Academic literature on the topic 'Stylistic fusion'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Stylistic fusion.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Stylistic fusion"
1
Morini, Massimiliano. "Translation, stylistics and To the Lighthouse." Target. International Journal of Translation Studies 26, no. 1 (March 7, 2014): 128–45. http://dx.doi.org/10.1075/target.26.1.05mor.
Full textAbstract:
Scholars in Descriptive Translation Studies and other areas of translation theory have often employed ‘style’ as a term, but have rarely expanded their stylistic reflections beyond the level of impressionistic description. In the last decade, however, a small number of articles and monographs have advocated or attempted a fusion of stylistics and translation studies, into something that Kirsten Malmkjær (2004) has aptly termed “translational stylistics.” Building on this handful of contributions, the author proposes a bi-textual analysis of deictic shifts in Virginia Woolf’s To the Lighthouse (1927) and Giulia Celenza’s early Italian translation Gita al faro (1934).
2
Polskaya, S. S., and E. M. Kirsanova. "Cross-Linguistic Stylistic Fusion: How English Political Discourse Shapes Russian Political Science Professionals." Professional Discourse & Communication 6, no. 1 (March 18, 2024): 109–28. http://dx.doi.org/10.24833/2687-0126-2024-6-1-109-128.
Full textAbstract:
The pervasive impact of the English language on global linguistic landscapes is undeniable, with Russian being no exception to this trend. This study explores the extent to which English has influenced Russian-language political discourse, particularly focusing on the stylistic elements that have percolated into the vernacular of Russian student political scientists. Through a meticulously designed experiment, the authors investigated whether the continuous exposure to authentic English political texts – both oral and written – within a structured academic setting has led to the stylistic emulation in the students’ own Russian-language political speeches. Utilizing a complex analytical approach that combines linguistic-stylistic, functional-linguistic, structural-semantic, and statistical methods, the research revealed a notable incorporation of imagery and humor akin to that found in Anglophone political discourse. The findings of the study indicate that a majority of participants have adopted and actively employed stylistic devices such as humor, irony, self-irony, and expressive language tools in their speeches. These devices stand in stark contrast to the traditional tenets of Russian political oratory, suggesting a discursive-stylistic convergence with English norms. The implications of this study are twofold. Academically, it contributes to an understanding of cross-linguistic stylistic influences in an era of increasing globalization. Practically, the insights gleaned from this research have the potential to enhance the teaching methodologies for foreign language acquisition in the field of political science, ensuring that future professionals are equipped with a nuanced command of language that reflects contemporary communicative practices.
3
Hromnyuk, Adriana. "STYLISTIC ANALYSIS OF ARCHITECTURE OF MODERN INTERIORS OF FOOD FACILITIES." Current problems of architecture and urban planning, no. 61 (October 29, 2021): 42–56. http://dx.doi.org/10.32347/2077-3455.2021.61.42-56.
Full textAbstract:
The research analyzes a large number of food facilities in Kyiv, Lviv, and Odesa. They are famous for special colorit, attractiveness, and innovation in stylistic and thematic solutions of their spaces. The stylistic analysis of the architecture of their interiors showed that there is mostly no trace of a single stylistic solution but a fusion of several styles or trends.
The main stylistic tendencies in the organization of food enterprises' object and spatial environment are defined: eclectic, fusion, a single modern style/direction, and auteur design without reference to any particular style. At the same time, within eclecticism, we distinguish the following vectors of its stylistic solution: displaying the atmosphere of different eras, the relevant historical styles of specific countries and places, and reproducing the interiors of food establishments from different periods and countries. Within the framework of fusion trends, we distinguish the following vectors: a combination of components of modern styles/trends with retro/vintage/antique interior items, with an authentic restored architectural, artistic details; use of contemporary style in combination with elements of historical styles: Art Deco, Classicism, Secession, etc.; the use of several modern styles/stylistic trends, a special mixture of components of many heterogeneous styles of the past and the present, has grotesque character and sometimes bordering on kitsch, also take place. Using a single dominant modern style or trend is the third tendency of style solutions for food enterprises' object and spatial environment. The fourth tendency is interiors, which do not have a clear manifestation of a particular style.
The main styles and trends used today in the architecture of the interiors of catering facilities are identified, their definitions are clarified, and the scientific basis is developed. Modern stylistic trends, such as fusion, loft, industrial or industrial, shabby-chic, futuristic, steampunk, Provence, modern classics, and the Mediterranean, are reflected in the object-space environment of restaurants, bars and cafes. Eclecticism, minimalism, and high-tech are the most common styles in these spaces.
Performed analysis allowed to determine the main approaches to interior architecture design of food establishments in the context of their conceptual and stylistic solution: conceptualism, eclecticism, environmental friendliness, symbolism, innovation, culturology and traditionalism, cohesion, harmonization, expressiveness, interactivity. Themes of artistic and figurative solution of the subject-spatial environment of food establishments were established.
4
Amarandei, Teodor. "Piano Concerto and Jazz Music in the Second Half of the 20th Century. New Approaches to the Stylistic Fusion Concept." Artes. Journal of Musicology 26, no. 1 (April 1, 2022): 222–34. http://dx.doi.org/10.2478/ajm-2022-0014.
Full textAbstract:
Abstract In the early years of the twentieth century, jazz and academic music each followed a distinct path, each exhibiting its own stylistic evolution. Most jazz musicians did not have any formal musical education and those in the academic milieu were, in their turn, neither jazz performers nor jazz composers. With the evolution of the jazz genre and its penetration in the field of the concerto, jazz becomes a credible music and starts enjoying a well-defined and generally accepted value rank in its own right, to the point where classic music performers and composers become open to experimenting fusion with jazz. Piano concertos were initially timid in approaching such fusion and consisted of taking over and stylising some jazz-specific components and integrating them into their own piano concerto language. In the second half of the twentieth century, piano concertos capitalising on this stylistic mix grow more and more natural and elaborate, turning into a field for expression of the most diverse jazz / academic music fusion. The fundamental driver that prompted the growth in value of the piano concertos that were approaching the jazz-classic music fusion proved to be the gradual familiarisation of classical music composers with the two stylistic directions through their experience as performers or through their academic music education. This article provides a brief overview of the pluralistic approach of the piano concerto genre at the intersection between jazz and academic music creation in the second half of the twentieth century and in the early twenty-first century.
5
Niu, Tong, and Mohit Bansal. "Polite Dialogue Generation Without Parallel Data." Transactions of the Association for Computational Linguistics 6 (December 2018): 373–89. http://dx.doi.org/10.1162/tacl_a_00027.
Full textAbstract:
Stylistic dialogue response generation, with valuable applications in personality-based conversational agents, is a challenging task because the response needs to be fluent, contextually-relevant, as well as paralinguistically accurate. Moreover, parallel datasets for regular-to-stylistic pairs are usually unavailable. We present three weakly-supervised models that can generate diverse, polite (or rude) dialogue responses without parallel data. Our late fusion model (Fusion) merges the decoder of an encoder-attention-decoder dialogue model with a language model trained on stand-alone polite utterances. Our label-finetuning (LFT) model prepends to each source sequence a politeness-score scaled label (predicted by our state-of-the-art politeness classifier) during training, and at test time is able to generate polite, neutral, and rude responses by simply scaling the label embedding by the corresponding score. Our reinforcement learning model (Polite-RL) encourages politeness generation by assigning rewards proportional to the politeness classifier score of the sampled response. We also present two retrievalbased, polite dialogue model baselines. Human evaluation validates that while the Fusion and the retrieval-based models achieve politeness with poorer context-relevance, the LFT and Polite-RL models can produce significantly more polite responses without sacrificing dialogue quality.
6
Pătraş, Andra Daniela. "Expression of the Romanian Folk Style in Béla Bartók’s String Quartet No. 1." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 305–19. http://dx.doi.org/10.24193/subbmusica.2022.1.19.
Full textAbstract:
"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern era and the types of writing used, with a focus on the use of the melodic and rhythmic elements of folk music. The musical stylistics of this work is based precisely on the intertwinement and fusion of the two great creative principles: folk and art. Keywords: Béla Bartók, string quartet, folk elements. "
7
Krasniqi, Lurjana, and Lindita Tahiri. "A A Narrative of Different Voices: Stylistic Analysis of Multiple Points of View in Zadie Smith’s “NW”." Respectus Philologicus, no. 41(46) (April 15, 2022): 132–44. http://dx.doi.org/10.15388/respectus.2022.41.46.114.
Full textAbstract:
While the post-colonial approach (Fernández Carbajal, 2016; López-Ropero, 2016) has dominated research on Zadie Smith’s postmodern work, NW (2013), there has been little to no stylistic analysis of the novel. The article aims to fill in this theoretical gap by examining the different modes of point of view, indicating how they are linguistically encoded. Using Leech and Short’s model of narratological aspects of viewpoint (2007), the stylistic features of the third-person narrator and the reflectors are revealed. The analysis seeks to demonstrate that the narrative style varies with each shift of perspective and that the voice of the narrator and the characters’ points of view are linguistically intertwined. The research points out the stylistic metamorphosis of the narrator who moves from mimetic storytelling to metafiction, alternating between the covert narrator who foregrounds the characters’ point of view and the overt one who constantly pinpoints the linguistic identity of the novel. The fusion of form and content becomes the storyline of this novel, where the differences between viewpoints of the narrating voices reflect the differences between their lives.
8
Ginzburg, G. N. "New stylistic discoveries “Fluid Fusion” and “Flowinggraphics” in the works of the duet of artists Alexei and Irina Polyakov." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (July 25, 2021): 671 (756)—676 (760). http://dx.doi.org/10.33920/nik-01-2108-01.
Full textAbstract:
In the world history of art, various graphic techniques for making and printing works of art have had their own names: etching, woodcut, linocut, lithography, etc. The new definitions of the 21st century sound quite reasonable: “Flowinggraphics” and “Fluid Fusion”, based on technological and chemical discoveries work with acrylic paints. The purpose of my article is to acquaint the art community with new techniques and terms. English version of the article on pp. 756-760 is available at URL: https://panor.ru/articles/fluid-fusion-and-flowing-graphics-new-stylistic-descoveries-in-the-works-of-the-duet-of-artists-alexey-and-irina-polyakov/70067.html
9
Teranishi, Masayuki. "A stylistic analysis of Saul Bellow’s Herzog: a mode of ‘postmodern polyphony’." Language and Literature: International Journal of Stylistics 16, no. 1 (February 2007): 20–36. http://dx.doi.org/10.1177/0963947007068655.
Full textAbstract:
Saul Bellow’s Herzog has been regarded by some critics as a polyphonic novel in which plural voices coexist. However, it has not been fully discussed how polyphony is embodied in the text. In this article, I analyse the speech and thought presentation involved in the characterization of the protagonist. I pay special attention to the fusion of and competition among ‘different versions’ of Herzog and subjectivities of other characters existent in Herzog’s consciousness. From the analysis of selected passages, it is shown how Bellow creates ‘polyphony’ or ‘poly-subjectivization’ in the text, and the place of Herzog in the context of ‘Postmodernism’ is also clarified.
10
Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.
Full textAbstract:
The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced.
Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades.
If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.
Dissertations / Theses on the topic "Stylistic fusion"
1
Swindells, Rachel Justine. "Stylistic fusion in a postmodern context." Thesis, University of Leeds, 1999. http://etheses.whiterose.ac.uk/7849/.
Full textAbstract:
The purpose of this study is to examine the links between postmodernism and music ‘fusing’ what are commonly described as popular and classical styles. Much postmodern theory has discussed the relationship between ‘high’ and ‘low' and recognised eclecticism within art, but how does fusion connect with this? An investigation of terminology and definitions together with a discussion of historical precedents for contemporary cross-influences provides a base from which to explore fusion and the postmodern. A framework oulining postmodernism’s background and its relevance to music is used in conjunction with an analysis of works by Talk Talk, Mike Oldfield and Graham Fitkin. Developing the concept of what might constitute the postmodern in music, theargument moves beyond the consideration of inherent traits which may or may not suggest postmodernism. A broader concept based on a sense of postmodern spirit is developed, recognising the importance of the roles of context and aesthetic as well as characteristics within the text. A detailed analysis of various works by the chosen artists allows exploration of both the concept of fused music and the application of postmodern theory. It will be suggested that, although these musicians produce music which displays a number of traits which are considered by many to reflect postmodernism, the music in question does not necessarily represent a postmodern aesthetic: the most postmodern of the works considered is also the least fused. It will be argued that the characteristics of music itself cause considerable problems in the application of postmodern theory, and that fusion, by its very definition and because of the connotative qualities that specific musical references often carry, does not correlate to concepts of the postmodern.
2
Roberts, Erinn. "Stylistic fusion in the Cabaret Songs of Benjamin Britten and W.H. Auden : a performer's analysis." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/16322.
Full textAbstract:
The Cabaret Songs of W.H. Auden and Benjamin Britten merge characteristics of a multitude of styles. The purpose of this document is to investigate the fusion of styles making up the Cabaret Songs and to analyze them from a performer’s perspective with the goal of providing collaborative partnerships with an historical and musical foundation on which to build their interpretation of the Cabaret Songs and thereby serve as a basis for informed performance decisions.
Chapter 1 includes biographical information for both Benjamin Britten and W.H. Auden focusing on how the two artists met and discusses their working relationship during the seven years in which they collaborated. Also included is a short section of relevant biographical information on the singer/actress Hedli Anderson for whom the Cabaret Songs were created.
Chapter 2 includes a brief overview of the history of the European cabaret-artistique and examines the creation and development of this art form. Examples of cabaret songs from other composers, namely Erik Satie, Kurt Weill, Friedrich Hollaender, and Noel Coward are given to show the musical soil of the era, from which the Britten and Auden pieces sprouted.
Chapter 3 discusses the Cabaret Songs on a song-by-song basis and provides a musical analysis from a performer’s perspective, outlining the different musical influences in each song and investigating the cross-pollination of musical styles. The songs will be examined for characteristics of traditional European art song, operatic elements, American popular song elements, European dance rhythms and elements of original European cabaret.
3
Mazen, Alice. "Portrait de la scène publique klezmer dans le contexte parisien actuel : exploration ethnomusicologique du « revival » klezmer parisien." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL071.pdf.
Full textAbstract:
La musique klezmer, autrefois pratiquée par les musiciens juifs ashkénazes pour animer les célébrations liées à la vie juive en Europe de l'Est, s'est enrichie par les migrations et appauvrie par les nombreux pogroms subis par le peuple juif. Parallèlement au « revival » de la musique klezmer aux États-Unis dans les années 1970, la scène musicale klezmer parisienne a connu un renouveau et elle s'est depuis lors développée avec divers ensembles pratiquant exclusivement la musique klezmer, d'autres combinant musique klezmer et chant yiddish, et des ensembles pédagogiques. La scène musicale klezmer s'est alors démarquée par sa démarche musicale, à la croisée de la conservation et de l'innovation. En adoptant une approche ethnomusicologique, cette thèse explore les multiples dimensions de la scène musicale klezmer parisienne actuelle, en se concentrant sur sa définition, son rapport au contexte, son interprétation musicale et sa transmission. Par une analyse précise des discours, cette thèse montre comment la définition du mot "klezmer" évolue au fil du temps et s'adapte aux contextes de pratique et aux interprétations des musiciens, pour différer parfois de celle donnée par les écrits musicologiques. En adoptant une démarche comparative et grâce à l'observation des rassemblements yiddish tenant une place importante dans la transmission internationale de la musique klezmer, cette thèse vise à enrichir la compréhension de la diversité culturelle parisienne en observant quelle place la musique klezmer tient dans le paysage urbain parisien d'une part, et dans une communauté klezmer internationale d'autre partKlezmer music, formerly practiced by Ashkenazi Jewish musicians to enliven celebrations linked to Jewish life in Eastern Europe, was enriched by migrations and impoverished by the numerous pogroms suffered by the Jewish people. Parallel to the "revival" of klezmer music in the United States in the 1970s, the Parisian klezmer music scene experienced a revival and it has since developed with various ensembles practicing exclusively klezmer music, others combining klezmer music and Yiddish singing, and educational ensembles. The klezmer music scene then stood out for its musical approach, at the crossroads of conservation and innovation. By adopting an ethnomusicological approach, this thesis explores the multiple dimensions of the current Parisian klezmer musical scene, focusing on its definition, its relationship to the context, its musical interpretation and its transmission. Through a precise analysis of the discourses, this thesis shows how the definition of the word "klezmer" evolves over time and adapts to the contexts of practice and the interpretations of the musicians, to sometimes differ from that given by the musicological writings. By adopting a comparative approach and thanks to the observation of Yiddish gatherings holding an important place in the international transmission of klezmer music, this thesis aims to enrich the understanding of Parisian cultural diversity by observing what place klezmer music holds in the landscape. Parisian city on the one hand, and in an international klezmer community on the other
4
Bourdeau, Marion. "Espaces et interstices dans l'oeuvre fictionnelle de Colum McCann : éthique et esthétique de l'équilibre." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMC033.
Full textAbstract:
Utilisant un cadre théorique hybride, mêlant travaux de géographie, notamment culturelle, et approche littéraire et stylistique, ce travail de thèse interroge les diverses spatialités mccanniennes et leur écriture, mais aussi les implications éthiques et esthétiques de cette articulation. Il étudie la manière dont la représentation de ces spatialités pousse l’écriture à chercher son équilibre, alors qu’elle s’inscrit dans des espaces diégétiques et narratifs caractérisés par l’entre-deux et l’hybridité. Ces deux notions sont placées au cœur d’un corpus mu par un élan irréductible et kaléidoscopique, définissable comme une quête d’équilibre et dont éthique et esthétique constituent les facettes les plus essentielles.Sont donc observées les formes et modalités des spatialités mccanniennes, la relation que les personnages entretiennent avec elles, ainsi que leur inscription dans un contexte contemporain. L’écriture de l’entre-deux et de l’hybridité, sources potentielles d’équilibre comme de déséquilibre, est également analysée. On voit enfin comment ces états intermédiaires sont propices à un élan impliquant la création de lignes dynamiques constituant un mouvement vers l’Autre. Cet élan interroge bien souvent la relation avec l’Art et avec l’Autre, ainsi que l’équilibre parfois problématique entre esthétique et éthique. Les possibles contradictions entre ces deux derniers pôles sont examinées, de même que le potentiel créatif, voire démocratique des échanges permis par leur dialogueThis thesis uses a hybrid theoretical approach mixing cultural geography as well as literature and stylistics in order to study the various spatialities that can be found in Colum McCann’s fictional work. It focuses on the writing of space, place and landscape, as well as on its ethical and aesthetical aspects. It analyses the way representing these spatialities forces the texts to try and find some sense of balance while the realities they describe and the world they were written in are characterised by in-betweenness and hybridity. These notions are at the core of this corpus, which is defined by an impetus that is both irrepressible and kaleidoscopic and that can be defined as a quest for balance in which ethics and aesthetics play a most essential role.The forms those spatialities can take, the bond the characters have created or create with them as well as the way they are inscribed in the contemporary world are analysed. This study also examines the writing of in-betweenness and hybridity, which can be factors of both balance and imbalance. This intermediarity encourages the development of an impulse which means creating dynamic trajectories towards the Other. This impetus interrogates relationships to Art and Otherness, as well as the (im)balance between aesthetics and ethics. It is therefore particularly relevant to scrutinize the latent contradictions between these two poles but also the creative, sometimes even democratic potential of their interactions
Books on the topic "Stylistic fusion"
1
Fusion of Stylistic Elements in Vergil's Georgics. Creative Media Partners, LLC, 2018.
Find full text
2
Glass, Meta. Fusion of Stylistic Elements in Vergil's Georgics. Creative Media Partners, LLC, 2018.
Find full text
3
The Fusion of Stylistic Elements in Vergil's Georgics. Franklin Classics, 2018.
Find full text
4
Glass, Meta. The Fusion of Stylistic Elements in Vergil's Georgics. Franklin Classics Trade Press, 2018.
Find full text
5
Lange, Barbara Rose. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0001.
Full textAbstract:
The Introduction outlines a historical and cultural framework for musical fusion projects in Central Europe, specifically Hungary, Slovakia, and Austria, between 1989 and 2008. It argues that such projects participate in a regional artistic heritage of stylistic virtuosity and social critique. It describes how Central Europeans treat some of their own world music, folk music, and ethnojazz as high or “serious” art, while in Western Europe, world music is part of the popular music industry. The Introduction argues that the Central European projects are experiments in economic independence and in ethnic inclusion stemming from the region’s history of war, exclusion of Romani (Gypsy) and Jewish minorities, and transition to neoliberal capitalism. The Introduction discusses artistic precedents of the 1970s and 1980s, and delineates aspects of the sociopolitical atmosphere for the arts in Central Europe between 1989 and 2008.
6
Scott, Jeremy. Creative Writing and Stylistics, Revised and Expanded Edition. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350372993.
Full textAbstract:
In this innovative fusion of practice and criticism, Jeremy Scott shows how insights from stylistics and linguistics can enrich the craft of creative writing. Focusing on crucial methodological issues that confront the practicing writer, this book introduces writers to key topics from stylistics, provides in-depth analysis of a wide range of writing examples and includes practical exercises to help develop creative writing skills. Thoroughly revised and expanded throughout, this updated edition more clearly lays out specialist ideas and technical terms within the field of linguistics, and features both greater focus on the creative process and more practical exercises to help writers engage with ideas in their work. Clear and accessible, this invaluable guide will give both students and writers a greater critical awareness of the creative possibilities of language.
7
Koozin, Timothy. Embodied Expression in Popular Music. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197692981.001.0001.
Full textAbstract:
Abstract This study of embodiment and meaning in popular music explores a wide-ranging repertoire, offering a performance-based analytical methodology that progresses from basic idiomatic gestures, to gestural combinations and interactions with large-scale design, to broader interpretive strategies that engage with theories of embodiment, the musical topic, and narrative. The book examines artistic practices in popular song that draw from a vast range of stylistic sources, including rock, blues, folk, soul, funk, fusion, and hip hop, as well as European classical and African American gospel musical traditions. Exploring the interrelationships in how we create, hear, and understand music through the body, the study demonstrates how a focus on body-instrument interaction can illuminate musical structures while leveling implied hierarchies of cultural value. Through detailed analysis of artists’ creative strategies in singing and playing their instruments, the book probes how musicians represent subjectivities of gender, race, and social class in shaping songs and whole albums. Tracing connections from foundational musicians including Jimi Hendrix and Aretha Franklin to recent artists, the book clarifies how inferences of musical topic and narrative are part of a larger creative process in strategically positioning musical gestures. This study of popular song explores how the situated and engaged body provides an integral dimension in listening, performing, and creating musical cultures, as it comprises a means by which we understand our own bodies in relation to the world.
8
Dawson, Anna. Studying The Lord of the Rings. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348530.001.0001.
Full textAbstract:
Unquestionably the first cinematic phenomenon of the twenty-first century, Peter Jackson's trilogy was a project of enormous artistic vision and financial risk. It is also a rich text for those studying film and media, perhaps for the first time. Studying The Lord of the Rings is the first book to consider the films in these terms, looking in turn at each of the major concepts: their complex origins and narrative structure; issues of representation masculinity, femininity and race; their generic patterns (to which genre do the films belong?) and thematic concerns; their industrial context from theatrical release to DVD extended editions; film language fusing classical mise-en-scène with cutting-edge technological practice. The aim throughout is to highlight critical debates and key terms, to relate these to the texts and to explore their stylistic and cultural impact. This Student Edition (a previously published Instructor's Edition is available) brings the story up to date with reflections on The Hobbit films.
Book chapters on the topic "Stylistic fusion"
1
Ashby, William J. "The loss of the negative particle ne in French." In On Spoken French, 133–50. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/slcs.226.c12.
Full textAbstract:
Negation in French can be marked redundantly – since a pre-verbal particle ne ‘old not’ may accompany a second, usually post-verbal, marker of negation. However, the pre-verbal particle is often deleted in spoken French. This deletion may be inconsistent with the usual typological characterization of French as an SVO language. In this paper, the use of ne ‘old not’ by 37 speakers from the region of Tours is evaluated, and the data are judged by the Sankoff Variable Rule Program (Varbrul 2). The negative particle is found to vary with a complex of linguistic, stylistic, and social factors. The historical record and the data presented here suggest that ne ‘old not’ is being lost. This on-going syntactic change may be dependent on another, as yet uncompleted, change: the fusion of the subject clitic and verb.
2
Bulathsinghala, Lakshmi D. "Fusing Oriental and Occidental Drama." In The Legacy of Stylistic Theatre in the Creation of a Modern Sinhala Drama in Sri Lanka, 179–207. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003212263-6.
Full text
3
Zantaria, Vladimir K. "Philosophical Lyrics of Bagrat Shinkuba in Russian Translation." In Abkhazia in Russian Literature of the 19th — 20th Centuries: in 3 vols. Vol. 2, 479–90. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/arl-2023-2-479-490.
Full textAbstract:
The article analyzes the experience of translating the philosophical lyrics of the outstanding Abkhaz poet Bagrat Shinkuba into Russian as an example of high professionalism in such a refined and delicate area. Considered as the most successful transcriptions of the lyrical works of the Abkhaz master, translations of the poems “My Star” (S. Lipkin), “They drink for my long life!” (K. Simonov), “This inevitable hour will come ...” (D. Chachkhalia), “The hearth burns and the flame curls” (Y. Kozlovsky), “The word has a soul” (L. Ozerov). It is noted that translators turned to classical principles and stylistic devices, which made it possible to convey the structure of the poetic fabric of the original, a synthetic fusion of elements of the folklore and mythological worldview of the “elements of folk thinking” and the poet’s lyrical self-expression. It is shown how in translations, while maintaining mainly the stylistic constructions of the original, a kind of Russian artistic model of the Abkhazian classical verse is created. It is emphasized that the translation of the lyrics of Bagrat Shinkuba into Russian is an important and responsible artistic task.
4
Lewis, Hannah. "La La Land and Jazz." In La La Land, 79–98. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197682616.003.0005.
Full textAbstract:
Abstract Chapter 4 delves into La La Land’s depiction of jazz. The genre is an important part of both the film’s soundscape and its narrative, but the film depicts an ambivalence about jazz’s stylistic boundaries. The author additionally discusses the character of Keith as portrayed by John Legend, the kind of approach to jazz he represents, and the differences between the depiction of jazz fusion in the film and the jazz renaissance that was actually taking place in Los Angeles right around the time of La La Land’s production. By connecting the (largely) white genre of the Hollywood musical with the historically Black genre of jazz, La La Land participates in a long history of racial masquerading in the Hollywood musical. At the same time, by portraying the lead character Seb’s desire to “save” jazz with some degree of critique, it undercuts its own parallel nostalgic agenda for the film musical.
5
Huang, Chihan. "Progressive Artistic Aesthetic Enhancement For Chinese Ink Painting Style Transfer." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2024. http://dx.doi.org/10.3233/faia240557.
Full textAbstract:
The translation of artistic style is a challenging yet crucial task for both computer vision and the arts, and the unique attributes of Chinese ink painting—such as its use of negative space, brushwork, ink diffusion, and more—present significant challenges to the application of existing style transfer algorithms. In response to these distinctive characteristics, we propose a progressive artistic aethetic ink painting style transfer method. The progressive multi-scale aesthetic style attention module in the network leverages the complementary benefits of shallow and deep style information to progressively fuse style features across multiple scales. The covariance transform fusion module addresses issues of stylistic disharmony and enhances the aesthetic quality of the style transfer while preserving the content structure effectively. Additionally, we have developed adaptive spatial interpolation module for detailed information finetuning. Finally, we conducted comparative experiments with previous studies as well as ablation studies, and invited 30 experts in art and design to perform manual evaluations. The results demonstrate that our method can achieve more aesthetically pleasing Chinese ink painting style transfers, confirming its effectiveness and artistic integrity.
6
Bidgood, Lee, and Irena Přibylová. "Bluegrass." In The Oxford Handbook of Global Popular Music, C14.S1—C14.S8. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190081379.013.14.
Full textAbstract:
Abstract Bluegrass is a form of country music that originated in the United States but which is now played throughout the world. This style occupies a position between popular, folk, and traditional music: professional and amateur participants create bluegrass through use of acoustic instruments, respectful use of earlier musical material, and pastoral themes—as well as instrumental virtuosity, entrepreneurial innovation, and stylistic fusion. The style can be a means for evoking a sense of rootedness and also for forging new musical and social practices. Bluegrassers negotiate these paradoxes through critical discourses and a global, translocal community. Scholarship on this style has seen a shift of focus: from grand narratives” of the genre to biographies of individuals, and from ideas (or ideals) of place to concrete places. In addition, there is increased attention to non-canonical and marginal participants in bluegrass scenes—especially those outside of the territory often considered the homeplace” of the genre. Considering bluegrass as a globally popular genre that provides participants with a means for expressing a sense of rootedness, progress, and connectedness within their own contexts, this chapter directs our attention to bottom-up globalization, entrepreneurship, amateur music making, and activism. This review of scholarship on and participation in bluegrass reflects on the global presence of the music to shed light on current debates and indicate directions where new research and action in this style might take place.
7
"Fusion Style: Towards a Poetics of the Grotesque Body." In The State of Stylistics, 91–118. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789401206082_007.
Full text
8
Kang, Lei, Fei Yang, Kai Wang, Mohamed Ali Souibgui, Lluis Gomez, Alicia Fornés, Ernest Valveny, and Dimosthenis Karatzas. "GRIF-DM: Generation of Rich Impression Fonts Using Diffusion Models." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2024. http://dx.doi.org/10.3233/faia240492.
Full textAbstract:
Fonts are integral to creative endeavors, design processes, and artistic productions. The appropriate selection of a font can significantly enhance artwork and endow advertisements with a higher level of expressivity. Despite the availability of numerous diverse font designs online, traditional retrieval-based methods for font selection are increasingly being supplanted by generation-based approaches. These newer methods offer enhanced flexibility, catering to specific user preferences and capturing unique stylistic impressions. However, current impression font techniques based on Generative Adversarial Networks (GANs) necessitate the utilization of multiple auxiliary losses to provide guidance during generation. Furthermore, these methods commonly employ weighted summation for the fusion of impression-related keywords. This leads to generic vectors with the addition of more impression keywords, ultimately lacking in detail generation capacity. In this paper, we introduce a diffusion-based method, termed GRIF-DM, to generate fonts that vividly embody specific impressions, utilizing an input consisting of a single letter and a set of descriptive impression keywords. The core innovation of GRIF-DM lies in the development of dual cross-attention modules, which process the characteristics of the letters and impression keywords independently but synergistically, ensuring effective integration of both types of information. Our experimental results, conducted on the MyFonts dataset, affirm that this method is capable of producing realistic, vibrant, and high-fidelity fonts that are closely aligned with user specifications. This confirms the potential of our approach to revolutionize font generation by accommodating a broad spectrum of user-driven design requirements. Our code is publicly available at https://github.com/leitro/GRIF-DM.
9
Brown, Steven. "Creativity." In The Unification of the Arts, 323–68. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198864875.003.0008.
Full textAbstract:
The study of creativity is about how people generate novel ideas and products, as opposed to reproducing or mimicking things that already exist. In this chapter, the author characterizes the study of creativity as the three Ms of mechanism, modulator, and meme. The mechanisms of creativity include the modification of existing products and the blending of two or more products to create stylistic fusions. Modulators of creativity include both individual-level factors (e.g. personality) and social factors (e.g. political constraints). The notion of a ‘meme’ reflects the cultural evolutionary concept that creative products either flourish or die out as a result of the critical reception they receive. A central question for the psychology of creativity is whether creativity depends more on domain-specific or domain-general mechanisms, or some combination of the two.
10
Williams, Tami. "Symbolist Impressions." In The Oxford Handbook of Silent Cinema, 251–80. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.41.
Full textAbstract:
Abstract This chapter moves beyond the paradoxical, historic disjuncture between film and theater that defines much of the critical discourse on 1920s French cinema; instead, it reveals the influence of Modernist, and, more specifically, Belle Époque Symbolist theatrical narration, scenography, and performance on French Impressionist cinema of the period, particularly in the work of filmmaker Germaine Dulac. Crucial here, at the crossroads of late nineteenth-century Naturalist and Symbolist dramaturgy, is a stylistic dualism or hybridity on the level of structure and visual culture. Such a dualism prefigures the approach of Dulac and the Impressionists in its fusing of a pragmatic, realist aesthetic foundation with an associative symbolist structure. These novel dramaturgical forms served as an important model not only for new author-spectator relations but also for the abstraction or minimization of story, décor, and performance that distinguished the works of France’s first narrative avant-garde.
Conference papers on the topic "Stylistic fusion"
1
Surovtseva, E. "ON THE QUESTION OF STYLISTIC FEATURES OF MODERN MARTYR'S LIVES (BASED ON THE MATERIAL OF THE «LIVES OF THE NEW MARTYRS AND CONFESSORS OF THE RUSSIAN XX CENTURY OF THE MOSCOW DIOCESE»)." In Actual issues of Slavic grammar and lexis. LCC MAKS Press, 2024. http://dx.doi.org/10.29003/m4117.978-5-317-07174-5/207-211.
Full textAbstract:
This article presents preliminary considerations on the stylistic features of modern martyr's lives, based on the material of the 8-volume edition of the Lives of the New Martyrs and Confessors of the Russian XX century of the Moscow Diocese. In these texts, the sources used are abundantly quoted (official resolutions, interrogation protocols, letters, etc.). The style of the original text is religious-ecclesiastical; the styles of quotations are official-business, colloquial, also religious-ecclesiastical. Thus, modern martyr's lives are a complex stylistic fusion.
2
Yuan, Shaozu, Aijun Dai, Zhiling Yan, Ruixue Liu, Meng Chen, Baoyang Chen, Zhijie Qiu, and Xiaodong He. "Learning to Generate Poetic Chinese Landscape Painting with Calligraphy." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/696.
Full textAbstract:
In this paper, we present a novel system (denoted as Polaca) to generate poetic Chinese landscape painting with calligraphy. Unlike previous single image-to-image painting generation, Polaca takes the classic poetry as input and outputs the artistic landscape painting image with the corresponding calligraphy. It is equipped with three different modules to complete the whole piece of landscape painting artwork: the first one is a text-to-image module to generate landscape painting image, the second one is an image-to-image module to generate stylistic calligraphy image, and the third one is an image fusion module to fuse the two images into a whole piece of aesthetic artwork.
3
Sun, Lingxiao. "IN-DEPTH ANALYSIS OF THE INFLUENCING FACTORS OF RUSSIAN OIL PAINTING IN THE DEVELOPMENT OF CHINESE OIL PAINTING." In Themed collection of papers from Foreign international scientific conference «Joint innovation - joint development». Part 1. by HNRI «National development» in cooperation with PS of UA. May 2024. - Harbin (China), 18–21. Crossref, 2024. http://dx.doi.org/10.37539/240530.2024.16.78.028.
Full textAbstract:
This study delves into the historical development trajectory of Chinese oil painting, involving the artistic origins and unique stylistic characteristics of Russian oil painting. It further explores the significant influence of Russian oil painting on Chinese oil painting art in different historical stages. Through comparative analysis, it reveals the fusion of artistic expression, technique inheritance, and aesthetic ideas between the two, emphasizing the positive role of Russian oil painting in Chinese oil painting education and artistic practice. Based on this, the study summarizes the multidimensional impact mechanisms of Russian oil painting on the development of Chinese oil painting, which is of significant importance for deepening Sino-Russian artistic exchanges and promoting the rich development of Chinese oil painting art.