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Artículos de revistas sobre el tema "Literature, Modern, in art"

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Publicado: 27 de julio de 2024

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1

Matthews, John. "Introduction: Modern and Post-Modern Arthurian Literature". Arthuriana 9, n.º 1 (1999): 3–4. http://dx.doi.org/10.1353/art.1999.0033.

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2

Hammond, Marlé. "Reading Across Modern Arabic Literature and Art". Middle Eastern Literatures 18, n.º 1 (2 de enero de 2015): 102–3. http://dx.doi.org/10.1080/1475262x.2015.1075287.

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3

Bandrovska, Olha T. "THE AESTHETIC REGIME IN THE MODERN ERA: ART AND DISCOURSE ON ART". Alfred Nobel University Journal of Philology 2, n.º 26/1 (20 de diciembre de 2023): 9–21. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-1.

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The article traces the changes in the aesthetic conventions of Modern art in accordance with the dynamics of literary development in Great Britain. The study focuses on three key areas: the impact of “the ancients and moderns” quarrel on European philosophical and literary thought; the nuances of critical and literary discourse in Enlightenment-era Great Britain; and the reception of the Enlightenment aesthetic values and novelties in Victorian criticism, linking them to the emergence of twentieth-century modernism. The subject involves the evolution of Enlightenment aesthetics and poetics in Great Britain, particularly the departure from classical art and literature models, and the emergence of concepts like imagination, novelty, and the reader’s subjective experience of art. Seminal literary-critical essays of the eighteenth century, including works by Joseph Addison, Henry Home, Richard Hurd, and Leslie Stephen’s monograph ‘History of English Thought in the Eighteenth Century”, are analyzed. The paper also examines philosophical texts by Michel de Montaigne, Francis Bacon, René Descartes, and Marquis de Condorcet to understand the oscillatory nature of philosophical thought before and during the Age of Enlightenment. The study contextualizes “the ancients and moderns” debate on models for literary excellence and accentuates its role in shaping the discourse of aesthetics and artistic creativity. Contributions by Enlightenment figures such as Addison, Home, and Hurd are explored, emphasizing how they reshaped the discourse of aesthetics by redefining the nature of beauty, the sublime, and the principles of artistic criticism, thereby influencing the literary and artistic productions of their time and beyond. Particular attention is paid to the critical views of Stephen who wrote about the “fluctuating mode” of the literature of the second half of the eighteenth century, illustrating his peculiar subjectivism as an exponent of the Victorian worldview (Stephen saw Sterne’s novels as a serious moral threat), and simultaneously reflecting the normative aesthetic views of the second half of the nineteenth century. The paper also demonstrates how the antinomianism in aesthetic thinking, which challenged traditional norms and values as seen in “the ancients and moderns” quarrel, was further evolved in the works of Friedrich Schiller and Friedrich Schlegel, the latter articulating the antinomy of “classic versus romantic”. This tradition of antinomian thinking, coupled with the rejection of the idea of linear progression in cultural evolution, a call for a reassessment of values amidst a paradigm shift in culture and the breakdown of traditional ethic and aesthetic systems, finds a notable and unique expression in Friedrich Nietzsche’s works, that significantly influenced the transition from Modernity to Postmodernity. In summary, it is argued that the Modern Age was the time of the emergence of a new aesthetic sensibility, and its aesthetic pluralism and anti-classical literary ideas were pivotal in redefining concepts of progress, novelty, and human consciousness in art and literature. This laid the groundwork for modernist art and literature, characterized by a departure from tradition and a quest for new artistic expressions of human experience.
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4

Shamsuddin, Salahuddin Mohd y Siti Sara Binti Hj Ahmad. "Theatrical Art in Classical European and Modern Arabic Literature:". International Educational Research 1, n.º 1 (14 de junio de 2018): p7. http://dx.doi.org/10.30560/ier.v1n1p7.

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No doubt that Classical Arabic Literature was influenced by Greek Literature, as the modern Arabic literature was influenced by European Literature. The narrative poetry was designed for the emergence of theatrical poetry, a poetry modeled on the model of the story with its performance in the front of audience. This style was not known as Arabic poetry, but borrowed from the European literatures by the elite of poets who were influenced by European literatures looking forward to renew the Arabic poetry. It means that we use in this article the historical methodology based on the historical relation between European and Arabic literature in the ancient and modern age. The first who introduced the theatrical art in Arab countries was Mārūn al-Niqqāsh, who was of a Lebanese origin. He traveled to Italy in 1846 and quoted it from there. The first play he presented to the Arab audience in Lebanon was (Miser) composed by the French writer Molière, in late 1847. It is true that the art of play in Arabic literature at first was influenced by European literatures, but soon after reached the stage of rooting, then the artistic creativity began to emerge, which was far away from the simulation and tradition. It is true also that European musical theatres had been influenced later by Arabic literature and oriental literatures. European musical theatres (ʿAlāʾ al-Dīn and the magical lamp), the play (Māʿrūf Iska in Cairo) and the musical plays of (Shahrzād) are derived from (One thousand and one Nights). This study aims to discover the originality of theatrical art in modern Arabic literature. Therefore it is focused on its both side: Its European originality and its journey to Arab World, hence its artistic characteristics in modern Arabic literature. We also highlight its journey from the poetic language to the prose.
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5

de Oliveira, Celso Lemos. "Brazilian Literature and Art: From Colonial to Modern". Hispania 75, n.º 4 (octubre de 1992): 988. http://dx.doi.org/10.2307/343866.

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6

Månsson, K. G. W. "Urology in modern/contemporary music, literature and art". European Urology Supplements 18, n.º 1 (marzo de 2019): e1284. http://dx.doi.org/10.1016/s1569-9056(19)30928-5.

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7

Povey, John, Robert Goldwater y Katia Samaltanos. "Primitivism in Modern Art". African Arts 20, n.º 3 (mayo de 1987): 14. http://dx.doi.org/10.2307/3336470.

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8

Foster, Hal. "Archives of Modern Art". October 99 (enero de 2002): 81–95. http://dx.doi.org/10.1162/016228702317274648.

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9

Barkan, Leonard. "Making Pictures Speak: Renaissance Art, Elizabethan Literature, Modern Scholarship". Renaissance Quarterly 48, n.º 2 (1995): 326–51. http://dx.doi.org/10.2307/2863068.

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Some Often Quoted Lines from Sidney's Apology for Poetry can stand both as a piece of literary history in themselves and as a methodological guide for the study of that history: “Poesy therefore is an art of imitation: for so Aristotle termeth it in the word mimesis, that is to say, a representing, counterfeiting, or figuring forth—to speak metaphorically, a speaking picture.“1 It is one of the most famous of all definitions of poetry, and like many other such definitions—Plato's in the Republic, Horace's in the Ars Poetica2- —it arrives at saliency by drawing an analogy to the visual. More succinctly even than his predecessors, Sidney demonstrates just how difficult it is to unpack the cdncept of mimesis as he ranges through a sequence of functional descriptions ﹛representing, counterfeiting, figuring forth), none of which quite does the trick, until he arrives at a metaphor that names itself as such. One might say that a metaphor is itself a speaking picture and therefore Sidney's memorable phrase is a self-confirming artifact. But let us shy away from such metaformulations and content ourselves with a sense of just how felicitous the expression “speaking picture” turns out to be.
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10

Hasanova, Lala. "Intermediality of modern art-documentary prose: “literature and music”". Scientific Bulletin 4 (2019): 113–19. http://dx.doi.org/10.54414/gzhh2184.

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This article is devoted to the problems of intermediality in artistic and documentary works. This problem was studied on the basis of the analysis of the works of Anar “Without you”, “Like Kerem” (a novel-reflection on the work of Nazim Hikmet), Ali Amirli “What did I leave in Agdam?”. It is noted that the authors turn to music in different cases, sometimes to recreate the atmosphere of the era, but mainly to recreate the complex psychological state of the characters.
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11

Hasanova, Lala Tofig. "Intermediality of modern art-documentary prose: "Literature and Music”". Scientific Bulletin 2 (2021): 79–85. http://dx.doi.org/10.54414/ikjq8371.

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The article is devoted to the problems of intermediality in artistic and documentary works. This problem was studied on the basis of the analysis of the works of Anar “Without you”, “Like Kerem” (a novel-reflection on the work of Nazim Hikmet), Ali Amirli “What did I leave in Agdam?”. It is noted that the authors turn to music in different cases, sometimes to recreate the atmosphere of the era, but mainly to recreate the complex psychological state of the characters.
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12

Goux, Jean-Joseph, Michele Sharp, Philippe Lacoue-Labarthe y Lionel Richard. "Politics and Modern Art. Heidegger's Dilemma". Diacritics 19, n.º 3/4 (1989): 10. http://dx.doi.org/10.2307/465385.

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13

Pahomov, George S. "Essential Perception: Čechov and Modern Art". Russian Literature 35, n.º 2 (febrero de 1994): 195–202. http://dx.doi.org/10.1016/0304-3479(94)90032-9.

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14

Ulicka, Danuta. "Między światami. Rzeczywistość w literaturze – literatura w rzeczywistości – rzeczywistość literatury". Przestrzenie Teorii, n.º 28 (8 de mayo de 2018): 21–75. http://dx.doi.org/10.14746/pt.2017.28.1.

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The author attempts to reconstruct a short history of modern Polish literary studies not from the perspective of schools or methodological orientations that are usually applied, but from the perspective of what is known in sociology as cultural themes. This point of view offers the opportunity to (re)construct the process of continuity /discontinuity in the whole field of research focused on the problem of reference, which has been recognized as the most important one in Polish studies (as well as in Polish literature, and art) since its beginning in the first decade of the 20th century. In the broader scope the article attempts to rearticulate the definition of the discipline conventionally called “the theory of literature”, and to propose a new way of writing its history.
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15

Suzryukova, Elena. "PATRON SAINTS OF GEORGIA IN MODERN ORTHODOX WRITERS’ LITERATURE". Проблемы исторической поэтики 18, n.º 4 (noviembre de 2020): 348–63. http://dx.doi.org/10.15393/j9.art.2020.8762.

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Semantics and functions of images that represent Georgia’s patron saints are examined in this article as exemplified in the Georgian Rhapsody, a collection of stories by O. Nikolayeva, stories by M. Saradzhishvili (from the books Do not rush to condemn and Next to you), Exile, a short story by V. N. Lyalin, and Wonderful journey to Orthodox Georgia by O. Rozhneva. Referring to episodes from the hagiography of Georgian saints in the texts in question allow us to trace the spiritual history of Georgia since the time of adoption of Christianity. The detailed list of saints is present in the books of О. Nikolayeva and О. Rozhneva. Even though only particular periods of Georgia's history are reflected in the stories of М. Saradzhishvili and V. N. Lyalin, the country's patron saints participation in the life of their characters in Georgia’s recent past or present day is undeniable. For example, Saint Equal-to-the-Apostles Nina performs a guardian function and her appearance during the Soviet years provides spiritual support to the female character of V. N. Lyalin’s story. First and foremost, a patron in combat, Saint George the Trophy Bearer is also a patron of the family. Venerable David of Garedzha is both an example of humility and a patron of the hearth and home. With his gift of prophecy, Blessed Gabriel (Urgebadze), mentioned in the book by О. Rozhneva, also assists on the path of personal salvation. Whereas О. Rozhneva’s book is exclusively focused on depicting Orthodox Georgia and its saints, the work of О. Nikolayeva provides a more comprehensive image of Georgia, including a vast stratum of the country’s cultural characteristics. In О. Nikolayeva’s book the saints represent a significant facet of Georgia’s image.
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16

Thompson, Raymond H. "The King Arthur Myth in Modern American Literature by Andrew E. Mathis". Arthuriana 12, n.º 4 (2002): 104–5. http://dx.doi.org/10.1353/art.2002.0012.

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17

Ullan, Ana M. y Manuel H. Belver. "The Meanings of Modern Art". Empirical Studies of the Arts 17, n.º 1 (enero de 1999): 25–35. http://dx.doi.org/10.2190/ck2m-dy80-4xpj-ccgc.

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18

Ritchie, J. M., Edward Timms y David Kelley. "Unreal City: Urban Experience in Modern European Literature and Art". Modern Language Review 82, n.º 2 (abril de 1987): 431. http://dx.doi.org/10.2307/3728441.

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19

Cohen, Michael, Edward Timms y David Kelley. "Unreal City: Urban Experience in Modern European Literature and Art". South Central Review 4, n.º 1 (1987): 152. http://dx.doi.org/10.2307/3189612.

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20

Clarke, I. F. "Unreal city: Urban experience in modern European literature and art". Cities 3, n.º 4 (noviembre de 1986): 363–64. http://dx.doi.org/10.1016/0264-2751(86)90086-7.

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21

Sherzodovna, Uzakova Gulbakhor. "Folk Motives in Modern Russian Literature". Tuijin Jishu/Journal of Propulsion Technology 44, n.º 4 (16 de octubre de 2023): 4249–53. http://dx.doi.org/10.52783/tjjpt.v44.i4.1656.

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The article discusses folklore motifs in modern Russian literature, the use of folklore elements in their various genres, as well as issues of enriching literature with folklore elements. The main goal of the study is to show not only folklorists but also professional readers the trends of modern literature. As Academician D.S. Likhachev noted, works that do not have an author are called folklore works. In folklore, there may be a performer and a storyteller, but there is no author or writer as a unique element of the artistic structure. Folklore, like literature, is the art of words. This gives rise to the use of literary terms: epic, lyricism, dramaturgy. They are usually called birth. Each type covers a group of works of a certain type. Genre is a type of artistic form (fairy tale, song, proverb, etc.).
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22

Loughery, John. "Subject Matter in Modern Art". Hudson Review 51, n.º 2 (1998): 386. http://dx.doi.org/10.2307/3853074.

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23

Morris, Daniel. "Book Review: Reconfiguring Modernism: Explorations in the Relationships Between Modern Art and Modern Literature". MFS Modern Fiction Studies 44, n.º 2 (1998): 438–41. http://dx.doi.org/10.1353/mfs.1998.0042.

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24

Nizomova, Shoxista Shodiyevna. "Images In Modern Uzbek Poetry". Psychology and Education Journal 58, n.º 1 (29 de enero de 2021): 754–58. http://dx.doi.org/10.17762/pae.v58i1.824.

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Like other forms of art, fiction reflects the mental state and thoughts of the people in it. Life always consists of people’s lives, work activities, struggles, emotions, experiences. The descriptive theme of literature is, first and foremost, man. There is no image of man, and there is no fiction where it is not intended. Accordingly, the concept that occupies a central place in the science of literature is also the concept of the image hero. The concept of image has a wide and narrow meaning. While the concept of emblem in the broadest sense represents a landscape of life in which the thoughts and feelings of the creator are embodied, in the narrowest sense it represents the image of a human being reflected in a work of art. This article looks into the imagery in modern Uzbek literature and poetry.
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25

BAYRAK, Tekin y Tolga ŞENOL. "TÜRK KÜLTÜRÜNE AİT BİRER KÜLTÜREL MİRAS OLAN SEMBOLLERİN TÜRKİYE’DE MODERN SANAT VE SONRASI DÖNEMDE RESİM SANATINDA KULLANILMASI". SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, n.º 33 (15 de septiembre de 2022): 57–69. http://dx.doi.org/10.31567/ssd.725.

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It is thought that in the 20th century and later period, the paintings in which the symbols of Turkish culture are used do not take place sufficiently in the literature. In this context, it is important to support the production of works within the relevant framework and to increase the recognition of existing ones. The aim of this study; To explore, understand and interpret the use of symbols, which have an important place in Turkish culture, in modern art and post-painting art in Turkey in terms of form-meaning relationship. The study was carried out according to the hermeneutic pattern in line with the purpose. Three works by Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan and Süleyman Saim Tekcan, one of the pioneers of Turkish painting art, formed the study group. The document method was used as a data collection tool, and the data were analyzed by concept analysis and artifact review method. It has been determined that the symbols, which are the dominant elements in the related works, are presented to the audience in different styles. The fact that the symbols of Turkish culture were successfully synthesized with the universal plastic expression in the examples of works discussed in terms of form and meaning relationship was considered important in the context of the possibility of reaching wider masses. Keywords: Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan, Süleyman Saim Tekcan
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26

Mathis, Andrew E. "The Grail Legend in Modern Literature. Arthurian Studies LIX by John B. Marino". Arthuriana 16, n.º 1 (2006): 79–80. http://dx.doi.org/10.1353/art.2006.0015.

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27

Dickerman, Leah. "Diaspora Modern". October, n.º 186 (2023): 113–36. http://dx.doi.org/10.1162/octo_a_00501.

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Abstract Diaspora is a defining condition of the history of the past century, a prehistory to our disastrous moment in time and also the foundation of our political landscape. Yet it is notably absent in much art-historical discussion of modernism, despite the fact that the experiences of diaspora and migration are often embedded in the lives of modernist artists and other actors; in the formations, networks, and dispersals of modernist institutions and group affiliations; and in the deployment of characteristically modernist artistic strategies (temporal fragmentation, collage, montage, and the readymade) that manifest a dialectical entanglement of self and other. This essay ponders the disconnect between the historical structures of modernism in art and its theorization, and considers the questions: Can diaspora and diasporic thinking help further our understanding of the twentieth century in art? Can it help us in reconsidering modernism from a diasporic perspective today? As prompts for further thought, the text considers four historical episodes in which ideas of diaspora, modernity, and modernism are entwined: W.E.B. Du Bois and the First Universal Races Congress in London 1911; Georg Simmel, Du Bois, and Alain Locke in Berlin and the emergence of a matrix of modern sociological thinking; Mikhail Bakhtin in exile in Kazakhstan and the formation of his dialogical philosophy of language; and Aaron Douglas and Meyer Shapiro at the First American Artists’ Congress in 1936 and in the pages of Art Front.
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28

Frojmovic, Eva. "Jewish Identity in Modern Art History". Journal of Jewish Studies 52, n.º 1 (1 de abril de 2001): 188–89. http://dx.doi.org/10.18647/2337/jjs-2001.

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29

Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (20 de mayo de 2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.
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30

Maio, Eugene A. "Tiempo De Silencioand the Aesthetics of Modern Art". Critique: Studies in Contemporary Fiction 30, n.º 3 (abril de 1989): 155–62. http://dx.doi.org/10.1080/00111619.1989.9937869.

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31

Gualtieri, E. "The Impossible Art: Virginia Woolf on Modern Biography". Cambridge Quarterly 29, n.º 4 (1 de abril de 2000): 349–61. http://dx.doi.org/10.1093/camqtly/29.4.349.

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32

Rybakowski, Janusz. "Lithium therapy in literature and art". Pharmacotherapy in Psychiatry and Neurology 36, n.º 4 (8 de febrero de 2021): 271–84. http://dx.doi.org/10.33450/fpn.2020.12.002.

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Introduction. In 1949, Australian psychiatrist John Cade described a therapeutic action of lithium carbonate in mania. This date is regarded as an introduction of lithium into contemporary psychiatric therapeutics and the beginning of modern psychopharmacology. In the early 1960s, a prophylactic activity of lithium was observed, preventing recurrences of affective episodes in mood disorders. Lithium has become a prototype of the mood-stabilising drugs and remains a drug of the first choice for the prophylaxis of recurrences in bipolar mood disorder. Literature review. Both the introduction of lithium into psychiatric therapy and its therapeutic action has been reflected in literature and art. This article presents the connections of lithium therapy with literature and art. They pertain to such characters as John Cade, Salvador Luria, Patty Duke, Kay Jamison, Jerzy Broszkiewicz, Ota Pavel, Robert Lowell, Jaime Lowe, Nicole Lyons, Kurt Cobain, Sting, and the band Evanescence. Conclusions. Special attention was given to the book Unquiet mind, written in 1996 by Kay Jamison, professor of psychology. In the book, her personal bipolar disorder and lithium treatment were described from the viewpoint of the eminent professional. Polish translation of the book titled Niespokojny umysł already has two editions: in 2000 and 2018.
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33

Harty, Kevin J. "From Camelot to Obamalot: Essays on Medieval and Modern Arthurian Literature (review)". Arthuriana 22, n.º 1 (2012): 128. http://dx.doi.org/10.1353/art.2012.0004.

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34

Classen, Albrecht, Jeff Persels y Russell Ganim. "Fecal Matters in Early Modern Literature and Art: Studies in Scatology". Sixteenth Century Journal 36, n.º 4 (1 de diciembre de 2005): 1105. http://dx.doi.org/10.2307/20477598.

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35

Parkin, John. "Fecal Matters in Early Modern Literature and Art. Studies in Scatology". French Studies 59, n.º 4 (1 de octubre de 2005): 535–36. http://dx.doi.org/10.1093/fs/kni228.

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36

Ignatova, I. B. "Author’s column on literature in the system of modern art-columnism". Science and School, n.º 4 (29 de agosto de 2023): 57–64. http://dx.doi.org/10.31862/1819-463x-2023-4-57-64.

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37

Zagidullina, Daniya. "Tatar literature at the turn of the XX–XXI centuries: transformation of realism". Przegląd Wschodnioeuropejski 9, n.º 1 (1 de junio de 2018): 309–20. http://dx.doi.org/10.31648/pw.3441.

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The scientific novelty of work consists in the appeal to modern Tatar literary process which remains almost not investigated. The choice for the analysis of works of the Tatar literature has been caused, first of all, by the novelty of their esthetic concept. Relevant texts of the Tatar prose writers in the development plan for national art of literature are considered, the main vectors of the movement of historico-literary process are traced. As a result of the conducted research, the art and esthetic nature of the realism in modern Tatar prose incorporating elements of other art systems is established. Content and volume of the concepts ‘literary direction’, ‘current’, ‘post-realism’, ‘post-colonial literature’, ‘classical realism’ are specified in relation to the modern national historico-literary process.
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38

Kapkova, S. Yu. "CHARACTONYMS IN MODERN ENGLISH CHILDREN'S LITERATURE". Modern Linguistic and Methodical-and-Didactic Researches, n.º 3(38) (31 de diciembre de 2022): 77–86. http://dx.doi.org/10.36622/mlmdr.2022.68.29.008.

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Statement of the problem. The objectives of this study include determining the role of the use of charactonymsin multi-genre texts for children written by English classical and modern authors. The first task was to identify the charactonyms in the works of fiction of three English children's writers. The second task is the etymological and lexico-semantic analysis of the charactonyms in the children's works of art under study in order to obtain information about whether the character is positive or negative. The third task of the study was to identify the functions of charactonyms in the works analyzed. Results. The article presents the charactonyms of the characters selected by a continuous sampling method from the works written by English children's writers of different time periods. Further, the etymological analysis of the charactonyms and their decoding in the analyzed works written by R. Dahl, J. K. Rowling and F. Simon and the role of the charactonyms in those works are defined. Conclusion. The study revealed 11 functions of charactonyms in the analyzed works of fiction for children of three British authors. Identifying, comic, style-forming, allusive, genre-forming, onomatopoeic functions were identified, as well as functions characterizing appearance, occupations or professions, behavior, speech and describing character.
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Mavlonova, Ugiloy. "THE ROLE OF IRONY IN UZBEK LITERATURE". Scientific Reports of Bukhara State University 5, n.º 3 (30 de junio de 2021): 50–59. http://dx.doi.org/10.52297/2181-1466/2021/5/3/5.

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Introduction. In world literature, a number of scientific investigations are being conducted on the classification of irony, its artistic manifestations, parody, paradox, grotesque and image. The role of irony and image in the structure of the work of art in the world literary science, in which the coverage and identification of the individual skills of the writer remains one of the urgent tasks. In modern Uzbek literature, there is an approach based on various research methods of world literature in the analysis of works of art, the coverage of the poetic skills of the author. Research methods. At the same time, as poetry and prose of the 1970s and 1980s emerged from ideological stereotypes, literary criticism seemed to lag behind.
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40

Gossman, L. "BEYOND MODERN: The Art of the Nazarenes". Common Knowledge 14, n.º 1 (1 de enero de 2008): 45–104. http://dx.doi.org/10.1215/0961754x-2007-033.

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41

Slonevska, I. B. y S. Yu Piroshenko. "Contemporary literature as an art representation of the phenomenon of „hybrid identity”". Bulletin of Luhansk Taras Shevchenko National University, n.º 4 (335) (2020): 161–69. http://dx.doi.org/10.12958/2227-2844-2020-4(335)-161-169.

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The article considers the features of modern Western literature in postcolonial discourse. Emphasis is placed on researches that have formed the basis for understanding the phenomenon of multiculturalism in modern humanities. In this context, the concept of transculturation as a new worldview and a way of polemics with multiculturalism has been analyzed and the leading ideas have been singled out: „borderline identity”, hybridity, ambivalence, etc. The modern European literature is characterized as an artistic representation of the mentioned concepts, the so-called „borderline consciousness”, which underlies the hybrid worldview. The authors consider the phenomenon of cross-cultural (multicultural, transcultural) or postcolonial novel as one of the brightest phenomena of modern literary discourse. The dominant of creative work of cross-cultural authors is the identity crisis inherent in both the author and his or her character. In the proposed dimension, the work of immigrant authors in general and S. Rushdie’s novels in particular are considered as an artistic actualization of the theory of cultural hybridity, and the narrative of life „on the border” is defined as the most notable artistic strategy of modern literature.
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42

Saengnateswang, V. A. "Trends in Development of Modern Siamese Literature". Nauchnyi dialog 12, n.º 7 (6 de octubre de 2023): 161–78. http://dx.doi.org/10.24224/2227-1295-2023-12-7-161-178.

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The processes of development of a new type of Siamese (Thai) literature are being considered, the gradual formation of which is attributed to the second half of the 19th century. Special attention is paid to the changes in the principles of redistribution of literary microsystems (genres) and the main types of literary art (poetry and prose) in the literary system of Siam. The key events that influenced the simplification of the artistic language of the new type of literature compared to its representation in traditionalist (classical) texts are briefly highlighted. The relevance of the research, related to its objectives, is seen in updating and supplementing the accumulated initial data and knowledge about Siamese (Thai) literature during its transition from a medieval type to an individual-creative one by Soviet and Russian philological science. The novelty of the research is due to the inclusion of information on the development of new Siamese literature, previously not presented in domestic scientific literature. It is proven that changes in the principles of redistribution of fundamental categories of poetics in Siamese (Thai) literature occurred in connection with its renewal and enrichment with new “foreign” forms that came from European literatures and were filled with content relevant to the Siamese literature’s perception.
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43

Mathews, Peter D. "Embodied Art: A Reading of A. S. Byatt’s ‘Body Art’". English: Journal of the English Association 68, n.º 263 (2019): 344–63. http://dx.doi.org/10.1093/english/efz033.

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Abstract This article examines the idea of an embodied art in A. S. Byatt’s short story ‘Body Art’. In order to contextualize this concept, the essay begins with a survey of Byatt’s earlier explorations of the link between mind and body, as well as an analysis of the small amount of secondary material relating to ‘Body Art’, a text that has received little critical attention. The article then explores the story’s ties to Dutch vanitas painting, a tradition that is intimately linked to the study of anatomy. The vanitas tradition shows how medicine and art were once a unified field, and explores the consequences of their modern division. This leads to a consideration of the influence of theological debates about mind and body and their effect, in particular, on Renaissance humanist art. The next section examines the shifting meaning of the archival collection, particularly in its significance for modern formations of subjectivity. This idea is particularly important in the context of the story’s allusions to Joseph Beuys, who views the artist’s body as a locus of creativity. Like Beuys, Byatt is interested in art that draws on the imaginative power of religious storytelling and imagery while rejecting its supernatural elements. Byatt draws together all of these elements in her story in order to articulate her vision of an embodied art, one that draws together the conceptual and the physical.
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44

Lilin, You. "The Feminist Installation Art in Modern China". Vestnik of Saint Petersburg State University of Culture, n.º 1 (58) (2024): 129–35. http://dx.doi.org/10.30725/2619-0303-2024-1-129-135.

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Feminist installation art in contemporary China is one of the most dynamic and controversial trends in Chinese contemporary art. It reflects the complex processes of social, political and cultural transformation that have been taking place in China in recent decades. Feminist installations express critical attitudes towards traditional gender roles, national identity, environmental issues and globalization. However, feminist installation art in contemporary China has not received sufficient scholarly coverage and analysis in domestic and foreign literature. Existing studies are often limited to describing individual works or female artists without considering the historical, cultural, and social contexts in which this trend is formed and developed. In addition, many feminist installations have a complex semiotic structure that requires a deep and multidimensional interpretive approach. The expected outcome of the article is a comprehensive and multilevel study of feminist installation art in contemporary China, which will allow for a better understanding and appreciation of its significance.
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45

Svensson, Tom G. "Sámi Literature and Handicraft as Means of Communication". Culture 4, n.º 2 (22 de junio de 2021): 43–53. http://dx.doi.org/10.7202/1078267ar.

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In this article various forms of expressive culture are treated. Different literary expressions as well as handicraft and art in modern form illustrate the general argument stressing the communicative aspect of ethnically defined art forms. Ethnic arts among the Sámi definitely add a significant dimension to their development of efficient means of ethno-political articulation. To achieve this aim it is necssary that the art producers unite the styles of cultural expressions from the two cultures concerned, that of the majority society and that of the ethnic minority. In this context the distinction between verbal and non-verbal communication is also discussed.
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46

Lazorevych, Iryna. "SACREDNESS IN CONTEMPORARY ART: RELIGIOUS INFLUENCES AND FORMS OF INTERPRETATION". Educational Discourse: collection of scientific papers, n.º 40(4-6) (2022): 72–83. http://dx.doi.org/10.33930/ed.2019.5007.40(4-6)-8.

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The article analyzes the worldview and social contexts of a number of significant works of modern art (literature, painting, cinematography, theater art, architecture), which in one form or another cultivate sacred symbolism. The researcher also interprets the forms of cultivation of traditional meanings of world religions (Buddhism, Christianity, Islam) in modern art.
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Zagidullina, Marina. "Исторический контекст тезиса «у нас нет литературы»". Rusycystyczne Studia Literaturoznawcze 29 (29 de diciembre de 2019): 40–53. http://dx.doi.org/10.31261/rsl.2019.29.02.

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The article is devoted to modern reconfigurations of the literary process and literature (as a kind of art), experienced in literary criticism as the decline of literature (the thesis “we have no literature” as a statement of the degradation of an art form). The article provides an overview of reflection on this process on Russian “thick journals” (with the emphasis on the position of the well-known Russian critic Anna Kuznetsova), as well as the author’s view on the general transitional state of Russian modern literature.
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Duma, Liao y Li Xi. "Historical and philosophical logic of essays on the modern history of literature and art of China". OOO "Zhurnal "Voprosy Istorii" 2022, n.º 12-1 (1 de diciembre de 2022): 150–55. http://dx.doi.org/10.31166/voprosyistorii202212statyi46.

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After the Th ird Plenum of the XI convocation of the Central Committ ee was held in 1978, China embarked on the path of reform and openness. Literature and art have become a symbol of a new era. Th e sphere of active research of scientists has become the question of how to describe what is happening at the present stage of the development of literature and art. Gradually, a new historical approach, diff erent fr om the traditional one, was formed, and a historical and philosophical consciousness, not characteristic of the previous time, was formed.
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49

Sohm (book author), Philip y Sally Hickson (review author). "Style in the Art Theory of Early Modern Italy". Quaderni d'italianistica 25, n.º 2 (1 de junio de 2004): 138–39. http://dx.doi.org/10.33137/q.i..v25i2.9196.

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50

Fisher, Benjamin F. "The Tell-Tale Art: Poe in Modern Popular Culture". Edgar Allan Poe Review 13, n.º 1 (2012): 71–74. http://dx.doi.org/10.2307/edgallpoerev.13.1.0071.

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