Artigos de revistas: "Art and literature – history"

1

Mitchell, Florence S. "Introducing Art History through Children’s Literature". Language Arts 67, n.º 8 (1 de dezembro de 1990): 839–46. http://dx.doi.org/10.58680/la199025438.

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Cormack, Robin. "‘New Art History’ vs. ‘Old History’: writing art history". Byzantine and Modern Greek Studies 10, n.º 1 (janeiro de 1986): 223–31. http://dx.doi.org/10.1179/030701386790203579.

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Kestner, Joseph A. "Victorian Art History". Victorian Literature and Culture 26, n.º 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.

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Belichko, Nataliia, e Nadiia Marchenko. "GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS". Research and methodological works of the National Academy of Visual Arts and Architecture, n.º 30 (9 de dezembro de 2021): 29–37. http://dx.doi.org/10.33838/naoma.30.2021.29-37.

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Abstract. The article defines for the first time the concept of graphic literature a special kind of book and magazine graphics, which has become widespread in world art practice over the past century. It emphasizes that graphic literature combines elements of fine arts, literature, and cinema. It reveals the essence of graphic literature in the narrative of history through a sequence of images. It reviews the history of formation and development of this art form in world and Ukrainian art history. It outlines the specific features of graphic literature in certain countries. It gives the names of personalities who influenced its origin and spread around the world. The article is mainly focused on the analysis of the history of graphic literature development in Ukraine. It outlines the contribution of Ukrainian artists of the 20th century to its development. It emphasizes the reasons for the negative attitude to graphic works of literature in Soviet times. It considers in detail the spread of works of graphic literature in Ukraine at the beginning of the 21st century. It names Ukrainian personalities and specialized publishing houses that actively develop modern graphic literature. It outlines the basic structure, some important elements, and technique of graphic works. It emphasizes the similarity of the design of works of graphic and fiction. It reveals the main purpose of graphic literature in the most effective way to convey the main idea of a literary work to the reader and to get him/her interested with the help of visual images. It examines the genre diversity of graphic literature in Ukraine in the last decade. It analyses the dependence of the genres of graphic works on the age restrictions of the readership. It reveals the necessity to further study and analyse such graphic works from the art point of view. Graphic literature combines publications in which the narration is conveyed through hand-drawn and textual images in a certain sequence.

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Andersen, W. "NEW ART HISTORY". Common Knowledge 16, n.º 1 (15 de dezembro de 2009): 163–72. http://dx.doi.org/10.1215/0961754x-2009-085.

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Ulicka, Danuta. "Między światami. Rzeczywistość w literaturze – literatura w rzeczywistości – rzeczywistość literatury". Przestrzenie Teorii, n.º 28 (8 de maio 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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Raynova, Yvanka. "Philosophy and Art(history) Reconsidered". Labyrinth 22, n.º 1 (31 de agosto de 2020): 5–9. http://dx.doi.org/10.25180/lj.v22i1.346.

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Árnadóttir, Arndís S. "Art history or literature? Documenting Icelandic artists’ books". Art Libraries Journal 25, n.º 1 (2000): 10–14. http://dx.doi.org/10.1017/s0307472200011378.

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The project of creating a catalogue of Nordic collections holding artists’ books, initiated at ARLIS/Norden’s annual meeting in Helsinki in May 1996, was the starting point for a survey of the material held in Icelandic art libraries. This focused on the type and size of the collections of artists’ books in four art institutions covering twentieth century art in Iceland, and examined the current documentation standards applied to artists’ books in Icelandic collections and the extent of national bibliographic control.

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Strother, Z. S. "Forensic Art History?" African Arts 54, n.º 1 (março de 2021): 5–7. http://dx.doi.org/10.1162/afar_a_00559.

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Barolsky, Paul. "IMAGINATIVE LITERATURE AND THE WRITING OF ART HISTORY". Source: Notes in the History of Art 9, n.º 4 (julho de 1990): 35–39. http://dx.doi.org/10.1086/sou.9.4.23202670.

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Warnke, Martin, e Richard George Elliott. "Ideological Motifs in Popular Literature of Art History". Art in Translation 6, n.º 2 (junho de 2014): 181–204. http://dx.doi.org/10.2752/175613114x13998876655176.

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Kestner, Joseph A. "Art History: Recanonizing Canons". Victorian Literature and Culture 23 (março de 1995): 369. http://dx.doi.org/10.1017/s1060150300004253.

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HARRIS, J. "Art History". Year's Work in Critical and Cultural Theory 1, n.º 1 (1 de janeiro de 1991): 137–75. http://dx.doi.org/10.1093/ywcct/1.1.137.

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HARRIS, J. "Art History". Year's Work in Critical and Cultural Theory 2, n.º 1 (1 de janeiro de 1992): 154–97. http://dx.doi.org/10.1093/ywcct/2.1.154.

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McEvansoneya, Philip. "History And Art". Irish Studies Review 15, n.º 1 (fevereiro de 2007): 89–122. http://dx.doi.org/10.1080/09670880601117547.

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Etchingham, Colman, Peter Crooks, John McQuilton, Philip McEvansoneya, Anthea Cordner, Alan Greer, Adrian Paterson et al. "History and Art". Irish Studies Review 17, n.º 2 (maio de 2009): 245–74. http://dx.doi.org/10.1080/09670880902885735.

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Smith, Paul. "LITERATURE AND ART". French Studies 61, n.º 1 (1 de janeiro de 2007): 1–13. http://dx.doi.org/10.1093/fs/knl214.

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18

Pavera, Libor. "Periodization of art and literature : a historical perspective". Slavica litteraria, n.º 1 (2023): 55–63. http://dx.doi.org/10.5817/sl2023-1-4.

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The author of the paper deals with a basic question – what is the history of literature? As a rule, the history of literature belongs to the basic books of the field, they are the starting point for the study of the younger generations of literary scholars, and they are used by the general public to teach and get ideas about the history in the field of literature and folklore. How is the material periodized? How is history interpreted? Is it all about concepts and opinions? He asks questions and tries to find answers. He also notes the division of history into smaller sections, the so-called periodization of history. From this perspective, literary history is a period in which literature is divided based on social, cultural, and artistic changes. The periodization of literary history differs according to geographical location and historical period, but also according to the type of thinking (such as Chinese cyclical repetition of the Yin-Yang pattern of Taoist philosophy) or according to a specific genre (such as Japanese classification based on the development of the haiku genre).

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Buedel, Barbara Foley. "Integrating Art, History, and Literature in the College Classroom". International Journal of Learning: Annual Review 12, n.º 5 (2006): 333–40. http://dx.doi.org/10.18848/1447-9494/cgp/v12i05/47867.

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Wolf, Zane Robinson, e Anne Hudson Jones. "Images of Nurses: Perspectives from History, Art, and Literature". Journal of American History 76, n.º 2 (setembro de 1989): 629. http://dx.doi.org/10.2307/1908068.

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Janick, J. "THE PEAR IN HISTORY, LITERATURE, POPULAR CULTURE, AND ART". Acta Horticulturae, n.º 596 (dezembro de 2002): 41–52. http://dx.doi.org/10.17660/actahortic.2002.596.1.

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Garrett, Caroline K. "Images of Nurses: Perspectives from History, Art, and Literature". AORN Journal 52, n.º 2 (agosto de 1990): 416–18. http://dx.doi.org/10.1016/s0001-2092(07)68178-2.

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Olson, Don. "A Course Connecting Astronomy to Art, History, and Literature". Physics Teacher 53, n.º 7 (outubro de 2015): 396–400. http://dx.doi.org/10.1119/1.4931004.

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HAWKINS, JOELLEN W. "Images of Nurses: Perspectives from History, Art, and Literature". Nursing History Review 2, n.º 1 (janeiro de 1994): 234–37. http://dx.doi.org/10.1891/1062-8061.2.1.234.

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Barnard, Debbie. "How art assuages history: nostalgia in Judeo-Tunisian literature". Journal of North African Studies 21, n.º 2 (13 de janeiro de 2016): 199–212. http://dx.doi.org/10.1080/13629387.2016.1130932.

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Clubbe, John. "The Southwest in History and Today: Literature, Art, Culture". ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 13, n.º 2 (janeiro de 2000): 41–48. http://dx.doi.org/10.1080/08957690009598102.

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Hadro-Venzke, Maggie. "Images of Nurses: Perspectives From History, Art and Literature". JAMA: The Journal of the American Medical Association 260, n.º 15 (21 de outubro de 1988): 2303. http://dx.doi.org/10.1001/jama.1988.03410150151051.

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Darst, David H., e William R. Blue. "Comedia: Art and History". Hispanic Review 59, n.º 3 (1991): 339. http://dx.doi.org/10.2307/474058.

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Singerman, Howard. "Sherrie Levine's Art History". October 101 (1 de julho de 2002): 96–121. http://dx.doi.org/10.1162/016228702320275463.

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Rabben, Anne Lise, e Cecilie W. Bonafede. "ARLIS/Norge: art librarianship in Norway and the literature of Norwegian art". Art Libraries Journal 11, n.º 1 (1986): 25–27. http://dx.doi.org/10.1017/s0307472200004478.

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A brief introduction to Norwegian art libraries and an account of the founding and early history of ARLIS/Norge precede an annotated survey of bibliographies which include or are devoted to Norwegian art.

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Abubakar, Sadiya. "Art as Narrative: Recounting Trauma through Literature". IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 8, n.º 1 (5 de agosto de 2017): 118. http://dx.doi.org/10.21013/jmss.v8.n1.p13.

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<p>In literature, all human phenomena are reflected by literary works and related to the world through simple artistic mediums. It is no doubt that trauma exists as part of human challenges since the start of human history. However, the concept of trauma has been theorized in the fields of sciences and social sciences since ages i.e. Medicine, Psychology etc. only soon did it gain credence and was theorized in the stream of literature by some competent, scholarly and capable professors of comparative literature at Emory University; Cathy Caruth and Shoshana Felman. As the world evolves from one age to another, so does literature, binding history and culture of a place and people efficiently. Trauma has as well been one way or another, prevalent in all forms of literature. It surfaces as the shady part of all narratives that tell of a history, memoir, agonies and sorrows of the writer or about the subjects (characters) created.</p><p>This paper explores the origins of trauma theory and deciphers its essential role in literature. It argues that trauma in literature is a must-read because, the theoretical multiplicity that allows for an appreciative comprehension of trauma's flexible representations include (and also move beyond) the idea of trauma as neurotic, appalling, horrifying, terrifying and the pleasure of telling and witnessing a traumatic event which is, of course, literature.</p>

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32

Summers, David. "Intentions in the History of Art". New Literary History 17, n.º 2 (1986): 305. http://dx.doi.org/10.2307/468898.

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Berryman, Jim. "Art as document: on conceptual art and documentation". Journal of Documentation 74, n.º 6 (8 de outubro de 2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.

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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.

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Griffin, Brian. "History, Politics And Art". Irish Studies Review 16, n.º 3 (agosto de 2008): 345–67. http://dx.doi.org/10.1080/09670880802214796.

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CHAPMAN, MICHAEL. "African Literature, African Literatures. Cultural Practice or Art Practice?" Matatu 35, n.º 1 (2007): 151–64. http://dx.doi.org/10.1163/9789401205641_010.

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Joselit, David. "Conceptual Art of the Press Release, or Art History without Art". October 158 (outubro de 2016): 167–68. http://dx.doi.org/10.1162/octo_a_00276.

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As in neoliberal market theory, where maximal information is said to make markets more efficient, what Joselit calls “Conceptual art of the press release” (in which the artwork is “translated” into text as a proposition about its meaning) makes even difficult art easy to consume. The once radical proposal of Conceptual art—that objects exist in a transactional relation with text (and prosaic photographic documents)—has now become business as usual. But this is not merely the result of the now-standard practice of training artists in MFA programs, where learning consists of verbally justifying one's artworks before a cohort of peers and artist-instructors, nor the demands of a global and increasingly virtual art market. It is also a condition of today's academic practice in which art history is little more than the weaving together of primary and secondary sources that “historicize” and “theorize” objects without attending to them specifically. The current challenge for artists and critics is not to forego engaging with information, but rather to resist the allure of its transparency in favor of tracking its plasticity—in other words, the shapes of social governance and aesthetic speculation that its myriad overlapping channels assume.

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Molcosean, Alexandru. "Evaluarea formativă la ora de istorie, valorificând literatura artistică". Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 46, n.º 3 (2020): 63–69. http://dx.doi.org/10.46727/jshs.2020.v46.i3.p63-69.

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In this article is approach the subject of the formative assessment in the history lessons through the artistic literature. We aim to analyze the normative acts that governing the evaluation process in the general education and to subsequently offer a series of works of art that address a certain historical period. The reason why we resorted to this approach is to encourage the reading process among the students while helping them to better understand historical events and processes. Towards the end, we offer an example of composing an evaluation tasks based on a work of art.

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B. Dhanalakshmi, S. Pavithra, D. Daniel Sebastian, K. Vishnu e K. Swarna. "The Rise of Expressionism: When Literature Meets Art in History". International Journal of Research Publication and Reviews 04, n.º 01 (2023): 846–48. http://dx.doi.org/10.55248/gengpi.2023.4127.

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Expressionism was a literary and artistic avant-garde movement that originated in Germany at the turn of the 20th century. The expressionist writers and artists wanted to create and bring to life their reality, as well as their inner idea or vision of what they saw. Their approach to their subject matter was more creative. They thought it was completely pointless to make just an imitation of the world. Expressionism could be seen as the revival and development of the Romantic tradition because of this attitude turning away from physical reality. The expressionist drama introduced a novel method of directing, designing scenes, and staging. This study highlighted the journey of literature in terms of sharing knowledge and amazed the audience with greater visualization. The study of art's evolution and stylistic shifts over time in art history. Western art history, or the progression of art from the Renaissance to modern art, is the primary topic of this page. Many writers shared their thoughts, the truth behind the artwork, and the social and economic condition of the artist in the racing time of the 20th century

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Farber, Jerry. "What Is Literature? What Is Art? Integrating Essence and History". Journal of Aesthetic Education 39, n.º 3 (2005): 1–21. http://dx.doi.org/10.1353/jae.2005.0030.

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Weinreich, Torben. "Between Art and Pedagogy: The History of Danish Children's Literature". Bookbird: A Journal of International Children's Literature 46, n.º 3 (2008): 5–12. http://dx.doi.org/10.1353/bkb.0.0102.

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Kestner, Joseph A. "New Directions in Victorian Art History". Victorian Literature and Culture 20 (março de 1992): 390. http://dx.doi.org/10.1017/s1060150300005283.

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Kestner, Joseph A. "VICTORIAN ART HISTORY: RAP 2 UNWRAPPED". Victorian Literature and Culture 29, n.º 1 (março de 2001): 149–58. http://dx.doi.org/10.1017/s1060150301291098.

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AT THE END OF THE TWENTIETH CENTURY, Victorian painting experienced at least one mass media event, so far as circulation is concerned — the appearance of Frederic Leighton’s The Bath of Psyche (1890) on the wall of the drug kingpin in Paul Thomas Anderson’s notorious film Boogie Nights of 1997. As a ferocious deal is going awry, over the desperate dealers looms one of the masterpieces of the Victorian High Renaissance, a commentary through the cool classicism of the late Victorians about the corresponding fin-de-siècle of the lately finished century. It is a stunning moment — perhaps recognized only by historians of British art — but there it is nonetheless. One is to presume that the dealer has acquired the original from the Tate Gallery, since he would never own a copy, let alone a poster! Busboy superstud Mark Wahlberg has brief, violent contact with a masterpiece.

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Moxey, Keith P. F. "Semiotics and the Social History of Art". New Literary History 22, n.º 4 (1991): 985. http://dx.doi.org/10.2307/469075.

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Alisher, Anna. "Art history dynamics of theater scenography". National Academy of Managerial Staff of Culture and Arts Herald, n.º 2 (17 de setembro de 2021): 170–75. http://dx.doi.org/10.32461/2226-3209.2.2021.240004.

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The purpose of the article is to study the peculiarities of the dynamics of the development of theatrical scenography by the solution of plot compositions, art forms, metaphorical images, specific features of mizantsen, national color. The methodology is based on the study of art history literature, conference materials, monographs, thematic literature, which corresponds to the disclosure of this work. The method of cultural and historical analysis helps to explore the tendencies of the development of Ukrainian scenography of the XX-XXI centuries. The comparative method, based on the consideration of the Ukrainian scenography in the context of world scenography. The scientific novelty of work is determined by a holistic analysis of the investigated processes and artistic features. The patterns of development of theatrical and decorative art are analyzed. Generalized preliminary studies in the art of scenography. Conclusions. Analyzing materials of research, a special phenomenon in scenographic art is the use of fundamental laws of science, fine arts, architecture and architectural styles, painting, sculptures, art design, bulky three-dimensional projections, colorful properties, national color. The evolution of the modern theatrical performance reflects the rains and the fall of this type of art, which specifically expresses the contradictions of man and society that are constantly updated. The world and national scenography are built on the global basis of the artistic design of stage space. The development of scenography is undoubtedly a continuous dynamic process, where the main component of the theater and its purpose is to build an artistic space of organization of action and its design, in other words, scenography. Undoubtedly important are personal indicators of the historical development of scenography art, using the experience of predecessors, adapting various architectural styles, artistic, applying harmonization and aesthetics in the stage space of theatrical action.

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Lowish, Susan. "Tiwi: art/history/culture". Journal of Australian Studies 40, n.º 1 (2 de janeiro de 2016): 122–23. http://dx.doi.org/10.1080/14443058.2016.1127127.

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Rampley, Matthew. "A History of Art History by Christopher Wood". Estetika: The European Journal of Aesthetics LVIII/XIV, n.º 1 (2021): 89–94. http://dx.doi.org/10.33134/eeja.254.

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Cast. "Classical Art: A Life History". Arion: A Journal of Humanities and the Classics 27, n.º 1 (2019): 171. http://dx.doi.org/10.2307/arion.27.1.0171.

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Pearce, Scott. "Yungang: Art, History, Archaeology, Liturgy". Early Medieval China 2020, n.º 26 (29 de outubro de 2018): 110–14. http://dx.doi.org/10.1080/15299104.2018.1493830.

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Rogoff, Gordon. "Strange Eventful History". Theater 50, n.º 1 (1 de fevereiro de 2020): 13–29. http://dx.doi.org/10.1215/01610775-8123840.

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Theater magazine founding editor Gordon Rogoff puts the history of the American theater over the last five decades under a critical retrospective lens, examining how shifting political, social, and economic conditions have shaped theater as both industry and art form. Rogoff ’s essay mixes memory with polemic and humor with outrage while attempting to untangle the threads of high art and big business that have held up and ensnared the art of theater across the last half century.

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Regan, Lisa, e Alastair Fowler. "Renaissance Realism: Narrative Images in Literature and Art". Sixteenth Century Journal 35, n.º 4 (1 de dezembro de 2004): 1210. http://dx.doi.org/10.2307/20477207.

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Artigos de revistas sobre o tema "Art and literature – history"

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