduction in the novel are analyzed. Generalizations are made to delineate national and cultural identification of characters. The textual expression of the ideological and artistic dominants of the poetic and artistic world of the main characters of the stories is traced. Literary techniques of character characteristics (elements of portraiture, character creation) are revealed. The comparative-historical, typological, structural-functional, biographical methods are applied.
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Widyastuti, Thera. "The Struggles of the Kretek Workers in Iksaka Banu’s Novel, Sang Raja (The King)." k@ta 22, no. 2 (December 13, 2020): 84–92. http://dx.doi.org/10.9744/kata.22.2.84-92.
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Novel is able to present the development of one character, complex social situations, relationships involving many or few characters, and complicated events that occurred several years ago in detail. Novel The King was written by Iksana Banu, an famous Indonesian author and artist. He published the novel in 2017. The King tell the story about people who work in Kretek Cigarette factory. They have to struggle how to defend the cigarette factory from competition with other factories, and worldwide economic depression. The main character, Philip Gerardus Rechterhand, a Dutch man who borned in Indonesia. Intrinsic (character and setting), and extrinsic (sociology of literature, personality theory, and history) approaches are using to analyze this research. Kretek become part of society life, and many people have economic dependence on the kretek factory.
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Balčus, Zane. "FILMMAKERS AS ONSCREEN CHARACTERS IN RECENT LATVIAN DOCUMENTARY CINEMA." Culture Crossroads 18 (October 31, 2022): 55–65. http://dx.doi.org/10.55877/cc.vol18.85.
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Since the beginning of the 21st century an increase of films with filmmakers present onscreen can be observed in Latvian documentary cinema. Their stories open up personal issues and family histories, their presence diversifies stylistic approaches to documentary apart from most often used observational form. Issues of formal elements of narrating a story, representation of filmmaker’s self within the film’s narrative, power relations between the filmmaker and the character are at the core of study in documentary film theory, where participatory and performative modes (Bill Nichols), analysis of performative nature of documentary (Stella Bruzzi), and character representation (Carl Plantinga, Thomas Waugh) are explored. The three recent Latvian documentaries discussed in this article present variations of interaction of filmmaker and character/-s in telling the story of the director’s father in “My Father the Banker” (Mans tēvs baņķieris, Ieva Ozoliņa, 2015), disclosing the personality of a friend and an artist in “Forging Condors” (Kondoru kalve, Mārtiņš Grauds, 2018), or questioning the ethical implications of a documentary filmmaker in “Documentarian” (Dokumentālists, Ivars Zviedris, Inese Kļava, 2012). They present various approaches to the issues of representation, choice of formal elements, and interaction between the filmmakers and the films’ characters.
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Reali, Florencia. "Emotion metaphors in James Joyce’s A Portrait of the artist as a young man." Journal of Literary Semantics 49, no. 1 (April 26, 2020): 41–60. http://dx.doi.org/10.1515/jls-2020-2016.
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AbstractCognitive stylistics provides a framework for analysis of conceptual metaphors in literature, as a way to approach fictional characters’ mind styles. Here, cognitive linguistic tools are applied to characterize the metaphorical expressions of emotion in James Joyce’s A portrait of the artist as a young man. A number of conceptual metaphors were identified in relation to anger, lust, shame, pride, fear, happiness and sadness, among others. Creative uses of language came to light, both by means of novel conceptual mappings and original linguistic realizations of more conventional metaphors. Original expressions revealed aspects of mind style of the novel’s main character, particularly in relation to his struggle with negative emotions. For example, anger and resentment are conceptualized as a sort of covering that could be effortlessly detached from the body, while shame-related feelings are experienced as threatening floods. From a methodological perspective, this study illustrates the advantages of cognitive stylistic tools for the analysis of literary work.
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Lee, Haengmi. "A Study on Disquieting Voices towards a Patriarchal Society: Focusing on the Meaning of Family and Women in Lee Tae-jun’s Three Daughters." Korean Society of Culture and Convergence 44, no. 5 (May 31, 2022): 441–58. http://dx.doi.org/10.33645/cnc.2022.5.44.5.441.
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This article clarifies the meaning of the voice of a woman who bitterly criticizes the patriarchal society of the time by analyzing Lee Tae-jun’s novel Three Daughters, focusing on the conflict and confrontation between the values of the three sisters. This novel is interesting in that an ideological gap appears between the character ideally created by the author and the character who conveys the subject according to the narrative development. These characteristics were acquired in the process of creating new characters while changing the format of many contemporary family novel and observing and diagnosing the reality of women at the time. Such exploration of form and content in a novel serialized in a newspaper is also a product of the artist's efforts to not give up its value as an art while considering its popularity. The character Jung-guk, who embodies the spirit of women in the new era, is unique in that it conflicts with the ideal value that the artist wanted to draw through female characters, even though she was created by the author. Jungkook is a person who criticizes the whole product of patriarchy, such as the sacredness of motherhood and the marriage system, and asks fundamental questions about the conditions and values of the family. However, in contrast to the emphasis on the radical and disturbing voice of the political situation, the thoughts and actions of the characters appear to be insufficient reproduction without specificity at the end. These characters exceed the artist's worldview and reveal a voice criticizing the reality of the time. These female characters engrave progressive meanings in the discourse of women and families of the time, while at the same time looking at Lee Tae-joon's literary world from a different perspective.
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Baranova, Margarita. "Intermedial Specificity of Illustrations by I.S. Glazunov for the Works by F.M. Dostoevsky." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 225–32. http://dx.doi.org/10.17150/2500-2759.2020.30(2).225-232.
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The article explores illustrations by I.S. Glazunov for the works by F.M. Dostoevsky in terms of intermediality. This up-to-date method allows us to consider the area of different kinds of art as an open information field, connected by various communication channels, «media». This method promotes deep analysis of the illustrations, their holistic interpretation and perception. Dostoevsky is Glazunov's favorite writer; it was precisely his works that the artist most often referred to in his illustrations. However, not only his skills as a graphic artist, but also his ideological closeness to the artist in words makes Glazunov’s illustrations so valuable. In his works, Glazunov tried to embody not only literary images, but also to convey the writer's philosophy, including the well-known idea of «universal responsiveness». The artist sought to convey the intention of Dostoevsky’s characters through experiments with color and chiaroscuro, as well as using the sauce and pastel technique, which made it possible to convey expressiveness and tension through certain incompleteness and sketchiness of the illustrations created by Glazunov.
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Vysotska, Natalia. "Playing Upon Biographical Myths: William Shakespeare and Lesia Ukrainka as Characters in Contemporary Drama." Kyiv-Mohyla Humanities Journal, no. 8 (December 24, 2021): 103–19. http://dx.doi.org/10.18523/kmhj249192.2021-8.103-119.
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The article sets out to explore two plays by contemporary playwrights, one American (Don Nigro, Loves Labours Wonne), the other Ukrainian (Neda Nezhdana, And Still I will Betray You), focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of “the author as character” subgenre of fictional (imaginative) biography. Accordingly, the article considers the correlation between the factual and the fi ctional as one of its foci of attention. Drawing upon a variety of theoretical approaches (Paul Franssen, Ton Hoenselaars, Ira Nadel, Aleid Fokkema, Michael MacKeon, Ina Shabert and others), the article summarizes the principal characteristics of “the author as character” subgenre and proceeds to discuss how they operate in the dramas under scrutiny. The analysis makes it abundantly clear that in Nigro’s and Nezhdana’s plays the balance between fact and fi ction is defi nitively tipped in favor of the latter. By centering their (quasi) biographical plays on highly mythologized artists of national standing, both dramatists aimed at demythologizing these cult fi gures, inevitably placing them, however, within new mythical plots combining a Neo-Romantic vision of the artist as demiurge, with a Neo-Baroque as well as fin de siècle apology of death and a postmodern denial of one objective reality.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 19, no. 2 (October 10, 2017): 32–53. http://dx.doi.org/10.33831/jws.v19i2.251.
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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Silverman, Kaja. "Looking with Leo." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 410–13. http://dx.doi.org/10.1632/pmla.2010.125.2.410.
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I chose the title of this essay in part because I will be discussing Leo Bersani's work on painting and cinema, and Doing so as a friend rather than a rival or adversary. But the three words in my title also describe how Bersani himself approaches the visible world: when he sees something, he looks with it, not at it. He is drawn to artists who look in the same way—artists who challenge the notion that seeing is a one-way action, which a seer performs on a visual object. Terrence Malick is a particularly good example of this type of artist, since he not only looks with the world but also makes this action the center of his films. As Bersani and Ulysse Dutoit put it in their discussion of The Thin Red Line, Malick shows us both “the world his characters are registering” and “the imprint of the act of looking on the subject of the looking” (Forms 146).
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 18, no. 2 (October 10, 2017): 32–53. http://dx.doi.org/10.33831/jws.v18i2.251.
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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Darie, Andreea. "Slava’s SnowShow Searching For The Divine Child." Theatrical Colloquia 10, no. 1 (May 1, 2020): 158–67. http://dx.doi.org/10.2478/tco-2020-0011.
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AbstractThe performance SnowShow, created by Russian artist Slava Polunin, had its premiere in Moscow in October 1993. It won Drama Desk Award for Unique Theatrical Experience and was nominated at Tony Award for Best Special Theatrical Event. Currently, this performance-event has world tours periodically.The contemporary art can be characterized by the hybridization of the expression forms, by the impressive blend of antagonistic signs and concepts. SnowShow consists of at least two spectacular forms: theater and clownery. There can be observed many overall compositional elements specific to clownery (the characters’ costumes, the expression of the relationships, the artist / audience ratio, the construction of the sequences). Likewise, the dramatization of the theme, the philosophical conceptualization, and the characters’ existence, the presence of various emotions, the placement of laughter and other clown-related motifs in the background are among the aspects indicating the fundamentally dramatic structure of the performance. The initially perceived individual anxiety and the singular nature get general, multiplied proportions. SnowShow is, perhaps, a recontextualization of Vladimir and Estragon in Samuel Beckett’s Waiting for Godot.
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Maczel, Maria. "Puszkin w Maskaradzie Jarosława Iwaszkiewicza – wizerunek poety." Język. Religia. Tożsamość. 2, no. 24 A (December 22, 2021): 123–36. http://dx.doi.org/10.5604/01.3001.0015.6206.
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The subject of the article is the role of Aleksander Pushkin in Jarosław Iwaszkiewicz’s drama Masquerade. The analysis covers mainly statements by Pushkin himself and other characters relating to the Russian poet. This allowed us to show what means and how the author of the play creates a psychologically profound portrait of a great artist.
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Bukareva, Natalja J. "The theme of relations between the artist and power in Sergey Maximov's dilogy Denis Bushuyev and Denis Bushuyev's Rebellion." World of Russian-speaking countries 1, no. 7 (2021): 62–72. http://dx.doi.org/10.20323/2658-7866-2021-1-7-62-72.
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This article examines the unique solution to the problem of the relationship between the creative personality and the state in the dilogy of the émigré writer Sergei Maximov. The author believes that this question is axiological, as it is related to the moral choices of the artist.The relationship between the artist and the authorities is directly linked to the historical situation and the political regime. The novels show different characters through the dialogue between the authorities and the artist. The choice of heroes is largely due to the Stalinist era, which totally restricted the artist's freedom of personal expression. One variant of the characters' behaviour is toadapt to the regime, with the consequent loss of individuality, writing to social order, creating stereotyped socialist-realistic texts, participating in establishing the «Stalinist myth», but living comfortably in the material world and without state repression. Maksimov speaks about the degradation of the artistic level in socialist realistic works that follow an invariant model, which results in the unification of creative individuality. Another important issue to the novelist is the artist's ethical authority, the idea of the moral responsibility of the writer strengthening the position of the criminal regime through his works. Alternatively, one can choose to find freedom of expression, opposition to power, leading to the destruction of the artist by the system. What both choices have in common is that it is a relationship of initially unequal forces, so their dialogue is not constructive.
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Aswat, Alfiqra, Rajudin Rajudin, and Rica Rian. "Karakteristik Warna Pada Lukisan Wakidi." V-art: Journal of Fine Art 1, no. 1 (December 15, 2021): 9. http://dx.doi.org/10.26887/vartjofa.v1i1.2133.
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This study discusses the color character that Wakidi presents in his paintings, which mostly uses soft colors in his naturalist paintings. The method used in this study refers to a qualitative method which includes field observations, interviews, documentation, and literature studies as well as research conducted in the Padang area, West Sumatra. Based on the results of research on the characteristics of Wakidi's color in his paintings, the use of soft colors in Wakidi's paintings is to remind him that nature is very beautiful and has a calm atmosphere. Based on the type of human according to the typology of Hypocrates and Galenus Wakidi, it is a Phlegmatic type. Wakidi tends to present natural scenery in the evening with a reddish color. The color characters in Wakidi's works are discussed based on color dimensions, color composition, and differences with other artists. There is a lot that can be learned and researched from Wakidi's active work in addition to being a painting teacher and an Mooi Indie artist at the beginning of the pioneering of fine arts in West Sumatra, as well as being able to become a cultural asset that elevates natural scenery and ancient culture into his paintings. It is hoped that research on the color character of Wakidi's paintings can be a reference so that there are opportunities for other researchers to research from other scientific points of view.
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Moores, D. J. "The Disaster Artist of the long eighteenth century." Journal of European Studies 49, no. 2 (May 2, 2019): 91–107. http://dx.doi.org/10.1177/0047244119837475.
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This essay is a discussion of three anonymous novels about happiness from the long eighteenth century – The Vale of Felicity (1791), Benignity (1818) and Edward (1820) – all of which seem to be written by the same author, as they exhibit striking similarities not only in subject matter but also in their aristocratic perspective on happiness, one wholly dependent upon pecuniary means. What is more, they exhibit the same artistic deficiencies, particularly in wooden characters and the rather poor handling of pacing, plotting, obtrusive didacticism and complication. The opening discussion situates the novels in the context of the abundant eighteenth-century literature on happiness, while the body of the essay is a critical analysis of the three narratives in terms of their various genres (epistolary, sentimental, didactic, Bildungsroman, circular journey, identikit, picaresque) and eighteenth-century ideas on Stoicism, Epicureanism, and Christian charity. The peroration and conclusion are a reflection upon the notion of happiness itself and how it has been ill-received in literary studies. The essay represents the first analysis of its kind, since there is no extant, substantial criticism on any of these novels.
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DUCA, Paula, and Roxana PEPELEA. "Compositional premises in approaching Suor Angelica role in the homonymous work of Puccini." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), no. 1 (2021): 31–40. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.4.
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This article proposes to summarise some of the defining compositional and interpretive elements on which approaching Suor Angelica role from the lyrical artist perspective is based. Suor Angelica role is a vocal challenge of a complex type, with an extreme difficulty that is often underestimated, requiring a diversity of interpretive resources at the same time. Through this article, we aim to discover the elements on which the interpretation via compositional conception is based, on the level of the musical – vocal and orchestral – discourse of the text and the libretto. The building of the main features of Suor Angelica character is pursued via a dual approach. The article correlates the assessment of the solo parts – like ‘Senza mamma, o bimbo, tu sei morto’ – by following the music and scenic interaction of the main character with the other characters in the homonymous opera.
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Kovitz, Kasper. "Nuns fret not…" ARTMargins 2, no. 2 (June 2013): 121–36. http://dx.doi.org/10.1162/artm_a_00054.
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Nun's Fret Not is a photomontage project that tells the story of a nun who, following an epiphany, embarks with her convent on becoming a “missionary artist” through a study-by-mail artist's course, and her subsequent disillusionment. A continuation of the work begun in icehouse in 2010, it re-contextualizes Kovitz's previous art work into a meta-narrative that examines recurrent themes in his art practice: artist and audience, success and obscurity, art market and art education, dominant cultures and subcultures. All characters in this project share the same face– the face of Litmus– an alter ego Kovitz made for his work based on an FBI shooting target. In the next installment of this project the nun will undergo a sex change and become a capitalist…
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Darmawan, Andreas James, Lintang Widyokusumo, and Dyah Gayatri Puspitasari. "Perancangan Stiker Karakter Visual dalam Aplikasi Chatting: Kolaborasi Kebudayaan Jawa dan Wayang Kontemporer." Humaniora 6, no. 2 (April 30, 2015): 201. http://dx.doi.org/10.21512/humaniora.v6i2.3326.
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A new tradition in the use of chatting communication technology with mobile phone (cell phone) is more lively with the use of stickers. Stickers are used as a means to increase the emotion expressions of communication users. Current mobile phone technology, along with the development of high specifications (for visual depiction), is adequate to display complex visual. This prompts a new tradition that accepts even to be a new behavior in modern communication methods. Looking at this phenomenon, it is not impossible for an artist to open up the work area (creative economy) and the creation of new business areas in the visual characters of Indonesian culture. This study used the chatting phenomenon with stickers to introduce the culture of the puppet characters with contemporary approach for young people around the world. The method carried out included the depiction of classification of facial expression emotions and collaboration with the approach of some common sticker visualizations. The result was then put into the classification of semiotic theory combining with simplified visual approach to obtain the appropriate visual characterstics of the puppet. Research also involved visual craft of the purwa puppet as visual character basis for character deformation of the contemporary puppet. Thus, the application of visual stickers can be used by users for communication functions.