Relevant bibliographies by topics / Expressionist art

Academic literature on the topic 'Expressionist art'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Expressionist art"

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Kramer, Andreas. "Sport in Expressionist Art." International Journal of the History of Sport 35, no. 17-18 (December 12, 2018): 1692–709. http://dx.doi.org/10.1080/09523367.2019.1593144.

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Bridgwater, Patrick. "Friedrichian Images in Expressionist Art." Oxford German Studies 31, no. 1 (January 2002): 103–28. http://dx.doi.org/10.1179/ogs.2002.31.1.103.

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Jenkins, Emily. "A bold expressionist Brand of art therapy." Lancet Oncology 18, no. 8 (August 2017): 1007–8. http://dx.doi.org/10.1016/s1470-2045(17)30525-9.

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Maram, Thirupathi Reddy. "An Abstract Expressionist: A Study of Kurt Vonnegut’s Bluebeard." Shanlax International Journal of English 7, no. 3 (June 1, 2019): 8–15. http://dx.doi.org/10.34293/english.v7i3.448.

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The novel, Bluebeard (1987) presents a dialogue between abstract and representational painting, pointing out both the value and shortcomings of each school. It may end by imagining a type of art in which the usual boundaries separating the real and the artificial fall away; an art that is able to capture the complexity, sorrow, and beauty of life itself. On the other hand, it focuses on human’s cruelty to human. However, the novel also shows that even in the midst of war and death and sorrow the innate human impulse is a creative one. The novel discovers the human desire to create as it investigates the nature of new art itself. Vonnegut was mostly inspired by the grotesque prices paid for works of art during the past century. He thought not only of the mud-pies of art, but of children’s games as well.
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Furness, Raymond, and Neil H. Donahue. "Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer." Modern Language Review 92, no. 4 (October 1997): 1019. http://dx.doi.org/10.2307/3734287.

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Coleman, Floyd. "A Transformative Vision: The Expressionist Art of Sylvia Snowden." Callaloo 40, no. 5 (2017): 81–84. http://dx.doi.org/10.1353/cal.2017.0158.

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Evans, Tamara S., Wilhelm Worringer, and Neil H. Donahue. "Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer." German Quarterly 70, no. 4 (1997): 406. http://dx.doi.org/10.2307/408079.

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HUBERT, R. R. "KOKOSCHKA, KANDINSKY AND THE ART OF THE EXPRESSIONIST BOOK." Forum for Modern Language Studies XXXII, no. 2 (April 1, 1996): 165–81. http://dx.doi.org/10.1093/fmls/xxxii.2.165.

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Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (January 2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.

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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.
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Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 4–18. http://dx.doi.org/10.1080/19409052.2014.924687.

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On the question of aesthetics, Jung makes a clear distinction between aestheticism and aesthetics. He dismissed the former as lacking substance and moral commitment, but allows that his psychology can never usurp but can contribute to a depth aesthetic. On close examination, this aesthetic rests on the manifestation of the archetypal in all forms of creativity. As such, it is closely related to the spiritual and religious. Modern expressionist and abstract art was consciously influenced by the apophatic mystical tradition to which Jung himself was drawn. Kandinsky and Arp are significant representatives of this tradition who were influenced by mystical experience – especially that of Jacob Boehme, one of Jung's key intellectual ancestors. The paper works to identify the rudiments of a Jungian aesthetic and show its compatibility with the work and theory of Kandinsky, Arp and the expressionist/abstract project.
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Dissertations / Theses on the topic "Expressionist art"

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Short, Christopher. "Friedrich Nietzsche and German expressionist art." Thesis, University of Essex, 1995. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706295.

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Jeppesen, Travis. "Towards a 21st century expressionist art criticism." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1812/.

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This thesis explores the following questions: What might a 21st century expressionist art criticism consist of? How does such a mode of “art writing” relate to oppositional strategies often employed by certain artists challenging the boundaries traditionally separating art from writing? What role does the body play in such a model of writing? What role might fiction play in an expressionist art criticism? The intended outcome is to render a new model of writing “in the expanded field,” to borrow Rosalind Krauss’s phrase. The essays and pieces of writing comprising this dissertation have been organized into four sections. The first part, “Bad Writing,” lays the groundwork for the three stylistic modes of expressionist art criticism that follow: the Expressionist Essay, Ficto-criticism, and Object-Oriented Writing. Prefaces before each section elaborate the conceptual thinking involved in arriving at each particular designation, as well as the positioning of each mode in the overall conception of a 21st century expressionist art criticism. This thesis begins with the argument that art criticism must first and foremost be understood as a literary art form. This is an issue of intentionality that must be asserted at the outset, one that resonates with John Dewey’s notion of criticism’s re-creative and imaginative aim. It is one of the essential qualities that distinguishes art criticism from the art historical endeavor. I contend that the practice of art criticism is an art form in and of itself, one that, following the poet-critic model (or, more aptly, anti-model) advanced by Baudelaire and Apollinaire, is essentially complementary to the art object. This complementarity is what the task of an expressionist art criticism hopes to achieve. Thus, this thesis should be considered as an example of an art writing practice in the context of a thesis-based dissertation.
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Thompson, Grant. "Limitlessness and the sublime illuminating notions : an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art & Design, 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/442.

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This project explores the basic tenets of abstract expressionism and is considered in relation to the idea of the sublime, limitlessness and the formless. In this research I am interested in investigating the progression from two-dimensional non-representational painting, through experimentation with light mediating materials to projection of the painting via the medium of film. Light is used to intensify the image with a view to expand the viewer’s awareness and understanding of the sublime. The research seeks to find ways that allow the viewer to explore the feeling of uncertainty and the sensation of wonderment. Through an ephemeral spaciousness that has no boundaries, the spectator is encouraged through contemplation to transform their experiences of the finite in order to approach the infinite and the sublime.
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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.

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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
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Bryan, Sarah M. "African Imagery and Blacks in German Expressionist Art from the Early Twentieth Century." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1353179467.

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Carrasco, Clare. "The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-1923." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862862/.

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This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of performing, listening to, and evaluating "expressionist" music were enmeshed in the complexities of a politicized public concert life in the immediate postwar period. The opening chapters establish broad music-aesthetic and sociopolitical contexts for critics' postwar discussions of "musical expressionism." After the first, introductory chapter, Chapter 2 traces how art and literary critics came to position music as the most expressionist of the arts based on nineteenth-century ideas about the apparently unique ontology of music. Chapter 3 considers how this conception of expressionism led progressive-minded music critics to interpret expressionist music as the next step in the historical development of absolute music. These critics strategically—and controversially—portrayed Schoenberg's "atonal" polyphony as a legitimate revival of "linear" polyphony in fugues by Bach and late Beethoven. Chapter 4 then situates critical debates about the musical and cultural value of expressionism within broader struggles to construct narratives that would explain Germany's traumatic defeat in the Great War and abrupt restructuring as a fragile democratic republic. Against this backdrop, the later chapters explore critics' responses to public performances of specific "expressionist" chamber works. Chapter 5 traces reactions to a provocative performance of Schoenberg's Chamber Symphony, op. 9 (1906) at the Berlin Volksbühne in February 1920. Chapter 6 examines the interplay of musical-aesthetic and sociopolitical issues in critical reception of several postwar concerts that juxtaposed Schoenberg's "expressionist" Chamber Symphony with Franz Schreker's "impressionist" Chamber Symphony (1916). Chapter 7 considers how critics situated performances of Alexander Zemlinsky's Second String Quartet, op. 15 (1916) in relation to ideas about "expressionism" in music. Finally, Chapter 8 considers critical reception of performances of Béla Bartók's Second String Quartet, op. 17 (1917) in the context of two concert series sponsored by "expressionist" journals: the Anbruch-Abende in Vienna (1918) and the Melos-Abende in Berlin (1922 and 1923). Each of these final chapters uses contemporary criticism as a vehicle for a close reading of the relevant musical work, resulting in a portrait of "expressionist" music that is both contextually and musically nuanced.
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Bissa, Bi Nzue Astride. "Art et individuation : la rupture expressionniste." Dijon, 2008. http://www.theses.fr/2008DIJOL019.

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L’expressionnisme, considéré comme l’une des plus grandes avancées esthétiques du 20ème siècle, s’attache à une conception de la création artistique comme construction de la personne, mode d’individuation. Et, prenant le contre-pied des critères de définition habituels, le Beau ou la Forme, cette esthétique singulière née dans un contexte particulièrement difficile, représente pour l’art du début du 20ème siècle et toute la pensée esthétique contemporaine, un véritable catalyseur. En effet, l’expressionnisme induit une transformation totale du mode représentatif de l’art, celle de la figure du sujet humain et de son rapport au monde, donnant ainsi à l’art une nouvelle dimension anthropologique. Il marque donc une approche de l’art qui permet de mettre au jour ou de résoudre la question d’une éthique de l’humain, incompatible avec des définitions essentialistes. Ainsi, cette esthétique apparaît d’abord comme le rejet catégorique d’une réalité sociale, culturelle et politique particulièrement éprouvante, mais qui semble en même temps forger son caractère et déterminer ses orientations. L’émergence du primitivisme est à cet égard emblématique. Ce primitivisme qui apparaît comme acceptation, comme reconnaissance d’une altérité quasi radicale, quête de sens et d’identité, affecte l’expressionnisme et l’art contemporain dans leur conception de l’art et de la conception de la vie. Par conséquent, cette impulsion tout à fait particulière du primitivisme représente l’une des meilleures manifestations de la révolution esthétique du 20ème siècle mais aussi, fait de l’expressionnisme le creuset d’une conception de l’art et de l’homme en dehors de tout particularisme tranché et de formes arrêtées
Expressionism, considered like one of the most esthetic advanced of the 20th century, is related to an artistic creation conception like the person building, individuation mode. And, taking the opposite of usuals definiton critarials, Nice and Shape, this singular esthetic born in a difficult particular context, represent a real catalyzer for the art of the bigginning of the 20th century and the whole comtemporain esthetic thinking. Sure enough, expressionism induct a whole transformation of the representative mode of art, the one of the human subject face and his relation with world, thus giving a new anthropolical dimension to art. So this indicate an approach of art which permit to set or resolve the question of an human ethic, imcompatible to the essentialists definitions. Thus, this esthetic appears like first a categorical reject of a social, cultural and politcal reality particulary difficult, but which seems at the same time build his temperament and determine his orientations. The appearance of primitivisme is as this respect emblematic. This primitivism which appears like an acceptation, like a recongnition, like an altirity almost radical, seeks of identity and senses, affecting expressionism and comtemporain art in their conception of art and life. Consequently, this special impulsion of previtivism represent one of the most manifestations of the esthetic revolution of the 20th Century but also, fact that expressionism the melting pot of an art conception and human out of stand out and rules
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Cardoso, Renata Gomes. "A pintura de Anita Malfatti nos periodos iniciais de sua trajetoria : proposta de revisão a partir da analise de obras." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279121.

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Orientador: Nelson Alfredo Aguilar
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho analisa algumas pinturas dos períodos iniciais da trajetória de Anita Malfatti. Para tal propósito, toma-se como base a análise formal, procurado adicionar a essa reflexão uma revisão das fontes sobre a artista e sobre a arte moderna internacional, das quais são levantadas algumas questões fundamentais, que marcaram o debate sobre a sua obra no início do século XX e as consecutivas abordagens sobre a artista ao longo da história da arte brasileira
Abstract: This work analyses some paintings of the early periods of Anita Malfatti¿s career. For this aim, it based on the formal analyses, but includes in this reflection a review of the sources about the artist and international modern art, detaching from it some relevant questions, that marked the debate about her work in the beginning of 20th century and the consecutive approaches of the artist throughout the history of Brazilian art
Mestrado
Historia da Arte
Mestre em História
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Jorge, Janete Elenice. "A cidade expressionista de Roberto Arlt." Florianópolis, SC, 2009. http://repositorio.ufsc.br/xmlui/handle/123456789/92439.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.
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A proposta deste trabalho é observar como foi construída a Buenos Aires ficcional de Roberto Arlt no texto Los siete locos e Los lanzallamas, e através das características da cidade que emerge da narrativa, verificar de que maneira o texto arltiano dialoga com o expressionismo alemão. Serão capturados alguns traços característicos do expressionismo, em especial da pintura expressionista, para reconhecê-los na escritura arltiana. Acredito que o espaço nos romances de Arlt, relacionado à modernidade e à urbanização como fator negativo, também pode ser encontrado no expressionismo alemão numa releitura que coloca em diálogo as inquietações de alguns artistas alemães com as do escritor argentino.
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Adamowicz, Emily. "Viennese Expressionism : from sickness to spirituality in the new aesthetic theory 1909-1913." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99567.

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Viennese Expressionism 1909-1913 encompasses parallel evolutions in the disciplines of visual arts and music. Ideas from fin-de-siecle Vienna's intellectual milieu inspired the awakening of the Modern artist, from Ur-schrei to the formation of a new aesthetic theory. In this thesis, I examine the origin of iconic Expressionist aesthetic values and their technical expression in works by Arnold Schoenberg, Egon Schiele, Oskar Kokoschka, and Wassily Kandinsky. Topics covered are divided into two broad thematic categories whose central tenets originate in preoccupations with, on the one hand, an emerging understanding of the unconscious and psychic pathology; and on the other hand, the metaphysical components to art and the human experience: sickness and spirituality. While it is not possible to compare directly art and musical works, common ideas and principles provide conceptual intersections that unify the disciplines in the realization of a collective artistic vision.
Le mouvement expressionniste viennois (1909-1913) recouvre des courantsparallèles dans les disciplines picturales et musicales. Les idées provenant des milieuxintellectuels du fin-de-siècle viennois ont inspiré le réveil de l'artiste moderne, depuis leUr-schrei jusqu'à la formulation d'une nouvelle théorie esthétique. Ce mémoire examinel'origine des valeurs esthétiques chères au mouvement expressionniste, ainsi que lestechniques utilisées pour exprimer ces valeurs dans les oeuvres d'Arnold Schoenberg,d'Egon Schiele, d'Oskar Kokoschka, et de Wassily Kandinsky. Les thèmes abordés sontdivisés en deux grandes catégories dont les fondements centraux émanent depréoccupations reliées, d'une part, à une compréhension croissante de l'inconscient et dela psychopathologie, et, d'autre part, aux aspects métaphysiques de l'art et de l'existencehumaine: la maladie et la spiritualité. Bien qu'il ne soit pas possible de comparerdirectement des oeuvres picturales et musicales, l'existence de principes et de thèmescommuns entraîne une confluence conceptuelle qui unifie ces disciplines dans laréalisation d'une vision artistique collective.
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Books on the topic "Expressionist art"

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Expressionist portraits. London: Thames and Hudson, 1987.

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Frank, Whitford. Expressionist portraits. New York: Abbeville Press, 1987.

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David, Frisby, and Los Angeles County Museum of Art., eds. Expressionist utopias: Paradise, metropolis, architectural fantasy. Berkeley, CA: University of California Press, 2001.

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David, Frisby, and Los Angeles County Museum of Art., eds. Expressionist utopias: Paradise, metropolis, architectural fantasy. Los Angeles, Calif: Los Angeles County Museum of Art, 1993.

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Pearson, Alison. Alan Pearson: Expressionist portraits. Auckland [N.Z.]: Alexandra Stewart Press, 2010.

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Robert Gore Rifkind Center for German Expressionist Studies. German expressionist prints and drawings. Los Angeles, Calif: Los Angeles County Museum of Art, 1989.

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Robert Gore Rifkind Center for German Expressionist Studies. German expressionist prints and drawings. Los Angeles, Calif: Los Angeles County Museum of Art, 1989.

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Matilsky, Barbara C. The expressionist surface: Contemporary art in plaster. New York: Queens Museum, 1990.

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Peter, Thurmann, Soika Aya, Madesta Andrea, Kunsthalle zu Kiel, Kunstforum Ostdeutsche Galerie, and Kunst-Museum Ahlen, eds. Max Pechstein: Ein Expressionist aus Leidenschaft : Retrospektive. München: Hirmer, 2010.

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Bijutsukan, Aichi-ken, and Niigata Kenritsu Kindai Bijutsukan, eds. Hyōgen shugi chōkoku: Expressionist sculpture. [Nagoya-shi]: Aichi-ken Bijutsukan, 1995.

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Book chapters on the topic "Expressionist art"

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Gerharde-Upeniece, Ginta. "Expressionist Originality in Latvian Art." In The Routledge Companion to Expressionism in a Transnational Context, 158–72. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315200088-8.

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Wilde, Lawrence. "The Cry of Humanity: Dylan’s Expressionist Period." In The Political Art of Bob Dylan, 79–104. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230522541_5.

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Yang, Li. "The World of Psychological and Symbolic Complexity: The Expressionist Style." In The Formation of Chinese Art Cinema, 191–212. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97211-4_7.

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Hautala-Hirvioja, Tuija. "Expressionism in Sámi Art." In The Routledge Companion to Expressionism in a Transnational Context, 243–56. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315200088-13.

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Ramisch, Carlos. "State of the Art in MWE Processing." In Multiword Expressions Acquisition, 53–102. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09207-2_3.

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Ólafsdóttir, Margrét Elísabet. "Early Expressionism in Icelandic Art." In The Routledge Companion to Expressionism in a Transnational Context, 257–72. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315200088-14.

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Ng, Ian Aik-Soon. "Constructing an Art-Life: Tourism and Street Art in Sarawak." In Contemporary Asian Artistic Expressions and Tourism, 59–101. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4335-7_4.

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David, Gill. "Expressionism or Impressionism? A Split Syzygy." In Art and Soul: Rudolf Steiner, Interdisciplinary Art and Education, 117–38. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17604-4_7.

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Hsia, Chiamei. "Art Intervention in the Community Context: Community-Based Art Practice as an Inspiration for Creative Tourism." In Contemporary Asian Artistic Expressions and Tourism, 127–46. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4335-7_6.

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Bogdanović, Ana. "On New Art and Its Manifestations." In The Routledge Companion to Expressionism in a Transnational Context, 426–41. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315200088-24.

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Conference papers on the topic "Expressionist art"

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Meng, Jiaying, and Zhifan Wang. "An Analysis of Sherwood Anderson's Expressionist Art in Winesburg, Ohio." In 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icemeet-16.2017.135.

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Berzowska, Joanna Maria. "Computational expressionism." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312562.

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Sulejmanova, G. M., and E. A. A. Rudyak. "Social prerequisites for the emergence of expressionism in Germany." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-06-2020-03.

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Pighin, Frederic. "Modeling and animation of realistic facial expressions." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281935.

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Berzowska, Joanna M., and Walter R. Bender. "Computational expressionism, or how the role of random () is changing in computer art." In Electronic Imaging '99, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 1999. http://dx.doi.org/10.1117/12.348458.

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Le Ngo, Anh Cat, Sze-Teng Liong, John See, and Raphael Chung-Wei Phan. "Are subtle expressions too sparse to recognize?" In 2015 IEEE International Conference on Digital Signal Processing (DSP). IEEE, 2015. http://dx.doi.org/10.1109/icdsp.2015.7252080.

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Köper, Maximilian, and Sabine Schulte im Walde. "Complex Verbs are Different: Exploring the Visual Modality in Multi-Modal Models to Predict Compositionality." In Proceedings of the 13th Workshop on Multiword Expressions (MWE 2017). Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-1728.

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Cap, Fabienne. "Show Me Your Variance and I Tell You Who You Are - Deriving Compound Compositionality from Word Alignments." In Proceedings of the 13th Workshop on Multiword Expressions (MWE 2017). Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-1713.

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Sucitra, I. Gede Arya, Retno Purwandari, and Kadek Primayudi. "Paradigm of Abstract Expressionism Painting of Balinese Artists in Yogyakarta." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008557001770185.

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Wang, Peipei, and Kathryn T. Stolee. "How well are regular expressions tested in the wild?" In ESEC/FSE '18: 26th ACM Joint European Software Engineering Conference and Symposium on the Foundations of Software Engineering. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3236024.3236072.

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Reports on the topic "Expressionist art"

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Kennedy, Shane. Expressionist Art and Drama Before, During, and After the Weimar Republic. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2505.

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Kapp, J. A. Wide Range Stress Intensity Factor and Crack-Mouth-Opening Displacement Expressions Suitable for Short Crack Fracture Testing with Arc Bend-Chord Suppport Samples. Fort Belvoir, VA: Defense Technical Information Center, January 1990. http://dx.doi.org/10.21236/ada218395.

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Wilson, D., Vladimir Ostashev, and Chris Pettit. Distribution of the two-point product of complex amplitudes in the fully saturated scattering regime. Engineer Research and Development Center (U.S.), November 2020. http://dx.doi.org/10.21079/11681/38701.

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This Letter considers probability density functions (pdfs) involving products of the complex amplitudes observed at two points (which may, in general, involve separations in space, time, or frequency) in conditions of fully saturated scattering. First, the pdf is derived for the product of the complex amplitude at one point with the conjugate of the complex amplitude at another point. It is shown that the real and imaginary parts of this product each have a variance gamma pdf. Second, expressions are derived for several joint pdfs involving complex amplitude products and powers at two points.
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McDuffie, Magali, and Anne Poelina. Martuwarra Country: A historical perspective (1838-present). Martuwarra Fitzroy River Council; Nulungu Research Institute, The University of Notre Dame Australia., 2020. http://dx.doi.org/10.32613/nrp/2020.5.

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The report seeks to examine the impacts of colonisation, more particularly pastoralism, on the Martuwarra Country and its people and concludes with the contemporary voices of Martuwarra people. In doing this, one must note the at times highly disparaging tone of the European explorers, the dark deeds they committed, and their racist expressions and bias, which may offend some readers. This report provides an extensive, period-specific historical account of the Martuwarra people’s connections to their Country as a point of departure and a premise for discussion contrasting Aboriginal perspectives and the development lens of the State. In doing so, this report also juxtaposes the events of the past with the continued contemporary imposition of development strategies still at odds with Aboriginal life-ways
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Yatsymirska, Mariya. KEY IMPRESSIONS OF 2020 IN JOURNALISTIC TEXTS. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11107.

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The article explores the key vocabulary of 2020 in the network space of Ukraine. Texts of journalistic, official-business style, analytical publications of well-known journalists on current topics are analyzed. Extralinguistic factors of new word formation, their adaptation to the sphere of special and socio-political vocabulary of the Ukrainian language are determined. Examples show modern impressions in the media, their stylistic use and impact on public opinion in a pandemic. New meanings of foreign expressions, media terminology, peculiarities of translation of neologisms from English into Ukrainian have been clarified. According to the materials of the online media, a «dictionary of the coronavirus era» is provided. The journalistic text functions in the media on the basis of logical judgments, credible arguments, impressive language. Its purpose is to show the socio-political problem, to sharpen its significance for society and to propose solutions through convincing considerations. Most researchers emphasize the influential role of journalistic style, which through the media shapes public opinion on issues of politics, economics, education, health care, war, the future of the country. To cover such a wide range of topics, socio-political vocabulary is used first of all – neutral and emotionally-evaluative, rhetorical questions and imperatives, special terminology, foreign words. There is an ongoing discussion in online publications about the use of the new foreign token «lockdown» instead of the word «quarantine», which has long been learned in the Ukrainian language. Research on this topic has shown that at the initial stage of the pandemic, the word «lockdown» prevailed in the colloquial language of politicians, media personalities and part of society did not quite understand its meaning. Lockdown, in its current interpretation, is a restrictive measure to protect people from a dangerous virus that has spread to many countries; isolation of the population («stay in place») in case of risk of spreading Covid-19. In English, US citizens are told what a lockdown is: «A lockdown is a restriction policy for people or communities to stay where they are, usually due to specific risks to themselves or to others if they can move and interact freely. The term «stay-at-home» or «shelter-in-place» is often used for lockdowns that affect an area, rather than specific locations». Content analysis of online texts leads to the conclusion that in 2020 a special vocabulary was actively functioning, with the appropriate definitions, which the media described as a «dictionary of coronavirus vocabulary». Media broadcasting is the deepest and pulsating source of creative texts with new meanings, phrases, expressiveness. The influential power of the word finds its unconditional embodiment in the media. Journalists, bloggers, experts, politicians, analyzing current events, produce concepts of a new reality. The world is changing and the language of the media is responding to these changes. It manifests itself most vividly and emotionally in the network sphere, in various genres and styles.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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