Relevant bibliographies by topics / Narrative art, Renaissance

Academic literature on the topic 'Narrative art, Renaissance'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Narrative art, Renaissance"

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Johnson, Kimberly. "Linear Perspective and the Renaissance Lyric." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 280–97. http://dx.doi.org/10.1632/pmla.2019.134.2.280.

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As recent art historical scholarship has demonstrated, the techniques of linear perspective displace narrative (the artwork's content) in favor of the relations between aesthetic objects (the artwork's form). In this regard, perspectival art performs a rhetorical transaction analogous to that of its “sister art,” lyric poetry. The formal features and poetic strategies of lyric parallel the geometric effects of perspectival art: both practices differentiate the aesthetic surface from the transparentizing demands of narrative. Each art form stages the interaction of irreconcilable terms—content and form—and documents the dynamic and incommensurable relation between semantic meaning and meaninglessness. Lyric's dominance in the Renaissance, exemplified here by sonnets of Sidney and Shakespeare, reflects a wider cultural valorization of the experiential and materializing priorities of the aesthetic, an affirmation of objective, apprehensible elements whose significance is unyoked from the obligation to narrative.
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Regan, Lisa, and Alastair Fowler. "Renaissance Realism: Narrative Images in Literature and Art." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1210. http://dx.doi.org/10.2307/20477207.

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Erskine-hill, H. "Review: Renaissance Realism: Narrative Images in Literature and Art." Review of English Studies 55, no. 221 (September 1, 2004): 615–17. http://dx.doi.org/10.1093/res/55.221.615.

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Brennan, M. G. "Review: Renaissance Realism: Narrative Images in Literature and Art." Notes and Queries 51, no. 4 (December 1, 2004): 444–45. http://dx.doi.org/10.1093/nq/51.4.444.

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Brennan, Michael G. "Review: Renaissance Realism: Narrative Images in Literature and Art." Notes and Queries 51, no. 4 (December 1, 2004): 444–45. http://dx.doi.org/10.1093/nq/510444.

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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.
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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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James, Sara Nair, and Lew Andrews. "Story and Space in Renaissance Art: The Rebirth of Continuous Narrative." Sixteenth Century Journal 28, no. 1 (1997): 375. http://dx.doi.org/10.2307/2543345.

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Charnock, Ian. "Review: Alastair Fowler, Renaissance Realism: Narrative Images in Literature and Art." Art Book 11, no. 2 (March 2004): 45–46. http://dx.doi.org/10.1111/j.1467-8357.2004.00414.x.

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Garratt, James. "Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music." Journal of the Royal Musical Association 125, no. 2 (2000): 164–204. http://dx.doi.org/10.1093/jrma/125.2.164.

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AbstractCrucial to understanding the reception of Renaissance music in nineteenth-century Germany is an appreciation of the contradictory components of Romantic historicism. The tension between subjective and objective historicism is fundamental to the historiographical reception of Renaissance music, epitomizing the interdependency of historical representation and modern reform. Protestant authors seeking to reform church music elevated two distinct repertories — Renaissance Italian music and Lutheran compositions from the Reformation era — as ideal archetypes: these competing paradigms reflect significantly different historiographical and ideological trends. Early romantic commentators, such as Hoffmann and Thibaut, elevated Palestrina as a universal model, constructing a golden age of old Italian church music by analogy with earlier narratives in art history; later historians, such as Winterfeld and Spitta, condemned the subjectivity of earlier reformers, seeking instead to revivify the objective foundations of Protestant church music. Both approaches are united, however, by the use of deterministic modes of narrative emplotment.
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Dissertations / Theses on the topic "Narrative art, Renaissance"

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Andrews, Lew. "Story and space in Renaissance art : the rebirth of continuous narrative /." Cambridge : Cambridge university press, 1995. http://catalogue.bnf.fr/ark:/12148/cb37484033m.

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Thomas, Evan Benjamin. "Toward Early Modern Comics." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502561240762248.

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Edney, Katherine School of Arts UNSW. "Painting narrative: the form and place of narrative within astatic medium." 2008. http://handle.unsw.edu.au/1959.4/43099.

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Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea??s which seemingly contradict the static temperament of painting. How painters have been able to successfully construct elements of narrative in their work, while also capturing a sense of movement or a passage of time is the starting point at which the following research takes shape. When embarking on this project, I realised that there was no definitive text on this subject which specifically analysed the form and composition of pictorial narratives as sole entities. Theoretical discussions surrounding a painting??s formal arrangement have mostly been produced in relation to how they either illustrated or have been adapted from a written source. This paper is intended to examine the structure of narrative paintings from a stand alone visual perspective, and not how they are comparative to a literary source. Over the course of this investigation, I subsequently found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of my work for the exhibition, ??Hidden Fractures; A Narrative in Time??. Certain structures within film, such as event ??order?? and sequencing resonate correspondingly to the stylistic approach sustained within recent work. This ??jig-saw?? method, presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ??chronological?? order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting. These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer strives to construct the meaning of the work dependent upon each image??s relationship to another, in turn forming the underlying narrative. Through such ??story comprehension??, the viewer endeavours to create ??logical connections among data in order to match general categories of schema??. (Brangian 15)
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Lynch, Peter Francis. "Patriarchy and narrative the Borgherini chamber decorations /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/32513254.html.

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Armstrong, de Almeida Ana-Elisa. "Inked women: narratives at the intersection of tattoos, childhood sexual abuse, gender and the tattoo renaissance." Thesis, 2009. http://hdl.handle.net/1828/1403.

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This study explores how heavily tattooed women with a history of childhood sexual abuse give meaning to their tattooing practices in view of the recent appropriation of tattooing by the mainstream. Embodied feminist poststructuralist theory revealed the ways that dominant discourses on gender, beauty, painful body modifications, and childhood sexual abuse intersect and interact in attempts to shape the identities of the participants. These intersections also reveal the participants’ resistance strategies and the process of identity transformation they engage in as they get tattoos. The constitution of identities through discourses offers alternative ways of seeing this population, challenging dominant discourses regarding female survivors of childhood sexual abuse tattooing practices. The research methodology used was a qualitative approach based on ‘interpretive interactionism.’ This approach makes visible and accessible to the reader, the problematic lived experiences of the participants through their narratives. The research methods involved several in-depth interviews with three heavily tattooed women who were survivors of childhood sexual abuse. The analysis involved interpreting the meanings participants gave to their tattooing practices in relation to how they construct their identities as they negotiate gender ideology, the tattoo renaissance, self-injury practices as related to tattooing, healing from childhood sexual abuse and oppressive beauty ideals. This study unearthed alternative ways of conceptualizing painful practices, female aesthetics, tattooing, women’s body reclamation projects, emotional trauma release, embodied domination, and bodily learning. It also offered insights into how the participants fragment their subjectivities and actively take over the authorship of their identities as they also try to positively influence their environments, challenge beauty norms and seek healing outside of traditional therapeutic environments.
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STOENESCU, LIVIA. "The Visual Narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the Early Modern Age." Thesis, 2009. http://hdl.handle.net/1974/5316.

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The Assumption of the Virgin Mary has been regarded as a normative subject of post-Tridentine altarpiece production. Yet it is actually a complex pictorial allegory that comments upon an archaic tradition of Christian narratives and its intersection with Marian devotion. The Assumption of the Virgin Mary belongs to a tradition of devotional images in which the Eucharistic meaning is the preferred means for furthering narrative ideas. The deeper meaning of the Assumption altarpiece becomes apparent in the light of the following points, demonstrated repeatedly throughout the study: 1) altarpieces of the Assumption represent a Marian subject informed by narrative liberty, not views of iconography and Tridentine history 2) their imagery is largely based upon visual narratives associated with the historical imagination of the painter 3) they disallow the pre-eminence of the classical model and incorporate other models derived from a resemblance to Byzantine icons and Northern prints 4) they are analogous to icons, essays praising truthfulness and inwardness which operate to convey complex pictorial ideas in narrative adaptations. The first chapter evaluates the narrative source of El Greco’s altarpieces from Toledo. The medieval past of Toledo fused with the Byzantine tradition in an altarpiece form for which parallels are rare in the modern age. The second chapter examines Annibale Carracci’s main Assumption altarpieces and a selection of related paintings. For Annibale Carracci, the original setting at the high altar safeguards the Eucharistic meaning of his Assumption narrative and in turn shapes the narrative link with the adjoining altarpieces. The third chapter involves the Northern devotional print as a narrative outset of Federico Zuccari’s and Rubens’ altarpieces. Their narrative solutions negotiate complex pictorial allegories and further the claim for truthfulness of representation inherent in the print.
Thesis (Ph.D, Art History) -- Queen's University, 2009-11-13 11:41:08.724
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Books on the topic "Narrative art, Renaissance"

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Renaissance realism: Narrative images in literature and art. Oxford: Oxford University Press, 2003.

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1943-, Ames-Lewis Francis, Bednarek Anka, and Birkbeck College. Department of History of Art., eds. Decorum in Renaissance narrative art: Papers delivered at the annual Conference of the Association of Art Historians, London, April 1991. [London]: Dept. of History of Art, Birkbeck College, University of London, 1992.

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Story and space in Renaissance art: The rebirth of continuous narrative. Cambridge [England]: Cambridge University Press, 1995.

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The authority of images: Storytelling in Early Renaissance Christian art. New Haven: Yale University Press, 2006.

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Emison, Patricia. Moving Pictures and Renaissance Art History. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036.

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Film, like the printed imagery inaugurated during the Renaissance, spread ideas – not least the idea of the power of visual art – across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, from the 1920s to the mid-1960s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, between the demands of narrative and those of visual composition, spurred new ways of addressing the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates are part of the story told here.
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Bild-Zeit: Zeitgestalt und Erzählstruktur in der bildenden Kunst des 14. und 15. Jahrhunderts. Wien: Böhlau Verlag, 2004.

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Pochat, Götz. Bild-Zeit: Zeitgestalt und Erzählstruktur in der bildenden Kunst von den Anfängen bis zur frühen Neuzeit. Wien: Böhlau Verlag, 1996.

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Prinz, Wolfram. Die Storia oder die Kunst des Erzählens in der italienischen Malerei und Plastik des späten Mittelalters und der Frührenaissance, 1260-1460. Mainz: P. von Zabern, 2000.

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Approaching sacred pregnancy: The cult of the Visitation and narrative altarpieces in late fifteenth-century Florence. Helsinki: Suomalaisen Kirjallisuuden Seura, 2007.

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Torti, Luigia. L'umanizzazione del divino e l'ideale civico nei cicli narrativi della Venezia quattrocentesca. [Italy?]: s.n., 1996.

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Book chapters on the topic "Narrative art, Renaissance"

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Rihouet, Pascale. "Art, Ritual, and Law in the Life of Heraldic Flags in Late Medieval and Renaissance Italy." In Flags, Color, and the Legal Narrative, 605–20. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-32865-8_28.

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Nesteruk, Peter. "When Space is Time. The Rhetoric of Eternity: Hierarchy and Narrative in Medieval and Renaissance Art." In International Medieval Research, 403–25. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.imr-eb.3.681.

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Cooper, Preston Park. "“All narratives are lies, man, an illusion”." In Literature and Culture of the Chicago Renaissance, 287–98. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429283710-16.

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Reimers, Fernando M. "Conclusions. Seven Lessons to Build an Education Renaissance After the Pandemic." In Implementing Deeper Learning and 21st Education Reforms, 171–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57039-2_8.

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Abstract This chapter draws out seven lessons from the cross-country analysis of the six reforms studied in this chapter. These are: Lesson 1. The power of complex mindsets about education reform. The six reforms all reflect reliance on the worldviews presented in the five frames of reform: cultural, psychological, professional, institutional and political. Those that have been sustained relied on insights from more of these five frames than those that were short lived. Lesson 2. Implementation matters considerably. The chapter discusses how the implementation process in effect recreates a reform, and how the development of an operational strategy defining the details of reform is what in the end most matters to the success of reform. The chapter discusses how the six reforms produced rather distinct operational strategies of seemingly similar components of the reform such as the learning goals for students or teacher professional development. Implementation strategies are also based on implicit theories of how organizations work, and the chapter explains the usefulness of a developmental theory of how organizations evolve to designing strategies that are aligned with the functionings that are possible in a given developmental stage, while also helping the organization evolve towards higher levels of functioning. Lesson 3. The need for operational clarity. People can’t execute what they don’t understand, and a reform must be able to translate goals into clear objectives and reform components into clear tasks which can be widely communicated and understood, as well as tracked to discern improvement and course correct when necessary. Lesson 4. Large scale reform is a journey: Coherence, Completeness and the Five Frames. The chapter explains how using the five dimensional theory of educational change can support coherence and completeness in a reform. Lesson 5. Sequencing, pacing and the importance of first steps. An operational strategy needs to be sequenced attending to ambition of goals, to existing levels of capacity and to institutional stage of development of the system. The first steps in the sequence are consequential because they shape the narrative of reform in ways that have long lasting consequences. Lesson 6. Staying the course. Long policy cycles are essential for reforms to be implemented and to produce results, and those cannot be taken for granted. Coherence, communication and participation can garner support that sustains a reform over time. Lesson 7. Learning from experience to build system level capacity. Most important to the coherent implementation of a reform is to create opportunities for key stakeholders, at various levels of the system, to learn together as a result of implementing components of the reform. Creating feedback loops and processes for making sense of such information is critical to support such learning.
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Shiner, Larry. "Toward a Total Work of Art." In Art Scents, 158–77. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190089818.003.0020.

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Chapter 9 begins with the idea of the total work of art (Gesamtkunstwerk) and considers examples of odors in theater from the Renaissance to the present, arguing that the inclusion of odors in some types of theater production is appropriate. In the case of film, the chapter discusses the difficulties faced by the first serious attempts in the 1950s and the handful of recent efforts, arguing that the combination of images with sound is able to suggests odors, whereas actual odors are likely to create more puzzles than they are worth, except in the case of highly experimental “art house” films. In the case of music, the chapter focuses on Green Aria: A Scent Opera, presented at the Guggenheim in 2009, a work that combined narrative, odors, and an electronic music score and marked a decisive step toward the successful integration of actual smells with music and narrative.
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Emison, Patricia. "The New and the Old in the Art of Cinema." In Moving Pictures and Renaissance Art History. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036_ch01.

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Alberti initiated the task of articulating goals for narrative visual art, thereby rebalancing the traditional Christian emphasis on word over image. When the choice wasn’t made for them by a patron, Renaissance artists faced dilemmas about whether to appeal to a broader public (the faithful) or a more narrow one (collectors, humanists, and emerging connoisseurs). Film faced similar challenges and struggled to define its cultural place: art versus business, America versus Old World, capitalism versus Soviet communism. Hollywood specialized in romantic themes, often treated like fairy tales, though at other times addressing tensions of class and gender. Films were also used to present a version of war suitable for cultural memory, variously heroic or pacifist.
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Emison, Patricia. "Prologue." In Moving Pictures and Renaissance Art History. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036_pro.

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Cinema began primarily as a folk art, and remained a popular art, so there tended to be a considerable gulf between film and fine art. The history of cinema often exhibits a casual attitude toward stylistic innovation, while the history of art has traditionally tended to emphasize exactly that. The combined effect has tended to exaggerate the difference between the two traditions. Yet they do not operate in total isolation. The makers of cinema, even if scarcely students of the history of art, have absorbed certain of its precepts and examples. The emotional life prompted and supported by the new narrative imagery was crucial to the development of Renaissance sensibilities; cinema constituted a new chapter in this kind of enhancement. In both cases, effusive delight was expressed for the new imagery.
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"11 Herodotus and Narrative Art in Renaissance Ferrara: The Translation of Matteo Maria Boiardo." In Brill’s Companion to the Reception of Herodotus in Antiquity and Beyond, 232–53. BRILL, 2016. http://dx.doi.org/10.1163/9789004299849_013.

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Robinson, Benedict S. "The Art of Moving." In Passion's Fictions from Shakespeare to Richardson, 156–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869177.003.0006.

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“The Art of Moving” turns to an eighteenth-century culture of the sentiments, traditionally seen in strong contrast to a Renaissance culture of the passions. I argue instead that, from the standpoint of rhetoric, the discourses on affectivity from 1500 to 1800 constitute parts of a single, unfolding process. The chapter traces the influence of rhetoric on Shaftesbury, Hume, and Smith, arguing that empiricist models of the mind are built on a rhetorical concern with vivid, forceful, and passionate imagery, and that such models effectively introject a rhetorical scene into the mind. The chapter then turns to Samuel Richardson’s Clarissa—traditionally the exemplary instance of a new, “psychological” fiction—in order to argue that the novel’s psychology is in fact an externalist, rhetorical one that resists any clear distinction between character-driven and plot-driven fictions. Richardson’s novel opens up a series of concerns that reach deep into the material of both this chapter and the previous one: about post-Hobbesian accounts of the will as determined by passions; about circumstantial narrative as a means of not just representing but also exploiting that determination; about empiricism collapsing into a Gorgian rhetoric in which the very effort to promote an ethics of natural sentiment introduces a quasi-mechanistic model of the human being. In its final pages, the chapter turns to Smith’s lectures on rhetoric and Giambattista Vico’s New Science to argue that, between 1600 and 1800, literary history was becoming legible as the material of a cultural history of the passions.
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Murphy, Kathryn. "Greville’s Scantlings." In Fulke Greville and the Culture of the English Renaissance, 47–61. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823445.003.0003.

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This chapter examines Greville’s ‘architectonical art’ in his treatise poems: both his use of architectural imagery and proportionate form, and his engagement with Sir Philip Sidney’s discussion, following Aristotle, of poetry’s relationship to the architectonic ‘mistress-knowledge’ of ethics, politics, and virtue, in the Defense of Poesy. The essay begins by establishing the close relationship of Greville’s Dedication to Sidney’s ideas and the Defense, and reads the Dedication as an emulation of the kind of exemplary narrative which Sidney advocated. It then examines the contrast in the ‘characteristical’ poetics of Sidney, which aim to inculcate virtue through example, and the ‘modular’ poetics of the treatise poems, which teach through precept and formal device. The closing passages offer a close reading of the first stanza of Caelica 6 as exemplary of Greville’s engagement with Sidney and his practice of a modular poetics based on ideas of proportion and measure as ethically exemplary.
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Conference papers on the topic "Narrative art, Renaissance"

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Fischnaller, Franz, Yesi Maharaj Singh, and Martin Reed. "The Last Supper Interactive: Stereoscopic and ultra-high resolution 4K/3D HD for immersive real-time virtual narrative in Italian Renaissance Art." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744830.

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Broglia, Francesco. "Fortifications at Piacenza. Historical background, restoration, open-air museum and urban planning." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11427.

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The “modern” fortifications at Piacenza are situated at a significant physical and cultural crossroads linking the Mediterranean and roads leading to Central Europe and the North Sea. This paper aims to include their historical bastion features and city walls within an open-air educational museum that is well integrated within the modern town. Starting from the original basis of a defensive nature conceived to mark boundaries and divide kingdoms, the plan is to build a park which, by means of a fully-equipped green belt, is able to narrate the story of the Siegecraft and Renaissance apse techniques. At the same time, the aim is to explain how such a system may serve as a valuable means of allowing sustainable urban transport along with that of respecting and highlighting cultural heritage. In order to tell the complete story, an attempt is made to describe how direct relief may relate to the “compact town.”
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