Academic literature on the topic 'Narrative art, European'
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Journal articles on the topic "Narrative art, European"
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Mahmood, Bahaa Najem. "Narrativa in viaggio e incontro con Boccaccio." Al-Adab Journal 1, no. 132 (March 15, 2020): 1–18. http://dx.doi.org/10.31973/aj.v1i132.600.
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L’articolo focalizza l’attenzione sul concetto dell’incontro tra le letterature mondiali, soprattutto la narrativa. Gli esempi che portiamo tendono a dare una visione storica su come il genere narrativo fece il suo viaggio lungo i millenni, partendo dai semplici antichi concetti orientali per arrivare al suo traguardo all’epoca di Giovanni Boccaccio, in Italia, e ripartire nuovamente come vera e propria arte tra le più note partecipanti alla comparsa del Rinascimento europeo.
The article focuses the attention on the concept of meeting among world literatures, especially the Narrative. The examples we take tend to give us a historical look at how the narrative genre made its way through the millennia, starting from the simple ancient concepts to reach its goal at the time of Giovanni Boccaccio in Italy, and to resume again as true Art even among the important participants in the appearance of the European Renaissance
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Levchenko, Illia. "‘Nothing New‘: once again about the impossibility of a global history of art (comments on Dana Arnold's ‘A Short Book About Art’)." Text and Image: Essential Problems in Art History, no. 1 (2022): 163–72. http://dx.doi.org/10.17721/2519-4801.2022.1.13.
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I started this text as a review of another ‘short history of art’ that I came across. ‘A Short Book About Art’, written by the British art historian Dana Arnold, is a great example of the popularization and practical application of new approaches to art history. Among them are sociology, psychology of art, political iconology, gender art history and more. The researcher set an ambitious goal. The work is dedicated to finding common threads that connect the art of different geographical areas and demonstrate that the art of any period works in a similar way. We are talking, as we see, about the global history of the arts. This story should cover all regions and give a balanced representation of the cultures/arts of the different regions. However, the noble goal, as a careful reading of the work showed, not only did not solve the problem but also exacerbated it. Non-European art is almost ignored. In addition, the researcher builds a typical pro-Western narrative, where, however, the progressive approach is replaced by values. If progressivism was the ‘dark side of modernity’, the ‘value approach’ involves the consideration of non-European art exclusively from the perspective of Occidental values. Non-European art enters the narrative of global art history through hybridization due to glocalization. At the same time, the glocalization of art occurs in two ways. The first of them is passive. The projective vision of the researcher formed by Western values simply does not notice and does not anticipate any difference between the ‘other’. Because of this, neither the ‘other nor its differences fall into the field of study. The second way of glocalization is active. It involves the relocation and recontextualization of culture. It is about moving culture in a familiar, acceptable to the researcher context (most often it is the morphology of art, topic or phenomenology). Both options for glocalization involve the implementation of an exclusion strategy, which makes it impossible to talk about global art history. Global art history is possible only as a result of non-trivial decolonial optics. However, decolonization as a postmodern project contradicts the modern idea of ‘short history’ and centrifugal narrative.
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Rodov, Ilia. "What is “Folk” about Synagogue Art?" Images 9, no. 1 (May 22, 2016): 49–63. http://dx.doi.org/10.1163/18718000-12340052.
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This publication is a tribute to the memory of the outstanding folklorist and ethnographer Dov Noy, who passed away in 2013. In the scholarly discourse that classifies folklore by modes and media of transmission, synagogue art—as distinct from folk narrative and behavioral lore—is commonly categorized as “visual folklore.” This paper examines the approach of classifying murals and sculptural decoration in east and central European synagogues from the late seventeenth century until the Holocaust as “folk creations.” It suggests a revision of pre-established definitions in the field, in general, and in the analysis of representative folk narratives relating to synagogues, in particular. The position of academic research into traditional Jewish visual culture, at the seam of art history and folkloristics, challenges predefined divisions of this integral cultural phenomenon into the conventional categories of separate disciplines. In the discourse classifying folklore according to the ways and media of its transmission, synagogue art—in distinction to folk narratives and behavioral lore—commonly falls into the category of “visual folklore,” defined as the visual domain of folk art and material culture. Jewish “folk art” is often attributed generally to “folk artists” and “craftsmen,” without a clear distinction between the two groups. This paper holistically examines the approaches to the murals and sculptural decoration in east and central European synagogues from the late seventeenth century until the Holocaust as visual folklore, craftsmanship, and artistic work, and outlines the part of oral lore in the programming and interpretation of synagogue art. Finally, it proposes to re-approach folk synagogue art as a medium that creates a visual environment for liturgical activity and predicates its viewers’ responses to the challenges, trials, and tribulations of daily life.
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DOĞANER, Saygın Koray. "DANCER IN THE DARK AS A HYBRID NARRATION." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 833–45. http://dx.doi.org/10.7456/11203100/018.
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In this article, in Dancer in the Dark, the third film of Lars Von Trier's Golden Heart Trilogy (Breaking the Waves 1996, Idioterne, 1998, Dancer in the Dark 2000), how music and dance are used, what principles its technique is based on, the mise-en-scene elements used in creating meaning. and the narrative structure of the film was examined. Dancer in the Dark stands out as one of the films where Trier takes naive, childlike, pain-tested, strong and yet fragile women to the center. The film, which has little in common with the musicals in classical narrative cinema, has a musical feature with melodramatic features. The narration of the film creates a hybrid structure between European art cinema and classical Hollywood cinema. The narrative technique of the film also partially complies with the Dogma 95 manifesto published by Trier and three Danish directors.
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Emslie, Barry. "Woman as image and narrative in Wagner's Parsifal: A case study." Cambridge Opera Journal 3, no. 2 (July 1991): 109–24. http://dx.doi.org/10.1017/s0954586700003438.
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In much nineteenth-century European art ‘The Woman’ appears as an essentially symbolic figure saturated with ‘higher’ significance. Perhaps only in those literary forms that depend heavily on narrative does ‘she’ have any real chance of escaping a passive role. Otherwise, the female figure was used by male artists in an almost de-personalised manner that invariably emphasised abstract characteristics. At times The Woman is ‘elevated’ – so it would have appeared – to the highest symbolic level: to Liberty, Virtue, Humanity, Science, Art, Europa, etc. ‘She’ is, in aesthetic production, frequently a normative and seldom a narrative figure. Indeed her status as the former helps preclude her from active participation in the latter, so that even in narratives she often appears merely to observe the stories in which she is nominally involved. In artistic discourse, her best chance of liberation from an essentially symbolic identity and of breaking into the realm of active ‘life’ is to assume those qualities that lie most at odds with her conventional, morally uplifting status. The ‘bad’ woman – whore, temptress, manipulator of men – has a better chance than her ‘good’ Doppelgänger of playing a role rather than of merely assuming an ideological part.
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Drosos, Nikolas. "Modernism and World Art, 1950–72." ARTMargins 8, no. 2 (June 2019): 55–76. http://dx.doi.org/10.1162/artm_a_00235.
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Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.
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Shvets, Alla. "Expressionist Narrative of War (Vasyl Stefanyk’s Novellas in the Western European Context)." Verbum 12 (December 2, 2021): 4. http://dx.doi.org/10.15388/verb.23.
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This article shows how the influence of Western European expressionism on Ukrainian art contributed to the formation of its national version in the works of Vasyl Stefanyk. The research applied comparative, biographical methods and method of close reading. The outcome of this detailed analysis demonstrates that the common features of Stefanyk’s antimilitary novels and Western European Expressionists are similar and feature such themes as the crisis of cultural values, anti-military issues, condemnation of murder, states of existential anxiety, tragedy of human existence and eschatological feeling. Furthermore, Expressionists and Stefanyk focus on the psychophysical states of characters ‒ death, madness, injury, numbness, screaming, fear, panic, despair, agony, anxiety, prayer.
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MIKKONEN, KAI. "The modernist traveller in Africa: Africanism and the European author's self-fashioning." European Review 13, no. 1 (January 20, 2005): 115–25. http://dx.doi.org/10.1017/s1062798705000116.
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The central question in this paper is the relationship between European modernist traveller's self-fashioning and the representation of Sub-Saharan African cultures, spaces and cross-cultural encounters in the early 20th century. The premise is that the cultural production of identity, including the question of artistic identity and poetics, is most productive where it is most ambivalent and uneasy. High modernist critical narratives pose the question of the phenomenology of travel in terms of textual authority. Authority, in the perception in late colonial European writing, was often simultaneously questioned and affirmed, meaning that Western art, and the modern society, were seen as lacking something significant outside of its margin. At the same time, the idea of the pure exotic emerged as incompatible with modern historical consciousness, and colonial texts anticipate many later theoretical ideas in postcolonial studies. The question is how to portray cross-cultural encounters, and how to fashion the self in the contact zone of travel and sojourn. Modernist travel writing asks what was the writer's self and the recognition of identity and difference in others. The modernist image of Africa carries important implications for the re-evaluation of art and literature and the renewal of artistic or narrative forms.
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Stolte, Sarah Anne. "Hustling and Hoaxing: Institutions, Modern Styles, and Yeffe Kimball’s “Native” Art." American Indian Culture and Research Journal 43, no. 4 (October 1, 2019): 77–92. http://dx.doi.org/10.17953/aicrj.43.4.stolte.
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This article considers the artistic career of self-identified Osage painter Yeffe Kimball (1906–1978). Following the stylistic trends of modern American Indian painting as largely defined by non-Native critics and a male-dominated art world, Kimball’s works were accepted into major exhibits. How Kimball was able to “pass” as an American Indian artist is the core of a larger narrative—one that demonstrates and provokes critique of how her fraud took advantage of, but also contributed to strengthening, an exclusionary, devaluative settler-colonial dynamic of expropriation that continues into the present. This article critiques the manner in which museums and art schools defined societal values of “Indianness” that marginalized Native artists. Examining Yeffe Kimball’s successful ethnic fraud affirms a patriarchal, assimilationist narrative and the extent to which European-American identities, institutions, and art practices control American Indian imagery.
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Grini, Monica. "Sámi (re)presentation in a differentiating museumscape: Revisiting the art-culture system." Nordisk Museologi 27, no. 3 (January 28, 2020): 169–85. http://dx.doi.org/10.5617/nm.7740.
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The article addresses how Sámi culture is presented by museums in Oslo. One of the findings is that the old binary of “art” and “ethnographica” is still common in this museumscape. This reflects the historical divide between the art museum showing “European” and “Norwegian” art, and the ethnographic museum showing the arts of “the rest”. It is argued that Sámi artists, works, themes, and practices have had difficulties entering the reservoir of Norwegian “national imagery” and that such predicaments reflect persistent investments in the narrative of Norway as a monocultural nation.
Dissertations / Theses on the topic "Narrative art, European"
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McBride, Kenneth. "Eastern European time-based art during and after Communism." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/486.
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Soviet-era Communism was a project of emergence that failed to realise its Utopian ambition. Nevertheless, it created an unprecedented simulacrum whose visual language was appropriated by a number of artists as a readymade. This artistic response to everyday reality shaped an unofficial narrative of the Communist epoch. Operating beyond the official realm these artists were subject to varying degrees of censorship, and their activities led to what became known as ‘non-official’ art. Non-official artists suffered from inferior materials, lack of exposure, and were forced to radicalize their methods of production. Without official support the everyday domestic realm and a diverse range of outdoor sites became sites of production. The primary arena, however, and the one that would become the most politicized, was the artist's body that often acted as one or both material and surface. On the one hand the thesis takes the Communist context as a common platform from which to discuss time-based art practices in Eastern Europe while, on the other, it proposes that such a general view is worthless since it does not pay sufficient attention to the particular conditions within each bloc country. While the former serves as a reference for artistic response in a wide view, the latter provokes a deeper, more contextualised, understanding of the social, political, and cultural conditions that ultimately shaped non-official art. To understand fully the effect of the Communist past also involves analysing it through the lens of the present day. A number of works produced pre- and post-1989 are analysed that offer insights into the past, its disintegration, and the transition period. The theoretical and critical thrust is shaped from primary research material gathered from artists, intellectuals, and critics throughout the region, so as to most clearly reflect its own contemporaneous and unfolding discourse. It builds on these key sources and underscores the difficulties faced when trying to locate the works within existing art history canons. Together with this written element, a further two curatorial strands complete the form of the thesis. A website has been created that reflects the thesis enquiry, three re-enactments of historical works are undertaken as a strategy that allows for a more experiential understanding of context, and three new performances devised by the author in response to the contexts researched complete the work. The thesis was written throughout Eastern Europe, and primarily in Poland where the author lives and works.
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Burchiel, Meridith. "The Intersection of Perceptions: An Investigation of Children’s Personal Narratives." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/310.
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My thesis focuses primarily on child portraiture and attempting to express the imaginative quality of young thought that has the potential of being forgotten with age. While my concept originated with the idea of children affected by the Holocaust and World War II, I have broadened my scope to examine the ways in which imagination is seen while children are sharing thoughts through storytelling. Using ink and pen, the quality of line will vary to depict different stages of a particular fragment of emotion. My research concerns children’s worldview and understanding of internally perceived reality as it to their environment. I also investigate the opera Bründibár written by Hans Krása during World War II as a historically contextualized example of children’s narratives and their outcomes. The transcending theme of my cumulative work is regarding the moments of intersection between outside stimulus and children’s imagined reality.
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Nelson, Charmaine Andrea. "Narrating blackness : studies in femininity, sexuality and race in European and American art of the nineteenth-century." Thesis, University of Manchester, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540694.
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This dissertation is an exploration of the representation of black female subjects within American and European art of the nineteenth century. The popularity of Cleopatra among artists and specifically her nineteenth-century re-incarnation as a black woman, has been used as a starting point for an examination of abolitionist visual discourse and for the examination of the (im)possibility of the black female subject within western visual culture generally. The period of study includes a time of great change and upheaval in the social, symbolic and legal status of the black body, marking the shift from Trans Atlantic Slavery through abolitionism to Emancipation - which is also the transition from the enslaved to the "liberated" black body. I have chosen to focus upon neoclassical sculpture in order to explore its aesthetic and material specificity which, privileging white marble, disavowed the signification of race at the level of skin/complexion. Within neoclassicism, racial disavowal was also registered at the level of subject, symbolism and narrative where the white fear and rejection of the so-called full-blooded negro type resulted in the prevalence of the white-negro body of the inter-racial female -a miscegenated body that in its proximity to whiteness both alleviated and (em)bodied the cross-racial contact which colonial logic most abhorred. But my choices are also informed by my desire to interrogate neoclassicism's investment in the racial differencing of bodies and its relatedness to the biological construction of race within nineteenth-century human sciences. Both fields were dependant upon the paradigmatic status of the white male body as the unquestioned apex of an hierarchical arrangement of racial types and the authority of vision as a supposedly objective tool of physical observation and differentiation. Neoclassical objects have been contextualized by sculpture of other media, specifically polychromy, as well as painting and other popular cultural objects to demonstrate the representational limits and subjective possibilities of specific art forms. These different styles and types of art were governed by different material and aesthetic requirements and practices which engendered different processes of viewing. However, this is not only an exploration of identity and identification of the represented subject, but also an inquiry into how the identity of the artists/producers and viewers impacts their representation and consumption of "other" bodies. This dissertation is an intervention into the hegemonic practice of western culture which challenges the traditional disciplinarity of art history by insisting upon the importance of race to cultural practice. Using post-colonial and feminist rereadings of Freudian and Lacanian psychoanalysis which can account for both the material and the psychic, I have theorized the process through which racial identification is achieved, locating culture as a colonial field where identifications are produced, secured and deployed. The significance of a black feminist agenda is the fundamental belief in the inseparability of sex and gender identifications from race and colour in any-body, as well as an attentiveness to the multiplicity and simultaneity of marginalization. Ultimately, I am questioning the extent to which an identification is registered not only in the object of representation, but occurs within the process of viewing.
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Lindquist, Jason H. "“Under the influence of an exotic nature...national remembrances are insensibly effaced” : threats to the European subject in Humboldt’s personal narrative of travels to the equinoctial regions of the New Continent." Universität Potsdam, 2004. http://opus.kobv.de/ubp/volltexte/2009/3510/.
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My essay attends to a number of passages in Alexander von Humboldt’s Personal Narrative in which the Prussian explorer expresses anxiety about the apparent dangers posed by the overwhelmingly productive tropical landscapes he observes. In these passages, the excesses of an “exotic nature” threaten European identity and modes of civilization—and they trouble the accuracy of Humboldt’s own observational project. I also explore Humboldt’s related worry that South American vegetable (and visual) overload will exert a destabilizing effect on his aesthetic sensibility, disrupting his ability to represent the “New Continent” accurately in writing. Finally, I sketch the influence of Humboldt’s representations of tropical excess on nineteenth-century British cultural thought and literary practice. Studying the instabilities experienced by Personal Narrative’s expatriates and colonists promises to draw out important tensions latent in Humboldt’s treatment of tropical landscape and to illuminate broader epistemological and aesthetic shifts being worked out during the period.
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Thomas, Leah. "Literary Landscapes: Mapping Emergent American Identity in Transatlantic Narratives of Women's Travel of the Long Eighteenth Century." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/589.
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This dissertation examines intersections of the development of maps from the Native American-European encounter to the establishment of the New Republic and transatlantic British and American narratives of women’s travel of the long eighteenth century. Early European and American maps that depict the Americas analyzed as parallel “texts” to canonical and lesser-known women’s narratives ranging from 1688 to 1801 reveal further insights into both maps and these narratives otherwise not apparent. I argue that as mapping of the New World developed, this mapping influenced representations of women’s geographic and social mobility and emergent “American” identity in transatlantic narratives. These narratives, like maps of the New World, reveal disjunctures in representation that disseminate deceptive portrayals of the New World. Such discrepancies open a rhetorical gap, or a thirdspace, of inquiry to analyze the gaze at work within these cartographic and women’s narratives. The representations of women’s geographic and social mobility remain constricted within the selected narratives of women’s travel. While the heroines do travel, in most cases they travel as captives or in some form of escape. These narratives include Aphra Behn’s Oroonoko (1688), Unca Eliza Winkfield’s The Female American (1767), Susanna Rowson’s Charlotte Temple (1794), and Tabitha Tenney’s Female Quixotism (1801), among others. However, these narratives do highlight similarities of an emergent “American” identity as Native American, hybrid, and fluid as represented in contemporaneous maps. Literary Landscapes also addresses the narrativity of maps as auto/biographical and even satirical expressions as related to the women’s narratives analyzed in this study. For, J. B. Harley discusses how a map conveys his own life and contains his memories in his essay “The Map as Biography,” while Roland Barthes argues that mapping is a sensorial experience in his brief essay “No Address.” Furthermore, allegorical maps like Jean de Gourmont’s The Fool’s Cap Map of the World (ca. 1590) and Madeleine de Scudéry’s Carte de tendre (1678) reflect aspects of the human condition such as folly and friendship.
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GRZECHNIK, Marta. "The concept of the Baltic Sea region as a historical region : an analysis of the process of constructing narratives about the region's past." Doctoral thesis, 2010. http://hdl.handle.net/1814/14982.
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Defence date: 14 October 2010Examining Board: Professor Arfon Rees, European University Institute; Professor Bo Stråth, European University Institute; Professor Mieczyslaw Nurek, University of Gdansk; Professor Kristian Gerner, University of Lund
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This PhD thesis is a study of the development of the concept of the Baltic Sea region as a historical region in the Polish and Swedish historiographies in the interwar and post-Cold War periods. Taking as the point of departure an enthusiasm for Baltic Sea region history that appeared after the end of the Cold War, the aim is on the one hand to determine what intellectual traditions and earlier concepts the post-Cold War concept of the Baltic Sea region is based on, and on the other – to compare the two historiographies. The research shows first of all an asymmetry between the two cases in the two time periods: whereas the topic of the Baltic Sea region was discussed in Poland in the interwar period and almost ignored in the post-Cold War period, the situation in Sweden is reverse. Furthermore, two visions of the Baltic Sea region history are present in the historiography of the region: a more nationalistic one, striving first of all to secure national interests and seeing itself as an objective depiction of static past reality, and cross-national history, which adopts a post-modern view of history as an interpretation of the past, an ongoing process, and a definition of a region as a network of interactions or an arena of processes. It aims to create a basis for regional integration. These different approaches can be explained by the two countries’ distinct political cultures and intellectual traditions, but first of all - their different geopolitical situations in the interwar and the post-Cold War periods.
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Popescu-Sandu, Oana Agnes. "A vanishing act : Gulag narratives and their afterlife /." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3363055.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009.Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Harriet Murav. Includes bibliographical references (leaves 173-181) Available on microfilm from Pro Quest Information and Learning.
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Loureiro, Luís Gonçalo Pereira. "O Novo Extremismo Francês na génese de Marasmo." Master's thesis, 2015. http://hdl.handle.net/10400.14/20656.
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O primordial foco de trabalho da dissertação é discorrer sobre a impactante e
actual premissa da violência, no contexto do Novo Extremismo Francês, explorando
as formas e métodos da criação de emoções e sentimentos através de imagens
gráficas, violência implícita e subentendida. Do frívolo ao mundano, do quotidiano ao
excepcional, o Novo Extremismo Francês tem providenciado e alavancado novas
correntes, mentalidades e cânones estéticos. As obras e realizadores associados a esta
corrente não se conotam a uma homogeneidade cinematográfica. As abordagens
estéticas e filosóficas são várias e proporcionais ao pensamento tão próprio, autêntico
e peculiar de cada associado. Intrínseco a este fulgor e liberdade criativa, está o
contexto sociopolítico reminiscente.
Marasmo (2015) é o culminar do aprofundamento teórico desenvolvido na
presente dissertação. Emparelhado será com L’Humanité (1999) de Bruno Dumont
com o intuito de, através da análise crítica de ambos, atentar perante a força deste que
alavanca a compreensão do movimento assim como de Marasmo. Uma
contextualização histórica é imperativa para a compreensão de L’Humanité e uma
incursão pelo Novo Extremismo Francês impõe-se como forma de a situar
relativamente a uma corrente cinematográfica revolucionaria e abaladora de universo
fílmico como o conhecemos. Tratando-se de uma corrente avassaladora, a análise
crítica a qualquer outra peça cinematográfica seria um descuido desmazelado pela
parca e discutível conexão que esta teria para com Marasmo.
Sucintamente, Marasmo e L’Humanité apelam à reflexão posterior à duração
temporal das obras. Por partilharem laços umbilicais tais como a Teoria da
Fragmentação e a Estética do Abjecto, impõe-se o aprofundamento de ambos até
brotar uma consonância vindoira deste paralelismo.
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Bouffard-Veilleux, Mickaël. "Le bon air et la bonne grâce : attitudes et gestes de la figure noble dans l’art européen (1661-1789)." Thèse, 2013. http://hdl.handle.net/1866/9230.
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Cette thèse porte sur les gestes et attitudes qui ont caractérisé la figure aristocratique dans l’art européen entre 1661 et 1789. Cet intervalle correspond à la durée de vie d’un paradigme corporel noble appelé « le bon air et la bonne grâce », de son élaboration à la cour de Louis XIV et de sa diffusion hégémonique en Europe, jusqu’à son rejet définitif à la Révolution française. La société d’Ancien Régime a déployé tout un arsenal de moyens (exercices, instruments orthopédiques,…) pour intérioriser une grâce qui devait paraître innée et prouver la noblesse. Le maître à danser détenait le monopole de l’inculcation de cette grâce et de son élaboration suivant des critères hautement esthétiques. Les gestes et positions inventoriés ici, sont décrits et associés à leurs connotations d’origine, montrant qu’une connaissance approfondie et minutieuse de la gestuelle peut affiner notre compréhension d’un large pan de l’art des XVIIe et XVIIIe siècles.
L’auteur démontre que cette hexis corporelle contemporaine transcende tous les domaines concernés par le corps noble (éducation, théâtre, danse, opéra, arts martiaux, etc.) et en vient à infiltrer la majorité des genres picturaux, bousculant les traditions artistiques déjà en place et s’affichant comme une alternative moderne à la grâce des Anciens.
Le portrait, la gravure de mode, les figurines de porcelaine, les vues de villes et de jardins sont les plus touchés par ce phénomène. La bonne grâce s’affirme ainsi dans une culture visuelle qui, par ricochet, en vient à renforcer les pratiques sociales dont elle était le reflet. Cet aller-retour des attitudes aristocratiques entre l’art et la vie occasionne la standardisation de la figure et du corps aristocratiques. Dans la pastorale, la peinture d’histoire et la scène de genre, l’idéal aristocratique se manifeste, tantôt en négatif dans la figure du paysan, du Pierrot et de l’Arlequin, tantôt de manière idéalisée dans celles du berger et du héros galants. La substitution de gestes emphatiques et d’expressions faciales explicites par une gestuelle fondée sur la retenue et la dissimulation des passions, fondera une nouvelle historia moins lisible que la traditionnelle, mais plus subtile et insinuée, répondant ainsi mieux au goût et à la sensibilité aristocratique.This thesis concerns the characteristic gestures and attitudes of the aristocratic figure in European art between 1661 and 1789. This period corresponds to the lifetime of a noble bodily ideal named “le bon air” and “la bonne grâce”, from its formulation at Louis XIV’s court and hegemonic propagation until its decline with the French Revolution. A panoply of means (exercises, orthopaedic instruments…) have been invented by the Ancien Régime society to embody a grace that should appear inborn and testify to noble birth. The dancing-master enjoyed the monopoly of inculcating this grace and elaborating it in accordance with highly aesthetic criteria. Most of the bon air and bonne grâce gestures and postures are here catalogued, described and associated with their original connotative values, showing that a deep and meticulous knowledge of body techniques can sharpen our understanding of a great proportion of Early Modern artworks. The author agues that this bodily habitus transcended every field concerned with the noble body (education, theatre, dance, opera, martial arts…) and came to infiltrate most pictorial genres, challenging age-old artistic traditions and imposing itself as a modern alternative to the grace of the Ancients. Portraiture, fashion plates, porcelain figurines, city and garden landscapes were the most affected by this phenomenon. Bonne grâce thus affirmed itself in a visual culture, which in return reinforced the very social practices that mirrored. The circular migration of aristocratic gestures between life and art caused a standardisation of both aristocratic body and figure. Within pastoral, history painting and genre scenes, the aristocratic ideal reveals itself antithetically in the figure of the peasant, the Pierrot and the Harlequin, and idealistically in those of the gallant shepherd and gallant hero. The substitution of emphatic gestures and strong facial expressions for ones based on restraint and dissimulation gave birth to a new historia that was less legible, but more subtle and suggestive, in accordance with aristocratic taste and sensibility.
Books on the topic "Narrative art, European"
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Pradel, Jean-Louis. La figuration narrative. [Paris]: Hazan, 2000.
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Pijaudier, Joëlle. Panorama 6: Casting stories. Tourcoing]: Le Fresnoy, 2005.
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Schnapp, Alain. L' histoire ancienne: À travers 100 chefs-d'œuvre de la peinture. Paris: Presses de la Renaissance, 2004.
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Rouen (France). Musée des beaux arts., ed. Jeanne d'Arc, les tableaux de l'histoire, 1820-1920. [Rouen]: Musées ville de Rouen, 2003.
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Caroline, Caron-Lanfranc de Panthou, ed. L'Antiquité éternelle par les peintres. Paris: Seuil, 2010.
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Museum, Seattle Art, ed. States of war: New European and American paintings. Seattle, WA: Seattle Art Museum, 1985.
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Die Bilderzählung: Narrative Strukturen in Zyklen des 18. und 19. Jahrhunderts : von Tiepolo und Goya bis Rethel. Petersberg: M. Imhof, 1998.
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Ochęduszko, Rafał. European history painting in the 19th century: Mutual connections, common themes, differences. Kraków: Universitas, 2010.
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Wolf, Gerhard. Jerusalem as narrative space: Erzahlraum Jerusalem. Leiden: Brill, 2012.
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L'arte racconta il diritto e la storia di Roma. Ospedaletto (Pisa): Pacini giuridica, 2016.
Find full textBook chapters on the topic "Narrative art, European"
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Mansbach, Steven A. "Idiosyncrasy as an Alternative Modernist Narrative." In New Narratives of Russian and East European Art, 95–111. New York: Routledge, 2020. | Series: [Studies in art historiography]: Routledge, 2019. http://dx.doi.org/10.4324/9780429028595-7.
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Toolan, Michael. "Are Brummies developing narrative of European identity?" In The Discourse of Europe, 79–94. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/dapsac.26.04too.
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Cuenca, Alberto López. "Narrating Dissident Art in Spain." In Making Art History in Europe After 1945, 251–68. 1. | New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351187596-17.
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Forgács, Éva. "Shaping the Narrative of a New Europe in Art." In Rethinking Postwar Europe, 31–50. Köln: Böhlau Verlag, 2019. http://dx.doi.org/10.7788/9783412514020.31.
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Zhurauliova, Tatsiana. "The Nonidentity Problem in Contemporary Belarusian Art." In New Narratives of Russian and East European Art, 180–92. New York: Routledge, 2020. | Series: [Studies in art historiography]: Routledge, 2019. http://dx.doi.org/10.4324/9780429028595-12.
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Romberg, Kristin. "Art in the Age of Binary Inversion." In New Narratives of Russian and East European Art, 115–35. New York: Routledge, 2020. | Series: [Studies in art historiography]: Routledge, 2019. http://dx.doi.org/10.4324/9780429028595-8.
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Iusmen, Ingi. "How Are Children’s Rights (Mis)Interpreted in Practice? The European Commission, Children’s Rights and Policy Narratives." In Narrative Policy Analysis, 97–120. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76635-5_5.
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Elantkowski, Jan. "Art, Trauma, and the Shoah: Postcatastrophic Narration and Contemporary Art from Hungary." In The Afterlife of the Shoah in Central and Eastern European Cultures, 313–28. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003050544-19.
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Hilton, Alison. "Iaroslavna’s Lament and Its Echoes in Late Nineteenth-Century Russian Art." In New Narratives of Russian and East European Art, 32–47. New York: Routledge, 2020. | Series: [Studies in art historiography]: Routledge, 2019. http://dx.doi.org/10.4324/9780429028595-3.
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Mardilovich, Galina, and Maria Taroutina. "Introduction." In New Narratives of Russian and East European Art, 1–11. New York: Routledge, 2020. | Series: [Studies in art historiography]: Routledge, 2019. http://dx.doi.org/10.4324/9780429028595-1.
Full textConference papers on the topic "Narrative art, European"
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.
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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.
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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kvítková, Zuzana, and Zdenka Petrů. "APPROACHES TO STORYTELLING AND NARRATIVE STRUCTURES IN DESTINATION MARKETING." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.28.
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Purpose – Storytelling is a very actual trend in destinations´ promotion. Travel narratives are renowned for the ability to arouse interest in the reader. The stories can be told in a written form, visual form, or in a form of movements (dances, theatre, etc.). Travel narratives can include more detailed information, they evoke emotions and empathy. Empathy has then a positive relation to behavioral intentions. Therefore, storytelling as a concept is more and more adopted by destination marketing organisations (DMOs). The approach and use of the concept can be different. The aim of the paper is to identify the approaches, and structures used by DMOs and to reveal the level of readers´ or tourists´ involvement in the narratives. Methodology – The main purpose of research is reached by conducting an empirical study using the qualitative methods of analysis - content analysis, deconstruction of the stories, analyzing the story structure, and comparison of the identified structures with the theory. Quantitative analysis, descriptive statistics and contingency tables are used to analyse the frequency and combinations of storytelling structures and approaches of the DMOs. Findings – A narrative is the central theme of the communication in 65.12% of analyzed campaigns. The most used structures are Petal and Hero´s Journey. The tourists are the main characters in 55.81% of the analyzed campaigns. They are also involved in the story creation in 46.51%. The most used communication channel is YouTube; this is valid on all levels of destinations. Contribution – Storytelling is an important part of destinations´ marketing, however, the research usually brings insight from a narrow or specific point of view (e.g., analysis of one platform or in a form of a case study). This research brings a comprehensive view of the narrative structures used for destinations based on empirical research from several destinations and a deep analysis of the content.
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Nanetti, Sara. "THE SOCIOLOGICAL FRAMEWORKS OF EUROPEAN CITIZENSHIP IN ITALIAN JOURNALISTIC NARRATION." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s26.055.
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Phillips, Debra J. "A Strategy for Resilience: Developing a Narrative of the Imagined Future." In – The European Conference on Arts & Humanities 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2188-1111.2022.6.
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Scianitti, Francesca. "THE USE OF NARRATION AND ART IN THE PUBLIC COMMUNICATION OF SCIENCE." In European Physical Society Conference on High Energy Physics. Trieste, Italy: Sissa Medialab, 2020. http://dx.doi.org/10.22323/1.364.0444.
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Aydın, Gülsüm. "A Comparative Analysis of Romeyka and Turkish Personal Experience Narratives." In The European Conference on Arts & Humanities 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-1111.2021.3.
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Aydın, Gülsüm. "A Comparative Analysis of Romeyka and Turkish Personal Experience Narratives." In The European Conference on Arts & Humanities 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-1111.2021.3.
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Pandya, Mega J. "‘Climate Fiction Narratives’: A Study of Maja Lunde’s Novels – The History of Bees and The End of the Ocean." In The European Conference on Arts & Humanities 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-1111.2021.6.
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Soroceanu, Radu-Petru, Ioana Silistraru, Anamaria Ciubara, Doina Azoicai, Daniel Timofte, Liviu Răzvan Platon, Bogdan Ciuntu, and Mădălina Maxim. "OBESITY AND DEPRESSION INTERTWINED – A NARRATIVE REVIEW." In The European Conference of Psychiatry and Mental Health "Galatia". Archiv Euromedica, 2023. http://dx.doi.org/10.35630/2022/12/psy.ro.18.
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Both pathologies—obesity and depression—have high prevalence rates and have serious negative effects on the public's health. In recent meta-analyses, clinical trials, and epidemiological studies, they have been observed in people of all races. Both obesity and major depression are risk factors related to one another. In this paper, we suggest an overview of the two interconnected biological processes, including genetic influences and changes to the systems in charge of energy synthesis and consumption (hypothalamic-pituitary-adrenal axis, and inflammation, neuroendocrine regulators, and gut microbiota). Additionally, we look into how people perceive their bodies and social stigma, as well as the potential benefits of physical activity and weight-loss surgery on comorbid conditions and quality of life.
Reports on the topic "Narrative art, European"
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.
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The main recommendations of the panel report can be summarised under five key headings: Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age. Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v Landscapes and regions: Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change? Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial. Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth. Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs. Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully. Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people. The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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Downes, Jane, ed. Chalcolithic and Bronze Age Scotland: ScARF Panel Report. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.184.
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The main recommendations of the panel report can be summarised under five key headings: Building the Scottish Bronze Age: Narratives should be developed to account for the regional and chronological trends and diversity within Scotland at this time. A chronology Bronze Age Scotland: ScARF Panel Report iv based upon Scottish as well as external evidence, combining absolute dating (and the statistical modelling thereof) with re-examined typologies based on a variety of sources – material cultural, funerary, settlement, and environmental evidence – is required to construct a robust and up to date framework for advancing research. Bronze Age people: How society was structured and demographic questions need to be imaginatively addressed including the degree of mobility (both short and long-distance communication), hierarchy, and the nature of the ‘family’ and the ‘individual’. A range of data and methodologies need to be employed in answering these questions, including harnessing experimental archaeology systematically to inform archaeologists of the practicalities of daily life, work and craft practices. Environmental evidence and climate impact: The opportunity to study the effects of climatic and environmental change on past society is an important feature of this period, as both palaeoenvironmental and archaeological data can be of suitable chronological and spatial resolution to be compared. Palaeoenvironmental work should be more effectively integrated within Bronze Age research, and inter-disciplinary approaches promoted at all stages of research and project design. This should be a two-way process, with environmental science contributing to interpretation of prehistoric societies, and in turn, the value of archaeological data to broader palaeoenvironmental debates emphasised. Through effective collaboration questions such as the nature of settlement and land-use and how people coped with environmental and climate change can be addressed. Artefacts in Context: The Scottish Chalcolithic and Bronze Age provide good evidence for resource exploitation and the use, manufacture and development of technology, with particularly rich evidence for manufacture. Research into these topics requires the application of innovative approaches in combination. This could include biographical approaches to artefacts or places, ethnographic perspectives, and scientific analysis of artefact composition. In order to achieve this there is a need for data collation, robust and sustainable databases and a review of the categories of data. Wider Worlds: Research into the Scottish Bronze Age has a considerable amount to offer other European pasts, with a rich archaeological data set that includes intact settlement deposits, burials and metalwork of every stage of development that has been the subject of a long history of study. Research should operate over different scales of analysis, tracing connections and developments from the local and regional, to the international context. In this way, Scottish Bronze Age studies can contribute to broader questions relating both to the Bronze Age and to human society in general.