Log in

Relevant bibliographies by topics / Foley Artist / Journal articles

Journal articles on the topic 'Foley Artist'

To see the other types of publications on this topic, follow the link: Foley Artist.

Author: Grafiati

Published: 26 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Foley Artist.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Donaldson, Lucy Fife. "The work of an invisible body." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 79–93. http://dx.doi.org/10.33178/alpha.7.05.

Full text

Abstract:

On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film.

APA, Harvard, Vancouver, ISO, and other styles

2

Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives." Genealogy 4, no. 3 (July 9, 2020): 76. http://dx.doi.org/10.3390/genealogy4030076.

Full text

Abstract:

Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated moments of encounter between Europeans and Aboriginal Australians and their afterimages.

APA, Harvard, Vancouver, ISO, and other styles

3

Pinheiro, Sara. "Foley gesture: Towards a theory of acousmatic foley." New Sound, no. 61-1 (2023): 60–83. http://dx.doi.org/10.5937/newso23061060p.

Full text

Abstract:

The research project "Acousmatic Foley" addresses common traits between foley art and Concrete Music, based on the idea that the foley artist is an acousmatic listener and, in turn, that acousmatic listening is a form of fiction. In this line, the study argues that both fields have similar treatment of the "sonorous object". For this purpose, the research builds on two lines of thought: the "son-en-scène" and the "mise-en-son". Firstly, the "son-en-scène" focuses on the sounds of the filmic miseen-scène (and its sound props), from very early cases to contemporary instances. The focus on these sound-props provides a perspective of sound for film that emphasizes its role as a tool of fiction and, thus, foley as the craft that leads to that experience. Secondly, "mise-en-son" sheds light on the making of the sound itself by exploring the concept of musical gesture. Either in contexts in which the musical gesture is visible (as with instruments), more cryptic (as with electronic devices), or completely delegated (as in acousmatic music), gesture can be seen a form of agency. Given that foley consists of maneuvering a sound-prop, gesture is as central to foley as it is to musical practices. This paper focus on the idea that gesture carries the same conception as the "sonorous object", that of an "intentional unit". In line with this, and in particular when of acousmatic nature, the research argues that the sonorous object is analogous to the sound-prop. In the end, these two lines of thought (son-en-scènce and mise-en-son) bridge the poietic and esthetic, as in Nattiez's semiotic distinction, towards an experience of "acousmatic foley".

APA, Harvard, Vancouver, ISO, and other styles

4

Keepe, Michael. "Eugene Foley. Artist Development: A Distinctive Guide to the Music Industry’s Lost Art." Journal of the Music and Entertainment Industry Educators Association 9, no. 1 (2009): 215–18. http://dx.doi.org/10.25101/9.15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

White, Ethan Doyle. "Review: Pamela Colman Smith: Artist, Feminist, and Mystic, by Elizabeth Foley O’Connor." Nova Religio: The Journal of Alternative and Emergent Religions 27, no. 1 (August 1, 2023): 143–44. http://dx.doi.org/10.1525/nr.2023.27.1.143.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Gamble, Jordan Robert. "Marketing madness or financial folly?" European Journal of Marketing 53, no. 3 (April 4, 2019): 412–41. http://dx.doi.org/10.1108/ejm-11-2017-0830.

Full text

Abstract:

Purpose The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. Design/methodology/approach This study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels. Findings The loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a “prosumer” identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement. Research limitations/implications The implications of this paper’s findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry. Practical implications The insights regarding negative approaches towards ECF by the labels may influence future “coopetition strategies” for independent labels, as they seek to navigate the changing industry dynamics. Originality/value This paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.

APA, Harvard, Vancouver, ISO, and other styles

7

Canyakan, Seyhan. "Music technologist paradigms in music technology educationMüzik teknolojisi eğitiminde müzik teknoloğu paradigması." Journal of Human Sciences 14, no. 4 (January 2, 2018): 4838. http://dx.doi.org/10.14687/jhs.v14i4.5013.

Full text

Abstract:

AimThe aim of this study is to inform the individuals who will prefer career steps for the departments because of the fact that music technology education in our country is not yet widespread on license basis and to give information about the field and to explain what career stages can be after graduating from department. In addition, a subordinate purpose of the study is to determine the qualities of the technologist candidate prepared for the music technology and to help him to prepare the appropriate qualities.MethodIt is one of the biggest misconceptions encountered today that music technology education is only concerned with dealing with voice recordings or with tone. As a result of this study, it is tried to be explained that the related education is divided not only into these two fields but also to more than one subfield. For this reason, discussions were held on what should be the career orientations of the music technology that benefited from the ideas of Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011) and D'Escriv'an (2012). The method used in this study contains qualitative research methods as well as literature review.ResultAs a result of this research, music technology education has been seen as an indispensable element in today's music industry and it has resulted in a wide range of fan business opportunities from music supervisor, music composer, foley artist to music technologist who is not only on voice recording and tone recording. As a result of the study, it is concluded that preliminary studies have been completed that individuals who plan career in the field of music technology education will have more knowledge about their fields of study.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetAmaçBu çalışmanın amacı, ülkemizde müzik teknolojisi eğitimi lisans bazında henüz yaygın olmaması nedeniyle bölümlerle ilgili kariyer basamaklarını tercih edecek bireylere alan ile ilgili bilgi vermek, bölümünden mezun olduktan sonra hangi kariyer basamaklarında olabileceklerini açıklamaktır. Ayrıca çalışmanın bir alt amacı müzik teknolojisine hazırlanan teknolog adayının sahip olması gereken niteliklerin belirlenmesi ve bu niteliklere uygun hazırlığını sağlamasına yardımcı olmaktır.YöntemGünümüzde müzik teknolojisi eğitiminin yalnız ses kayıt işiyle uğraşmak ya da tonmaystır olmakla ilgili olduğu sorunsalı karşılaşılan en büyük yanlış anlaşılmalardan biridir. Bu çalışma sonucunda ilgili eğitimin sadece bu iki alanla değil birden fazla alt alana ayrıldığı anlatılmaya çalışılmıştır. Bu nedenle Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011), D’Escriv´an’ın (2012) fikirlerinden yararlanılmış ve müzik teknolojisi eğitimi gören müzik teknoloğunun kariyer yönelimlerinin ne olması gerektiğiyle ilgili tartışmalar yapılmıştır. İlgili bu çalışmada kullanılan yöntem Literatür taramasının yanısıra nitel araştırma yöntemlerini içerisinde barındırmaktadır.SonuçYapılan bu araştırma sonucunda müzik teknolojisi eğitiminin günümüz müzik endüstrisi içerisinde vazgeçilmez bir unsur olduğu görülmüş, müzik teknoloğunun işinin sadece ses kayıt ve tonmaysterlik üzerine olmadığı müzik süpervizörlüğünden, besteciliğe, foley artistine kadar çok geniş yelpazade iş olanaklarının olduğu sonucuna varılmış, müzik teknolojisi eğitimi alanında kariyer planlayan bireylerin çalışma alanları hakkında daha çok bilgi sahip olacağı öngürüsüyle çalışma tamamlanmıştır.

APA, Harvard, Vancouver, ISO, and other styles

8

Nożyński, Szymon. "Akuzmatyczność filmowych efektów dźwiękowych. Medialna mistyfikacja foley w kontekście sound designu." Przegląd Kulturoznawczy, no. 4 (50) (December 30, 2021): 715–28. http://dx.doi.org/10.4467/20843860pk.21.049.14966.

Full text

Abstract:

Acousmaticity of Film Sound Effects: Media Mystification of Foley in the Context of Sound Design The text is about the foley profession, an important specialty performed as part of film sound design, at the post-production stage. What’s important here is both, the foley artist’s body, which becomes an instrument, and the ontology of created sounds, which are inserted into the finished film and synchronized with the picture. The author wonders if there is still a place for foley artists in the digital reality and common computerization of work. But the most important issue concerns the nature of sounds themselves, in the context of their production, acousmatics and the ubiquitous sound design. What is the sound implemented into the picture, does the picture give credence to the sound, even though the sound is “substituted” because it is produced in the studio? The situation is debatable, in the context of acousmatic listening (i.e. without the context of the source), because the picture provides a substitute context for the sound, and the viewer (listener) accepts this audio-visual relationship without reservation (as long as the sound is prepared well). Especially since by going to the cinema, the viewer agrees to a form of manipulation in the name of entertainment. Usually he or she is not aware of the mystification in the field of sound, which - within the oculocentric perception ‒ for him or her is only a complement to the picture, although, in fact, it plays a fundamental role in understanding what is happening on the screen. Other topics discussed in the text concern the communicativeness of sound and the historical background of the foley profession. Also important are the interrelations between foley and sound design and other areas of sound activity, as part of the preparation of all the audio layers of a film.

APA, Harvard, Vancouver, ISO, and other styles

9

wald, gayle. "‘have a little talk’: listening to the b-side of history." Popular Music 24, no. 3 (October 2005): 323–37. http://dx.doi.org/10.1017/s0261143005000541.

Full text

Abstract:

forgotten recordings – such as ‘have a little talk with jesus’, the 1952 sister rosetta tharpe–red foley duet documented in this essay – may reveal a more complex account of popular music history than that which can be compiled from recordings that are remembered and passed on. released as the b-side of a red foley and the sunshine boys 45, ‘have a little talk’ is the product of a then-unprecedented collaboration in nashville of a black woman and a white man, people who couldn't have broken bread in a restaurant in that city at the time. yet ‘have a little talk’ is neither a transcendent record nor the record of a transcendent moment. rather, it attests to the multifaceted story-beneath-the-story of the links between country and gospel artists at a time when the former was consolidating its racial identity as ‘white’ and when major labels like decca faced increasing threats from independents putting out rhythm-and-blues. this essay attests to the challenges of writing the ‘b-side of history’ in the absence of a traditional (i.e. written or published) archive. through self-conscious storytelling based largely on oral histories, it attempts to reconstruct the foley-tharpe collaboration as a ‘magical moment’ in us popular music.

APA, Harvard, Vancouver, ISO, and other styles

10

Smith, Hester Camilla. "Artist as educator? Assessing the pedagogic role of folly in the early work of the Anglo‐Swiss artist Henry Fuseli (1741–1825)." Paedagogica Historica 46, no. 5 (September 28, 2010): 559–83. http://dx.doi.org/10.1080/00309230.2010.510477.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.

Full text

Abstract:

“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film's story-telling elements. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. This research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all sound’s fictional aspects.

APA, Harvard, Vancouver, ISO, and other styles

12

Peer, Ayelet, and Raz Greenberg. "THE JAPANESE TROJAN WAR: TEZUKA OSAMU'S ENVISIONING OF THE TROJAN CYCLE." Greece and Rome 67, no. 2 (October 2020): 151–76. http://dx.doi.org/10.1017/s0017383520000042.

Full text

Abstract:

The Trojan cycle has been retold and re-envisioned many times from antiquity to modern times. The themes covered by these myths, especially the Homeric poems, have captivated the minds and hearts of poets, historians, authors, and others. Homer's Iliad extoled the grandeur as well as exposed the ugliness and folly of war. These humanistic virtues resonated with various cultures around the world. In this article we examine the reception of the Trojan cycle, especially the Iliad, on the noted manga artist Tezuka Osamu (1928–89). Recent reception theories focus on the creation of a new composition or artefact as part of the reception process; we shall thus discuss the Phoenix: Early Works manga as an example of such reception.

APA, Harvard, Vancouver, ISO, and other styles

13

Lapadat, Judith C. "Positivist's Folly." Cultural StudiesCritical Methodologies 2, no. 2 (May 1, 2002): 299. http://dx.doi.org/10.1177/1532708602002002017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Lapadat, Judith C. "Positivist's Folly." Cultural Studies ↔ Critical Methodologies 2, no. 2 (May 2002): 299. http://dx.doi.org/10.1177/153270860200200217.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Vredeveld, Harry. "“That Familiar Proverb”: Folly as the Elixir of Youth in Erasmus's Moriae Encomium." Renaissance Quarterly 42, no. 1 (1989): 78–91. http://dx.doi.org/10.2307/2861918.

Full text

Abstract:

In order to make good her claim to be of all divinities the most important and generous, Folly in Erasmus's Moriae encomium begins her argument, according to rhetorical theory and practice, with the strongest proofs in her arsenal. First of all, she argues, it is she who has given us life, the greatest gift of all. Who among us would have been born without our parents’ folly? Second, it is the spice of folly that makes life enjoyable. For what is life if you take away merriment, pleasure, andjoy? And third, it is folly that rules the best and happiest time of life—childhood and youth—and restores it to us in the second childhood of decrepit old age.

APA, Harvard, Vancouver, ISO, and other styles

16

Sherman, Jon Foley. "Steven Berkoff, Choral Unity, and Modes of Governance." New Theatre Quarterly 26, no. 3 (August 2010): 232–47. http://dx.doi.org/10.1017/s0266464x10000436.

Full text

Abstract:

Steven Berkoff has remained a polarizing and influential figure in British theatre for almost forty years, yet his work has received scant critical attention despite its widespread imitation and regular appearance on British stages. In this article, Jon Foley Sherman identifies choral movement as a key element of Berkoff's signature aesthetic of exaggerated, precise, and violent movement and language. Tracing a trajectory from his 1971 experiments with Agamemnon to his direction of Coriolanus, this article analyzes the uses to which choral movement has been put, and reveals a startling political development in Berkoff's work that belies the consistency of his chorus's manner of moving. His commitment to a particular kind of ensemble performance not only altered the political valences of his source texts, it eventually resulted in a stark assessment of self-government that is rendered more problematic by Berkoff's deployment of polyracial casts. Jon Foley Sherman is a visiting assistant professor at Beloit College; he recently earned a PhD in theatre and drama at Northwestern University, where his dissertation proposed a phenomenology of stage presence in contemporary performance. One of Jacques Lecoq's last students, he is also the artistic director of Sprung Movement Theatre.

APA, Harvard, Vancouver, ISO, and other styles

17

Boffone, Trevor. "Circle Jerk by Michael Breslin and Patrick Foley." Theatre Journal 73, no. 1 (2021): 89–91. http://dx.doi.org/10.1353/tj.2021.0008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Morash, Chris. "The Girls in the Big Picture: Gender in Contemporary Ulster Theatre. By Imelda Foley. Belfast: Blackstaff Press, 2003; pp. xvi + 170. $25.95 paper." Theatre Survey 45, no. 2 (November 2004): 298–99. http://dx.doi.org/10.1017/s0040557404300268.

Full text

Abstract:

“A new language of criticism is essential to describe and inscribe dramatic forms” (145): so writes Imelda Foley at the conclusion of her study of gender in contemporary Ulster theatre, The Girls in the Big Picture. It is not without irony, therefore, that her book is a perfect example of the exuberantly lively business of theatre in performance continually bursting through the limits of an overly schematic theoretical paradigm.

APA, Harvard, Vancouver, ISO, and other styles

19

Brien, Donna Lee. "Australian Radio Listeners and Television Viewers: Historical Perspectives, Bridget Griffen-Foley (2020)." Australasian Journal of Popular Culture 11, no. 1 (December 1, 2022): 195–98. http://dx.doi.org/10.1386/ajpc_00059_5.

Full text

Abstract:

Review of: Australian Radio Listeners and Television Viewers: Historical Perspectives, Bridget Griffen-Foley (2020) Cham: Palgrave Macmillan, 167 pp., ISBN 978-3-03054-636-6, h/bk, AUD 79 ISBN 978-3-03054-639-7, p/bk, AUD 79 ISBN 978-3-03054-637-3, e-book, AUD 66

APA, Harvard, Vancouver, ISO, and other styles

20

Fieldhouse, Julie, and Amanda Araba Ocran. "Jameson's Folly." Space and Culture 1, no. 3 (February 1998): 61–85. http://dx.doi.org/10.1177/120633129800100305.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Russom, Geoffrey. "The Singer of Tales in Performance.John Miles Foley." Speculum 72, no. 2 (April 1997): 468–69. http://dx.doi.org/10.2307/3040999.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Foley, Kathy, and Richard Schechner. "Foley Jots a Few Notes in the Colonial Margin." TDR (1988-) 35, no. 1 (1991): 17. http://dx.doi.org/10.2307/1146104.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Müller, Jürgen. "Die deutsche Bildparodie im 16. Jahrhundert. Ihre Anfänge, Formen und Funktionen." Kulturwissenschaftliche Zeitschrift 6, no. 1 (December 1, 2021): 201–23. http://dx.doi.org/10.2478/kwg-2021-0016.

Full text

Abstract:

Abstract Image parodies emerge at the same time as Erasmus of Rotterdam’s text In Praise of Folly from 1511, which also exerted great influence on painters. Thus it is obvious to connect the first parodies by artists like Albrecht Dürer or Urs Graf with the literary fashion of the paradoxical encomium. In this context, both the success of the Erasmian text and the spread of parodic pictorial procedures that began in Northern Europe are connected to the possibility of open and hidden criticism. Erasmus allows himself simple jokes, but at the same time he criticizes the image cult of the Catholic Church or a misunderstood Marian piety. Image parodies are also accompanied by an open genre structure of varying character, which can be ironic in the sense of paradoxical encomium and polemical with reference to satire and the Reformation disputes.

APA, Harvard, Vancouver, ISO, and other styles

24

Hunter, Matthew C. "Folly—The View from Nowhere." Journal of Modern Craft 3, no. 3 (November 2010): 365–67. http://dx.doi.org/10.2752/174967810x12868890612484.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Harris, James C. "The Cure of Folly." Archives of General Psychiatry 61, no. 12 (December 1, 2004): 1187. http://dx.doi.org/10.1001/archpsyc.61.12.1187.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Ciochon, Russell L. ": Another Unique Species: Patterns in Human Evolutionary Ecology . Robert Foley." American Anthropologist 91, no. 3 (September 1989): 790–91. http://dx.doi.org/10.1525/aa.1989.91.3.02a00470.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Χρυσανθόπουλος, Μιχάλης. "ΜΙΧΑΛΗΣ ΧΡΥΣΑΝΘΟΠΟΥΛΟΣ, Υπερρεαλιστικά εγκώμια υπερρεαλιστών: Ανταγωνισμός μεταξύ Διοσκούρων;." Σύγκριση 31 (December 28, 2022): 108–19. http://dx.doi.org/10.12681/comparison.31278.

Full text

Abstract:

Surrealist “praises” (encomia) of surrealists: Empeirikos and Engonopoulos compete? The purpose of the paper is to explore the way the Greek surrealists, Andreas Empeirikos and Nikos Engonopoulos, use the form of the “praise” (encomium) in a fashion that relates to the Ancient Greek tradition and to its Renaissance revival (e.g. Erasmus, “Praise of Folly”), in order to establish the basic principles of their approaches, to deal with negative criticism of their work, to underscore the merits of the ideas and the work of their seniors, but, also, to playfully criticise them and, last but not least, to support and praise each other. The period examined in detail is that from 1935 to 1945, while emphasis is laid on Empeirikos’ long “praise” of Engonopoulos published in 1945, which redrew the rules. The surrealist “praise” is examined as a “agonistic” form, as a competition between poets and artists and as a defensive weapon against malevolent attacks from critics.

APA, Harvard, Vancouver, ISO, and other styles

28

Tyquiengco. "Black Velvet: Aboriginal Womanhood in the Art of Fiona Foley." Feminist Studies 45, no. 2-3 (2019): 467. http://dx.doi.org/10.15767/feministstudies.45.2-3.0467.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Anderson, Theodore M. "The Theory of Oral Composition: History and Methodology.John Miles Foley." Speculum 65, no. 2 (April 1990): 402–3. http://dx.doi.org/10.2307/2864317.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Marczuk, Barbara. "«Vrayment voicy de plaisans fous»: la folie dans le théâtre profane de Marguerite de Navarre." Renaissance and Reformation 38, no. 4 (January 1, 2002): 33–49. http://dx.doi.org/10.33137/rr.v38i4.8837.

Full text

Abstract:

This study shows that the dialectics of wisdom and folly, which owes a great deal to the relativization of reason in Renaissance culture, undergoes an original development in Marguerite de Navarre’s “secular” theater. While in these plays Marguerite uses figures of folly which inscribe themselves in the tradition represented by the late-medieval wordly fool, or Erasmus’s wise fool, she also creates the figure of the spiritual fool, who draws from both divine science and mystical ecstasy. The protagonists of four of Marguerite’s plays, Le Mallade, L’Inquisiteur, Trop, Prou, Peu, Moins, and the Comédie jouée au Mont de Marsan (written between 1535 and 1547), embody spiritual folly to an increasingly sublime degree, from the docta ignorantia up to mystic rapture. This exceeds, however, not only Erasmus’s conception but also that of the spiritual influences on the queen (Guillaume Briçonnet, Marguerite Porete) and appears to be her own invention, by means of which she expresses the most radical spiritual aspirations of a soul in search of God.

APA, Harvard, Vancouver, ISO, and other styles

31

Duhl, Olga Anna. "Le plaisir des sens comme source de bonheur dans les Stultiferae naves de Josse Bade et l'Éloge de la Folie d'Érasme." Renaissance and Reformation 30, no. 1 (January 1, 2006): 17–35. http://dx.doi.org/10.33137/rr.v30i1.9131.

Full text

Abstract:

The pursuit of happiness represents one of the major paradoxes of Erasmus' best-known work, Encomium Moriae (The Praise of Folly) (1511). While spiritual bliss is upheld as the ultimate form of happiness, the speaking subject celebrating it, who is no other than Folly herself, also argues for the superiority of the pleasures derived from the five senses. The narrative strategy which helps to maintain such an ambiguous position with regards to the ideal form of happiness, however, was scarcely Erasmus' invention, although he has been traditionally credited for it. As shown by the present comparative analysis, the praise of sensory pleasure through the mouth of Folly can be found in a nearly contemporary source, the Stultiferae naves (The Ship of Foolish Maidens) (1501). This work was probably well-known to Erasmus, since it belonged to the famous early-humanist printer, editor, commentator, and author Jodocus Badius Ascensius, who was also his principal Parisian editor until a regrettable event put an end to their relationship.

APA, Harvard, Vancouver, ISO, and other styles

32

PLANTINGA, CARL. "Barbara Foley, Telling The Truth: The Theory and Practice of Documentary Fiction." Journal of Aesthetics and Art Criticism 45, no. 3 (March 1, 1987): 316–17. http://dx.doi.org/10.1111/1540_6245.jaac45.3.0316.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Foley, John Miles, and Heda Jason. "On Jason's Review of J. M. Foley: "Oral-Formulaic Research and Scholarship"." Asian Folklore Studies 45, no. 1 (1986): 165. http://dx.doi.org/10.2307/1177858.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Wesseling, Ari. "Dutch Proverbs and Ancient Sources in Erasmus's Praise of Folly." Renaissance Quarterly 47, no. 2 (1994): 351–78. http://dx.doi.org/10.2307/2862917.

Full text

Abstract:

Clarence Miller, the learned editor and commentator of Erasmus's Praise of Folly, made a challenging remark in a recent issue of Renaissance Quarterly. In discussing a collection of essays on the Moria and the Colloquies,he observes in conclusion that it is “very difficult to say much that is both new and true” about Erasmus's satire. With a view to the flood of secondary literature on the subject, his observation seems quite to the point.I shall illustrate a number of basic textual ingredients in the Moria whose origin has escaped the attention of Erasmus specialists, namely, Dutch proverbs and expressions. More than once it is Folly herself that suggests she is going to quote from the vernacular.

APA, Harvard, Vancouver, ISO, and other styles

35

Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.

Full text

Abstract:

The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program SewonArtSpace in Yogyakarta, Indonesia. The project Afghan Box Camera, which he developed with the ethnographer Sean Folley, focuses on the photographic praxis in Afghanistan, mainly on the type of a simple instant camera, which was traditionally used there but its use is now in decline. They investigated the origins, techniques and the many personal stories of the photographers using or having used this type of camera and also made instructional videos on how to build or use one. Attention to the overlooked photographic practices, history and contexts marks also his current project The Myanmar Photo Archive, a growing collection of Myanmar photographs that were created during and after the colonial period – the work of local photographers from that period has namely remained unknown until today. Keywords: local history, Myanmar photography, photographic backdrop, western view

APA, Harvard, Vancouver, ISO, and other styles

36

Dubin, Nina L., Meredith Martin, and Madeleine C. Viljoen. "Fortune and Folly: A Pandemic Reminiscence." Eighteenth-Century Studies 54, no. 1 (2020): 13–21. http://dx.doi.org/10.1353/ecs.2020.0082.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Gervers, Michael. "Military Orders and Crusades by Alan Forey." Catholic Historical Review 82, no. 3 (1996): 536–37. http://dx.doi.org/10.1353/cat.1996.0028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Nilles, Camilla J. "Re-Reading Folly: Rabelais’s Praise of Triboullet." Renaissance and Reformation 30, no. 1 (January 21, 2009): 19–31. http://dx.doi.org/10.33137/rr.v30i1.11477.

Full text

Abstract:

Rabelais's praise of Triboullet differs from earlier works on folly by using the fool's differing perspective to conduct its search for authentic meaning. The descriptions of the sage mondain and the divine fool initiate the process, establishing folly and wisdom as relative terms, whose meaning is determined by shifting perspectives. In the praise of Triboullet, Pantagruel's and Panurge's differing referential frames are embodied by parallel columns of epithets. While each list's internal coherence and its relation to the other is guaranteed by analogy, they use difference to generate new epithets, constantly moving from the known to the unknown. Finally, the text's unconventional configuration forces readers as well to adopt a detached perspective, actively engaging them in the pursuit of meaning.

APA, Harvard, Vancouver, ISO, and other styles

39

Ellis, Steven G. "Áine Foley, The royal manors of medieval Co. Dublin: crown and community." Peritia 28 (January 2017): 253–54. http://dx.doi.org/10.1484/j.perit.4.2018005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Castle, Terry. "Contagious Folly: "An Adventure" and Its Skeptics." Critical Inquiry 17, no. 4 (July 1991): 741–72. http://dx.doi.org/10.1086/448611.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Bäuml, Franz H. "Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. John Miles Foley." Speculum 61, no. 3 (July 1986): 650–51. http://dx.doi.org/10.2307/2851615.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Spadaro, Katrina L. "Disease, Folly, Authorship: Robert Armin and Twelfth Night." Shakespeare 17, no. 3 (March 2, 2021): 259–78. http://dx.doi.org/10.1080/17450918.2021.1887341.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Varghese, Annalise. "Observer effects: experiencing emptiness in Peter Wilson’s Osaka Folly." Journal of Architecture 26, no. 5 (July 4, 2021): 710–35. http://dx.doi.org/10.1080/13602365.2021.1948442.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Reichl, Karl. "Traditional Oral Epic: The "Odyssey," "Beowulf," and the Serbo-Croatian Return Song.John Miles Foley." Speculum 68, no. 4 (October 1993): 1116–18. http://dx.doi.org/10.2307/2865533.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Chakravarti, Paromita. "Natural fools and the historiography of Renaissance folly." Renaissance Studies 25, no. 2 (September 29, 2010): 208–27. http://dx.doi.org/10.1111/j.1477-4658.2010.00674.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Tonkinwise, C. "To Save Everything, Click Here: The Folly of Technological Solutionism." Journal of Design History 27, no. 1 (November 6, 2013): 111–13. http://dx.doi.org/10.1093/jdh/ept034.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Kovacs, Andrew. "Very Big Art: Follies, the Public and Multispace." Architectural Design 93, no. 6 (November 2023): 86–93. http://dx.doi.org/10.1002/ad.2998.

Full text

Abstract:

AbstractVery Big Art uses a variety of both virtual and real media to create a nexus where architecture, the public realm, urban design, performance, ephemerality and art meet at an often colossal scale – a 21st‐century reworking of the notion of the architectural ‘folly’. Architectural designer and educator Andrew Kovacs describes a brief history of some of the early exponents of arch‐art, and leads us through some recent examples, including the output of his own practice.

APA, Harvard, Vancouver, ISO, and other styles

48

Cowart, Georgia. "Of women, sex and folly: Opera under the Old Regime." Cambridge Opera Journal 6, no. 3 (November 1994): 205–20. http://dx.doi.org/10.1017/s0954586700004304.

Full text

Abstract:

Conservative writers in seventeenth-century France tended to agree that the morals of women were degenerating, though they disagreed as to whether the cause was the excessive strictness or the leniency of husbands. We would perhaps characterise the change more as a newly found sense of freedom and self-confidence that allowed women, however tentatively, to contest the double standard of the age. The new morality was seen in fashions that bared progressively more of the neck, shoulders, breasts, ankles and legs, revealing new erotic frontiers; in a relaxation of the taboo against female swearing and coarse language; in an epidemic of female gambling; and in scandalous reports of women's over-indulgences in the sensual pleasures of food, drink, nicotine and sex.

APA, Harvard, Vancouver, ISO, and other styles

49

FOLEY, DUNCAN K. "THE HISTORY OF ECONOMIC THOUGHT AND THE POLITICAL ECONOMIC EDUCATION OF DUNCAN FOLEY." Journal of the History of Economic Thought 31, no. 1 (March 2009): 21–31. http://dx.doi.org/10.1017/s1053837209090038.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Flynn, James R. "The Folly of Writing History without a Cognitive Dimension." Mankind Quarterly 54, no. 3 (2014): 313–21. http://dx.doi.org/10.46469/mq.2014.54.3.2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!