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1
Mahmood, Bahaa Najem. « Narrativa in viaggio e incontro con Boccaccio ». Al-Adab Journal 1, no 132 (15 mars 2020) : 1–18. http://dx.doi.org/10.31973/aj.v1i132.600.
Texte intégralRésumé :
L’articolo focalizza l’attenzione sul concetto dell’incontro tra le letterature mondiali, soprattutto la narrativa. Gli esempi che portiamo tendono a dare una visione storica su come il genere narrativo fece il suo viaggio lungo i millenni, partendo dai semplici antichi concetti orientali per arrivare al suo traguardo all’epoca di Giovanni Boccaccio, in Italia, e ripartire nuovamente come vera e propria arte tra le più note partecipanti alla comparsa del Rinascimento europeo.
The article focuses the attention on the concept of meeting among world literatures, especially the Narrative. The examples we take tend to give us a historical look at how the narrative genre made its way through the millennia, starting from the simple ancient concepts to reach its goal at the time of Giovanni Boccaccio in Italy, and to resume again as true Art even among the important participants in the appearance of the European Renaissance
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Levchenko, Illia. « ‘Nothing New‘ : once again about the impossibility of a global history of art (comments on Dana Arnold's ‘A Short Book About Art’) ». Text and Image : Essential Problems in Art History, no 1 (2022) : 163–72. http://dx.doi.org/10.17721/2519-4801.2022.1.13.
Texte intégralRésumé :
I started this text as a review of another ‘short history of art’ that I came across. ‘A Short Book About Art’, written by the British art historian Dana Arnold, is a great example of the popularization and practical application of new approaches to art history. Among them are sociology, psychology of art, political iconology, gender art history and more. The researcher set an ambitious goal. The work is dedicated to finding common threads that connect the art of different geographical areas and demonstrate that the art of any period works in a similar way. We are talking, as we see, about the global history of the arts. This story should cover all regions and give a balanced representation of the cultures/arts of the different regions. However, the noble goal, as a careful reading of the work showed, not only did not solve the problem but also exacerbated it. Non-European art is almost ignored. In addition, the researcher builds a typical pro-Western narrative, where, however, the progressive approach is replaced by values. If progressivism was the ‘dark side of modernity’, the ‘value approach’ involves the consideration of non-European art exclusively from the perspective of Occidental values. Non-European art enters the narrative of global art history through hybridization due to glocalization. At the same time, the glocalization of art occurs in two ways. The first of them is passive. The projective vision of the researcher formed by Western values simply does not notice and does not anticipate any difference between the ‘other’. Because of this, neither the ‘other nor its differences fall into the field of study. The second way of glocalization is active. It involves the relocation and recontextualization of culture. It is about moving culture in a familiar, acceptable to the researcher context (most often it is the morphology of art, topic or phenomenology). Both options for glocalization involve the implementation of an exclusion strategy, which makes it impossible to talk about global art history. Global art history is possible only as a result of non-trivial decolonial optics. However, decolonization as a postmodern project contradicts the modern idea of ‘short history’ and centrifugal narrative.
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Rodov, Ilia. « What is “Folk” about Synagogue Art ? » Images 9, no 1 (22 mai 2016) : 49–63. http://dx.doi.org/10.1163/18718000-12340052.
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This publication is a tribute to the memory of the outstanding folklorist and ethnographer Dov Noy, who passed away in 2013. In the scholarly discourse that classifies folklore by modes and media of transmission, synagogue art—as distinct from folk narrative and behavioral lore—is commonly categorized as “visual folklore.” This paper examines the approach of classifying murals and sculptural decoration in east and central European synagogues from the late seventeenth century until the Holocaust as “folk creations.” It suggests a revision of pre-established definitions in the field, in general, and in the analysis of representative folk narratives relating to synagogues, in particular. The position of academic research into traditional Jewish visual culture, at the seam of art history and folkloristics, challenges predefined divisions of this integral cultural phenomenon into the conventional categories of separate disciplines. In the discourse classifying folklore according to the ways and media of its transmission, synagogue art—in distinction to folk narratives and behavioral lore—commonly falls into the category of “visual folklore,” defined as the visual domain of folk art and material culture. Jewish “folk art” is often attributed generally to “folk artists” and “craftsmen,” without a clear distinction between the two groups. This paper holistically examines the approaches to the murals and sculptural decoration in east and central European synagogues from the late seventeenth century until the Holocaust as visual folklore, craftsmanship, and artistic work, and outlines the part of oral lore in the programming and interpretation of synagogue art. Finally, it proposes to re-approach folk synagogue art as a medium that creates a visual environment for liturgical activity and predicates its viewers’ responses to the challenges, trials, and tribulations of daily life.
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DOĞANER, Saygın Koray. « DANCER IN THE DARK AS A HYBRID NARRATION ». TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no 3 (1 juillet 2022) : 833–45. http://dx.doi.org/10.7456/11203100/018.
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In this article, in Dancer in the Dark, the third film of Lars Von Trier's Golden Heart Trilogy (Breaking the Waves 1996, Idioterne, 1998, Dancer in the Dark 2000), how music and dance are used, what principles its technique is based on, the mise-en-scene elements used in creating meaning. and the narrative structure of the film was examined. Dancer in the Dark stands out as one of the films where Trier takes naive, childlike, pain-tested, strong and yet fragile women to the center. The film, which has little in common with the musicals in classical narrative cinema, has a musical feature with melodramatic features. The narration of the film creates a hybrid structure between European art cinema and classical Hollywood cinema. The narrative technique of the film also partially complies with the Dogma 95 manifesto published by Trier and three Danish directors.
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Emslie, Barry. « Woman as image and narrative in Wagner's Parsifal : A case study ». Cambridge Opera Journal 3, no 2 (juillet 1991) : 109–24. http://dx.doi.org/10.1017/s0954586700003438.
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In much nineteenth-century European art ‘The Woman’ appears as an essentially symbolic figure saturated with ‘higher’ significance. Perhaps only in those literary forms that depend heavily on narrative does ‘she’ have any real chance of escaping a passive role. Otherwise, the female figure was used by male artists in an almost de-personalised manner that invariably emphasised abstract characteristics. At times The Woman is ‘elevated’ – so it would have appeared – to the highest symbolic level: to Liberty, Virtue, Humanity, Science, Art, Europa, etc. ‘She’ is, in aesthetic production, frequently a normative and seldom a narrative figure. Indeed her status as the former helps preclude her from active participation in the latter, so that even in narratives she often appears merely to observe the stories in which she is nominally involved. In artistic discourse, her best chance of liberation from an essentially symbolic identity and of breaking into the realm of active ‘life’ is to assume those qualities that lie most at odds with her conventional, morally uplifting status. The ‘bad’ woman – whore, temptress, manipulator of men – has a better chance than her ‘good’ Doppelgänger of playing a role rather than of merely assuming an ideological part.
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Drosos, Nikolas. « Modernism and World Art, 1950–72 ». ARTMargins 8, no 2 (juin 2019) : 55–76. http://dx.doi.org/10.1162/artm_a_00235.
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Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.
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Shvets, Alla. « Expressionist Narrative of War (Vasyl Stefanyk’s Novellas in the Western European Context) ». Verbum 12 (2 décembre 2021) : 4. http://dx.doi.org/10.15388/verb.23.
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This article shows how the influence of Western European expressionism on Ukrainian art contributed to the formation of its national version in the works of Vasyl Stefanyk. The research applied comparative, biographical methods and method of close reading. The outcome of this detailed analysis demonstrates that the common features of Stefanyk’s antimilitary novels and Western European Expressionists are similar and feature such themes as the crisis of cultural values, anti-military issues, condemnation of murder, states of existential anxiety, tragedy of human existence and eschatological feeling. Furthermore, Expressionists and Stefanyk focus on the psychophysical states of characters ‒ death, madness, injury, numbness, screaming, fear, panic, despair, agony, anxiety, prayer.
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MIKKONEN, KAI. « The modernist traveller in Africa : Africanism and the European author's self-fashioning ». European Review 13, no 1 (20 janvier 2005) : 115–25. http://dx.doi.org/10.1017/s1062798705000116.
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The central question in this paper is the relationship between European modernist traveller's self-fashioning and the representation of Sub-Saharan African cultures, spaces and cross-cultural encounters in the early 20th century. The premise is that the cultural production of identity, including the question of artistic identity and poetics, is most productive where it is most ambivalent and uneasy. High modernist critical narratives pose the question of the phenomenology of travel in terms of textual authority. Authority, in the perception in late colonial European writing, was often simultaneously questioned and affirmed, meaning that Western art, and the modern society, were seen as lacking something significant outside of its margin. At the same time, the idea of the pure exotic emerged as incompatible with modern historical consciousness, and colonial texts anticipate many later theoretical ideas in postcolonial studies. The question is how to portray cross-cultural encounters, and how to fashion the self in the contact zone of travel and sojourn. Modernist travel writing asks what was the writer's self and the recognition of identity and difference in others. The modernist image of Africa carries important implications for the re-evaluation of art and literature and the renewal of artistic or narrative forms.
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Stolte, Sarah Anne. « Hustling and Hoaxing : Institutions, Modern Styles, and Yeffe Kimball’s “Native” Art ». American Indian Culture and Research Journal 43, no 4 (1 octobre 2019) : 77–92. http://dx.doi.org/10.17953/aicrj.43.4.stolte.
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This article considers the artistic career of self-identified Osage painter Yeffe Kimball (1906–1978). Following the stylistic trends of modern American Indian painting as largely defined by non-Native critics and a male-dominated art world, Kimball’s works were accepted into major exhibits. How Kimball was able to “pass” as an American Indian artist is the core of a larger narrative—one that demonstrates and provokes critique of how her fraud took advantage of, but also contributed to strengthening, an exclusionary, devaluative settler-colonial dynamic of expropriation that continues into the present. This article critiques the manner in which museums and art schools defined societal values of “Indianness” that marginalized Native artists. Examining Yeffe Kimball’s successful ethnic fraud affirms a patriarchal, assimilationist narrative and the extent to which European-American identities, institutions, and art practices control American Indian imagery.
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Grini, Monica. « Sámi (re)presentation in a differentiating museumscape : Revisiting the art-culture system ». Nordisk Museologi 27, no 3 (28 janvier 2020) : 169–85. http://dx.doi.org/10.5617/nm.7740.
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The article addresses how Sámi culture is presented by museums in Oslo. One of the findings is that the old binary of “art” and “ethnographica” is still common in this museumscape. This reflects the historical divide between the art museum showing “European” and “Norwegian” art, and the ethnographic museum showing the arts of “the rest”. It is argued that Sámi artists, works, themes, and practices have had difficulties entering the reservoir of Norwegian “national imagery” and that such predicaments reflect persistent investments in the narrative of Norway as a monocultural nation.
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Dapena-Tretter, Antonia, et Eloise Pelton. « African Art at the Kreeger Museum : Validating a Collection and Its Historic Stakeholders ». Collections : A Journal for Museum and Archives Professionals 14, no 1 (mars 2018) : 63–93. http://dx.doi.org/10.1177/155019061801400104.
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Written by The Kreeger Museum's former head of education and its founding archivist, this article looks closely at provenance and makes use of primary source documents and photographs to relive the rich story of how The Kreeger Museum's African art collection came to be. A detailed account of the negotiations, communications, transactions, and circulations of people, objects, and ideas—the following narrative offers an interesting case study into the early European and American art collectors' circuit.
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Shamsuddin, Salahuddin Mohd, et Siti Sara Binti Hj Ahmad. « Theatrical Art in Classical European and Modern Arabic Literature : ». International Educational Research 1, no 1 (14 juin 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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Dorahy, J. F. « Modernity, praxis and the work of art : Contemporary themes in Eastern European critical theory ». Thesis Eleven 159, no 1 (28 juillet 2020) : 3–8. http://dx.doi.org/10.1177/0725513620945549.
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Throughout the world, Eastern European critical theory is enjoying a moderate, yet exciting, resurgence. From its oppositional roots in praxis philosophy and critical sociology, this diffuse and dynamic tradition has expanded its field of concern to encompass, among other problems, the aporias of democracy, the Holocaust and legacies of totalitarianism, the vicissitudes of modern culture and the ethical imperatives of living after the grand narrative. In the process, Eastern European thought has come to figure as a vital alternative to the dominant tendencies emanating from Frankfurt and Paris. This essay surveys and introduces a collection of papers delivered at The International Conference of Marxist Critical Theory in Eastern Europe held in Chengdu, P.R.C., in November 2018. It both highlights the thematic range of contemporary scholarship on Eastern European critical theory and signals potential directions in future research.
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Blom, Ivo. « Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice ». Acta Universitatis Sapientiae, Film and Media Studies 7, no 1 (1 novembre 2013) : 97–110. http://dx.doi.org/10.2478/ausfm-2014-0017.
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Abstract The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L’atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919). I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora’s As You Desire me. Das Bildnis im Film (2003), Susan Felleman’s Art in the Cinematic Imagination (2006) and Steven Jacobs’s Framing Pictures. Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.
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Friedman, J. Tyler. « On Narrativity and Narrative Flavor in Jazz Improvisation ». Philosophy of Music 74, no 4 (30 décembre 2018) : 1399–424. http://dx.doi.org/10.17990/rpf/2018_74_4_1399.
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This essay investigates an established question in the philosophy of music: whether, and in what respect, music may express narratives. However, this essay departs in two essential respects from traditional treatments of the question. First, the jazz tradition instead of European art music is used as the primary source material. Second, instead of merely posing the question of whether music can harbor a narrative, this essay is oriented by what it argues is a common experience of “narrative flavor” in music – the feeling of having heard a story in non-representational sound. The essay seeks to account for the experiential givenness of “narrative flavor” with the assistance of contemporary philosophical work on narrative and musicological work on improvisation and musical motion. Working with a minimalist definition of narrative that requires (1) the representation of two or more events that are (2) temporally ordered and (3) causally connected, music is found to be able to satisfy the second and third conditions. However, the questionable representation capacities of music lead to the conclusion that music cannot, in the strict sense, harbor a narrative. The experience of narrative flavor is explained with reference to J. David Velleman’s concept of emotional cadence, Brian Harker’s work on structural coherence in improvisation, and Patrick Shove and Bruno Repp’s work on the perception of musical motion. These sources are utilized to demonstrate that improvisations can be structured so as to give the listener the impression of having heard a story by initiating and carrying out an emotional cadence.
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Tūtlytė, Rita. « The Prose of Marius Katiliškis : Artistic Contours of the Monistic Worldview ». Colloquia 34 (22 mai 2015) : 60–79. http://dx.doi.org/10.51554/col.2015.29047.
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In this article the author seeks to view novelist Marius Katiliškis’s oeuvre within the framework of European literary tradition, to draw attention to remnants of early twentieth century art’s monistic worldview in the writer’s narratives, and to highlight his artistic expression of the monistic worldview. The author of the article grounds her analysis in the philosophical concept of monism and in studies of its diffusion in late European Romanticism, and in German literary studies (Monika Fick, Marianne Wünsch) of twentieth century literary monism and shifts in literary systems (realism – modernism).Early twentieth century modern European art probed the sensory aspect of human nature and the irrational as important instruments for grasping the unity of the world. The author of the article applies these aspects to her reading of Katiliškis’s prose. A review of narrative strategies allows her to make the convincing argument that Katiliškis’s realistic representation and epic narrative are complemented with twentieth century innovations. The sensory emphasis that is characteristic of his understanding of the world is an instrument that allows him to connect the human and nature as closely together as possible, and to search for a single, foundational principle. The monistic view of the world gives realistic representation greater depth, as attention to social and psychological human relations is complemented by a sense of the unity of life and a mystical dimension: Katiliškis brings monism’s key concepts about the universal basis of life to the traditional human/nature relationship.
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Kotliarov, Petro, et Vyacheslav Vyacheslav. « Visualizing Narrative : Lutheran Theology in the Engravings of Lucas Cranach ». Scientific Herald of Uzhhorod University. Series : History, no 2 (45) (25 décembre 2021) : 79–84. http://dx.doi.org/10.24144/2523-4498.2(45).2021.247097.
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The early stage of the Reformation in Germany was marked by an iconoclastic movement inspired by radical reformers. In the scientific literature, iconoclasm is often interpreted as a phenomenon that became a catastrophe for German art, as it halted its renaissance progress. The purpose of the article is to prove that the Lutheran Reformation did not become an event that stopped the development of German art, but, on the contrary, gave a new impetus to its development, especially the art of engraving. Throughout the history of Christianity, there have been discussions about what church art should be, in what form it should exist and what function it should carry. In the days of the Reformation, these discussions flared up with renewed vigor. Most reformers held the view that the church needed to be cleansed of works of art that were seen as a legacy of Catholicism. The iconoclast movement that transitioned into church pogroms and the destruction of works of art in Wittenberg in early 1522 prompted Martin Luther to publicly express his disagreement with the radical reformers and to express his own position on the fine arts in the reformed church. In a series of sermons from March 9 to 16, 1522 (Invocavit), Martin Luther recommended the destruction of images that became objects of worship, but considered it appropriate to leave works of art that illustrate biblical stories or reformation ideas. For Luther, the didactic significance of images became a decisive argument. The main points of the series of Luther’s sermons (Invocavit) show that he not only condemned the vandalism of iconoclasts, but also argued that the presence of works of art in the church does not contradict the Bible, but, on the contrary, helps to better understand important truths. It is noted that the result of Luther's tolerant position was the edition of the September Bible (1522) illustrated by Lucas Cranach's engravings. The reviewed narrative and visual sources prove that due to Reformation the art of engraving received a new impetus, and Lutheranism was formed not only as a church of the culture of the word, but also of the culture of the eye. It was established that the main requirement for art was strict adherence to the narrative, which is observed in the analyzed engravings of Lucas Cranach. It is considered that the engravings to the book of Revelation are characterized not only by the accuracy of the text, but also by sharpened polemics, adding a new sound to biblical symbols, sharp criticism of the Catholic Church, and visualization of the main enemies of the Reformed Church. It is proved that the polemical orientation of the engravings spurred interest and contributed to the commercial success of the September Bible. The rejection of traditional plots by protestant artists did not become overly destructive, and in some cases, it even led to the enrichment of European visual culture.
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Câmara, Alexandra Gago da, et Rosário Salema de Carvalho. « IN PORTUGUESE… AND SPANISH, ENGLISH, DUTCH, FRENCH… SINGULARITIES OF PORTUGUESE AZULEJOS WITHIN EUROPEAN HISTORIOGRAPHY ». ARTis ON, no 8 (30 décembre 2018) : 21–33. http://dx.doi.org/10.37935/aion.v0i8.214.
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The link between Portuguese tile decorations and the notion of identity(ies) is rooted today in a very wide context, leading to the extensive use of azulejos as cultural and narrative symbols with very different aims. The purpose of the present article is go back in time, to the mid 19th century, and to debate the role played by European historiography in the emergence of the azulejo as an “identitarian” art form, considering its unique characteristics and the main moments and agents that have contributed to the creation and consolidation of this phenomenon.
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Magera, Yulia A. « IMAGES COLLAGE IN JAPANESE MANGA ABOUT SUPERNATURAL BEINGS OF MIZUKI SHIGERU ». RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no 7 (2022) : 225–44. http://dx.doi.org/10.28995/2686-7249-2022-7-225-244.
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Japanese manga author Mizuki Shigeru is often regarded as a popularizer of traditional monster imagery. He created not only entertaining comics, but also popular science illustrated catalogs and encyclopedias, becoming the largest researcher and collector of Japanese folklore after ethnographer Yanagita Kunio. For his educational activities, he was awarded a number of awards and prizes. Preserving the images of Japanese monsters became a fundamental goal for him, in this article I will demonstrate how Mizuki Shigeru creates images of his manga characters based on picture books of the Edo period and ethnographic materials. At the same time, little attention is paid to the side of his work in which the influence of European fine art culture can be traced. This article aims to show the diverse imagery flourished Mizuki Shigeru’s comics, including images from American comics and paintings by European artists from the Renaissance to Surrealism. I will also try to turn to his graphic narratives in order to take a closer look at his strategy and to understand what is the specifics of Japanese graphic narrative.
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Bednarek, Magdalena. « Czar opowieści. Dylogie Catherynne M. Valente oraz Salmana Rushdiego w kontekście Księgi tysiąca i jednej nocy ». Poznańskie Studia Polonistyczne. Seria Literacka, no 28 (19 février 2017) : 183–205. http://dx.doi.org/10.14746/pspsl.2016.28.10.
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From the 18th century on Arabian Nights has been influencing European imaginary, especially culture and literature. It created European vision of the Orient as well. In the 20th century popular culture gave high recognisability to many elements of Arabian Nights (such as characters: Sindbad, Aladdin or magical artefacts: a flying carpet, magic lamp). Scheherazade as an allegory for narrative art became the most important figure for scholars studying the book. The paper shows how two contemporary book cycles make intertextual links to Arabian Nights . Orphan’s Tale by Catherynne M. Valente, Harun and the Sea of stories and Luka and the fire of Life by Salman Rushdie rewrite the elements of Arabian Nights , such as characters, artefacts and linguistic allusion to the Orient. However, the narration in the works by both writers is completely different: Valente recreated a sophisticated device of narration known from the book, whereas Rushdie gave his novels a simple, linear composition. Scheherazade’s gift to spin story out of a life is needed for different aims. For Rushdie telling fairy tales is useful in writing about life of literature itself, for Valente it is important for creating an alternative to the patriarchal vision of the world.
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Stoian, S. P. « UKRAINIAN BAROQUE IN VISUAL ARTS – NATIONAL SYMBOLS IN THE CONTEXT OF EUROPEAN CULTURE ». UKRAINIAN CULTURAL STUDIES, no 2(9) (2021) : 88–94. http://dx.doi.org/10.17721/ucs.2021.2(9).15.
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The article studies the peculiarities of visual image symbolic type originating in the artistic practice of Ukrainian baroque. It is stated that ba- roque culture of 17-18 cent. was spreading across Ukrainian territories. Meanwhile Ukrainian art of that period was developing in close interaction with the art of Central Europe, Russia and Balkan countries. Realistic traditions of Western Europe were actively taking roots on Ukrainian territory thus forming the alternative for sacral orthodox art. Symbolic and allegoric type of visual art is mostly used for didactic and educational aims (I. Galyatovsky), narrative ones (I. Bondarevska) and to be more precise and clear it is accompanied by text explanations. Symbolic motives are also represented in virtually all works of H. Skovoroda distinguishing purely symbolic images and fantastic ones. He believes that symbolic imagery is a "picture of wisdom". Emblem-embedded and symbol-embedded books with symbolic and allegoric illustrating engravings become more common and widespread due to the typography development. Publication of "Symbola et Emblemata" and "Iphika Hieropolitica" promotes the usage of these murals, icon paintings, and didactic motives of secular arts. Symbolic and allegoric contents of ethno-national coloring fill the imagery of Ukrainian national icon paintings ("Cossack Mamay", etc.) and symbolically-allegoric compositions of icon paintings ("Jesus Christ the Husband- man", "The Eye of Providence", "Crucifixion with Vine", "Christ in the Winepress", etc.). Also allegoric motives are used in parsuna genre. The article states that, due to the rationalistic tendency influence of European culture, Ukrainian visual art of baroque period moves away from Byzantine canons with their symbolic conventionality thus turning more and more to realistic type of imagery (especially in portrait genre) and at the same time retaining symbolic and allegoric techniques which gained some ethno-national peculiarities.
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Pinto dos Santos, Mariana. « On Belatedness. The Shaping of Portuguese Art History in Modern Times ». Artium Quaestiones, no 30 (15 décembre 2019) : 37–64. http://dx.doi.org/10.14746/aq.2019.30.29.
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Portuguese art history experienced remarkable development after World War II, especially with the work of José-Augusto França, who was responsible for establishing a historiographic canon for nineteenth- and twentieth-century Portuguese art that still endures. José-Augusto França developed a narrative that held Paris up as an artistic and cultural role model in relation to which he diagnosed a permanent delay in Portuguese art. This essay analyses França’s idea of belatedness in the context of Portuguese art historiography and political history and how it is part of a genealogy of intellectual thought produced in an imperial context, revisiting previous art historians and important authors, such as Antero de Quental and António Sérgio. Moreover, it aims to address how the concept of belatedness was associated with the idea of “civilisation” and the idea of “art as civilisation.” Belatedness also has implications in the constraints and specificities of writing a master narrative in a peripheral country – a need particularly felt in the second half of the twentieth century, to mark a political standpoint against the dictatorship that ruled from 1926 to 1974. Part of the reaction to fascism expressed the desire to follow other nations’ democratic example, but the self-deprecating judgements on Portuguese art were frequently associated with the identification of essentialist motifs – the “nature” of the Portuguese people, their way of thinking, of living, their lack of capacities or skills – and of a self-image of being “primitive” in comparison with other European countries that has antecedents going back to the eighteenth century. I will address the nostalgia for the empire and the prevailing notion of belatedness throughout the twentieth century regarding unsolved issues with that nostalgia.
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Faraudo, Rosario. « The Modernist Worlds of Catalá and Ruelas ». Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no 2 (15 janvier 1997) : 241–50. http://dx.doi.org/10.22201/ffyl.poligrafias.1997.2.1605.
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Rosario Faraudo writes about the Mexican decadent painter Julio Ruelas and the Catalonian prose writer and poet “Victor Catalá” really named Caterina Albert. Since women have repeatedly been related to Nature, it may not be a coincidence that the natural world in Ruelas is barren. He very frequently uses hybridization in relation to feminity, which links him to the general attitude of his time; sphynx, sirens, serpents, cats and vampires abound in late XIX century European art. Catalá uses a similar narrative strategy in defining some of her characters, yet with a different orientation.
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Landauer, Carl. « Erwin Panofsky and the Renascence of the Renaissance ». Renaissance Quarterly 47, no 2 (1994) : 255–81. http://dx.doi.org/10.2307/2862914.
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It has long been understood that historians, literary critics, and art historians who write about past cultures use those cultures for present purposes, whether by turning Periclean Athens into an ideal for present-day America or the fall of the Roman empire into an ominous signal for modern empires. German humanists who sought refuge from Nazi Germany had, however, special reasons to use their cultural studies as a strategy of escape. Erich Auerbach in exile in Istanbul and Ernst Robert Curtius in “inner exile” in Bonn provided narratives of European literary history that minimized the contribution of their native culture, and in so reworking the narrative of Western literature, they were able to reshape their own identities. Their reconstructions of past cultures can thus be read as attempts at self-reconstruction. Ultimately, however, the attempt by such scholars to distance themselves from German culture often faltered on the very Germanness of their cultural reconstructions.
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Smith, Vanessa, Carlo Alberto Scirè, Rosaria Talarico, Paolo Airo, Tobias Alexander, Yannick Allanore, Cosimo Bruni et al. « Systemic sclerosis : state of the art on clinical practice guidelines ». RMD Open 4, Suppl 1 (18 octobre 2018) : e000782. http://dx.doi.org/10.1136/rmdopen-2018-000782.
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Systemic sclerosis (SSc) is an orphan disease characterised by autoimmunity, fibrosis of the skin and internal organs, and vasculopathy. SSc may be associated with high morbidity and mortality. In this narrative review we summarise the results of a systematic literature research, which was performed as part of the European Reference Network on Rare and Complex Connective Tissue and Musculoskeletal Diseases project, aimed at evaluating existing clinical practice guidelines or recommendations. Only in the domains ‘Vascular & Ulcers’ (ie, non-pharmacological approach to digital ulcer), ‘PAH’ (ie, screening and treatment), ‘Treatment’ and ‘Juveniles’ (ie, evaluation of juveniles with Raynaud’s phenomenon) evidence-based and consensus-based guidelines could be included. Hence there is a preponderance of unmet needs in SSc referring to the diagnosis and (non-)pharmacological treatment of several SSc-specific complications. Patients with SSc experience significant uncertainty concerning SSc-related taxonomy, management (both pharmacological and non-pharmacological) and education. Day-to-day impact of the disease (loss of self-esteem, fatigue, sexual dysfunction, and occupational, nutritional and relational problems) is underestimated and needs evaluation.
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Peker, Ali Uzay. « The Formation and Denouement of “Perso-Islamic” in Oriental History and the Case of Seljuk Art and Architectural History ». Belleten 86, no 307 (1 décembre 2022) : 895–927. http://dx.doi.org/10.37879/belleten.2022.895.
Texte intégralRésumé :
This paper questions the validity of the term “Perso-Islamic,” a label invented in scholarship on the history of the Middle East to coin the presumed cultural union between former ancient Persia and later Islamic culture. From the nineteenth century on, particularly the European historians with Indo-European philological background introduced an idiosyncratic discourse to studies on Islamic civilization. The phrase Perso-Islamic has been almost extemporaneously employed by them in places where institutions, culture and etiquette in central Islamic lands hint at elements of preIslamic kingship. As a result, the elements of culture in Central Asia, Iran and Anatolia that are considered as “civilized” are habitually linked to ancient Persia, and non-Iranian elements are marginalized under that holistic term, Perso-Islamic. As a chief expression of a long fostered orientalist paradigm, “Perso-Islamic” then became one of the key concepts of the grand narrative on Islamic art and architecture. The objective of this paper is first to reveal what “Perso-Islamic” refers to in historical studies, then to illustrate virtually impetuous use of the term in recent scholarship on Seljuk art and architecture.
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Chaigne, Benjamin, Carlo Alberto Scirè, Rosaria Talarico, Tobias Alexander, Zahir Amoura, Tadej Avcin, Lorenzo Beretta et al. « Mixed connective tissue disease : state of the art on clinical practice guidelines ». RMD Open 4, Suppl 1 (18 octobre 2018) : e000783. http://dx.doi.org/10.1136/rmdopen-2018-000783.
Texte intégralRésumé :
Mixed connective tissue disease (MCTD) is a complex overlap disease with features of different autoimmune connective tissue diseases (CTDs) namely systemic sclerosis, poly/dermatomyositis and systemic lupus erythematous in patients with antibodies targeting the U1 small nuclear ribonucleoprotein particle. In this narrative review, we summarise the results of a systematic literature research which was performed as part of the European Reference Network on Rare and Complex Connective Tissue and Musculoskeletal Diseases project, aimed at evaluating existing clinical practice guidelines (CPGs) or recommendations. Since no specific CPGs on MCTD were found, other CPGs developed for other CTDs were taken into consideration in order to discuss what can be applied to MCTD even if designed for other diseases. Three major objectives were proposed for the future development of CPGs: MCTD diagnosis (diagnostic criteria), MCTD initial and follow-up evaluations, MCTD treatment. Early diagnosis, epidemiological data, assessment of burden of disease and QOL aspects are among the unmet needs identified by patients.
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SHAPPLE, D. L. « ARTFUL TALES OF ORIGINATION IN OLIVE SCHREINER'S THE STORY OF AN AFRICAN FARM ». Nineteenth-Century Literature 59, no 1 (1 juin 2004) : 53–77. http://dx.doi.org/10.1525/ncl.2004.59.1.78.
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Olive Schreiner's The Story of an African Farm (1883) has long been considered an anticolonial novel that nevertheless, because of its author's affiliation with a European colonial culture, neglects to investigate the problem of disenfranchised African labor in significant detail. In this essay I reassess Schreiner's anticolonialism by placing it in the context of her growing postcolonial aspirations. This rather paradoxical position of the colonist becoming a postcolonial manifests itself in the novel's central artist figure, Waldo, who, while descended from European colonists, manages to make himself at home in his South African environment. Employing nineteenth-century ethnological and aesthetic discourses in the construction of this curious figure (which I refer to as the colonial indigene), Schreiner establishes a connection among the novel, colonial art, and an indigenous South African culture. The novel's narrative present is set during a period of intense border struggle, and while indigenous artists like the San known to the colonists as the Bushmen) have disappeared from the novel's narrative present, Schreiner's colonial indigene takes their place. This imaginative displacement thus corresponds with a demographic one, while also manifesting itself in The Story of an African Farm through a fetishistic aesthetic and the uncanny return of a frequently overlooked African laborer.
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Iaccarino, Luca, Rosaria Talarico, Carlo Alberto Scirè, Zahir Amoura, Gerd Burmester, Andrea Doria, Karim Faiz et al. « IgG4-related diseases : state of the art on clinical practice guidelines ». RMD Open 4, Suppl 1 (janvier 2019) : e000787. http://dx.doi.org/10.1136/rmdopen-2018-000787.
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Immunoglobulin G4-related diseases (IgG4-RD) are a group of chronic relapsing–remitting inflammatory conditions, characterised by tissue infiltration with lymphocytes and IgG4-secreting plasma cells, fibrosis and a usually favourable response to steroids.In this narrative review, we summarise the results of a systematic literature research, which was performed as part of the European Reference Network ReCONNET, aimed at evaluating existing clinical practice guidelines (CPGs) and recommendations in IgG4-RD. From 167 publications initially obtained from a systematic literature search, only one was identified as a systematic multispecialist, evidence-based, consensus guidance statement on diagnosis and treatment of IgG4-RD, which may be recommended for use as CPG in IgG4-RD.With the recognition of a limited evidence based in this increasingly recognised disease, the group discussion has identified the following unmet needs: lack of shared classification criteria, absence of formal guidelines on diagnosis, no evidence-based therapeutic recommendations and lack of activity and damage indices. Areas of unmet needs include the difficulties in diagnosis, management and monitoring and the scarcity of expert centres.
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Kovtun, Elena N. « The Universe of Afterlife Intertext in Fantasy of 20th–21th Centuries : The Functionality of Art Model ». Studia Litterarum 7, no 4 (2022) : 34–53. http://dx.doi.org/10.22455/2500-4247-2022-7-4-34-53.
Texte intégralRésumé :
The article comprises the summarized results of the author’s investigation of the Universe of Afterlife — the post-mortem home of human soul — as a specific locus in Russian, Slavic, European and North American fantasy of 20th–21th centuries. More than a hundred fiction texts under analysis, referring to the genre of fantasy, depict the Universe of Afterlife as an isolated area, unmistakably identified both by the author and the reader, and characterized by its own space-time and landscape parameters, population diversity, system of social and moral norms. The article outlines the invariant features of the Universe of Afterlife narrative, allowing to raise an issue of the unified “Universe of Afterlife Intertext,” inherent in the literature of fantasy of the examined period. Besides, it introduces the images of the meeting guard, mentor or guide, accompanying the personage through the afterlife kingdom. The article proposes the classification of basic models of the Universe of Afterlife according to the criteria elaborated by the author; it also features the most widely-spread plotcomposition schemes of the Universe of Afterlife narrative. The conclusion contains the comprehensive characteristics of the functionality of the Universe of Afterlife art image and the summary of the different writer’s ideas and hypotheses on the aims, meaning and duration (finiteness or eternity) of post-mortem existence.
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Politis, Constantinus, Annette Schuermans, Katrien Lagrou, Mia Vande Putte et Jean-Pierre Kruth. « Influence of the COVID-19 pandemic on dental practice : why measures should be taken – the experience of an European University Hospital (part 1) ». STOMATOLOGY EDU JOURNAL 7, no 3 (2020) : 163–74. http://dx.doi.org/10.25241/stomaeduj.2020.7(3).art.2.
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Introduction The COVID-pandemic does not leave the dental practice unattended. The objective is to analyze why the COVID-19 pandemic urges changes in daily dental practice in the Belgian context. Methodology The Leuven University Hospital’s view is based on Belgian and Leuven University data and existing guidelines concerning hygiene measures in dental practices. The approach chosen is a narrative qualitative approach. Results Although no transmission of COVID-19 has been reported in Belgian dental practices, the number of health care workers infected and deceased urges for safety measures. Conclusions In the absence of a vaccine and of reliable data about the infectivity of droplet and droplet cores, dental procedures causing aerosol should be considered as possible sources of viral spread when treating contagious patients, symptomatic or asymptomatic.
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Paranyuk, Viktoria. « Painting Light Scientifically : Arkhip Kuindzhi's Intermedial Environment ». Slavic Review 78, no 2 (2019) : 456–80. http://dx.doi.org/10.1017/slr.2019.97.
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In art historical scholarship, inasmuch as he is considered at all, the painter Arkhip Kuindzhi has long been viewed as a peculiar outlier. His landscapes, with their coloristic drama, light effects, and simplified forms, hardly fit the accounts of Russian nineteenth-century painting that focus on the development of the realist school. Questioning the artist's anomalous status, this essay discusses his canvases from the 1870s and 1880s within the broader framework of nineteenth-century popular visual amusements, discourses on realism, and the physiology of vision. Considered through this wider lens—beyond the institution of easel painting and beyond Russia—Kuindzhi is revealed to be an innovator whose approach to painting was profoundly modern and aligned with the aesthetic preoccupations of many west European artists. His painterly pursuits and exhibition practices, furthermore, force a reconsideration of the biases associated with the established narrative of modern art in the west.
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López Salas, Estefanía. « A collection of narrative practices on cultural heritage with innovative technologies and creative strategies ». Open Research Europe 1 (25 octobre 2021) : 130. http://dx.doi.org/10.12688/openreseurope.14178.1.
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The H2020 project rurAllure, “Promotion of rural museums and heritage sites in the vicinity of European pilgrimage routes” (2021-2023) aims to enrich pilgrims’ experiences with the creation of meaningful cultural products focused on the lesser-known heritage sites of rural areas that are not found on pilgrimage routes, but in their surroundings. One of the project goals is to create contents and narratives to be offered to pilgrims over successive days with the integration of state-of-the-art technology. This way, hidden rural heritage will be discoverable and pilgrims will have the opportunity to actively engage with rural places nearby, their local communities, identity, and culture. The latter will no longer be passive witnesses, but active participants in transnational networks of shared history and living heritage. The rurAllure project aims to develop a new concept of mobile guide for pilgrims that will present rural heritage sites and activities of interest along with information of transportation and accommodation to help movement from and back to pilgrimage routes, as well as cohesive narratives to be consumed along the way, focused on four pilots: literary heritage on the ways to Santiago de Compostela, thermal heritage and others on the ways to Rome, ethnographic heritage on the ways to Trondheim, and natural heritage on the ways to Csíksomlyó. To facilitate the pilots’ brainstorming in the creation of multimedia contents, we developed a review of narrative models on cultural heritage storytelling. In this paper, we present the results, a collection of 22 case studies we analyzed with a common structure, from which six distinctive groups of narrative practices emerge: sound-walks, wearable guides, context-aware games, simulations, digital exhibitions, and cultural wayfinding. All cases studies disrupt traditional notions of storytelling consumption and foster new relationships between people and places of interest that may lead to advancements in the pilgrimage context.
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Kostova-Panayotova, Magdalena. « Identity as Living through the Other ». Chuzhdoezikovo Obuchenie-Foreign Language Teaching 49, no 2 (25 avril 2022) : 177–88. http://dx.doi.org/10.53656/for22.232iden.
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The article focuses on Michael Ondaatje’s novel The English Patient, which deals with the issues of identity, belonging to the nation, family, community, friends. According to the ideas of the text, the realization through the Other, the care of the person whom you “flowed into”, whose soul has become more important than family and homeland, is the empathy that is necessary to overcome pain, war, loss and boundaries. The time in the novel unfolds in a specific historical period, against the backdrop of one of the most tragic episodes of the twentieth century, yet the culturological context of The English Patient includes the Antiquity and Renaissance art, history and music, fine arts, as well as the European prose of the XIX century. By shaking the idea of national priorities, the narrative, shows that the history of European civilization is irreducible to simply war and destruction.
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Slonevska, I. B., et S. Yu Piroshenko. « Contemporary literature as an art representation of the phenomenon of „hybrid identity” ». Bulletin of Luhansk Taras Shevchenko National University, no 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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Waldrep, Shelton. « The Golden Ages of Porn : the 1970s (Translation into Russian) ». Corpus Mundi 2, no 2 (16 juillet 2021) : 57–82. http://dx.doi.org/10.46539/cmj.v2i2.44.
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This essay focuses on the brief moment in early seventies filmmaking when the porn industry made narrative-based films such as Deep Throat (1972) and Behind the Green Door (1972). This attempt to fuse porn with mainstream culture has come back into vogue in the present, when we see a new legitimization of porn. One might say that recent representations of sex on the screen have attempted to go back to the early seventies to restart a trajectory that was never able to complete itself. The essay begins with a consideration of the origins of porn films in nineteenth-century European art before moving on to the discussion of the seventies porn films and the complex way in which European art cinema influenced mainstream porn. Related to this topic are how cultural differences within countries influence the approach to sex that is expressed on the screen. In the US, the seventies full-length porn films legitimized certain sexual acts for their audiences and centered some of the pleasure on the screen on female desire as a way to expand the audience for porn. The essay concludes with a coda on the gay male cinematic equivalents of straight seventies porn films.
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Porr, Martin. « Country and Relational Ontology in the Kimberley, Northwest Australia : Implications for Understanding and Representing Archaeological Evidence ». Cambridge Archaeological Journal 28, no 3 (10 avril 2018) : 395–409. http://dx.doi.org/10.1017/s0959774318000185.
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The Aboriginal cultural traditions of Australia, their histories, philosophies and characteristics, have fascinated and intrigued European observers and scholars for a very long time. This paper explores some implications of recent ethnographic information and engagements related to the themes of Indigenous rock art, knowledge and the understanding of Country in the Kimberley region, Western Australia, for the interpretation of archaeological evidence. It is argued that the Aboriginal understanding of cultural features and practices, rock art and the natural environment is best described within a framework of relational ontology. This orientation has important consequences for the conceptualization of a range of interrelated key themes, most importantly ‘space and place’, ‘story and narrative’ and ‘knowledge and representation’. Thus, the paper calls for the development of opportunities of intellectual engagement and exchange as well as collaborative and creative responses, which should also include new forms of expression in academic contexts that themselves reflexively engage with the limitations of writing and representation.
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Karrels, Nancy Caron. « Reconstructing a Wartime Journey : The Vollard-Fabiani Collection, 1940–1949 ». International Journal of Cultural Property 22, no 4 (novembre 2015) : 505–26. http://dx.doi.org/10.1017/s0940739115000296.
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Abstract:In 1940, the British Admiralty detained a British passenger ship sailing from Lisbon to New York at the port of Hamilton, Bermuda, for a contraband search. Customs authorities seized four crates containing hundreds of artworks by leading European artists. Suspected of being sent to New York for sale by the French art dealer Martin Fabiani for the economic benefit of German-occupied France, the captured collection—originally the property of art dealer Ambroise Vollard—was confiscated as a prize of war and sent to Ottawa, Canada, for wartime safekeeping. The National Gallery of Canada stored the collection from 1940 to 1949, when British courts instructed the collection’s Canadian custodian to release it to its rightful owners, Fabiani and the Vollard heirs. This essay reframes the wartime journey of the Vollard-Fabiani collection and challenges the long-held notion that it belongs to the narrative of Nazi-looted cultural property. This essay also highlights an important role played by the National Gallery of Canada during World War II.
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García López, Antonio. « Peter Greenaway. Filmmaker, or plastic artist ? » Revista Sonda : Investigación y Docencia en Artes y Letras 6 (31 décembre 2017) : 89–102. http://dx.doi.org/10.4995/sonda.2017.18378.
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The aim of this article is to verify the intense relationship that, from its beginnings, maintains a figure like Peter Greenaway with the cinematographic medium and with the artistic vanguards, especially with painting. This controversial author has been analyzed from the point of view of the film-painters, which do not follow the classic narrative imposed by Hollywood; and from the point of view of the artists who, with their approach to cinema, contributed as pioneers to the construction of cinematographic language. Finally, we take a journey from the European author cinema to his latest creations as a video artist, where he seems to find a way out of the current creative limitations of the seventh art.
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Zavarkina, Marina. « THE CONCEPT OF THE SHORT NOVEL (‘POVEST’) GENRE IN ANDREY PLATONOV’S CREATIVE WORK IN THE 1920S ». Проблемы исторической поэтики 20, no 1 (février 2022) : 296–32. http://dx.doi.org/10.15393/j9.art.2022.10562.
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Based on the material of the short novels (povest’) “The Ethereal Tract,” “Epiphany Locks,” “The City of Gradov,” “The Innermost Man,” “Yamskaya Sloboda,” the article presents the concept of the short novel (‘povest’) genre in the 1920s works by A. Platonov. The structural possibilities of this traditional genre of Russian literature allowed the writer to reflect the contemporary reality with all its tragic contradictions. The genre of the short novel (‘povest’) will have reached its peak by the 1930s, when the writer’s principal works were written (“The Pit,” “For the Future,” “Juvenile Sea,” “Bread and Reading,” “Jan”). Many of the techniques that the writer used in the short novels (‘povest’) of the 1920s were embodied in the works of Platonov later on. The article briefly presents the history of the study of the genre of the short novel (‘povest’) in Russian criticism and in modern research. Special attention is paid to the genre-forming factors and genre features of Platonov's short novel (‘povest’), among which one can distinguish: ideological and philosophical content (“volume of content”), type of narrative, plot-compositional structure, the concept of artistic time and space, the genre concept of man, the poetics of the finale. The authors refute the opinion of researchers, which states that Platonov's short novels (‘povest’) can be described in the language of a short story or a novella and that, in general, his short novels (‘povest’) can be called novelistic. The parabolic plot of the “departure-return”, the epic distance, the type of narration, as well as the genre concept of a person (“a person is a plot”) do not allow Platonov's short novel (‘povest’) to be reduced to a novella or grow into a novel. Platonov's short novel (‘povest’) has its own artistic concept, which is rooted in the traditional Russian short novel (‘povest’) genre, which is the “heir” of the Old Russian genre tradition, rather than the European novel. The short novel (‘povest’) of A. Platonov answered the demands of the time, and testified to the writer's understanding of its structural and substantive capabilities.
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Agyarkoh, Dr Eric, et Dr Eric Kwadwo Amissah. « Development of Graphic Design Practice and Education in Ghana ». Journal of Education and Culture Studies 6, no 2 (30 avril 2022) : p71. http://dx.doi.org/10.22158/jecs.v6n2p71.
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In Ghana, Graphic Design is regarded as one of the contemporary arts that was introduced in the Gold Coast by the British (The colonial administration) and European merchants in the 17th Century. Since then, the art has gone through series of metamorphosis in various aspects till date. However, empirical evidence indicates that the developmental patterns of the art in Ghana has not been documented comprehensively. Using qualitative research approaches such as historical research method, interviews, document review, narrative and inductive analysis, this paper sought to conduct a comprehensive research into the local Graphic Design industry to gather pieces of fragmented documented and oral information from relevant stake holders who were purposively selected from different parts of Ghana based on their professional memory on industrial practice and Graphic Design education in Ghana, to reconstruct the history of the art for posterity. The study revealed that, commercial press printing and newspaper advertising were introduced in the Gold Coast first before outdoor advertising and desktop publishing. Also, colonisation, successive government policies, technological inventions in the western countries, and developments in computer technologies have contributed immensely to the development of Graphic Design practice and education in Ghana from the 17th Century to date.
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Whitley, James. « Homer's Entangled Objects : Narrative, Agency and Personhood In and Out of Iron Age Texts ». Cambridge Archaeological Journal 23, no 3 (octobre 2013) : 395–416. http://dx.doi.org/10.1017/s095977431300053x.
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In recent years, material culture studies have come to embrace contemporary Melanesia and European prehistory, but not classical archaeology and art. Prehistory is still thought, in many quarters, to be intrinsically more ‘ethnographic’ than historical periods; in this discourse, the Greeks (by default) become proto-modern individuals, necessarily opposed to Melanesian ‘dividuals’. Developments in the study of the Iron Age Mediterranean and the world of Homer should undermine such stark polarities. Historic and proto-historic archaeologies have rich potential for refining our notions both of agency and of personhood. This article argues that the forms of material entanglements we find in the Homeric poems, and the forms of agency (sensu Gell 1998) that we can observe in the archaeological record for the Early Iron Age of Greece (broadly 1000–500 bc) are of the same kind. The agency of objects structures Homeric narrative, and Homeric descriptions allow us precisely to define Homeric ‘human–thing entanglement’. This form of ‘material entanglement’ does not appear in the Aegean world before 1100 BC.
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Singh, Priya. « Pharmacovigilance in Homoeopathy—Need of the Hour : A Narrative Review ». Homœopathic Links 35, no 01 (mars 2022) : 031–36. http://dx.doi.org/10.1055/s-0041-1740934.
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Abstract Background Homoeopathy is the newest art and science of healing. Like conventional medicine, pharmacovigilance is an important aspect of homoeopathy. There is a paucity of knowledge and ignorance among the practitioners. The necessity is to create awareness and encourage the homoeopathic professionals regarding drug safety surveillance, documentation and reporting of adverse events. Methods A web-based online search from databases, journals, bibliographic resources regarding the practice of pharmacovigilance in homoeopathy was done. Articles and publications till January 2021 along with literature from homoeopathic books were analysed. Results Data on adverse drug reactions (ADRs) and events in homoeopathy have been collected and reported in European countries. In India, of late these terminologies are being acknowledged among a group of homoeopathic practitioners only. Still, a dearth of cognizance on the subject exists and little reporting is done. People usually do not relate such adverse reactions to the use of homoeopathic medicines. For scrutinising the same, the Ministry of AYUSH, Govt. of India, has taken an initiative for Pharmacovigilance of Ayurveda, Siddha, Unani & Homoeopathy systems of medicine for reporting and taking measures against ADR and objectionable advertisements. The probable risk factors and ways to prevent ADR and benefits of pharmacovigilance in homoeopathic practice could be deduced. Conclusion Homoeopathy is a widely followed system of medicine that is quite popular among the common people. The need of knowledge and promotion of suspected ADR reporting should be emphasised to increase the credibility of homoeopathy among the scientific community. Also, the profession should refrain from misleading and objectionable advertisements in print and electronic media.
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Immonen, Visa, et Elina Räsänen. « From passion to bereavement ». Journal of the History of Collections 32, no 2 (27 mai 2019) : 379–90. http://dx.doi.org/10.1093/jhc/fhz018.
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Abstract The Finnish diplomat Harri Holma and his wife Alli, along with their son, art historian Klaus, created a private collection of 554 items. They acquired antique pieces and works of art in Berlin, Paris and Rome from the 1920s to the 1950s. The collection consists of Western and Southern European paintings, sculpture, furniture, textiles and tableware, dating from the Middle Ages to the nineteenth century. Initially the objects were acquired by the Holmas to decorate diplomatic residences, but eventually they came to form a deliberately assembled collection. Following Klaus’s death, Harri and Alli Holma donated the collection to the Lahti City Museum in the 1950s and the 1960s. Here the creation of the collection is first traced then followed on its journey to Finland, with a focus on the developing relationship between objects, family history and museum institution. The shifts in the collection’s narrative from hobby to an expression of grief, and finally to a formal museum assemblage and a subject of academic research generate epistemological tensions.
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Blin-Rolland, Armelle, Guillaume Lecomte et Marc Ripley. « Introduction ». European Comic Art 10, no 1 (1 mars 2017) : 1–8. http://dx.doi.org/10.3167/eca.2017.100102.
Texte intégralRésumé :
This introduction to this special issue of European Comic Art on ‘Comics and Adaptation’ provides a brief overview of the field of adaptation studies, with a particular focus on its considerable developments and expansion since the late 1990s, as it has moved beyond a comparative novel-to-film approach to centre instead around questions of intertextuality and hypertextuality. This special issue aims to contribute to this field and to the growing body of works on comics and adaptation. The authors explore questions of transnational circulation of visual, narrative and generic motifs (Boillat); heteronormalisation and phallogocentrism (Krauthaker and Connolly); authenticity of drawn events (Lecomte); identity in a stateless minoritised culture (Blin-Rolland); ‘high’ and popular culture (Blank); reverence in comic adaptations of the literary canon (de Rooy); and documentary and parody (Ripley).
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Kouvari, Matina, Kyriakos Souliotis, Mary Yannakoulia et Demosthenes B. Panagiotakos. « A narrative review on policies and practices for gender equity in cardiovascular disease prevention and management ». Journal of Atherosclerosis Prevention and Treatment 12, no 2 (3 mai 2021) : 41–50. http://dx.doi.org/10.53590/japt.02.1022.
Texte intégralRésumé :
Women’s health global agenda has recently reformulated to address more accurate cardiovascular diseases (CVDs) prevention, diagnosis and treatment. The aim of the present work was to review the hitherto global and national policies and practices which address gender equality in health with the focus oriented towards CVDs in women. Scientific databases and health organizations’ websites that present/discuss policies and initiatives targeting to enhance a sex-centered approach regarding general health and/or specifically cardiac health care were reviewed in a systematic way. In total, n=53 relevant documents were selected. The selected policies and initiatives included position statements, national action plans, evidence-based guidelines, guidance/recommendations, awareness campaigns, regulations/legislations and state-of-the art reports by national/international projects and conferences. The target audiences of large stakeholders (e.g., American Heart Association, European Society of Cardiology, Centre of Disease Control and Prevention) were female citizens, health professionals and researchers. Much as policy makers have recognized the sex/gender gap in CVD field, there is still much to be done. Thereby, tailor-made strategies,shouldbe designed, evaluated and delivered on a global, yet most importantly a national basis, to achieve gender equity against CVDs.
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Dergacheva, Irina. « PRECEDENTIAL INTERTEXT IN THE POEM “THE GRAND INQUISITOR” ». Проблемы исторической поэтики 19, no 2 (mai 2021) : 125–40. http://dx.doi.org/10.15393/j9.art.2021.9622.
Texte intégralRésumé :
The poem "The Grand Inquisitor" is part of the novel "The Brothers Karamazov," written by Ivan Karamazov about Christian freedom of will and told by him to his brother Alyosha, who rightly perceived it as an Orthodox theodicy. The article presents an intertextual analysis of the precedent texts used by F. M. Dostoevsky in the poem "The Grand Inquisitor". In particular, the meanings of direct quotations from the New Testament, especially its last book, the Revelation of John the Theologian, and the translated apocrypha "The Walking of the Virgin in Torment" are interpreted; medieval Western European mysteries in the paraphrase of V. Hugo; poetic quotations from the works of A. S. Pushkin, V. A. Zhukovsky, F. I. Tyutchev, which linked together the axiological concepts of the narrative text. Appeals to the precedent texts of world literature contribute to the disclosure of the multifaceted symbolism of the poem, which glorifies the spiritual freedom of humanity as an act of faith, and help to generalize and deepen its axiological discourse. The author analyzes the speech and behavioral tactics of the Grand Inquisitor, based on the substitution of concepts characteristic of the techniques of "black rhetoric". In contrast to the Grand Inquisitor's distortion of cause-and-effect relations and the concepts of good and evil, and his denial of the idea of Christian freedom, direct and indirect quoting of texts that have become part of the heritage of world culture creates a text rich in axiological meanings, designed to influence the spiritual space of the reader, enriching it and orienting it to the correct understanding of eternal truths.
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Shaf, Olha. « EMMA ANDIIEVSKA’S (UN)REPEATABLE POETRY, OR TWO COMPARATIVE SKETCHES ». Слово і Час, no 1 (3 février 2022) : 38–51. http://dx.doi.org/10.33608/0236-1477.2022.01.38-51.
Texte intégralRésumé :
Emma Andiievska’s poetic manner is quite experimental in modern literary milieu due to dense metaphoric imagology, daring alliteration, specific subject’s representation, cosmogonic transformation motive, etc., so it hardly correlates with European art styles (modernism and postmodernism in particular), albeit her early oeuvre (1950—1960) is being consequently considered as surrealistic one. It is also hard to outline stylistic and mental links between Emma Andiievska’s poetry and Ukrainian or European one since she has been moving in her art creativity strictly towards poetic originality. At the same time, the poetess’ works can’t be excluded from the world literary process — that is the reason for a comparative search. Some literary parallels have been found in Ukrainian (Bohdan Ihor Antonych) and American (Emily Dickinson) poetry. Both authors could influence Emma Andiievska’s poetic manner. There is a similar attitude to reality and own creativity in Emma’s Andiievska’s poetic oeuvre and Emily Dickinson’s one, caused by a desire for solitude and priority of the author’s subjectivity in the lyrical view. There are also some similar syntactic means in the poetics of both female authors. The poetic manner of Emma Andiievska’s works written in the 1950s—1960s also resembles Bohdan Ihor Antonych’s poetical style, represented in his collections “Salute to Life”, “Three Rings” and “The Green Gospel”. The two authors have a similar phenomenological focus of lyrical reflection, surrealistic metaphors, and acoustic mode of connecting words in an utterance. The childlike features of a worldview and oneiric elements of narrative in the literary works realize the surrealistic mode of writing attributable both to Bohdan Ihor Antonych and Emma Andiievska.
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Troitskaya, Anna A. « Pilgrim Signs in the Context of European Cultural Practices ». Observatory of Culture 19, no 3 (5 juillet 2022) : 266–73. http://dx.doi.org/10.25281/2072-3156-2022-19-3-266-273.
Texte intégralRésumé :
The main purpose of the paper is to trace the continuity of the form of pilgrim signs: Renaissance secular hat badges inherited the shape and composition of late medieval pilgrim badges. More than a hundred European portraits of the late 15th — first half of the 16th century represent a model in a headdress decorated with a similar medal or badge, often with an emblematic image inside. This accessory originates from the religious tradition of keeping small medallions from pilgrimage sites, made of cheap metals or wax and known as “pilgrim signs”. The relevance of the research lies in the comparison of cultural traditions usually studied separately from each other due to their belonging to different periods of art history, as well as in an attempt to trace their continuity. The author analyzes the process of transferring the semantic meanings of pilgrim badges from the religious sphere to the field of socio-cultural practices associated with secular aristocratic fashion and the goals of personal self-identification. The article highlights the main aspects of the existence and functioning of pilgrimage signs, analyzes the practices of their purchase, wearing and storage. The author examines the development of their external forms, the variety of materials, as well as the meanings with which these signs were endowed in everyday life. There is found that Renaissance hat badges still retained the meaning of religious patronage. In some examples of portrait images, there is presented the practice of wearing jewelry badges-brooches that were part of aristocratic fashion suits, the elements of which can be interpreted in the context of personal self-identification practices. In this role, the hat badges imply a kind of expression of feelings, moods and intentions of the person portrayed. In the process of comparing the Renaissance brooches and pilgrim signs, there is also manifested their significant semantic difference organizing the visual narrative.
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Casteel, Sarah Phillips. « Making History Visible ». Small Axe : A Caribbean Journal of Criticism 25, no 1 (1 mars 2021) : 28–46. http://dx.doi.org/10.1215/07990537-8912768.
Texte intégralRésumé :
While interned by the Nazis in Belgium and Bavaria during World War II, the little-known Surinamese artist Josef Nassy (1904–76) created a series of paintings and drawings documenting his experiences and those of other black prisoners. Nassy’s artworks uniquely register the presence of Caribbean, African, and African American prisoners in the Nazi camp system. While the Nassy Collection at the United States Holocaust Memorial Museum cannot render transparent a wartime experience that has gone largely unrecorded, it illustrates how shifting from a textual to a visual lens can enable an unremembered history to enter our field of vision, thereby generating an alternative wartime narrative. After tracing Nassy’s family history in Suriname and the conditions of his European incarceration, this essay discusses two paintings that demonstrate the significance of visual art in the context of black civilian internment—for both the artist-prisoner and the researcher.