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1
La Nasa, Jacopo, Patrizia Moretti, Eleonora Maniccia, Silvia Pizzimenti, Maria Perla Colombini, Costanza Miliani, Francesca Modugno, Paola Carnazza, and Daphne De Luca. "Discovering Giuseppe Capogrossi: Study of the Painting Materials in Three Works of Art Stored at Galleria Nazionale (Rome)." Heritage 3, no. 3 (August 21, 2020): 965–84. http://dx.doi.org/10.3390/heritage3030052.
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We present the results of a diagnostic campaign on three of Giuseppe Capogrossi’s abstract paintings from the 1950s and 1960s, conserved at the National Gallery of Modern and Contemporary Art in Rome. Non-invasive investigations by reflection FT-IR spectroscopy were carried out, followed by micro-destructive laboratory analyses using Py-GC-MS, and HPLC-ESI-Q-ToF. The investigations focused on identifying the binders used for both the preparation and the pictorial layers. In two of the paintings investigated, an industrial preparation was identified based on egg yolk, mixed with other organic materials (acryl resin, oil, animal glue). The paint media include the use of both oil and alkyd paint. In one of the three paintings, the presence of a styrene-acryl resin was observed. The results show the simultaneous use of traditional and innovative materials, confirming the complexity of the period in which the artist was active, characterized by the technical experimentation of both the artists and manufacturers. The research also contributes to a better understanding of Giuseppe Capogrossi’s artistic profile, from the point of view of executive techniques.
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Young, Stephen L. "The Role of Pictorials in Environmental Safety Signs." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 2 (October 1997): 797–800. http://dx.doi.org/10.1177/107118139704100215.
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The present study examined the role of pictorials in environmental safety signs. Thirty subjects created thirty signs on the computer with the aid of a technician. Subjects had different sign components available to them (e.g., signal words, verbal statements and pictorials). There were three different pictorial conditions in this study: none, generic (e.g., triangle with exclamation point), and specific (i.e., the pictorial's content was related to the hazard being described). Examination of the constructed signs suggests that the primary purpose of pictorials is to convey information and not simply to attract attention—specific pictorials were used most of the time that they were available, while generic pictorials were used very infrequently. Specific pictorials were generally used in a redundant manner—that is, they tended to be added to existing signs rather than being used to replace other, non-pictorial information. Finally, the use of specific pictorials affected the size of other, non-pictorial components. This study suggests that pictorials are an important component in environmental safety signs, but only to the extent that they serve some functional purpose related to the sign being constructed.
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Angelucci, Davide. "Nuove indagini sulle pitture rupestri dell’eremo di Selvascura presso il Santuario del Crocifisso a Bassiano." Fenestella. Dentro l'arte medievale / Inside Medieval Art 3 (December 30, 2022): 45–87. http://dx.doi.org/10.54103/fenestella/18645.
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This article aims to re-examine the frescoes in the Selvascura hermitage in Bassiano, one of the medieval pictorial contexts created in caves in Lower Lazio, both from an iconographic and stylistic point of view. In the past, the paintings aroused some attention from local connoisseurs, but they collected a barely timid interest in critical publications. The carried out research revealed the existence of a link between the iconographic choices made in the cave paintings and the Greek theological literature, especially the Heavenly Ladder of St. John Climacus, known by the Franciscan Spirituals thanks to the translations by Angelo Clareno. Therefore, it is possible to suggest a new iconological interpretation of the frescoes on the right side of the cave and to overcome the traditional approach that considered the decoration of this hermitage as a mere juxtaposition of votive panels. Furthermore, an unpublished painting inspired by one of the apologues told by Barlaam to the Indian prince Josaphat has been identified and it can be added to the small list of monumental works with this theme related to the Italian Middle Age. This paper explains also all the documents from the current archives of the Soprintendenza concerning these frescoes and their preservative history from the 70s to the 90s of the XX century. Finally, an accurate analysis of the stylistic features and the comparison with other pictorial and mosaic works from Rome and the rest of Lazio allow to date back the paintings to the period between the end of the 13th and the beginning of the 14th century and to recognize the style of unknown artists trained in the school of Cavallini, very close to the Magister Conxolus’s lesson.
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Shui, Guohao, Qinxia Wang, and Zichang Zhao. "Rebelling or Reconstruction: A New Understanding of the Classical by the Romantic Painters with Exploration Centered on Francisco Goya." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 295–301. http://dx.doi.org/10.54097/ehss.v1i.674.
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The classic, originating in the intellectual development of Greek and Rome, has consistently been an essential subject of the Western culture, occupying an important role as well in Germanic law and Christian religion with its highlight on the spirit of reason, logic and humanity even in the Middles. With the discovery of Greece and Roman antiquity in Italian in the Renaissance, the classical mythologies and the masterpieces by Aristotle and Plato were once again emphasized, and interpreted from a different perspective. Hundreds of years later, the Enlightenment thinkers and neo-classical artists extracted the spirit of reason and morality from the classic. The neo-classical artists criticized the frivolous Rococo, choosing serious subjects aiming to elevate the morality of human, focusing on the integrity of the painting, strengthening sketch than color, and in this way restoring and revoking the Greco-Roman classical spirit. Yet the turmoil of the French Revolution and the Napoleonic war for decades doubts the limitation of the reason, revealing the madness of discipline and organization, displaying the mechanized and the alienated will of human-being. Delacroix and Goya, the representatives of romanticism artists, have been considered the rebels of neo-classic and the academy and the pioneers of modernity. Their works show the might of passion and emotion, depicting the fear, numbness, and indifference of human-being facing death, contrasting with the dignity and the firm attitude expressed by the neo-classical figures. This modernity roots in a certain historical context of the classic. Through pictorial analysis and the study of Delacroix's diaries and historical materials in contrast to the Baroque and Neo-classical artists to show Goya and Delacroix spontaneously invoke and reconstruct the spirit of ancient Greco-Roman art.
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ZAITSEVA, Veronika, Alla BUIHASHEVA, and Nataliya PROKHOROVA. "ENCAUSTIC AS AN ANCIENT PAINTING TECHNIQUE: A FAILING TRADITION." ART Space 1, no. 4 (2024): 36–54. http://dx.doi.org/10.28925/2519-4135.2024.43.
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The article highlights the peculiarities of the encaustic painting technique and the main problems of preserving this unique technique in the modern art of Ukraine. The meaning of the concept of “encaustic” is revealed. Considerable attention is paid to the technological varieties of encaustic as an ancient pictorial art. Thus, ancient authors wrote about the expressiveness and beauty of the encaustic technique, but, at the same time, “wax painting of the ancients” turned out to be one of the mysterious techniques. First of all, this is due to the fact that very few encaustic works have survived, and the description of technologies was almost absent. Thus, after studying the “Fayum portraits” found in 1887 in Middle Egypt (the Fayum oasis), it was possible to determine that the funerary masks were made in the encaustic technique. Mentions of encaustic works date back to the ancient literature of the times of imperial Rome. During the Renaissance, even Leonardo da Vinci tried to unravel the mystery of encaustic painting, but even he had very little information about this technology. According to the descriptions, it was necessary to solve a complex technological process, so the masters collected information piece by piece and experimentally implemented this technique. These were the first stages of the revival of encaustic painting, which is also called wax painting, because the basis of encaustic paints was wax. The stability of this painting technique was ensured, in particular, by the presence of various resins, linseed oil and dyes of natural origin in the composition of encaustic paints. These paints were applied layer by layer on special soils under high temperature. The exceptional artistic value of the encaustic technique made it possible to preserve it and gave the prospect of revival thanks to the creative searches of artists of the 1970-1995 years of the 20th century. Painting with wax paints meets all the requirements of modern monumental art along with frescoes and mosaics. Modern construction technologies and materials provide ample opportunities for monumental artists to solve various artistic and plastic tasks related to the application of the encaustic technique. The article also considers the role of encaustic in modern easel and monumental art. The work of modern masters of Ukraine who worked in the encaustic technique is analyzed.
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Кузнецова, І. О., О. В. Лільчицький, and М. О. Привалов. "Специфіка відображення теми спорту в творах античного мистецтва." Art and Design, no. 4 (February 15, 2021): 136–48. http://dx.doi.org/10.30857/2617-0272.2020.4.11.
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Aim of work is to identify sport reflection features in ancient art. The paper uses methods of systematization and updating of analytical information about the peculiarities of the reflection of elements related to sports in the styles of the ancient world. The accumulation, systematization and implementation of information is carried out by studying the specialized professional literature and sites depicting the reflection of elements related to sports in ancient art. The main reflections of sports life in ancient art are identified and characterized. There is a description of ancient art that reflects sporting events. A summary analysis of the elements related to sports in the objects of the ancient world. The most interesting in the context of modernity are the elements of joy in Cretan art, the emphasis on dynamism in the first period of Minoan art; didactic orientation of the image of sculptural and pictorial works of sports events. Special attention needs to be paid to objects that are the result of all-Hellenic holidays. The example of creation of art objects on an example of figurines, painting, a vase-painting, minting connected with acrobatic jumps through a bull is considered. The elements of active dynamics, up to the existence of sloping lines in vase-painting and paintings in certain periods, of passive dynamics in the "golden age of Pericles" are shown. Then the visual ideal of athletics was created. The generalization of the classical period does not correspond to the superdynamic modernity. The most interesting emotional facial expression in both sculpture and painting of the period of imperial Rome. Since the II century. B.C. the portrait of the athlete is more and more individualized. The study is based on the study of sport as historically formed in the form of special competitive activities and sports practice socio-cultural phenomenon that promotes the harmonious development of natural and social psychophysiological abilities of motor activity and moral and aesthetic qualities of man, which determines his sports activities. The paper shows the trends in the creation of sculptures, frescoes, reliefs, vase paintings in ancient art, which reflect the sport. Prospects for further research should be related to assessing the impact of various modern processes on the creation of art and design, based on clear characteristics of new materials, a deep understanding of existing and new technological processes, general global trends in society as a whole.
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Cavazzana, Alessandro, and Marianna Bolognesi. "Uncanny resemblance." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 31–57. http://dx.doi.org/10.1075/cogls.00048.cav.
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Abstract What is the relation between the three following elements: words, pictures, and conceptual representations? And how do these three elements work, in defining and explaining metaphors? These are the questions that we tackle in our interdisciplinary contribution, which moves across cognitive linguistics, cognitive sciences, philosophy and semiotics. Within the cognitive linguistic tradition, scholars have assumed that there are equivalent and comparable structures characterizing the way in which metaphor works in language and in pictures. In this paper we analyze contextual visual metaphors, which are considered to be the most complex ones, and we compare them to those that in language are called indirect metaphors. Our proposal is that a syllogistic mechanism of comprehension permeates both metaphors expressed in the verbal modality as well as metaphors expressed in the pictorial modality. While in the verbal modality the metaphoric syllogism is solved by inference, we argue that in the pictorial modality the role of inference is performed through mental imagery.
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Karpenko, Olga. "Reminiscences of Impressionism in the works of Ukrainian avant-garde artists." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 194–99. http://dx.doi.org/10.32461/2226-0285.1.2021.238620.
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The purpose of the study is to reveal the identification of common features in the work of Ukrainian avant-garde artists, which have the character of impressionism. Methodology of the study employs historical-logical, comparative methods, formal analysis and method of interpretation. Scientific novelty of the research consists in the role of impressionism in the formation of the creative manner of such artists of the Ukrainian avant-garde as O. Bogomazov, D. Burliuk, K. Malevich, O. Exter was first explored in the article. Conclusions. Experiments in the spirit of impressionism and post-impressionism helped the representatives of the Ukrainian avant-garde to free themselves from the method of repetition of the full-scale image towards the free transformation of the pictorial sensation and construction of the work with the help of purely pictorial elements, discarding the plot, literature, instructive character and many other layers. Impressionism was the first step in freeing painting from the boundaries of material form
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Sabra, Nour Elhoda. "Critique of the Arabic Translation Strategies of Verbo-Pictorial Gendered Metaphor: Doris Lessing's The Cleft." International Journal of Linguistics and Translation Studies 4, no. 1 (January 31, 2023): 32–46. http://dx.doi.org/10.36892/ijlts.v4i1.290.
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This article is mainly concerned with the strategies employed in translating verbo-pictorial gendered metaphor when used as a literary work cover. It focuses on the translation strategies employed by Arab translators in translating the cover of Doris Lessing's novel The Cleft. It raises the questions of to what extent translating a verbo-pictorial gendered metaphor employed as a literary work cover may clarify and elucidate nontraditional new images in different cultures. The article also emphasizes how a verbo-pictorial gendered metaphor plays a role in structuring gender relation new images. The article argues that the translation of gendered metaphors that appeared in feminist literary works invites different translation strategies when it is translated from English into Arabic.
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Koenderink, Jan. "Parts and Wholes in Pictorial Art." Art & Perception 3, no. 3 (2015): 303–17. http://dx.doi.org/10.1163/22134913-00002035.
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The part–whole relation is fundamental to the Gestalt description of visual awareness; therefore one expects it to play an equally important role in the visual arts. The formal science of parthood relations is mereology. Thus, it is natural to attempt to construct a mereological account of the structure of works of the visual arts. However, I argue in this paper that such a program is headed for failure. There are various reasons for this, perhaps the more interesting being that one deals with parallel pictorial worlds.
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Vidas, Marina. "Representing the Ancient Past in the Fifteenth-Century Maffei Tacitus (MS GKS 496 2º)." Fund og Forskning i Det Kongelige Biblioteks Samlinger 56 (March 3, 2017): 41. http://dx.doi.org/10.7146/fof.v56i0.118928.
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Marina Vidas: Representing the Ancient Past in the Fifteenth-Century Maffei Tacitus (Copenhagen, Royal Library, MS GKS 496 2º)
The focus of this article is a splendidly illuminated Italian Renaissance manuscript, MS GKS 496 2º, in the collection of the Royal Library, Copenhagen, containing the text of Annals (Books 11–16, 35) and Histories (Books 1–5, 14) composed by the Roman historian Tacitus (c.55–c.120). The coats of arms, which are found at the bottom of folio 1r, clearly identify the owner of the manuscript as belonging to the Maffei family of Rome and an inscription on f. 196r states that the text was emended by the humanist scholar and scribe Ludovico Regio of Imola, who is known to have copied and/or annotated at least five manuscripts for Agostino Maffei (1431–1496). The article argues that the intended reader of the Copenhagen Tacitus was Agostino Maffei, who in Rome during the 1480s and 1490s was actively commissioning copies of and collecting manuscripts with texts by ancient Greek and Roman authors. The article discusses the context for the commission and subsequent annotations to the text undertaken by Ludovico. It is also pointed out that the hand which executed the headings and incipits of the Annals is very reminiscent of that of the celebrated Paduan scribe Bartolomeo Sanvito (1435–1511), who rubricated at least one manuscript and possibly another for Agostino Maffei. In addition, an in-depth analysis is made of the work of the illuminator: the full-page frontispiece, f. 1r, and ten miniatures at the opening of each of the books of Tacitus’ works, ff. 11v–187r, which have been attributed by art historians to either Giovan Pietro da Birago (fl. c.1463–1513) who, by 1490, was the leading illuminator at the Sforza court in Milan, or to the hand of an unknown master, who was influenced by Birago. The article discusses sources for the all’ antica illuminations and points out the artist’s reliance on pictorial precedents. But while many architectural frontispieces in fifteenth-century Renaissance manuscripts have a monumental quality and a celebratory air, the opening page of the Copenhagen Tacitus exposes the fragmentary state of the remains of the past. The ruin, along with the truncated sculptures and mythological beings accompanying the initials, might have been intended to provoke meditations on the past and a longing for the great things that once existed. It is also suggested that images in the Tacitus manuscript visualize lines of the text which they accompany and that attention is drawn to the artist’s skill as a painter as well as to his creativity. Light is also shed on the similarities and differences between the miniatures in the Maffei Tacitus and those in books attributed to Birago or to the Master of the Barozzi Breviary. It is assessed that the figure style employed in the Tacitus is quite close to that of the master who painted the illuminations in the Barozzi Breviary (Vienna, Österreichische Nationalbibliothek, Inc. 4, H.63) and to that of Birago in his signed frontispiece of the Sforziada (Warsaw, Biblioteka Narodowa, Inc. F. 1347). However, there are some notable differences in the execution of hair, proportions of the figures’ bodies and the degree of activity in the compositions in the Copenhagen and Warsaw volumes. It is therefore concluded that the Maffei Tacitus was more likely to have been painted by the Master of the Barozzi Breviary than by Birago. Lastly, because Agostino Maffei was a man who was interested in many facets of the ancient past and involved in all aspects of manuscript production, it is suggested that he might have expressed some ideas about how the Tacitus should be illuminated and that the manuscript that exists today in Copenhagen incorporates these wishes.
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Belozerova, Vera. "The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 184. http://dx.doi.org/10.31857/s086919080020440-1.
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The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China's traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi's creativity is considered the culmination of the embodiment of the principle of unity of the “four perfections”. Wu Changshi's calligraphic and pictorial works are accompanied by poems most often of his own composition. Before Wu Changshi's creative impulse gained visual realization, he was invariably subjected to deep poetic and philosophical reflection, which predetermined the content of calligraphic and pictorial works. Thanks to this, the meanings of visual forms went beyond their genre affiliation. Wu Changshi created a variety of spatial and force effects in a small format of seals. Wu Changshi's monumental and heroic style in calligraphy had no equal in its energy power and corresponded to the demands of the time. Wu Changshi reformed the pictorial tradition in the direction of epigraphic painting, combining elite intellectualism with the folk immediacy of color perception. The work is based on the latest publications of Chinese and Western art critics. The research combines the techniques of traditional Chinese art studies with the methods of Western interdisciplinary analysis.
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Yan, Bin. "Themes of Chinese painting and their evolution in the process of development of pictorial art." Философия и культура, no. 7 (July 2023): 86–96. http://dx.doi.org/10.7256/2454-0757.2023.7.43669.
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In the process of interpreting works of pictorial art, it is easier to understand not the "style", but the "theme", that is, not how to write, but what to write. In the history of modern art, which attaches more importance to "style", the problem of "theme" is not fundamental and is among the primitive issues worthy of the attention of amateurs who do not understand art. However, sometimes it is in simplicity that the essence lies. The simplest questions that interest almost everyone are the link between works of art and society. When analyzing the "topic", the subject under study is not confined to one work of art, since an integrated approach to the consideration of the problem should be used. The author's main contribution to the study of the history of the development of Chinese painting is a new perspective – the analysis of works based on the "theme". The results of the study revealed the main themes of Chinese pictorial art, identified the main reasons for referring to them, and also established their symbolic meaning, connection with philosophical and literary traditions. The important role of literary scientists in determining the directions of thematic development of Chinese landscape painting is revealed, the significance of the images of the fisherman and the traveler as carriers of the spiritual content of the landscape is determined. The conclusion is made about the prominence of certain themes in the pictorial art, depending on the processes of social development of China.
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Voloshko, Anna V. "Peter the Great’s Naval Campaigns Series (1860–1877) of Alexey Bogolyubov: The Evolution of Artistic Language." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 304–21. http://dx.doi.org/10.15826/izv2.2021.23.3.061.
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This article focuses on the history of a series of paintings by Alexey Bogolyubov which was devoted to Peter the Great’s naval campaigns and created between 1860 and 1877 at the commission of Alexander II. Bogolyubov’s series of naval battle scenes has not been studied individually before. Dispersed across various public and private collections, the paintings have lost their role as a pictorial ensemble. Besides, the fate of three of the eight paintings remains unknown, and they can only be judged by indirect sources: archival and literary sources, copies, studies, and preparatory graphic works. Collected and systematised in this article, these materials make it possible to present the development of the series and Bogolyubov’s pictorial language over a decade and a half at the peak of his artistic career. An analysis of the pictorial features of this cycle of paintings and some other works reveals a change in the artistic techniques during the creation of the series. Also, the author identifies works of Bogolyubov’s predecessors on similar subjects and reveals features of their stylistic similarities and differences from those of Bogolyubov’s. The author traces the connection between Bogolyubov’s choice of subjects in the paintings and the state of naval history, more particularly, their connection with the works of Feodosy Veselago. In addition, the author reveals a case of change in the original idea of the composition of The Battle of Gangut and its division into three paintings consistently reflecting the course of the battle. Additionally, the article compares the routes of hydrographic expeditions and travels as part of the entourages of Tsesarevich Nicholas Alexandrovich and Tsesarevich Alexander Alexandrovich and places related to events of Peter the Great’s reign. Thus, the research demonstrates Bogolyubov’s search for a maximum accumulation of historical material and documentary depiction of events.
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Shi, Lina, and Irina G. Mineralova. "The role of verbal painting in Leonid Leonov’s novel “Russian Forest”." RUDN Journal of Studies in Literature and Journalism 28, no. 4 (December 15, 2023): 649–62. http://dx.doi.org/10.22363/2312-9220-2023-28-4-649-662.
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L.M. Leonov dreamed of becoming an artist and the painter’s talent was embodied in his prose. His landscapes, portraits, portraits against the background of a forest in the tradition of, for example, M.V. Nesterov play an important role in the internal form of his works. The novel “Russian Forest” is indicative in this regard. The purpose of the study is to explain the functions of pictorial allusions and ekphrasis in this novel. The following tasks are solved: identify the most common allusions and ekphrasis in the paintings of Russian artists, which were popular at the time of Leonov painting training, and were subsequently paraphrased in the novel; explain the functions of recognizable paintings by masters of fine art in word painting; argue for the special role of pictorial ekphrasis in the formation of the genre diversity of the novel. As a result, some essential features of the writer’s individual style in the novel under study are clarified: the prose writer’s special attention to the descriptive component of the work makes it possible to assert that his appeal to analogies with fine art is deliberate, since they contribute to the creation of not just a scientific-production or abstract-philosophical novel, but builds a whole series of genre lines, which are supported by recognizable pictorial visualization, on the one hand, and, on the other, forms a deep socio-psychological and lyrical plan of the work. Comparisons of specific paintings transformed into ekphrasis in prose provide scientists with rich material for drawing conclusions about the synthesis of painting and prose.
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Levin, William R. "Indications for a Franciscan Role in the Philanthropic Activities of the Early Florentine Misericordia." Explorations in Renaissance Culture 49, no. 1 (August 17, 2023): 1–56. http://dx.doi.org/10.1163/23526963-04901001.
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Abstract Scholarship on Saint Francis of Assisi and the Franciscan movement, established in the thirteenth century, surprisingly tends to ignore his response to a central message of the Church: that we must love and care for the needy among our human brethren. Jesus himself said so, nowhere more explicitly than in Matthew, chapter twenty-five. Yet Francis’s writings repeatedly manifest his familiarity with Matthew, including that chapter. Conditions in rapidly urbanizing parts of Europe during the late-medieval period such as Northern and Central Italy rendered Christ’s mandate to “love one another” especially pertinent. Charitable confraternities played a major role in mitigating human suffering during that transitional era, providing various types of assistance community-wide to disadvantaged neighbors. Archival documents confirm that such actions performed by members of the Misericordia Confraternity of Florence followed Christ’s declaration in Matthew 25 setting forth the Corporal Works of Mercy. Inscriptions and pictorial details in the Misericordia’s frescoed Allegory of Mercy of 1342 underscore this point. Other details within that painting signal a Franciscan influence upon, and presence within, the Misericordia Company, reflecting the existence of a robust Franciscan community in Florence comprising not only members of the First and Second Orders—the Friars Minor and Poor Clares, respectively—but also laypersons of the Third Order. Passages in the writings of Saint Francis and his early biographers indicate the importance that works of mercy had for the Poverello, the six named in Matthew and a seventh commonly added to that list. In particular, Francis’s experiences, pronouncements, and efforts in regard to the fourth and sixth works of mercy, clothing the naked and aiding prisoners, exemplify the charitable activities both encouraged by the saint and, almost certainly with his background, words, and deeds in mind, actually implemented by members of the Misericordia Confraternity, as articulated in their inspirational centerpiece, the Allegory of Mercy.
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Безус, С. Н., and Н. С. Варфоломеева. "THE ROLE OF OBSOLETE VOCABULARY IN THE LANGUAGE OF FICTION AND PECULIARITIES OF ITS TRA NSLATION." Vestnik of Russian New University. Series "Man in the modern world", no. 2 (May 31, 2023): 12–19. http://dx.doi.org/10.18137/rnu.v925x.23.02.p.012.
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Устаревшие слова (архаизмы и историзмы) представляют собой особый периферийный слой лексического состава языка. В художественных произведениях подобные лексемы выполняют различные функции: номинативную, изобразительную, информативную, когнитивную. В настоящей статье определяются роль архаизмов и историзмов в художественном произведении, а также выделяются различные их типы. При помощи описательного и сравнительно-сопоставительного методов уточняются способы перевода устаревшей лексики на примере исторической драмы современного испанского писателя Альфонсо Плоу «Король Санчо». Анализ перевода произведения позволил выявить такие приемы передачи устаревшей лексики на русский язык, как транслитерация, пояснение, трансформация (лексическая, грамматическая), опущение, дополнение. Obsolete words (archaisms and historicisms) represent a special peripheral layer of the lexical composition of the language. In works of art, such lexemes perform various functions: nominative, pictorial, informative, cognitive. Th e paper defi nes the role of archaisms and historicisms in fi ction, as well as distinguishes their various types. Using descriptive and comparative methods, the authors clarify the ways of translating obsolete vocabulary by the example of the historical drama of the modern Spanish writer Alfonso Plow “King Sancho”. An analysis of the translation of the work made it possible to identify such methods of transferring obsolete vocabulary into Russian as transliteration, explanation, transformation (lexical, grammatical), omission, addition.
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Pratama, I. Gede Yudha. "KAJIAN BAHASA RUPA BUDAYA MESATUA BALI DALAM CERITA BERGAMBAR." Jurnal Bahasa Rupa 5, no. 1 (October 28, 2021): 112–21. http://dx.doi.org/10.31598/bahasarupa.v5i1.775.
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Reviving oral traditions in Mesatua Balinese Culture seems far less than the written and image tradition. Mesatua Bali was once known as a culture that is conveyed by verbal storytelling, now it seems that it will be more efficient and interesting if it is copied in the appearance of a pictorial story (cergam), and it will be more interesting if it is presented in digital media. Interestingly, pictorial stories (cergam) greatly influence children's interest in following Balinese Mesatua culture. The Nusantara Katur Community adapts the Mesatua Balinese culture into a pictorial story made with a visual appearance that can arouse children's imagination when they can see. reading, and hearing a series of story satua (fairy tales) contained in a series of pictorial stories (cergam). Researchers used descriptive research methods to describe the characteristics of shape, color and composition through the study of visual language theory, starting from the content of the wimba, the way of the wimba, and the inner and outer layouts, in the view of pictures and documentation of the pictorial story works of the Nusantara Katur Community. The collection of materials is done by technique data reduction and data preparation to the conclusions presentation process. This research provides results results of visual language very indispensable role in supporting the illustrated story stories (cergam) that are presented. In addition to displaying visual images that are able to captivate children, they must also be able to present the plot of a story that is also attractive to children, because it is through a story idea that visuals can be created that are able to attract children's reading interest in pictorial stories (cergam).
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Dlábková, Markéta. "Magazine Illustrations – Text Accompaniment as Well as Competition." Acta Musei Nationalis Pragae – Historia litterarum 63, no. 3-4 (December 1, 2018): 66–70. http://dx.doi.org/10.2478/amnpsc-2018-0009.
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Abstract The article deals with the role of illustrations in pictorial magazines in the second half of the 19th century (Světozor, Zlatá Praha, Květy etc.) and with changes in the image–text relationship. It focuses both on documentary and reportage drawings, which formed a significant part of magazine pictures, and on a magazine presentation of reproductions of works of art and the character of their accompanying commentaries. A closer inspection reveals that, despite the apparent dominance of the visual part, magazines still saw their crucial role in the textual part – which concerned not only the published articles but also the presentation of reproductions. The variation in the interaction between the image and the text is one of the most interesting methods of communication between illustrated magazines and their readers. On specific examples, the article illustrates how magazines worked with their pictorial part in connection with the reproduction techniques available and what meaning and content the reproductions could acquire in relation to the text.
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Afanaseva, I. A. "The linguistic generation: Logocentric practices in the works of contemporary Russian artists (2010–2022)." Shagi / Steps 9, no. 3 (2023): 218–38. http://dx.doi.org/10.22394/2412-9410-2023-9-3-218-238.
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The article is devoted to a study of the artistic phenomenon of textuality in contemporary Russian art from 2010 to 2022. The works of contemporary artists (Ivan Simonov, Timofey Radya, Vladimir Abikh, Vladimir Logutov, Semyon Motolyants, Mayana Nasybullova), whose creative practices give the text, phrases, words, statements a lead role, are analyzed here. The works of these artists have not yet been studied in detail by art historians, art critics, and culturologists, but nowadays their creations are widely featured at Russian and foreign exhibition halls, auctions, museums and private collections. The article pays special attention to the various art forms and medias — from painting to installation, from photography to street art and performance. It considers various types of connections between the word, its image, object and semantic meanings, and analyzes the dialogues between the verbal and the visual in the Russian contemporary art. Contemporary artists often work with narratology and visual language, subtle linguistic and pictorial categories. The semantic content of many artworks is multilayer and polysyllabic. The author comes to the conclusion that verbal-visual art is an established trend on the Russian art scene, closely related to the Moscow conceptual circle (Ilya Kabakov, Victor Pivovarov, Eric Bulatov, Andrey Monastyrski, Vitaly Komar and Alexander Melamid).
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TIELIEZHKINA, Olesia, and Olena KIRYANOVA. "ARTISTIC AND EXPRESSIVE MEANS IN THE LANGUAGE AND POETIC PALETTE OF THE AHATANHEL KRYMSKY: TYPOLOGY AND FUNCTIONS." Culture of the Word, no. 95 (2021): 174–83. http://dx.doi.org/10.37919/0201-419x-2021.95.14.
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In the offered article it is noted that one of the most important problems of the Ukrainian linguistic stylistics – revealing of features of realization of language units in works of art, in particular and in poetic. A. Krymskyi’s poetry is full of stylistic figures that express the artist’s opinion embodied in verse. These stylistic devices provided a background sound image that brightened the depicted pictures of nature or images from the life of society, portrait descriptions or inner experiences of the lyrical hero. Stylistic and syntactic expanses of A. Krymskyi’s poetry are distinguished by sophistication and diversity. The author resorts to homeothelium, gradation, polysyndeton, parallelism, anaphora, epistrophe. The article considers the stylistic figures realized in the poetic works of Ahatanhel Krymskyi. The expediency of the analysis confirms that the linguistic and poetic practice of this artist has been overlooked by researchers so far. The author of the article concludes that in the structural-compositional and semantic organization of poetic works of the important role is played by means of sound recording (assonance, alliteration, equiphony, metaphony, onomatopoeia), lexical and grammatical techniques units of linguistic and artistic expression (parallelism, anaphora, homeoteleut, gradation, polysyndeton, inversion, chiasm). The characterized pictorial and expressive means rhythmize the poetic system, shade the hidden meanings, harmonize the content of the work in accordance with the author’s intentions. From the above it is concluded that in the structural-compositional and semantic organization of the poetic works of Ahatanhel Krymskyi play an important role stylistic figures, which are based on different levels of language units. Selected and described pictorial and expressive means rhythmize the poetic system, shade the hidden meanings, harmonize the content of the work in accordance with the author’s intentions.
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Beskrovnaya, Tat’yana V., and Marina V. Shakurova. "Transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture (1917-1991)." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 29, no. 2 (September 29, 2023): 18–25. http://dx.doi.org/10.34216/2073-1426-2023-29-2-18-25.
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The article actualizes development concepts of the family image as a subject of upbringing in Soviet oral and pictorial culture. The purpose of this article is to trace the transformation of Soviet family image in specific historical conditions and to present the correlation between the domination of the maternal or paternal image and the educational effect of family in general - via analysis of works of Soviet art in 1917-1991. Research design: The author uses to trace transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture such methods as literature analysis, synthesis, association method, comparative historical analysis. The conclusion dwells upon the idealization and even hypertrophy of the family image presented in Soviet oral and pictorial culture - which is premised on the necessity of the family image to be aligned with main ideological guidelines consistent for the particular history period. Nevertheless, the main distinctive feature of Soviet family is its educational impact, traditionalism, stability, aspiration for bright new future. Distinctness of the image of Soviet family, existing in the realm of ideological principles, is defined in Soviet oral and pictorial culture. Art, while forming in Soviet mass consciousness the family image specified by ideology, could come through the strict censorship and reveal the real family life. It is art that makes it possible to see and appraise in objective way the educational role of Soviet family in communist society.
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Beauchamp-Byrd, Mora J., and Shawn Sobers. "Rivers and Oceans." Journal of Global Slavery 4, no. 1 (February 25, 2019): 69–98. http://dx.doi.org/10.1163/2405836x-00401009.
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Abstract This two-part article is a comparative analysis of two late twentieth-century works of art: John T. Scott’s Ocean Song (1990), an abstract, large-scale public art sculpture in New Orleans, Louisiana in the US, and Sold Down the River (1999), a major, self-portrait-centered painting by the Bristol, UK-based artist Tony Forbes. As outlined in both sections, contemporary artists have produced works that ensure a continuing civic dialogue about, and commemoration of, site-specific histories of enslavement. In examining and placing these two works in their social, political and cultural contexts, the article highlights the role that artists may play in offering pictorial counter-narratives that question “official,” often tourist-driven, narratives that tend to romanticize and/or mollify colonial and/or imperial initiatives, including enslavement and other legacies marked by trauma.
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Lee, Beom, Choi, Lee, and Lee. "Chronic Pain Patients’ Gaze Patterns toward Pain-Related Information: Comparison between Pictorial and Linguistic Stimuli." Medicina 55, no. 9 (August 25, 2019): 530. http://dx.doi.org/10.3390/medicina55090530.
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Background and Objectives: The attentional bias and information processing model explained that individuals who interpret pain stimuli as threatening may increase their attention toward pain-related information. Previous eye tracking studies found pain attentional bias among individuals with chronic pain; however, those studies investigated this phenomenon by using only one stimulus modality. Therefore, the present study investigated attentional engagement to pain-related information and the role of pain catastrophizing on pain attentional engagement to pain-related stimuli among chronic pain patients by utilizing both linguistic and visual stimulus. Materials and Methods: Forty chronic pain patients were recruited from the rehabilitation center, the back pain clinic, and the rheumatology department of Chung-Ang University Hospital in Seoul, Korea. Patients observed pictures of faces and words displaying pain, presented simultaneously with neutral expressions, while their eye movements were measured using the eye tracking system. A t-test and ANOVA were conducted to compare stimulus pairs for the total gaze duration. Results revealed that chronic pain patients demonstrated attentional preference toward pain words but not for pain faces. An ANOVA with bias scores was conducted to investigate the role of pain catastrophizing on attentional patterns. Results indicated that chronic pain patients with high pain catastrophizing scores gazed significantly longer at pain- and anger-related words than neutral words compared to those with low pain catastrophizing scores. The same patterns were not observed for the facial expression stimulus pairs. Conclusions: The results of the present study revealed attentional preference toward pain-related words and the significant role of pain catastrophizing on pain attentional engagement to pain-related words. However, different patterns were observed between linguistic and visual stimuli. Clinical implications related to use in pain treatment and future research suggestions are discussed.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (May 31, 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Domínguez Salas, Manuel. "ABDUCTIVE REASONING AS A MODEL FOR MUSICAL CREATION IN JULIO ESTRADA’S MUSICAL WORKS." Culture Crossroads 22 (September 13, 2023): 88–104. http://dx.doi.org/10.55877/cc.vol22.440.
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The paper deals with two philosophical postulates that although at first sight both do not have a direct link, it is my hypothesis that there may be a connection between them since in each one imagination plays an important role in the process of scientific discovery. On the one hand, it deals with the abductive reasoning by Charles Sanders Pierce (1839–1914), focusing on the problem related with abduction and scientific imagination, graphicacy or the ability to represent ideas through images, beelddenken or “pictorial thinking” as a form of communicating ideas without the use of any verbal form, and synthetic topology responsible for studying the qualitative relations of any 3-D geometrical structure. On the other hand, the author presents the philosophical postulates of the Theory of Composition: discontinuum-continuum by Julio Estrada (*1941), where reality and imagination play an important role in the process of musical creation, presenting a two-fold methodology of creation, (1) the macro timbre where the homogenization of the components of the rhythmsound takes place, and (2) the chronography, a graphic representation of the rhythmsound in movement. The latter is exemplified in this paper with the three examples of Estrada’s musical compositions, (1) the graphical score of eua’on UPIC (1980), (2) graphical recording for the series yuunohui’ (1983–2020), and (3) the topological variations included in the ishini’ioni String Quartet (1984–1990).
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Lu, Zh. "The lyric oeuvre of Afanasy Fet and Chinese idyllic poems." Voprosy literatury, no. 5 (November 29, 2021): 222–32. http://dx.doi.org/10.31425/0042-8795-2021-5-222-232.
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There are compelling similarities between Afanasy Fet’s lyric poetry and classical Chinese lyric poetry. This connection is traced in the article with specific examples. Fet, carried away by the ideas of Schopenhauer, argued that thepoetic feeling lives in every person and can be called the sixth and highest feeling. In classical Chinese poetry, the Confucian concept of ‘the sense of things,’ the Taoist formula ‘words and forms’ and the idea of the unity of man and nature played an important role. With characteristic fixation of subtle changes of light and shadow, with the transmission of flushed feelings, Fet’s oeuvre reminds the readers of the ancient Chinese lyric poetry. Like classic Chinese texts, Fet’s poems are textbooks where the idea of the unity of man and nature is developed. In both Chinese poetry and Fet’s works, human life goes into natural life, gaining eternity in the nature. As a result, although Fet was not familiar with Chinese culture, the intuitions that fed his work surprisingly coincided with pictorial techniques as a way of conveying emotion in classical Chinese poetry, separated from him by many centuries.
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Suntsova, Elena A. "Konstantin Korovin, an Emigrant: The Native Land in the Artist’s Memoirs." Вестник Пермского университета. Российская и зарубежная филология 15, no. 1 (2023): 139–46. http://dx.doi.org/10.17072/2073-6681-2023-1-139-146.
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Konstantin Korovin is a famous Russian artist, one of the first Russian impressionists, as well as a theater decorator. The artist was highly sensitive to the beauties of the nature of his native land, and his oeuvre consists mostly of landscapes. In 1922, being at his senior age, Korovinwas forced to move to one of the centers of Russian emigration –Paris. Life away from his motherland becomes one of the reasons for the painter’s artistic crisis. It was during these difficult years that Korovin began to engage in literary work. Korovin writes memoirs, significant part of which is memories of the abandoned but much beloved motherland.The article provides a comparative study of pictorial and verbal figurativeness in Korovin’s works. The cycle On the Huntincludes a short story Frost, where the landscape plays a key role in the plot. Ananalysis of the poetics of figurativeness in this story reveals the features of pictorial impressionism in the verbal images. The article analyzes the techniques that the memoirist employs to create the image of his motherland. The key words-leitmotifs, color palette, lighting effects, and other means of creating a lyrical landscape are also analyzed. There are found to be some parallels between Korovin’s literary descriptions of landscapes and his landscape paintings of winter forest. The paper draws a conclusion about the similarity of impressionistic techniques in paintings and the story by Korovin; the features specific to literary (verbal) fig-urativeness are noted, for example, folklore traditions and allusions to Russian poetic classics, the change in the narrator’s points of view, changes in emotional tonality, which forms the basis of the lyrical plot in the story Frost.The methodological framework of the study is based on comparative-typologicaland system-semantic principles of analysis, with elements of genre and style analysis.
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Bertho, Sophie. "Dominando a imagem: funções da pintura na narrativa." Caligrama: Revista de Estudos Românicos 20, no. 1 (December 16, 2015): 109. http://dx.doi.org/10.17851/2238-3824.20.1.109-124.
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<p> Este artigo tem por objetivo examinar as referências ao pictural na literatura e, especialmente, definir as funções da presença do quadro de pintura na narrativa. Com base na obra de Marcel Proust, <em>À la Recherche du temps perdu</em>, são analisadas as referências à pintura para se definir quatro tipos de função: psicológica, retórica, estrutural e ontológica, que são exemplificadas com excertos de Proust e comparadas a outras obras da literatura francesa. Conclui-se que as diferentes funções que a referência ao pictural exerce em um romance se distinguem por operarem no nível da recepção ou da produção, sendo que a função ontológica, a mais complexa, ultrapassa essa distinção e atinge o metadiscurso, revelando em uma outra arte, a pintura, a essência da arte primeira, a literatura. </p><p>This essay investigates the pictorial references in literature and especially defines the role of the presence of paintings in the narrative. These pictorial references are analyzed in order to define four types of functions: psychological, rhetorical, structural and ontological, which are exemplified with Proust excerpts and compared to other works of French literature. The different functions of the pictorial references are operating in the novel at reception or production level, and by Proust the ontological function, more complex, beyond this distinction reaches metadiscourse, revealing in another art, painting, the essence of the first art, literature. </p>
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Hamburger, Kai, and Florian Röser. "The Role of Landmark Modality and Familiarity in Human Wayfinding." Swiss Journal of Psychology 73, no. 4 (January 2014): 205–13. http://dx.doi.org/10.1024/1421-0185/a000139.
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What characteristics constitute a “helpful” landmark for wayfinding and how are they represented in the human brain? Experiment 1 compared recognition and wayfinding performance for visual, verbal, and acoustic landmarks (animals) learned in our virtual environment SQUARELAND. Experiment 2 investigated landmark semantics, namely, famous versus unfamiliar buildings. The results showed that, first, the best recognition performance was observed for words (verbal condition) followed by sounds. Performance was worst for the pictorial landmark information. In the wayfinding phase, a similar level of performance was observed for all three modalities. Second, famous buildings were better recognized than unfamiliar ones, indicating a semantic influence. We conclude that nonvisual information may successfully constitute a landmark and discuss this within the context of current research on landmarks and human wayfinding.
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Standing, Lionel G., and Michelle I. Bertrand. "Effects of Size Congruency on Item and Size Recognition with Words or Pictures." Perceptual and Motor Skills 107, no. 2 (October 2008): 449–56. http://dx.doi.org/10.2466/pms.107.2.449-456.
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The effect of size changes (8:1 or 1:8) between learning and recognition sessions upon item and size recognition was tested, using either pictures or words as stimuli. Participants ( N = 34) viewed color photographs of everyday objects or the corresponding printed words and then performed 160 trials of a recognition task, including 50% new stimuli, for which they had to indicate whether each item had been seen before and whether its size had changed. Item recognition, for pictures only, was improved by size congruency between the learning and test sessions. In contrast, size recognition was raised by learning/test-size congruency for both pictures and words. Both word- and picture-learning stimuli produced higher item and size recognition when large in area rather than small. The data are interpreted as showing the stronger role of spatial coding with pictorial than with verbal stimuli.
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Kozlova, T. V., and N. S. Didenko. "THE ROLE OF SYNESTHESIA IN THE VISUAL ACTIVITIES OF THE DEAF." Arts education and science 1, no. 30 (2022): 180–85. http://dx.doi.org/10.36871/hon.202201021.
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The article is devoted to the artistic creativity of the hearing impaired. It analyzes paintings and drawings created by deaf art students and compares these works with those of hearing students. As any art is synesthetic, that is, it has certain intersensory connections, we can say that music is the closest to painting because of its various synesthetic connections reflecting colour relations, rhythm and composition. Here, the concepts of harmony, interval, tone, tonality, which are based on a system of relations, are very close. Since the deaf are deprived of the ability to fully perceive musical harmonies, the analysis of their pictorial works is of particular importance for understanding their worldview and artistic language. In the creative process, there is a close relationship between perception of various aspects of life and artistic expression. In this context, it is interesting to study the colour work of deaf artists, whose life perception is physically limited, especially in the musical field. The article also considers the features of using rhythm and space in the artworks of hearing impaired art students. Based on this analysis, it is concluded that the sense of rhythm does not actually differ between hearing and non-hearing people. The sense of artistic space is weaker in the deaf than in the hearing. Narrative compositions created by the hearing impaired have no significant features.
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Ye, Weiling, Rong Huang, and Zijing Zhang. "Pictorial effect in product layout." Journal of Contemporary Marketing Science 1, no. 1 (September 3, 2018): 94–116. http://dx.doi.org/10.1108/jcmars-08-2018-0010.
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Purpose Commodity display is an important cue for consumers’ prediction of the goods they purchase. Then why does a neat display (compared to a messy one) usually result in better product evaluation? This paper aims to discuss this issue. Design/methodology/approach By conducting three lab experiments, the authors proved the existence of “the pictorial effect.” In Study 1, the authors used Chinese knots as the material. Chinese knots are commonly used in decoration; therefore, their appearance is of high importance. The authors set a scenario of purchasing Chinese knots to dismantle for teaching how to knot, thus manipulating the importance of appearance into lower condition. The authors measured subjects’ attitude to display picture and product quality evaluation and examine the existence of “the pictorial effect.” In Study 2, the authors changed material to a functional product in daily life – playing cards. The authors used different usage scenarios to manipulate the importance of the playing cards’ appearance (high vs low). For the low importance group, the scenario is playing poker in a dormitory at the weekend; for the high importance group, the scenario is using playing cards to make a hat for a party. The authors add measurements of consumers’ perception of the popularity of product. Study 2 consolidates the conclusion of Study 1 and excludes the popularity inference effect. In Study 3, the authors used a comb as the material, thus manipulating the importance of product appearance through the different instructions on the comb’s packaging (focus on healthy function vs focus on hair appearance enhancement). Study 3 repeated the conclusion in Study 1 and Study 2, and proved the existence of a “display pictorial effect” by showing the main effect, mediation and moderating effect as well. Findings Current research brings forward the existence and conditions of “the pictorial effect,” i.e. when the goods are neatly displayed (relative to messily), the consumer’s attitude toward the display becomes more positive, hence leading to a higher product evaluation, and the consumer’s attitudes toward the display fully mediate “the pictorial effect”. However, “the pictorial effect” does not always occur; for the importance of the product, appearance plays a moderator role in the effect. If the consumer thinks the product appearance is not important, “the pictorial effect” could not be observed, which means there is no difference in product evaluation between messy and neat display of the commodity, and only when the product appearance is important, does the pictorial effect occur. Research limitations/implications The authors have noticed that display is part of the retail environment; therefore, research on how an environment affects human behavior may be valuable to reference. For example, for the experiment designs, especially Study 2, the authors asked participants to imagine making a hat using playing cards, which is a very creative task. In this task, participants may pay attention to creativity, and this may have an effect on product evaluation. According to Vohs et al., orderly environments lead people toward tradition and convention, whereas disorderly environments encourage breaking with tradition and convention – and that both settings can alter preferences, choice, and behavior. Messy displays may favor the product evaluation of some creative products when the situation requires higher creativity. The authors will attempt to test the effect of this factor in future study. Practical implications In application, current research supports “the necessity of tally” in the site management of retailing, and further answers the question as to what kind of products need more effort to be kept in a good order in their displays. Originality/value For the first time, the authors put forward “the pictorial effect” in product displays. The research provides insight to the underlying process through which merchandise displays can put an effect on the product evaluation, and supplements the contamination theory and popularity theory, thus contributing to the research works on merchandise displays.
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Alzhanova, А. Y., J. T. Balmagambetova, and T. G. Bochina. "The Role of Mediating Text in Adapting Indirect Literary Translation." Bulletin of the Karaganda university Philology series 111, no. 3 (September 30, 2023): 35–41. http://dx.doi.org/10.31489/2023ph3/35-41.
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Translatology of modern Kazakhstan has actualized the problem of translation of Kazakh literature into worldlanguages. The active process of literary translation has increased the interest of foreign readers in the national culture, creativity, and identity of the Kazakh people. It set a new vector for the research of Kazakh scholars in translation studies. However, owing to the lack of professional translators, direct translation from Kazakh into English has always been problematic, so Kazakh writers’ works were translated indirectly fromRussian into foreign languages. The article presents the problem of defining “indirect translation” by Western, Russian, and Kazakh linguists. Authors consider ways of adapting the direct and indirect translations bycomparing them with the source text of A. Nurpeisov's novel “Songy Paryz”. The paper aims to reveal theways of implementing linguocultural, pragmatic aspects of the original text and strategies for transferring artand pictorial means of the Kazakh language in direct and indirect translations. Experts in linguistics, translation studies, cognitive science, linguocultural studies, and literary criticism will be interested in the researchresults.
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Wang, Jianqin, Henry Otgaar, Mark L. Howe, and Sen Cheng. "Self-referential false associations: A self-enhanced constructive effect for verbal but not pictorial stimuli." Quarterly Journal of Experimental Psychology 74, no. 9 (April 16, 2021): 1512–24. http://dx.doi.org/10.1177/17470218211009772.
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Memory is considered to be a flexible and reconstructive system. However, there is little experimental evidence demonstrating how associations are falsely constructed in memory, and even less is known about the role of the self in memory construction. We investigated whether false associations involving non-presented stimuli can be constructed in episodic memory and whether the self plays a role in such memory construction. In two experiments, we paired participants’ own names (i.e., self-reference) or the name “Adele” (i.e., other-reference) with words and pictures from Deese/Roediger–McDermott (DRM) lists. We found that (1) participants not only falsely remembered the non-presented lure words and pictures as having been presented, but also misremembered that they were paired with their own name or “Adele,” depending on the referenced person of related DRM lists; and (2) there were more critical lure–self associations constructed in the self-reference condition than critical lure–other associations in the other-reference condition for word but not for picture stimuli. These results suggest a self-enhanced constructive effect that might be driven by both relational and item-specific processing. Our results support the spreading-activation account for constructive episodic memory.
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Stroganov, Mikhail V. "“Peace to the world, and glory to the Lord”. On some motifs of Lyubov Maykova's works." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 344–56. http://dx.doi.org/10.37816/2073-9567-2021-62-344-356.
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The works of L. M. Maikova are one of the most striking pages of Russian naive art, which we understand as the work of people of folklore consciousness beyond the genres that exist in folklore consciousness. But in oral folk art, there are works that resemble the poetic compositions of non-professional authors (poetic memoirs, letters in verse, poems with soap opera plots). And painting as such is absent in folk art. Therefore, the pictorial material makes it possible to most clearly differentiate naive amateur creativity and primitivism as a style of author's professional creativity. Naive creativity is not a form of leisure activity, which presupposes the existence of leisure organizations and their management. Naive creativity is a form of leisure practice that denies leadership and any organizational forms. As a phenomenon of leisure practice, naive creativity ceases to be anonymous, becomes authorial and competitive, which means that it becomes art. In Maikova's paintings, as the works of a naive artist, the role of verbal text is higher than in the works of a professional author, so the title is placed in the visual space of the painting itself and performs the function not of the textual frame, but of the text itself. Finally, in the work of a naive artist, ideological layers of different origins are organically combined, sometimes even opposing each other.
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Dzaparova, E. B., K. I. Khetagurova, I. Kh Khozieva, and N. A. Asaeva. "POEMS IN PROSE IN THE OSSETIAN LITERATURE OF THE FIRST HALF OF THE XX CENTURY: GENRE IDENTIFICATION." Bulletin of Udmurt University. Series History and Philology 32, no. 3 (July 8, 2022): 615–22. http://dx.doi.org/10.35634/2412-9534-2022-32-3-615-622.
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The article makes an attempt to determine the genre of the works of Ossetian writers, which they rank as prose poems. The presence of a small volume, lyrical beginning, as well as the characteristic compositional completeness, dynamism and emotionality of the narrative make it possible to attribute most of the analyzed works to the genre in question. A structural analysis of works of art showed that some of them gravitated more towards parables or fables, since they contained a didactic aspect (Ts. Gadiev). Other analyzed works of art are close in content to landscape sketches (S. Gadiev), a meditation poem (Ts. Gadiev), lyric miniatures (Dz. Gatuev, Niger (I. Dzhanaev), a message poem (H. Kaloev), a poem - confession (H. Kaloev), a farewell poem (H. Kaloev), a mandate poem (H. Kaloev). In the first-person narrative, the lyrical beginning of prose poems is manifested. The combination of lyricism with a prosaic way of conveying artistic reality is also characteristic of the creative method of Ossetian authors. The article also analyzes the pictorial and expressive aspect of the works, which plays an important role in revealing the ideological meaning of poems; emphasizes the identification of the figurative system with the inner world of the lyric hero. The lexical and syntactic means of artistic expression used reflect the deep feelings and thoughts of the lyrical hero, assess the depicted. The formal features of the analyzed prose poems are most often represented by simple sentences that give the narration a special dynamism.
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Ning, Xiaomeng. "Landscape Painting in the Tang Dynasty: On “Changes” and the Historical Constitution of the Concept." Culture and Dialogue 10, no. 2 (November 29, 2022): 158–79. http://dx.doi.org/10.1163/24683949-12340123.
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Abstract Focusing on the “bian” (changes) of Chinese landscape painting in the Tang Dynasty, this essay seeks to expound a breakthrough in the study of painting in the dynasty. Such a study was once difficult to carry out in the form of pictorial and stylistic analyses due to the lack of physical works. By showing that the prevailing landscape paintings of two representative painters Wu Daozi and Li Sixun were at the time most likely to be dominated by the sutra paintings and pictures of the immortal land, the essay attempts to demonstrate that the meaning of “changes” in landscape painting lies more in the change of style in representing landscape and the attitude of critics towards landscape paintings than in the change of subject matter. Meanwhile, it is worth noting that historical narratives also played a key role in constituting the concept of “landscape painting.” The focus on and analysis of the historical constitution itself provide people with another possible and feasible research approach in addition to the one based on the analysis of works and images.
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Volskaia, Tatiana V. "Vitae as a Subject Source in the West European Pictorial Art of the 14–17th Centuries (On the Example of the Image of Saint Jerome of Stridon)." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 437–66. http://dx.doi.org/10.21638/spbu15.2021.305.
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For many centuries, Western European art drew its subjects from ancient history, mythology and the Bible. The artists paid great attention to the depiction of saints, for each of whom, over time, a pictorial canon with its own attributes and certain subjects was formed. As a result, the viewer not only easily recognized a particular saint, but he could also get acquainted with the facts of his biography and the role he played in the history of the church. Saint Jerome of Stridon was one of the most popular among artists, of all the Fathers of the Church he was portrayed more often than others. The article discusses the formation of this canon on the example of Jerome’s life and work. It is based on a literature review of this topic and it contains the main studies of the biography and literary activity of Jerome, from which the artists drew subjects for their works. The article describes chronologically the vitae of St. Jerome, his hagiography from Jacobus de Voragine’s “The Golden Legend”, biography and posthumous legends, miracles and appearances of the saint from “Hieronymianus” by Giovanni d’Andrea. Erasmus of Rotterdam wrote a historical biography of Saint Jerome. Since the 19th century a large number of scientific studies of Jerome’s life and work has appeared. The article analyzes specific works of Jerome, which were also sources for pictorial images. Special attention is paid to a review of art history literature, as well as medieval bestiaries, since the paintings with St. Jerome are filled with numerous symbolic animals. A review of literature and sources on the stated topic will help stimulate researchers to further study the relationship between the lives of saints and their iconography in art, identify gaps in research on this topic and specify aspects that researchers have not yet paid attention to.
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NIKOLENKO, K., and O. NIKOLENKO. "CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY." Philological Studies, no. 33 (April 19, 2021): 13–19. http://dx.doi.org/10.33989/2524-2490.2020.33.228193.
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The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.
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Vasilyev, A. D. "AUTHOR-DEVELOPED USAGE OF PHRASEOLOGICAL UNITY / FREE PHRASE AS INTERTEXTUAL TECHNIQUE." Bulletin of Krasnoyarsk State Pedagogical University named after V.P. Astafyev 58, no. 4 (December 30, 2021): 78–84. http://dx.doi.org/10.25146/1995-0861-2021-58-4-305.
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Statement of the problem. The collection of phraseological units makes up a noticeable part of the lexicon. Phraseologisms, due to their expressiveness, are often used to give texts a greater expressive effect. A special place belongs to phraseological unity, capable of acting both as stable and as free phrases. Literature review. The use of such potentials as the basis of pictorial technique was considered by many linguists: V.V. Vinogradov, N.M. Shansky, A.I. Fedorov, D.N. Shmelev et al. The purpose of this article is a multifaceted analysis of the use of phraseological unit “to pull somebody’s leg” in fiction and journalistic texts of a number of Russian writers. Research results. On the example of the use of phraseological unity “to pull somebody’s leg” in a number of works, it is established that these phenomena are of an intertextual nature. It is advisable to consider specific phenomena related to this issue in a somewhat broader manner and in different aspects. Such an approach reveals not only a certain mutual similarity, but also the purely individual techniques of the original author, as well as the role of specific episodes in the explication of the probable intentions of the entire work as a whole. Conclusions. As a result of the study, there is noted the variability of the likely author’s intentions, the immanent pictorial potential of the phrase “to pull somebody’s leg”.
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Vogel, Christine. "“A picture is worth a thousand words”: Visual Media and the Anti-Jesuit Conspiracy Theory in the Age of Enlightenment." Journal of Jesuit Studies 10, no. 1 (January 9, 2023): 102–21. http://dx.doi.org/10.1163/22141332-10010008.
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Abstract In the context of news reporting about anti-Jesuit government actions and within the media landscape of eighteenth-century Europe, anti-Jesuitism began to posit a comprehensive superconspiracy and, in doing so, interweave religious and political aspects. Visual media played a decisive role in this process. Due to their high degree of intermediality and frequent recourse to allegory, printed news images were able to bundle ongoing debates and condense complex arguments. The allegorical pictorial language of these images was a specifically baroque form of non-linear “hypertextuality” that went far beyond the linear patterns of causality normally associated with the verbal and textual cultures of the Enlightenment. The visual dimension of news reporting was a means of cross-referencing and connecting that, by defying linear logic, promoted the idea that “nothing is as it seems” and that “everything is connected.”
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Szilágyi, András. "Propugnaculum sive Clipeus Christianitatis •." Acta Historiae Artium 63, no. 1 (April 26, 2023): 297–326. http://dx.doi.org/10.1556/170.2022.00007.
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Propugnaculum sive Clipeus Christianitatis. Variants of the pictorial representation of a time-honoured European adage in Hungary in the second half of the seventeenth and the early eighteenth centuries. The news of the ill-starred military encounter at Vezekény on 26 August 1652 had unusually strong reverberations in Hungary and Europe. Judged by the contemporaries, those killed in the clash – including four members of the aristocratic Esterházy family – set an inspiring example of moral courage in the teeth of Turkish superiority in numbers: in a hopeless battle they chose perseverance to the end, that is, heroic self-sacrifice instead of surrendering. In addition to numerous quondam utterances including some quality works of literature, testifying to the intrepidity and fighting value of the Hungarian estates, two works of the applied arts – the subject matter of the paper – were also created with the aim of perpetuating the glorious memory of the fallen heroes.In the years after the accession of Leopold I, Holy Roman Emperor (1658–1705) and King of Hungary (1657–1705) the politically active Hungarian estates had to acknowledge to their dismay that in the top echelon of the Viennese court the plan of an anti-Ottoman campaign – or any action to retaliate the incessant plundering and captive taking raids causing great casualties – was not on the agenda. A group of the politically active Hungarian estates had to draw the very severe conclusion which was hard to face up to. in order to prevent the slow but sure dissipation of “royal Hungary” they were forced to do something. And since they had no other chance, they were reduced to take the step which was tantamount to the renunciation of the earlier generations’ and their own political credo. Consequently, in their opinion, they were obliged to offer cooperation with the Porte, even if it entailed the degradation of the remains of the country to the status of a vassal state. Obviously, such a step – the ultima ratio – if it were to come about, would entail (would have entailed) serious consequences for the foreign, West European attitude toward the country, the Kingdom of Hungary. In this situation the intention or plan of the malcontens Hungarian lords had to incorporate some response to the prospective and understandable antipathy – and to the intrigues of the Viennese court. They would have to issue manifestos, statements with convincing arguments and forward them to West European towns and courts, first of all to Rome, to the decision-makers of the papal curia from where the greatest influence on public opinion could be expected. The essential message of these manifestos, which are not known among completed documents but survive in fragments in diverse aristocratic archives, was a firm and irrevocable determina tion: the vow and pledge that the population would keep their faith, their religion during vassalage as well and – in this sense – would continue to be the stronghold of respublica christiana, the Christian community. The promotion and stressing of this pledge as well as the demonstration of a peculiar interpretation of the past with the tools of visual art was the original and basic function of the unsigned engraving from the second half of the 1660s discussed in detail in the paper. Oddly enough, it was made at a time – without notable, well known iconographic antecedents – when the Kingdom of Hungary in her helpless situation was getting ever farther away from becoming (one of) the bulwark(s) or safeguard(s) of the Christian community. The client for whom the engraving was made must have been Count Ferenc (Franz) Nádasdy, the mastermind of the failed initiative and head of the anti-Habsburg conspiracy of the aristocracy – himself a sincere advocate and vigorous supporter of reviving Catholicism.The historic military events of the last one and a half decades in the seventeenth century – the triumphant termination of the Ottoman wars in Hungary, the expulsion of the Turks – overruled the original meaning of the time-honoured adage known all over Europe, the idea that Hungary was one of the safeguards/bulwarks of the western Christian community. Although it might have lost its topicality, it did not fall out of public remembrance. It underwent some modification, some shift of tone, the militant slogan of mobilization giving way to reference to the heroic deeds of the forefathers, to the glorious past, the historical merits of the kingdom, of Hungaria. Added to this – by way of a conclusion – is the profound conviction rooted in historical experience that it was not in vain to persevere above their strength against the pagan world power in calamitous times. To the contrary, the nation owed her well-nigh miraculous survival to it. After all, the fact that her disintegration and perdition could be avoided must have been by the will of divine providence. This idea is conveyed in a visual language by an extremely effective composition, an engraving made in Augsburg in the first decade of the eighteenth century undoubtedly upon a Hungarian commission. What were the Abbot of Pannonhalma P. Aegidius Karner’s ideas or intentions to have this engraving made? In the closing section of the paper an attempt is made to answer this question.
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Wódz, Marta. "Intimate listening and sonic solidarity. Radio in the works of Radio Earth Hold collective as a way towards the sonic turn." Ikonotheka, no. 30 (May 28, 2021): 191–207. http://dx.doi.org/10.31338/2657-6015ik.30.10.
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At first glance, radio may seem to be an example of dated technology, overturned by other, more contemporary media. However, the beginning of the 21st century brought an upsurge of radio-related artworks alongside an increased theoretical interest around the broader topic of sound in culture – in response to W. J. T Mitchell’s ‘pictorial turn,’ the ‘sonic turn’ was introduced in 2004 by Jim Drobnick. In this article, I specifically focus on radio as a tool used in visual arts on the example of works by artistic/curatorial collective Radio Earth Hold, observed through the lens of ‘transmission arts’ – a term coined at the end of the 1990s, which recognizes the issue of transmission as political at its core. REH’s works render apparent the potential of the radio voice to become authoritarian as well as to create an intimate experience of listening. By building upon the idea of ‘sonic solidarity’ REH touches upon political topics in a way that can profoundly challenge our thinking and encourage us to reexamine not only the role of radio but also the transmission and communication in or via art – which perhaps could be understood as a way towards the possible sonic turn.
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Soletskyi, Olexandr. "Emblematic Patterns and Metaphysical Meanings of Hryhorii Skovoroda." Kyiv-Mohyla Humanities Journal, no. 9 (December 29, 2022): 37–67. http://dx.doi.org/10.18523/kmhj270829.2022-9.37-67.
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The focus of the author’s attention has been on the emblematic sense concentration in the philosophical system of Hryhorii Skovoroda. The study aims to reveal the artistic and style features of eide emblematic formation in the texts of the Ukrainian sophist, their origin, context, and conceptual classification by the author himself. The theoretical generalizations were essentially based on the philosophical treatises and dialogues by Hryhorii Skovoroda and the studies of other scholars. To analyze the issues under scrutiny, the author applied structuralist and semiotic methodology. The article highlights the emblematic sense, conveyance, and dominance in Skovoroda’s works. Emblematic forms of signification play a unique role in elucidating the anthropological, metaphysical, ethical, aesthetic, and hermeneutic dimensions of the Ukrainian poet and philosopher. Skovoroda considers emblemacity a particularly effective pictorial and verbal (iconic-conventional) type of “significative” speech, functioning as metalanguage.
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Nazimi, Sayed Zahir, and Kamran Hatifi. "Critical Discourse Analysis of Gender Representation in Grade Seven English Language Subject in The Ministry of Education in Afghanistan." Integrated Journal for Research in Arts and Humanities 3, no. 2 (April 19, 2023): 151–57. http://dx.doi.org/10.55544/ijrah.3.2.26.
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The present investigation of gender representation in English textbooks in the Afghanistan context uses critical discourse analysis. The data were collected from the content of the school texts book that was taught to seven grade English language learners. The research used Fairclough’s (1995) three-dimensional framework to analyze the data. Variables like women and men's social and domestic roles, visibility of females and males, females and males’ activities, females and males’ semantic roles, and pictorial representation were analyzed to make clear hidden sides of inequalities or power misbalance between men and women. The finding of this study displayed that the seven grade textbooks were discriminated in favor of males in definite roles of activities. For instance, men occupied the role of prayer, engineer, and pilot, shepherded more than women. The study also showed that the textbook displayed bias between women and men in terms of pictorial, representation visibility, and some activities roles in which men had the upper hand. The result also depicted that there existed stereotypical roles and activities associated with males and females in these books men and women were presented with bias in terms of social status, power, and dominance. In other words, there was significant discrimination and anti-feminism in the analyzed textbooks.
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Toth, Monika, Anke Sambeth, and Arjan Blokland. "EEG Correlates of Old/New Discrimination Performance Involving Abstract Figures and Non-Words." Brain Sciences 11, no. 6 (May 28, 2021): 719. http://dx.doi.org/10.3390/brainsci11060719.
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The processing of pre-experimentally unfamiliar stimuli such as abstract figures and non-words is poorly understood. Here, we considered the role of memory strength in the discrimination process of such stimuli using a three-phase old/new recognition memory paradigm. Memory strength was manipulated as a function of the levels of processing (deep vs. shallow) and repetition. Behavioral results were matched to brain responses using EEG. We found that correct identification of the new abstract figures and non-words was superior to old item recognition when they were merely studied without repetition, but not when they were semantically processed or drawn. EEG results indicated that successful new item identification was marked by a combination of the absence of familiarity (N400) and recollection (P600) for the studied figures. For both the abstract figures and the non-words, the parietal P600 was found to differentiate between the old and new items (late old/new effects). The present study extends current knowledge on the processing of pre-experimentally unfamiliar figurative and verbal stimuli by showing that their discrimination depends on experimentally induced memory strength and that the underlying brain processes differ. Nevertheless, the P600, similar to pre-experimentally familiar figures and words, likely reflects improved recognition memory of meaningless pictorial and verbal items.
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Urvantseva, Olga A. "THE ROLE OF THE “ESTATE TOPOS” IN RACHMANINOFF’S WORK." Arts education and science 4, no. 37 (2023): 53–60. http://dx.doi.org/10.36871/hon.202304053.
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The article examines the role of the Ivanovka estate in Rachmaninoff’s creative life as a “home of the gentry” with a special spatial and temporal organisation of life and a special style of family relationships. This way of life in the family manors of the nobility, described in the novels of the classics of Russian literature, has been called in philology “estate topos”. The article, aimed at clarifying the structure and content of the concept of “estate topos” as applied to Rachmaninoff's work, solves the problems, firstly, of determining the value, semantic and psychological status of Ivanovka in the composer’s life, and secondly, of identifying the significance of the House and Garden as the most important elements of the estate as a source of inspiration for creativity. Another task was to highlight the idyllic and elegiac components in the structure of the “estate topos”, as well as to reveal a stable invariant complex of expressive means for their implementation in Rachmaninoff’s romances. Based on the analysis of the romances “It’s Good Here”, “Island”, “Lilac”, “Dream”, “Morning”, “These Summer Nights”, a conclusion is made about the differentiation of expressive means in the sphere of the idyllic mode, due to the predominance of pictorial or contemplative motifs in the figurative structure of the work, as well as the presence of a personal (author’s) attitude in the works of the elegiac mode.
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Frassani, Alessia. "DEPICTING THE MESOAMERICAN SPIRIT WORLD." Ancient Mesoamerica 27, no. 2 (2016): 441–59. http://dx.doi.org/10.1017/s0956536116000328.
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AbstractIn this study I argue that modern ethnographic data can be used in the interpretation of ancient Mesoamerican art and pictography, in particular, beyond iconographic analysis. Ancient painted texts were read in a performative way, with recitation, enunciation, and context playing a fundamental role in conveying meaning. While normally pictography is approached as a provider of content information, the way meaning is encoded and decoded is also integral to pictorial language. In this essay, I attempt to trace durable forms of Mesoamerican religiosity by comparing ancient depictions, their colonial transformations, and modern Mazatec chants through the prism of the “religious specialist.” This figure embodies an ecstatic experience: a direct contact and communication with the divine, which requires a cognitive transformation materialized in words, texts, and pictures.
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Abramkin, Ivan A. "Comparing Literary Criticism and Art History: The Problem of Sentimentalism in Russian Historiography." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 188–206. http://dx.doi.org/10.21638/spbu15.2023.109.
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The article is devoted to the historiography of sentimentalism in the Russian scientific tradition. The purpose of the research is to compare the methods used in literary and art studies to overview this phenomenon. The uncertainty of ideas about sentimentalism in the visual arts requires an appeal to literary studies. A careful analysis of works on sentimentalism in this field revealed the special role of the works of M. M. Bakhtin and G. N. Pospelov, who created original concepts of this phenomenon, and has made it possible to state a wide range of methods. Consideration of the sentimentalism problem in the history of art has demonstrated not only the generality of ideas and a small number of methods in comparison with literary criticism, but also the main principles inherent in the scientific tradition. Firstly, the idea of sentimentalism is based on abstract theses. Secondly, the main approach is to compare sentimentalism with classicism and Romanticism, which prevents determining its place in the art of the 1790s. Thirdly, the pictorial system of sentimentalism is considered in the most general form and turns out to be devoid of a thorough art historical description. A critical analysis of historiography allowed to identify promising areas of modern research of sentimentalism in art criticism: a careful analysis of the artistic features of works, the study of the metamorphoses of the portrait genre as well as a comparison of the Russian portrait with European art of the 18th — early 19th centuries.