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Artigos de revistas sobre o assunto "Art – themes, motives – dictionaries"
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Borodina, Elena. "Patriotic education of children in sunday schools and the use of fine arts materials". St.Tikhons' University Review. Series IV. Pedagogy. Psychology 64 (31 de março de 2022): 89–106. http://dx.doi.org/10.15382/sturiv202264.89-106.
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In the first part of the article, the author reveals the theoretical substantiation of the problem: aspects of the patriotism of an Orthodox Christian as a virtue, a spiritual and moral quality. The phenomenon of patriotism is presented in the context of the works of the Church Fathers of the 19th and 20th centuries and the main provisions of the social concept of the Russian Orthodox Church; the canon of the Orthodox view on the problem posed is adhered to in substantiation. For an objective understanding of the semantic essence of the concept of patriotism, the author turned to scientific literature, explanatory and encyclopedic dictionaries, philosophical and pedagogical works of compatriots. Having analyzed a number of scientific points of view, the author states about the spirituality and religiosity of patriotism, highlighting the semantic connection with morality. In the second part of the article, the author examines the effectiveness of the use of paintings of battle, historical, portrait and everyday life in the process of patriotic education in Sunday school. The article reveals the content and characteristics of problem-value communication, describes the stages of the methodology based on problem-value communication in the process of cognitive conversation based on the painting of patriotic themes: the first stage is cognitive (the contradictions between acceptance and rejection, admiration and indifference are resolved); the second stage is evaluative-semantic (evaluative-semantic activity is carried out - the correlation of new ideas, concepts, values, with already existing and previously acquired knowledge and value attitudes and beliefs); the third stage is motivational and activity (the child appropriates a personal spiritual and moral meaning, in which the basic national value - patriotism, becomes valuable and significant, a regulator of the patriotic mentality, a motive for action). The author reveals the potential of the methods of art pedagogy: “the method of unity of perception and creation in artistic action”, “the method of getting used to it” or “the method of revitalization”, describing the process of emotional and sensory empathy with the main characters of paintings.
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Romashkova, Olga Nikolaevna. "Ulterior spiritual motives and symbols in G. V. Sviridov’s “Oratorio Pathétique”". Pan-Art 3, n.º 2 (30 de março de 2023): 116–21. http://dx.doi.org/10.30853/pa20230025.
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The aim of the research is to identify the peculiarities of image structure in G. V. Sviridov’s “Oratorio Pathétique” taking into account the Christian ideas and symbols. The paper presents some images of “Oratorio Pathétique”; shows the ways of realizing the elements of Orthodox art in music; depicts the expression of hidden biblical images and symbols in the text of V. V. Mayakovsky. The scientific novelty lies in the study of “Oratorio Pathétique” in the aspect of the spiritual themes manifestation which expands and deepens the perception of the genre peculiarities of this monumental work of the XX century. This new approach consists in the comparison of the Oratorio text with biblical notions and meanings. The results of the research allow us to make the following conclusions: “Oratorio Pathétique” is the versatile work which comprises the themes of revolution triumph and sympathy with the «White Guard», the idea of creating “Eden city-garden” on the earth and love to devastated long-suffering homeland, the principles of socialist realism and Christian symbolism.
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Mašát, Milan. "Christian Motives in Selected Works with Homosexual Themes in Czech Literature". Journal of Language and Literature 23, n.º 2 (9 de outubro de 2023): 310–20. http://dx.doi.org/10.24071/joll.v23i2.6354.
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The main aim of the paper is to highlight the relationship between Christianity and homosexuality based on selected fiction texts by Czech writers and poets (Zeyer, Fuks, Kuběna, Georgiev). The selected authors represent different historical periods and different currents of opinion. We are convinced that the theoretical part provides a suitable methodological basis for the part of the paper in which we discuss homosexual motives in selected works of the mentioned authors. To sum up, we can state that the explicit expression of homoerotic and other motives is only relevant today; in artistic narratives dating back to the 19th and 20th centuries, these symbols are expressed in a hidden way, and it is up to each recipient to decide whether and to what extent they see them in these narratives. Zeyer could not fully express himself; he was forced to use hidden symbols to be who he felt he was, at least in his works. Kuběna, in the context of the 1970s, treats the topic of homosexuality very openly, he is not afraid of being condemned by society. Fuks´ works are characterized by a considerable degree of autobiography. Despite Georgiev´s clear rejection of faith, a believing homosexual appears more than once in his work. In this paper we try to fill a certain gap in the field of comparative research in works of art and poems by authors who in some way tended to homosexuality because within the Czech context, we have encountered this area of scholarly articles sporadically.
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Procop, Natalia. "Rustic and urban in the creation of Florentin Leancă". Akademos, n.º 3(62) (janeiro de 2022): 146–50. http://dx.doi.org/10.52673/18570461.21.3-62.19.
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Florentin Leancă is part of the generation of visual artists, representatives of the national school of painting. The activity of the artist evolved from abstract compositions to urban landscapes with impressionistic shade and stylized decorative creations. Many of his works are made in the technique of hot handkerchief and oil painting Moreover. One of his relevant themes is the old Chisinau represented by shades of gray. Lately he has been making pieces with popular motives inspired by the art of carpeting.
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Fedorova, Irina. "“BELOBEREZHSKIY PATERIK”: COMPOSITION, SOURCES, GENRE". Проблемы исторической поэтики 20, n.º 2 (março de 2022): 280–303. http://dx.doi.org/10.15393/j9.art.2022.11062.
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“Beloberezhsky Paterik” is preserved in the manuscript of the Department of Manuscripts of the Russian National Library (P. N. Tikhanov collection, no. 214) and consists of materials related to the Beloberezhskaya hermitage, founded in the early 18th century in the White Shore tract near Bryansk. The main purpose of the article was to determine the conformity of the “Beloberezhsky Paterik” to the genre canon. The work analyzes the genre composition, configuration, principles of material organization, and establishes the sources and time of compiling the collection . The analysis was carried out with regard to the tradition of ancient Russian patericons and the development of late patericography. As the study demonstrated, the constant features of the genre organically manifested themselves in the “Beloberezhsky Paterik.” Thus, the complex composition of the collection allowed to consider it as an ensemble that includes traditional patericon forms: legends about icons, parochial chronicles, patericon Lives, the Life of the founder of the monastery and the hermit's Life, miracles and visions. The “memory of the genre” also manifested itself on other levels: unification of material by topographical feature, cyclization and the chronological principle of data organization, simplicity of the narrative style, themes and motives traditional for the patericon Life (the theme of hermitage, the motives of martyrdom and temptation) are realized. The ideological and thematic unity of the collection, as the analysis of the works that comprise it has revealed, is organized by two themes — the Beloberezhskaya hermitage as “the house of the Mother of God” and “the second Jordan.” The sources of the patericon were archival materials and publications in magazines of religious and moral content (“Kormchiy,” “Emotional Reading,” “Wanderer”). It was also established that the Paterik was compiled between 1894 and 1905, but it is not yet possible to name its compiler.
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Kupchenko, Tatiana А. "Sergey Yesenin in the screenplay of V. Mayakovsky “The Story of One Nagan”". Philological Sciences. Scientific Essays of Higher Education, n.º 5 (setembro de 2021): 89–100. http://dx.doi.org/10.20339/phs.5-21.089.
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For the first time, a complex of motives associated with the image of S. Yesenin in the script by V. Mayakovsky “The Story of a Nagant”, as well as “Forget about the Fireplace” and the play “The Bedbug” are considered. A connection is established between the biographical facts of Yesenin’s life and the motives of the script, and the features of the innovative poetics promoted by Mayakovsky, revealed by him in the article “How to Make Poems” and his speech at the debate “Depressive mood among youth (“Yeseninism”)”. The “Yesenin” theme of the script is considered together with the themes of “poet and poetry”, with the accompanying motives of hooliganism, drunkenness and love in poems that also contain the “Yesenin” theme, but are included in the range of works devoted to reflections on what true art is in the era of building a new socialist state: “My speech at the show trial on the occasion of a possible scandal with the lectures of Professor Shengelli”, “Sergei Yesenin”, “A Conversation with the Financial Inspector about Poetry”, “Beat the Whites and Greens”, “Marusia Was Poisoned”, “Letter to Comrade Kostrov from Paris about the Essence of Love”, “Letter to Tatiana Yakovleva”.
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Yahyabala qızı Bağıyeva, Nubar. "Carpet compositions by carpet artist Mammadhuseyn Huseynov". ANCIENT LAND 03, n.º 04 (30 de junho de 2021): 15–18. http://dx.doi.org/10.36719/2706-6185/03/15-18.
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The artist has created valuable works of art that attract the attention of the most beautiful traditions of the pre-existing artistic heritage with a choice of different themes and styles. He created expressive images that characterize the environment in which any subject is reflected, and tried to make room for elements of national motives. This is an indication of his rich artistic imagination and delicate taste. The carpets created by the carpet artist are distinguished by the fact that the ornaments are very complex and very versatile. The ornament of these carpets will remain the object of research for a long time, because its artistic-schematic aesthetic, spiritual and emotional content is an inexhaustible treasure. The carpet patterns created by the carpet artist attract the audience's attention at first sight. The carpets he authored are always met with interest, love and appreciation. Keywords: Mammadhuseyn Huseynov, fine art, carpet art, composition, ornament
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Renner, Walter, Karl Peltzer e Motlatso G. Phaswana. "The Structure of Values among Northern Sotho Speaking People in South Africa". South African Journal of Psychology 33, n.º 2 (maio de 2003): 103–8. http://dx.doi.org/10.1177/008124630303300205.
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The aim of this study was to compile a culture specific taxonomy of human values in Northern Sotho. Two raters extracted a comprehensive list of value descriptive nouns from two Northern Sotho dictionaries. The list comprised a total of 210 terms. Four hundred individuals, 256 men and 144 women, from the Limpopo Province of the Republic of South Africa, participated. Their mean age was 24.6 years (SD = 7.9). The participants rated these concepts on an 11-point-scale with regard to their subjective importance as guiding motives in life. The principal components factor analysis with varimax rotation yielded five factors which explained 42.3% of total variance: (I) Religiosity and Support, (II) Solidarity (ukuzwdana, ubunye or ubudlelwane), (III) Conformity and Benevolence, (IV) Leadership and Achievement, and (V) Human Enhancement. With respect to cross-cultural comparisons the outcome of the study shows that in Northern Sotho, religious themes and social commitment play a more important role than in German, and that religious issues correlate with social concerns. The other dimensions share some aspects with the German factors but mainly reflect the religious and collective values of traditional African culture.
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van den Akker, Olga B. A., Nicola Payne e Suzan Lewis. "Catch 22? Disclosing assisted conception treatment at work". International Journal of Workplace Health Management 10, n.º 5 (2 de outubro de 2017): 364–75. http://dx.doi.org/10.1108/ijwhm-03-2017-0022.
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Purpose The purpose of this paper is to explore factors influencing decision making about disclosure of assisted reproductive technology (ART) use in the workplace. Design/methodology/approach A qualitative study design was used. In total, 31 women and 6 men who were using or had recently used ART were recruited from British fertility networks and interviewed. Data were transcribed verbatim and thematically analysed. Findings Two main strands were identified each encompassing two themes: “Concerns about disclosure” covered the very personal nature of disclosing ART treatment and also career concerns and “Motives for disclosure” covered feeling which was necessary to disclose and also the influence of workplace relationships. Research limitations/implications The relatively small, self-selected sample of participants was recruited from fertility support networks, and lacked some diversity. Practical implications Clarity about entitlements to workplace support and formal protection against discrimination, along with management training and awareness raising about ART treatment is needed to help normalise requests for support and to make decisions about disclosure within the workplace easier. Originality/value The study has highlighted an understudied area of research in ART populations. The data provide insight into the challenging experiences of individuals combining ART with employment and, in particular, the complexity of decisions about whether or not to disclose.
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Venz, Oliver. "From enemy skulls to welfare, and the missing nexus - A review on Bidayuh headhunting". Sarawak Museum Journal LXXXI, n.º 102 (1 de dezembro de 2019): 153–200. http://dx.doi.org/10.61507/smj22-2019-hzmt-04.
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Headhunting’ was practiced by many societies widely separated in space and time, including Europe (see Chacon and Dye ibid. 5−32 for a global survey). However, says Winzeler (2012: 99) in a summary of the matter: “Southeast Asia and especially Borneo, is the locus classicus of head-hunting as far as the more recent ethnographic and historical literature is concerned. Yet scholars disagree about the cultural motives underlying the practice or maintain that it is now difficult to find what the motives were at the time when head-hunting was in full practice. It is the specific religious or ritual motives that are disputed or unclear”. To avoid any misunderstanding, the anthropological literature on headhunting is vast and a host of different interpretive frameworks2 are being used by scholars in order to elucidate different ‘aspects’, ‘causes’ and ‘purposes’ as well as ‘building blocks’, ‘dimensions’ or ‘recurrent themes’ of what some authors consider a ‘universal grammar of head-taking’ (Armit 2012: 66). What has been found most remarkable about headhunting is, as Blust (1980: 231) once put it, “the matrix of ‘magico-religious’ concepts in which the practice is inextricably enmeshed”. However, it is exactly this area, as Winzeler insinuated above, where there is an extensive lack of reliable fundamental data. And, despite its prominent role as locus classicus in recent headhunting debates, this is also true for Borneo. My task as a Fellow of the Sarawak Museum Campus Project (2017−2018) was to focus my attention on Bidayuh (Land Dayak), and especially Bisingai, concepts related to headhunting. This choice turned out to be just as exciting as problematic. Headhunting already stands as a puzzling topic, and the Bidayuh are themselves, as Winzeler (1993: 223) put it, “something of a jigsaw puzzle” when it comes to the often considerable cultural and linguistic differences between individual communities. While the data corpus has grown in recent years, our knowledge of (early) Bidayuh religiosity, however, is still sketchy and detailed grammars and dictionaries are lacking for the majority of individual isolects.
Teses / dissertações sobre o assunto "Art – themes, motives – dictionaries"
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Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.
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This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.Department of English
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Vülser, Ingrid. "The theme of death in Italian art : the triumph of death". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33944.
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This paper focuses on the evolution of the theme the Triumph of Death, the representation of the personification of death and the dead in the late Middle Ages. The first part of this thesis represents different points of view of art historians and historians concerning the death and the afterlife. There follows a short description and analysis of the cultural environment especially regarding literature which closely relates to the visual art and the representation of death. The last part describes three themes of death and the most important representations in frescoes, panels, bas-reliefs of the Triumph of Death evincing the main idea and the underlying structure and composition. Two different ways of representation can be distinguished: the Triumph of Death in the shape of the apocalyptic rider as appearing in the Revelation of Saint John the Evangelist and the Triumph of Death based on Petrarch's poem the Trionfi.
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Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
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Hall, Nancy. "Personal drawings as a political statement". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724955.
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This creative project entailed the creation and display of ten drawings. These drawings were to be the result of research into the lives and artistic styles of a number of visual artists who explored political and social themes. The goals of the artist of the creative project were to develop and extend her ability to produce a personal visual language, to communicate by way of her drawings certain feminist and social concerns, and to relate her treatment of the drawn figure to the treatment other artists have traditionally given these concerns.Within the context of the ten drawings submitted for this creative project, it became clear that the artist had begun to develop a personalized visual language. The human figures were indicated by outlines which suggested the three dimensional form in a manner that was distinctive to the artist while fitting into the realm of contemporary feminist and political art. Furthermore, these drawings described the humanist/feminist concerns of the artist.Department of Art
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Munson, William Donald. "Rites of passage". Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124882.
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Portrait painting is an art form that has been used by artists for years. I am using the portrait to convey a story. The story follows a boy's process of becoming a man. The discovery of old family photographs initially inspired the project. The rite of passage theme stems from this inquiry into the process of growing up. Several artists inspired my work in the formal and conceptual aspects of my portraits. Those artists include Paula Rego, Chuck Close, and Robert Henri. "Rites of passage" is a phrase that carries with it many meanings and issues. This creative project is both a consideration of the rites of passage theme and an investigation of the painted portrait.Department of Art
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Egan, Rachel K. "New perspectives on the quatrefoil in classic Maya iconography the center and the portal". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4759.
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The quatrefoil is a pan-Mesoamerican symbol with considerable time-depth. For the Maya, use of the symbol peaked during the Classic Period, reaching its highest frequency and largest geographical spread. Consequently, understanding its meaning has the potential to illuminate information about Precolumbian Maya worldview. While there have been several studies that focus on Preclassic Period quatrefoils, a similar study is lacking for Classic Period. Furthermore, the evaluations of the quatrefoil that do exist for the Classic Period are limited, often focusing on a select few examples. This thesis attempts to rectify the gap in extant research through an examination of the quatrefoil motif utilized by the Classic Period Maya. Specifically, the goal of the thesis was to determine whether the current interpretation of the quatrefoil as a cave is and also to investigate how the symbol communicated broader ideas about worldview and ideology. The approach that was utilized focuses on both archaeological and iconographic contexts. As an iconographic symbol, I attempt to understand the quatrefoil through the use of semiotics with particular emphasis on contextualization and analogy. The results of this study suggest that, while there were some patterns related to spatial distribution, the meaning of the quatrefoil motif was dependent on context and had considerable variations. I conclude that the analysis of the symbol, when based on specific usages and contexts, reveals that there is not enough evidence to support the current interpretation of quatrefoil as cave. Rather, the quatrefoil can be more accurately interpreted as a cosmogram that delineated information about how the Maya conceptualized, ordered, and accessed space that was appropriated by elites to reinforce and even legitimize political authority.ID: 030646206; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Error in paging: p. 213 followed by p. 190-205.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references.
M.A.
Masters
Anthropology
Sciences
Anthropology
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Bolgun, Oya. "A study of technology and human relations developed in a series of paintings". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230600.
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The ambition of this creative project was to portray the communication between individuals of our time, which is being made shabby by the effect of technological life. As an artist, I am dealing with the issue of our sense of respect for each other and how much we are aware of each other.This study includes the art works of artists Robert Motherwell and Joan Mitchell by whom I have been inspired. I have learned a lot from their art works and from their philosophies. I will describe my art works one by one in terms of the techniques that I have used, and the feelings behind them.Department of Art
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Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso". Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
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This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
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Reed, Kesayne. ""I've always known this place, familiar as a room in our house" : engaging with memory, loss and nostalgia through sculpture". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020022.
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My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.
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Oberlander, Erin Marissa. "Reaching Arcadia: Rural and Agricultural Themes in Vocal Art Music including Plans to Introduce this Music to a Rural Audience". Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/29768.
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Throughout the history of Western Music, composers have written works on rural and agricultural subjects. The first half of this dissertation examines a number of important works from the Baroque era through the present day and the composers who have chosen this specialized subject matter. Rural communities are underserved where the arts are concerned. Yet, rural audiences have perhaps the best chance at identifying with the subjects of this particular subset of vocal art music. The second half of this dissertation examines reasons why it is important to reach rural communities with vocal art music. Four sample recital programs appropriate for rural audiences are included.
Livros sobre o assunto "Art – themes, motives – dictionaries"
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Adam, Butler, Van Cleave Claire e Stirling Susan, eds. The art book. London: Phaidon, 1994.
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Pérus, Nathalie. Mon Larousse illustré: Dictionnaire imaginaire. [Paris]: Larousse, 2004.
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Teyvanāyakam, Kō. Cir̲pa cāttirac ceyti aṭaivu: Kaṇppor̲i val̲i. Tañcāvūr: Tamil̲p Palkalaik Kal̲akam, 1990.
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Rager, Catherine. Dictionnaire des sujets mythologiques, bibliques, hagiographiques et historiques dans l'art. [Turnhout, Belgium]: Brepols, 1994.
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Zgonik, Nadja. Pojmovnik slovenske umetnosti: Po letu 1945 : pojmi, gibanja, skupine, težnje. Ljubljana: Studentska založba, 2009.
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Hall, James. Slovarʹ si͡uzhetov i simvolov v iskusstve. Moskva: Kron-Press, 1996.
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James, Hall. Illustrated dictionary of symbols in eastern and western art. Boulder, Colo: Westview Press, 1996.
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Bar, Virginie. jalousie Dictionnaire iconologique: Les allégories et les symboles de Cesare Ripa et Jean Baudoin. Dijon: Éd. Faton, 1999.
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E, Roberts Helene, ed. Encyclopedia of comparative iconography: Themes depicted in works of art, vol. 1 (A-L). Chicago: Fitzroy Dearborn, 1998.
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Coelho, João Furtado. Almada dixit. Lisboa: Livros Horizonte, 2009.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Art – themes, motives – dictionaries"
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Schmelz, Peter J. "Preludio". In Alfred Schnittke's Concerto Grosso no. 1, 1–26. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653712.003.0001.
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This chapter sets in motion the primary themes of the book, tracing briefly Alfred Schnittke’s compositional evolution before the Concerto Grosso no. 1, paying special attention to his Symphony no. 1 (1969–72) and his initial ideas about polystylism, as well as the works immediately preceding the Concerto Grosso no. 1, including the Piano Quintet (1972–76), Hymns (1974–79), Requiem (1975), and Moz-Art (1975–76). It also investigates the genesis, construction, and affect of the Preludio of the Concerto Grosso no. 1, focusing on its initial prepared piano chorale together with its other key motives. The chapter further discusses the interpretations of polystylism and postmodernism by such Russian writers as Svetlana Savenko and Alexander Ivashkin. Finally, the chapter sets in place the justification and format for the remainder of the book.
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Tarasova, Natalia A. "Textual Aspects of the Research on the Novel The Adolescent". In Dostoevsky’s Novel The Adolescent: Current State of Research, 431–567. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0677-2-431-567.
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The work is devoted to the study of Dostoevsky’s novel The Adolescent in its textual, biographical, and intermediate aspects. The first paragraph contains the results of a textual study of the novel manuscripts. The work shows the connections of The Adolescent with the unfulfilled plan The Life of a Great Sinner, as well as with Pushkin and Lermontov motives that were important for Dostoevsky’s creative method during the work on the novel. The second paragraph through the analysis of the manuscripts identifies a prototype of one of the characters of The Adolescent, Darzan. The study reveals the biographical nature of this hero and shows how some facts of Dostoevsky’s biography influenced the development of this character and the artistic idea of the novel as a whole. The third paragraph examines the writer’s use of conventional signs that graphically reflect the content of the artistic idea, themes, and motifs in the handwritten text. The fourth paragraph is devoted to intertextual connections in the handwritten and printed texts of Dostoevsky’s novel The Adolescent using the example of the analysis of the allusion to Zhukovsky’s elegy A Country Churchyard and the specifics of its functioning in the context of the novel narrative. The fifth paragraph contains an analysis of a fragment of a draft autograph where Dickens’ The Old Curiosity Shop is mentioned. This part of the work investigates which translations of The Old Curiosity Shop could be known to Dostoevsky and how the themes and some scenes of Dickens’ novel were reflected in the draft and printed text of The Adolescent, where the motif of sunset acquires a special and independent meaning. The sixth paragraph analyzes the syncretic nature of the novel narrative, combining images and motifs that belong to different types of art. The analysis allows us to determine the features of the author’s perception of religious images in European painting and architecture and their significance in The Adolescent. In the seventh paragraph, the study of intermediate relations is carried out by looking at the interaction of musical and literary motives in the novel. An example of such interaction in the manuscripts of The Adolescent is Trishatov’s “musical fantasy”, which reflects the author’s interpretation of Charles Gounod’s opera Faust and Goethe’s tragedy, the traditions of Russian sacred music and church worship.
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Shevel, Tamara, e Natalia Shevel. "DOLORIC POETICS OF M. VORONYI'S AND G. CHUPRYNKA'S LYRICS". In Traditional and innovative scientific research: domestic and foreign experience. Publishing House “Baltija Publishing”, 2024. http://dx.doi.org/10.30525/978-9934-26-436-8-16.
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A new philosophical system of thinking and modern original poetics and aesthetics at the turn of the century was marked by the appearance of poets such as S. Baudelaire or P. Verlaine, who formed the theoretical platform of symbolism with a breakthrough into the mysterious subconscious. The modern cultural-psychological type of sensuality, which was formed at the end of the 19th century, is marked by mystical apocalyptic experiences and melancholy, the search for God and the aesthetics of suffering. M. Voronyi and G. Chuprynka were bright representatives of their time, so we find a lot in common in their worldview and creative work, in particular, regarding Doloric poetics, motives of suffering and symbols of tears. Therefore, their poetic work deserves careful consideration through the prism of Dolorism, since such motifs are dominant in the works of these representatives of early Ukrainian modernism. On the other hand, in Ukrainian literary studies, we do not have separate studies devoted to Doloric aesthetics and the motif of suffering. The purpose of the article is a thorough and purposeful analysis of the Doloric poetics of the lyrics of M. Voronyi and G. Chuprynka through the prism of the historical-literary process of the beginning of the 20th century. and taking into account the ideological and aesthetic views and extraordinary personality of the artists. The task is to find out the origins of the motifs of suffering, longing, pain, to highlight the corresponding doloric imagery in poetry, in particular the image of tears. A set of research methods is used in the methodology for successful implementation of the assigned tasks. Comparative analysis made it possible to single out common views, creative principles, Doloric motives and images of G. Chuprynka and M. Voronyi. The typological method made it possible to explain the similarity of aesthetic phenomena by the conditions of social and literary development, typological convergences of creativity. The biographical method was useful for examining the history of the creative individuality of artists, explaining the nuances of Doloric themes and images. The psychological method made it possible to more adequately decode the inner world of the artist. The results of the research are an in-depth analysis of the poetic work of M. Voronyi and G. Chuprynka, based on a new philosophical system of thinking and oriented to the modern artistic trend of the turn of the century with original poetics and aesthetics, with a breakthrough into the mysterious subconscious. It has been determined that dolorism in the poetry of both artists is a continuation of the folklore tradition of the genre of laments, trenos and laments in baroque literature, the genre of elegy. Common to both poets is the symbolic load of the image of the heart and the reason for its appearance – following the slogans of modern art. Tests and suffering as components of the image of a traveler in the works of G. Chuprynka and M. Voronyi are considered. It has been found that the ideological and philosophical basis of the motif of suffering in the lyrics of G. Chuprynka are Verlaine motifs, but with the victory of the life-affirming principle as a result of the struggle throughout the creative work of "motifs of decay" and living motifs. M. Voronyi focused on A. Schopenhauer, and also developed the Hegelian dialectic of subject and object, but he also selectively assimilated pessimistic reflections.