Journal articles: 'English art'

1

Kryszewska, H. "English Through Art." ELT Journal 66, no. 3 (June 21, 2012): 405–7. http://dx.doi.org/10.1093/elt/ccs030.

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Mathews, Peter D. "Embodied Art: A Reading of A. S. Byatt’s ‘Body Art’." English: Journal of the English Association 68, no. 263 (2019): 344–63. http://dx.doi.org/10.1093/english/efz033.

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Abstract This article examines the idea of an embodied art in A. S. Byatt’s short story ‘Body Art’. In order to contextualize this concept, the essay begins with a survey of Byatt’s earlier explorations of the link between mind and body, as well as an analysis of the small amount of secondary material relating to ‘Body Art’, a text that has received little critical attention. The article then explores the story’s ties to Dutch vanitas painting, a tradition that is intimately linked to the study of anatomy. The vanitas tradition shows how medicine and art were once a unified field, and explores the consequences of their modern division. This leads to a consideration of the influence of theological debates about mind and body and their effect, in particular, on Renaissance humanist art. The next section examines the shifting meaning of the archival collection, particularly in its significance for modern formations of subjectivity. This idea is particularly important in the context of the story’s allusions to Joseph Beuys, who views the artist’s body as a locus of creativity. Like Beuys, Byatt is interested in art that draws on the imaginative power of religious storytelling and imagery while rejecting its supernatural elements. Byatt draws together all of these elements in her story in order to articulate her vision of an embodied art, one that draws together the conceptual and the physical.

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Myrone, Martin. "Instituting English Folk Art." Visual Culture in Britain 10, no. 1 (March 2009): 27–52. http://dx.doi.org/10.1080/14714780802686480.

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Daalder, J. "'Hamlet', Art and Practicality." English 39, no. 163 (March 1, 1990): 1–11. http://dx.doi.org/10.1093/english/39.163.1.

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Leader, Z. "De Quincey's Art of Autobiography." English 40, no. 167 (June 1, 1991): 163–68. http://dx.doi.org/10.1093/english/40.167.163.

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6

Wolff, J. "Modernism, Modernity and English Art." Oxford Art Journal 21, no. 2 (January 1, 1998): 199–202. http://dx.doi.org/10.1093/oxartj/21.2.199.

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Boomer, Garth. "English Teaching: Art and Science." Language Arts 62, no. 7 (November 1, 1985): 702–16. http://dx.doi.org/10.58680/la198525878.

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Lyon, J. M. "The Art of Grief: Douglas Dunn's Elegies." English 40, no. 166 (March 1, 1991): 47–67. http://dx.doi.org/10.1093/english/40.166.47.

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9

Bryan, Elizabeth J. "Picturing Arthur in English History: Text and Image in the Middle English Prose Brut." Arthuriana 23, no. 4 (2013): 38–71. http://dx.doi.org/10.1353/art.2013.0050.

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Cannon, R. D. "Bagpipes in English Works of Art." Galpin Society Journal 42 (August 1989): 10. http://dx.doi.org/10.2307/842621.

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Blake, Julie. "The Art of English: Everyday Creativity." English in Education 42, no. 1 (March 2008): 108–9. http://dx.doi.org/10.1111/j.1754-8845.2007.00007_4.x.

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12

Mount, H. "The Englishness of English Art Theory." Oxford Art Journal 25, no. 1 (January 1, 2002): 102–6. http://dx.doi.org/10.1093/oxartj/25.1.102.

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13

Hayward, H. "Tennyson's endings: In Memoriam and the art of commemoration." English 47, no. 187 (March 1, 1998): 1–15. http://dx.doi.org/10.1093/english/47.187.1.

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Filip, Aleš. "The seductive English influences." Umění 71, no. 4 (2023): 356–73. http://dx.doi.org/10.54759/art-2023-0404.

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15

Joseph M. Sullivan. "Select Bibliography for Middle High German Arthurian Romance of English-Language Translations and Recent Scholarship in English." Arthuriana 20, no. 3 (2010): 110–18. http://dx.doi.org/10.1353/art.2010.0001.

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Mancoff, Debra N., and Susan P. Casteras. "Images of Victorian Womanhood in English Art." Woman's Art Journal 11, no. 1 (1990): 42. http://dx.doi.org/10.2307/1358388.

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17

Cohen, Michael. "Images of Victorian Womanhood in English Art." Nineteenth Century Studies 3, no. 1 (January 1, 1989): 85–89. http://dx.doi.org/10.2307/45196653.

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Cohen, Michael. "Images of Victorian Womanhood in English Art." Nineteenth Century Studies 3, no. 1 (January 1, 1989): 85–89. http://dx.doi.org/10.2307/ninecentstud.3.1989.0085.

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19

Orton, Fred. "'Postmodern', 'Modernism', and Art Education (English) 'Modernised'." Circa, no. 28 (1986): 62. http://dx.doi.org/10.2307/25557103.

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20

Macleod, Dianne Sachko. "THE DIALECTICS OF MODERNISM AND ENGLISH ART." British Journal of Aesthetics 35, no. 1 (1995): 1–14. http://dx.doi.org/10.1093/bjaesthetics/35.1.1.

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21

Zykov, E. A. "The Art of Business Communication in English." Humanities and Social Sciences. Bulletin of the Financial University 10, no. 2 (April 22, 2020): 106–11. http://dx.doi.org/10.26794/2226-7867-2020-10-2-106-111.

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22

Bullen, J. B. "The English Romantics and Early Italian Art." Keats-Shelley Review 8, no. 1 (January 1993): 1–20. http://dx.doi.org/10.1179/ksr.1993.8.1.1.

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23

Lambert, David, and Jane Brown. "The Art and Architecture of English Gardens." Garden History 18, no. 1 (1990): 69. http://dx.doi.org/10.2307/1586981.

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Colvin, Howard. "The art and architecture of English gardens." Journal of Garden History 11, no. 3 (July 1991): 182. http://dx.doi.org/10.1080/01445170.1991.10408305.

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25

Choi, Tat Heung. "English Activation Through Art: Tensions and Rewards." TESOL Journal 8, no. 3 (July 22, 2016): 518–39. http://dx.doi.org/10.1002/tesj.285.

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26

Southworth, K. "Punctuation: Art, Politics, and Play * The Essential Guide to English Studies." English 60, no. 229 (February 3, 2010): 185–87. http://dx.doi.org/10.1093/english/efp057.

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27

Harty, Kevin J. "Early English Performance: Medieval Plays and Robin Hood Games, Shifting Paradigms in Early English Drama Studies by John Marshall." Arthuriana 30, no. 2 (2020): 128–29. http://dx.doi.org/10.1353/art.2020.0016.

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28

Spencer, J. R. "English Criminal Procedure and the Human Rights Act 1998." Israel Law Review 33, no. 3 (1999): 664–77. http://dx.doi.org/10.1017/s0021223700016101.

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The European Convention on Human Rights is one of the manifestations of the Council of Europe, an organisation of European states founded in 1949 with the aim of strengthening the common democratic heritage. It is an international treaty which binds the contracting States to respect the list of human rights and freedoms it proclaims. An enforcement mechanism exists in the form of the European Court of Human Rights (in this paper called ‘the Strasbourg court’).In brief, these rights and freedoms are the right to life (art. 2); freedom from torture or inhuman and degrading treatment or punishment (art. 3); freedom from slavery or forced labour (art. 4); the right to liberty (art. 5); the right to a fair trial (art. 6); freedom from retrospective criminal laws (art. 7); the right to respect for private and family life, home and correspondence (art. 8); freedom of thought, conscience and religion (art. 9); freedom of expression (art. 10); freedom of peaceful assembly (art. 11); and the right to marry and found a family (art. 12). Over the years, this initial list of rights has been expanded by a series of additional Protocols — not all of which have been ratified by all the Member States. The First Protocol, which Britain has ratified, guarantees the right to peaceful enjoyment of possessions, education, and free elections.

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29

WOOD, LUCY. "LEVER'S OBJECTIVES IN COLLECTING OLD FURNITURE." Journal of the History of Collections 4, no. 2 (January 1, 1992): 211–26. http://dx.doi.org/10.1093/jhc/4.2.211.

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Abstract Lever began acquiring old furniture in the 1870s and 1880s, first of all buying early English oak and then eighteenth-century French furntture. During the 1890s he turned to the Engltsh etghteenth century, and by 1900 was committed to forming an historically representatice collection ofEnglish furniture - the material equivalent of the various published histories that began to appear in the 1890s and 1900s. Several of the stylistic 'chapters 'were presented in period rooms, both in his houses and in the Lady Lerer Art Gallery. The major influence on Lever's career as a collector was the artist, dealer, collector and champion of British art, James Orrock , who saw furniture as an integral part of the British artistic achievement. Lever took this approach even further, seeking out mastetpieces of English cabinet-making that could vie with French furniture as works of art. At the same time he borrowed the moral clothing of the Vernacular Revival, paying lip-service to its cult of the ordinary object to endorse his deep-seated belief that art was good for people. It was this conviction, combined with his conrersion to Orrock's cause that led in 1913 to the foundation of the Lady Lever Art Gallery: the English furniture collection, selected by Lever from his own much larger holdings, remains one of the most important in public hands, and the late eighteenth-century marquetry is unrivalled.

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30

Vyazova, Ekaterina. "English Influences, Russian Experiments." Experiment 25, no. 1 (September 30, 2019): 207–25. http://dx.doi.org/10.1163/2211730x-12341339.

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Abstract This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English Art Nouveau. Starting with a consideration of the new attitude towards the “theme of childhood” as such, and a new focus on the child’s perception of the world, this article reveals why the children’s book, long treated as a marginal genre, became a fertile and universal field for artistic experimentation at the turn of the twentieth century. It then focuses on Elena Polenova’s concept of children’s book illustrations, which reflected both her enthusiasm for the British Arts and Crafts movement, and, in particular, the work of Walter Crane, and her profound knowledge of Russian crafts and folklore. The last part of the article deals with the artistic experiments of Ivan Bilibin and the similarities of his book designs to those of Walter Crane.

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31

Stepanova, Marina. "The Phenomenon of “Art English” and Its Being in Russian-language Texts (based on the curatorial texts of the Artkommunalka Museum)." Stephanos Peer reviewed multilanguage scientific journal 47, no. 3 (May 31, 2021): 115–21. http://dx.doi.org/10.24249/2309-9917-2021-47-3-115-121.

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The paper analyzes the phenomenon of “Art English” and its impact on Russian-language texts about art. The author examines the peculiar features of the curatorial texts translation from Russian into English and points out the key translation difficulties. The research materials are the curatorial texts posted on the website of the museum residence “Artkommunalka. Erofeev and others” Kolomna, Moscow region. The research proves that the main features of “Art English” are inherent to curatorial texts both in Russian and English. English has not only become an international language of communication, but also a “trendsetter” in the field of curatorial texts.

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32

Smith, Ross. "J. R. R. Tolkien and the art of translating English into English." English Today 25, no. 3 (July 30, 2009): 3–11. http://dx.doi.org/10.1017/s0266078409990216.

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ABSTRACTTranslation techniques favoured by Tolkien in rendering Beowulf and other medieval poetry into modern English. J. R. R. Tolkien was a prolific translator, although most of his translation work was not actually published during his lifetime, as occurred with the greater part of his fiction. He never did any serious translation from modern foreign languages into English, but rather devoted himself to the task of turning Old English and Middle English poetry into something that could be readily understood by speakers of the modern idiom. His largest and best-known published translation is of the anonymous 14th Century poem Sir Gawain and the Green Knight, which was published posthumously with two other translations from Middle English in the volume Sir Gawain and the Green Knight, Pearl and Sir Orfeo (Allen & Unwin 1975). The translation of Middle English texts constitutes the bulk of his output in this field, both in the above volume and in the fragments that appear in his lectures and essays. However, his heart really lay in the older, pre-Norman form of the language, and particularly in the greatest piece of literature to come down to us from the Old English period, the epic poem Beowulf.

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33

Wang, Ping. "A Corpus-based Study of English Vocabulary in Art Research Articles." Journal of Arts and Humanities 6, no. 8 (September 7, 2017): 47. http://dx.doi.org/10.18533/journal.v6i8.1255.

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<p>The learning of English as a foreign language is an additional burden for art majors. This study aimed to examine high frequency words in art research articles to improve the efficiency of art majors’ English learning, especially their academic reading and writing. For this aim, the study built a corpus, analyzed data from art research articles and compared data with three base word lists. We found that the General Service List (GSL) and the Academic Word List (AWL) had a high coverage in our corpus, and there was a different high frequency word order in the Art Research Article Corpus (ARAC). These findings provide some implications for teaching English for art majors. </p>

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34

Goldfarb, Doron, Max Arends, Josef Froschauer, and Dieter Merkl. "Comparing Art Historical Networks." Leonardo 46, no. 3 (June 2013): 279. http://dx.doi.org/10.1162/leon_a_00575.

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This work provides a comparison of link structures present in a common subset of art history related biographic person records/articles from the Getty Union List of Artist Names and English Wikipedia.

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35

Hargreaves, T. "I Should Explain He Shares My Bath: Art and Politics in The Years." English 50, no. 198 (September 1, 2001): 183–98. http://dx.doi.org/10.1093/english/50.198.183.

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36

Shields, J. Scott. "The Art of Imitation." English Journal 96, no. 6 (July 1, 2007): 56–60. http://dx.doi.org/10.58680/ej20075817.

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Applying his experiences teaching photography to teaching English, high school teacher J. Scott Shields cultivates students’ original writing by promoting imitation. Students learn to develop their literary voices by crafting verse-narratives that mimic the character, plot, and stylistic devices of Dante and Chaucer.

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37

Parsons, John Carmi. "William Caxton and English Literary Culture by N.F. Blake." Arthuriana 7, no. 4 (1997): 118–19. http://dx.doi.org/10.1353/art.1997.0054.

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38

Echard, Siàn. "The Arthur of the English ed. by W.R.J. Barron." Arthuriana 12, no. 3 (2002): 112–13. http://dx.doi.org/10.1353/art.2002.0060.

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39

Miller, Steven. "The English-speaking researcher in Italy." Art Libraries Journal 35, no. 2 (2010): 35–39. http://dx.doi.org/10.1017/s0307472200016382.

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Italy is celebrated for its outstanding patrimony in art and architecture. Less known are its equally rich libraries and archives. English researchers are sometimes daunted by the perceived barriers of language, cataloguing and access when they contemplate exploring these collections, scattered throughout the country in state, academic and ecclesiastical institutions. Steven Miller, acting Head Librarian of Sydney’s Art Gallery of New South Wales, shares his experience of using a wide range of Italian libraries and archives over the last ten years.

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40

Yelisieieva, P. V. "LINGUAL FEATURES OF ENGLISH-LANGUAGE DIGITAL ART DISCOURSE." Тrаnscarpathian Philological Studies 1, no. 14 (2020): 98–101. http://dx.doi.org/10.32782/tps2663-4880/2020.14-1.17.

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41

Hammer, Martin. "Found in Translation: Chaim Soutine and English Art." Modernist Cultures 5, no. 2 (October 2010): 218–42. http://dx.doi.org/10.3366/mod.2010.0104.

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The article is the first to consider the impact of the early work of Chaim Soutine, produced in the South of France around 1920, on a circle of painters working in Britain some 30 years later, notably Francis Bacon, Lucian Freud, Frank Auerbach and Leon Kossoff, as well as on the writer David Sylvester who promoted both their work and the key French artists such as Alberto Giacometti and Soutine who seemed to epitomise the new ‘existentialist’ climate. After the war Soutine became a cult figure in London, as he did in contemporary Paris and New York. He embodied the idea of the ‘tragic’ artist in his still-life imagery of flayed animals, his uncompromising, heavily-laden paint surfaces, and in his identity as a Jew who had died in 1943, an indirect victim of the Nazi occupation of France. I try to identify which works in particular were known to the English artists, themselves all Jewish except for Bacon, and to describe the very different ways in which they reacted to Soutine's art and adapted its lessons to their own artistic purposes.

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42

Mittleman, Leslie B. "The Twentieth-Century English Letter: A Dying Art?" World Literature Today 64, no. 2 (1990): 221. http://dx.doi.org/10.2307/40146399.

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43

Sreejana, S. "Mastering the Art of English Communication VIA Listening." Bioscience Biotechnology Research Communications 14, no. 8 (June 25, 2021): 52–56. http://dx.doi.org/10.21786/bbrc/14.8.12.

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44

Umbas, Ronald, and I. Gusti Agung Sri Rwa Jayantini. "Indonesian Fine Art Terms and Their English Equivalence." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 4, no. 1 (May 28, 2021): 12–20. http://dx.doi.org/10.31091/lekesan.v4i1.1451.

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The objective of this study is to identify the procedures of translation of fine art terms from English into Indonesian found in the catalog of Kun Adnyana's paintings entitled Candra Sangkala and to identify linguistic phenomena that arise from the translation. The catalog promotes the work of art and provides as much information as possible so that the work of the artist can be more widely appreciated. Therefore, the specific terms used in this fine art text should be translated appropriately in order to communicate the messages accurately, readably and naturally. The method used in this research was qualitative method which was conducted by doing content analysis in accordance with the theories of translation. This study found that the translation of fine art terms from Indonesian to English was conducted through seven procedures, namely couplet consisting of shift and reduction and expansion, second couplet, which is the combination of shift and literal translation, descriptive equivalent, reduction and expansion, literal translation, shift, and transference. The application of these procedures lead to two interesting phenomena that occur in the translation of Indonesian-English translation of fine art terms, i.e. (1) the use of equivalents that are previously naturalized from English into Indonesian and several terms that are literally translated and (2) the combination of more than one procedure of translation that is irrefutable in translating phrases. All of the procedures were utilized to meet the accuracy, naturalness and acceptability in translation.

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45

Anderson, C. "WAR WORK: English Art and the Warburg Institute." Common Knowledge 18, no. 1 (January 1, 2012): 149–59. http://dx.doi.org/10.1215/0961754x-1456944.

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46

Martin, Floyd W., and Carol Gibson-Wood. "Jonathan Richardson: Art Theorist of the English Enlightenment." Albion: A Quarterly Journal Concerned with British Studies 33, no. 4 (2001): 656. http://dx.doi.org/10.2307/4052920.

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47

ROSENBACH, ANETTE. "English genitive variation – the state of the art." English Language and Linguistics 18, no. 2 (June 4, 2014): 215–62. http://dx.doi.org/10.1017/s1360674314000021.

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This article is a survey of quantitative research on the choice between thes-genitive and theof-genitive in English. It provides a detailed and critical review of the methodological problems and advances as well as major findings and how these have been treated in theoretical frameworks. The article concludes with a discussion of objectives and challenges for future research. It is argued that research into English genitive variation not only enhances our knowledge of this specific case of syntactic variation but also helps us to further understand the mechanisms of syntactic alternations in general.

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48

Kakh, Samira Y., Wan Fara Adlina Wan Mansor, and Mohamad Hassan Zakaria. "English for Art Communication to Enhance Quality Programs." Procedia - Social and Behavioral Sciences 66 (December 2012): 247–54. http://dx.doi.org/10.1016/j.sbspro.2012.11.267.

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49

Lee, Eric McCauley. "Review of: English Art and Modernism 1900-1939." Modernism/modernity 3, no. 2 (1996): 113–15. http://dx.doi.org/10.1353/mod.1996.0028.

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50

Fidler, Luke A. "The Coercive Function of Early Medieval English Art." Radical History Review 2020, no. 137 (May 1, 2020): 34–53. http://dx.doi.org/10.1215/01636545-8092762.

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Abstract This article examines the spectacular representation of confinement in early medieval English sculpture in the context of poems, sermons, and translations. By identifying a series of features that early medieval spectators would have paid special attention to, it shows that sculptors used imprisoned and fugitive figures to craft a discourse about power in the absence of both a strong state and a regime of punitive incarceration. Compelling pictures of prisoners and verbal images of captivity flourished as a kind of carceral imaginary in the public landscape before the carceral state’s rise, as well as licensing forms of community policing in which early medieval subjects were required to participate. As such, these sculptures model a relationship between art and coercive power predicated on historically specific expectations about sculpture’s capacity to instruct and surveil.

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Journal articles on the topic 'English art'

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