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1
Mocherniuk, Nataliia. "To apprehend and to retain a considerable length of time: the memoirs of Sviatoslav Hordynsky." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 90–96. http://dx.doi.org/10.28925/2412-2475.2020.16.13.
Анотація:
The paper covers the subject and genre varieties of memoirs by Sviatoslav Hordynsky. Such genres are highlighted as the memoirs itself, travel writing, diary notes, portrayals of famous artists, letters, obituaries, oral stories, interviews with the author. The main art subject-matter in the memoirs has been accentuated. The travel writing was practiced in his early works, the memories of the Western Ukrainian art processes of the interwar period pertain to the creative period in emigration. The narrative features of the artist’s memories have been traced. Hordynsky’s memoir texts are perceived as an independent proof supported by art history facts. These are not pieces of writing for “own cheek”, albeit works for the future with an intention to record important events and outstanding names for the Ukrainian culture. It has been observed that these memories are not characterized by a fragmentary composition and large forms, but on the contrary, the author structures logical texts, elaborates on compositional links, usually analyzes in small non-fiction forms. The writer practices an autobiographical attitude of testimony rather than confession, so the subjectivism of narration is not expressive. There is a great intermedial potential of texts. Sviatoslav Hordynsky’s memoirs can serve as a documentary material for art history and reveal the secrets of the artist and writer’s work. These texts clarify the intentions of the artist’s appeal to literature and represent a holistic vision of the artist’s personality.
2
MUZYCHENKO, Anna S. "Thomas Wolfe as a writer and citizen in “Hungry Gulliver” by P.H. Johnson." CULTURE AND SAFETY 1 (2024): 14–24. http://dx.doi.org/10.25257/kb.2024.1.14-24.
Анотація:
The given article examines the features of artistic journalism as a literary genre, its subject and object, and the reasons for the interest of fiction writers in journalism. An analysis of the journalistic book by P.H. Johnson “Hungry Gulliver”, is dedicated to the outstanding American writer Thomas Wolfe. The writer focuses on the internal contradiction between Thomas Wolfe’s gift for writing and his understanding of civic position, between the artistry and sociality of his novels. The attitude of P.H. Johnson herself to the mission of the writer, the power of the artist’s influence on others through his works, and, as a consequence, the responsibility to society that talent imposes are is explored.
3
Stewart-Kroeker, Sarah. "‘What Do We Do with the Art of Monstrous Men?’ Betrayal and the Feminist Ethics of Aesthetic Involvement." De Ethica 6, no. 1 (June 30, 2020): 51–74. http://dx.doi.org/10.3384/de-ethica.2001-8819.19062502.
Анотація:
The #MeToo movement has put a spotlight on sexual harassment and abuse in a number of industries, notably the arts. It has raised a set of questions about how to receive the artistic works of the accused, particularly when such work has been beloved or formative for an individual, and collectively when it has cultural significance and influence. Claire Dederer, writing in The Paris Review, posed the question bluntly in her piece, “What Do We Do with the Art of Monstrous Men?” This question, and the range of (often perplexed) responses to it, reveal the lack of adequate resources to evaluate responses to an artist’s actions that may bear on our aesthetic valuations of the artist’s work and that may be experienced as quite intimately personal. What do we do with the sense of betrayal that may follow on the discovery of an artist’s bad behavior? What are the implications of consuming of such art? What concepts and norms might help to guide reflection? These questions bear on the ethical significance of love and appreciation for artworks and artists, and, more broadly, the ethical consumption of artworks. This paper responds to these questions in two ways: first, it develops an account of “aesthetic involvement” to elaborate the sense of betrayal that may follow accusations or revelations of sexual harassment and abuse. Second, it proposes a feminist ethics of aesthetic involvement in response to such betrayals and to dilemmas about the individual and collective ethical consumption of artworks.
4
Nozanin, Yusupova. "Comments On The Art Of Utkir Hashimov’s “Inscriptions In The Notebook Frame”." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 375–79. http://dx.doi.org/10.37547/tajssei/volume03issue04-57.
Анотація:
This article examines Utkir Hoshimov’s “Inscriptions in the Frame of the Notebook” in terms of form and content, the balance of man, society, time and space, the interdependence, and the philosophical issues raised by the author. The main idea of the work, the author’s wording skills, the artist’s emotions, and the role of writing in society were analyzed. There are also comments on the author’s individual artistic skills, his unique methods of artistic interpretation of social realities and the assignment of philosophical meaning to them.
5
Cardoso, Catarina Figueiredo. "Past’s Present: Artist’s Books by José Oliveira." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 2, no. 1 (November 8, 2014): 135–56. http://dx.doi.org/10.14195/2182-8830_2-1_7.
Анотація:
José Oliveira is a book artist who takes inspiration from the history and evolution of the Western book and of Western writing. His artist’s books take the form of codices, scrolls and leporellos and embody the beliefs, grief and hopes of their author. They ask us about our conceptions of the book and the nature of reading. They are evidences of their author’s resolute rejection of contemporary techniques applied to books. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_7
6
Silva, Manuel Gutiérrez. "José Juan Tablada’s Creative Art Writing." Mexican Studies/Estudios Mexicanos 34, no. 3 (2018): 305–46. http://dx.doi.org/10.1525/msem.2018.34.3.305.
Анотація:
Amidst the violence of the Mexican Revolution, the poet José Juan Tablada published Mexico’s first modern artist’s book and art book: Hiroshigué: El pintor de la nieve, de la lluvia, de la luna y de la noche (1914). In design and content, Tablada’s art book was a cultural artifact unlike any other. By drawing on concepts from cultural and literary theory, and art history, I demonstrate how this art book addressed the nation’s cultural crisis and proposed a program for interpreting and reinventing it. En medio de la violencia de la Revolución mexicana, el poeta José Juan Tablada publicó el primer libro de arte y libro de artista moderno en México: Hiroshigué: El pintor de la nieve, de la lluvia, de la luna y de la noche (1914). Tanto en materia de diseño como de contenido, el libro de arte de Tablada fue un artefacto cultural sin parangón. Mediante el recurso a conceptos de la teoría del arte y la teoría literaria, además de la historia del arte, me propongo mostrar cómo abordó este libro la crisis cultural de la nación y cómo planteó un programa para interpretarla y reinventarla.
7
Dorsey, Charlie Hope. "In the Dark." Art/Research International: A Transdisciplinary Journal 3, no. 1 (March 1, 2018): 247–57. http://dx.doi.org/10.18432/ari29335.
Анотація:
The artist’s duty is to “reflect the times,” said Nina Simone. Poets too, have this political duty. As a queer Black woman, I share my lived experience(s) as a political form of engagement and resistance, both in writing and onstage. Inspired by Audre Lorde’s (1984) text Sister Outsider, this piece of personal performance poetry explores Della Pollock’s notion that performative writing is citational. Blending references to white poets such Emily Dickinson with allusions to writers, artists, and theorists of color, this piece makes space for black culture in the academy and recounts my return home after a period of self-imposed exile. It surveys the liminal space between the dark of writing and the light of performance and also critiques the hierarchal academic structures that subjugate knowledge, people, and spoken word poetry. It was originally written and performed in a show entitled Greyscale: Performing Across Difference, in the Marion Kleinau Theatre, in March 2017.
8
Suminto, RA Sekartaji, and Donna Carollina. "Graffiti Artist’s Historiographical Writing Model “Bansky” The Man Behind The Wall” in The Perspective of Johan Joachim Wincklemann." IJVCDC (Indonesian Journal of Visual Culture, Design, and Cinema) 2, no. 1 (April 30, 2023): 134–37. http://dx.doi.org/10.21512/ijvcdc.v2i1.9933.
Анотація:
History writing can be understood as a way of writing, exposing, or reporting the results of historical research that has been carried out as a matter of embodiment of research reports or historical writing itself. Furthermore, historical writing became known as historiography. Before writing the historiography of graffiti artists in Indonesia, it is necessary to understand the writing model that has been done by previous historians, one of which is Johan Joachim Wincklemann. Thisarticle will use a book entitled "Bansky: The Man Behind The Wall", to then review his historical writing style with Winckelmann's historiographical writing methodology. Although Jones in his book writes about Bansky's life, when viewed from the perspective of Winckelmann's historical methodology, there are still shortcomings in the process of writing Jones in this book. Thus from this review, it can be found that to create a good historiography for the writing of the history of graffiti artists requires closeness and accuracy in observing the work and graffiti artists observed.
9
Kosiński, Dariusz. "Literatura jako wehikuł tajemnicy. O pisarstwie Jerzego Grotowskiego." Przestrzenie Teorii, no. 38 (July 11, 2023): 59–74. http://dx.doi.org/10.14746/pt.2022.38.4.
Анотація:
Jerzy Grotowski (1933–1999), considered to be one of the greatest theatre artists of the 20th century, frequently expressed his ambivalent relation to words, repeating that any true knowledge has to be obtained by practice. However, all his life he had been creating and publishing text. The volume collecting them all in print has 1131 pages. Researchers interpreting his art (e.g. Krzysztof Rutkowski, Zbigniew Osiński) and his close collaborators like Ludwik Flaszen many times underlined the importance of Grotowski’s writings, stressing a special function the literature played in the artist’s research. Following their recognitions, partly polemizing with them, one can formulate some basic assumptions concerning the character and functions of Grotowski’s writing and its relation to the main aspects of contemporary literature. This was the man of theatre appears to be also an aware creator of a literature paradoxically close related and working for a mystery beyond the words.
10
Bădulescu, Dana. "Autobiography as Fiction in “A Portrait of the Artist as a Young Man”." Linguaculture 2, no. 1 (June 30, 2011): 29–36. http://dx.doi.org/10.47743/lincu-2011-2-1-253.
Анотація:
This paper looks into the artful way in which James Joyce fictionalizes his autobiography in his Künstlerroman A Portrait of the Artist as a Young Man. Joyce projects his essentially artistic self onto the fictional character Stephen Dedalus, the namesake of the classical ‘cunning’ ‘artificer.’ In his turn, Stephen dreams of becoming Joyce and writing Ulysses. Thus, Joyce’s personal history and Dublin’s geography lose their recognizable ‘reality’ in a blueprint of the artist’s mind that charts a Dublin and a self-reshaped by his imagination.
11
SÁNCHEZ CALLE, PILAR. "A Portrait of the Artist as a Young/Mature Woman in Just Kids, M Train, and Year of the Monkey, by Patti Smith." Miscelánea: A Journal of English and American Studies 67 (June 30, 2023): 111–29. http://dx.doi.org/10.26754/ojs_misc/mj.20236898.
Анотація:
Patti Smith and her 2010 National Book Award-winning Just Kids offers an autobiographical account of the artist’s life with the photographer Robert Mapplethorpe. Smith also shows her involvement in New York City’s bohemian downtown scene in the 1960s and 70s. In 2015, Smith published a second memoir, M Train, and a third one, Year of the Monkey, followed in 2019. These two books are more experimental works where linear chronology is altered. The narrator mixes dream and reality in her recollection of her life after the death of her husband Fred “Sonic” Smith, and pays homage to those beloved persons (writers, artists, family members, friends) who have made an emotional and artistic impact on her. As a significant number of critical articles and book chapters have been devoted to analysing gender issues and narrative strategies of life-writing in Smith’s memoirs, my aim in this essay eschews those topics and explores the search for the artistic self as well as Smith’s ideas of art and performance in Just Kids, M Train and Year of the Monkey.
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Flint, Azelina. "A Marble Woman: Is the omen good or ill? Louisa May Alcott’s exposé of Nathaniel Hawthorne’s repressed individualism in her domestic horror fiction." Horror Studies 14, no. 1 (April 1, 2023): 9–27. http://dx.doi.org/10.1386/host_00059_1.
Анотація:
This article reassesses the place of Louisa May Alcott’s pseudonymous domestic horror fiction in the wider canon of her work. Traditionally, Alcott’s domestic horror writing has been viewed as an expression of her repressed authorial individualism and desire for incorporation into a male literary tradition. Through examining Alcott’s allusions to Nathaniel Hawthorne, I argue that her domestic horror writing exposes the traumatic repercussions of male individualism for women in the work of her contemporaries. Her pseudonymous horror novella, A Marble Woman (1865), appropriates Hawthorne’s allusions to the Pygmalion myth in his earlier novel, The Marble Faun (1860), to demonstrate that the male artist’s preoccupation with a lifeless muse is contingent upon acts of psychological abuse. Alcott interrogates Hawthorne’s elevation of the female copyist to demonstrate that Hawthorne only endorses women’s art when it supports male traditions of creativity, thereby placing women in a subordinate role that stunts their creative power. In place of copyism, Alcott promotes an equal relationship between male and female artists that enables women to critique the work of men. Her domestic horror writing should therefore be read as satirical commentary on the elevation of male artists in the work of her contemporaries in the Concord circle.
13
Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (February 27, 2020): 32. http://dx.doi.org/10.3390/arts9010032.
Анотація:
Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of such work. This has been accompanied by a growing interest in the artist’s book as a public artwork in its own right. These two distinct yet interrelated approaches form the subject of our essay. Drawing on examples of artists’ books held in the Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute as well as from our own curatorial practice, we argue that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art and provide an important space in which to critically engage with the complexities of place.
14
Coates, Emily. "Yvonne Rainer’s Archive." TDR: The Drama Review 65, no. 4 (December 2021): 84–102. http://dx.doi.org/10.1017/s1054204321000563.
Анотація:
A close reading of Yvonne Rainer’s archival papers reveals new insights into the postmodern iconoclast. Revivifying Rainer’s early choreographic practice and verbalembodied explorations, Rainer’s own notes and journals illuminate and challenge reductive interpretations of a writing dance artist’s work over time.
15
Kozlova, Lyubov A., and Anna V. Kremneva. "Lingua-artistic technique of writing and its role in portraying an artist." Russian Journal of Linguistics 26, no. 3 (September 30, 2022): 721–43. http://dx.doi.org/10.22363/2687-0088-30060.
Анотація:
The theory of intermediality which first emerged within the frame of intertextuality theory has nowadays become a vast field of interdisciplinary research embracing studies in literature, linguistics, art and culture. In spite of the great amount of works discussing various aspects of this complex phenomenon, numerous questions related to the interpretation of its essence, the typology of intermedial interactions and their functions still remain the subject matter of discussions. An important factor determining the topicality of the intermediality issue is a great number of new textual practices which employ various forms of intermediality inviting for description and theoretical interpretation. All these factors account for the necessity of continuing the research of intermedial interactions. The article is devoted to the study of lingua-artistic technique of writing as one of the means of ontological intermediality. The lingua-artistic technique of writing is understood as the use of lingual means and devices activating visual images in the reader’s mind, due to which word and artistic image merge into one whole. The main objective of the article is to present the essence of the lingua-artistic technique of writing, to point out lingual means of its realization and to define their role in character drawing. The research is carried out from the cognitive-semiotic perspective, which is based on the assertion that art is synthetic in its very essence and the interpretation of all culture as Text presupposes the interaction of various semiotic codes participating in the expression of meaning. The empirical material of the study is represented by four novels written by I. Stone, J. Cary, J. Fowles and M. Porter about artists, real or fictional, representing different trends in art. The main methods of the study are the intermedial, inferential and comparative analyses. The research indicates that the lingua-artistic technique of writing is composed by the combination of lingual means and devices which include the nominations of colour and light, form, size, structure of objects, their location in space, composition, a wide use of similes, exfrasis, etc. All these means and their frequency are determined by the author’s cognitive style as well as by the artist’s specific manner of painting. The results of the study prove the considerable explanatory potential of the cognitive semiotic approach aimed at reconstructing the cognitive processes underlying various types of intermedial interactions.
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Boksh, Shanjida Khatun. "The Confessional Poetry of Robert Lowell:." Crossings: A Journal of English Studies 4 (August 1, 2014): 27–36. http://dx.doi.org/10.59817/cjes.v4i.242.
Анотація:
The “grace of accuracy” (“Epilogue” Day by Day 127) serves as a credo for Robert Lowell’s art and for confessional poetry in general; it is the art of describing experiences in words, it is the artist’s reward of love, both to the art and to the fact. The cardinal force behind this artistic intention in writing even the most confessional of poems of Life Studies is Lowell’s formal mastery of New criticism stimulated by T.S. Eliot. Tellingly, Lowell broke away from the culpability of making confessional poetry a by-word for limp infatuation, and hence restored his position as an avant-garde poet of the twentieth century American poetry. Poetry, for him, serves simultaneously as a snapshot of life and an interpretation of that picture – a record of fact and a figurative design laden with significance. This paper deals with Lowell’s encountering the paradoxical dilemma of self and self-representation in his confessional poems through which he created his poetic identity and wheedlingly added a feather in the artistry of poetry per se.
17
Grube, Katherine. "Labouring bodies: Big Tail Elephants in 1990s Guangzhou." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 201–19. http://dx.doi.org/10.1386/jcca_00026_1.
Анотація:
Big Tail Elephant Working Group (daweixiang gongzuo zu, hereafter BTE) is synonymous with the city of Guangzhou and the surrounding Pearl River Delta. Formed in 1991, the group is most closely associated with the artists Chen Shaoxiong (1962–2016), Liang Juhui (1959–2006), Lin Yilin (1964–) and Xu Tan (1957–). This article re-examines BTE artists’ practice from 1991 to 1994 and argues that the artist’s performing body provides the critical lens through which to understand BTE artists’ work during this time. Acknowledging that the experience of BTE’s work was primarily physical, embodied and performative allows for an important reconsideration of not only their works but also the predominant ways in which the global capitalist ‘turn’ in the 1990’s China has been discussed in art historical writing. This article argues that BTE artists were primarily interested in urban forms for what they signified about commercialization as a form of a new political rationality after 1989 and suggests that BTE artists were ultimately concerned with commodification’s transformation of society and of ideas of cultural value.
18
Kholeif, Omar. "Lubaina Himid." Nka: Journal of Contemporary African Art 2024, no. 54 (May 1, 2024): 6–23. http://dx.doi.org/10.1215/10757163-11205409.
Анотація:
Dr Omar Kholeif maps out the life and practice of the path-breaking British-artist, Lubaina Himid RA CBE (born, Zanzibar 1954) through a considered engagement of her multivalent creative output—in visual art, writing, and exhibition-making. A leading figure in the British Black Arts Movement, Himid is renowned for her narrative paintings, which interrogate historical representations of Black people’s creativity—from the eighteenth century to the present day. Painted canvasses, cut-out figures, drawers, and found carts find home in exhibitions that reveal the artist’s engagement with opera, performance, and architecture. Kholeif notes that Himid’s expressions have heralded a distinct re-formulation of Black visuality, achieved through a re-imagining of Black life—framed through the lens of the present. In “Do You Want an Easy Life?” Kholeif pays special attention to the artist’s collaborative art making and argues that through these forays that Himid is concerned with “making space” for what official record and history often elides. Kholeif argues that Himid’s artistic realm is constructed through a form of “female worlding” that presages an intertextual palette for art and its history—one which demands crucial revision.
19
McQuistion, Lauren A. "Eva Hesse: Emergent Self-Portrait." Arts 12, no. 2 (February 22, 2023): 40. http://dx.doi.org/10.3390/arts12020040.
Анотація:
The artist Eva Hesse (1936–1970) and her work, ranging from traditional painting and drawing to highly inventive bas-relief and sculptural form, are frequently interpreted through the lenses of biography, psychology, and gender, contributing to a prevailing narrative of a troubled and tragic artist figure. This dominant understanding of Hesse’s oeuvre has largely emerged from the interpretation of the artist’s own words, in the form of diary entries and interviews, and the published interpretations of these texts by scholars, peers, and critics, who frequently dwell on the narrative of Hesse’s short and challenging life. However, a closer look at the documentation of the artist’s own process of making, one that combined a near-daily writing practice, close annotations of choices made and executed in her work, and her emphasis on material experimentation, reveals an alternative reading of her writing and work. This paper will first explore the origins of the existing scholarship dedicated to Hesse’s writing that has contributed to the gendered and tragic mythos surrounding the artist and her work. This paper will then provide a re-reading of Hesse’s practice through the example of the work Repetition Nineteen, demonstrating her textual and material process as a deeply entangled set of relations between artist, process, and material contributing to a still-emerging portrait of the artist and her contributions.
20
Schauder, Silke. "Papa Hemingway or the Tragic Alterity of the Work of Art." International Journal of Person Centered Medicine 7, no. 3 (July 31, 2018): 182–86. http://dx.doi.org/10.5750/ijpcm.v7i3.649.
Анотація:
This article examines autofiction in Ernest Hemingway's writing and the entanglement between work of art, biography and psychic conflict in order to articulate science and humanism and to enhance personalized understanding of illness and creativity in artists. Following an interpretative method, the author will analyze Ernest Hemingway’s The Old Man and the Sea after placing this short story in its bio-bibliographic context. She will explore the following hypothesis: in this novel, Hemingway's personal conflict and his posture as a writer are disclosed under the form of allegory. Finally, the artist’s block (i.e. the absence of major publications after the publication of The Old Man and the Sea) and his suicidal act will be considered in the light of infantile traumatism and its reviviscence after the death of Hemingway’s mother.
21
Sereda, Oksana. "«True art» — «the need for the soul to express itself»: Hryhoriy Smolsky’s publicism." Proceedings of Research and Scientific Institute for Periodicals, no. 9(27) (2019): 422–36. http://dx.doi.org/10.37222/2524-0331-2019-9(27)-26.
Анотація:
The article deals with the journalistic achievements of the Ukrainian artist, local historian and publicist Hryhoriy Smolsky, analyzes the problems and genre of his articles in the Lviv press during the 1920s and 1970s. The long and thorny path of H. Smolsky to art was revealed. It is highlighted that this artist managed to restore his historical and artistic studios in Lviv only at the age of 28 years due to the then military situation in the Western Ukraine. It is emphasized that H. Smolsky was one of the five first students of the O. Novakivsky Art School and this was the defining moment in the formation of his artistic priorities. It became clear that the young artist’s collaboration with the Lviv press began in the late 1920s — he was part of the editorial board of «Literaturni Visti» and published two reviews on its pages. His publications about the history of the beginning and activities of the O. Novakivsky’s Art School in the «Novy Chas» newspaper and the «Svit» journal were rediscovered. It is accentuated on another facet of H. Smolsky’s talent — the writing of travel notes, which appeared in the 1930s in the «Dilo» and «Nazustrich» periodicals. It is highlighted that these features comprehensively revealed the artist’s journalistic talent. The H. Smolsky’s articles written during the German occupation, specifically in the «Lvivski Visti» diaries, were also introduced into the scholarly circulation and analyzed. It is revealed that with the advent of Soviet rule, the artist kept «silent» for 15 years and was not present in artistic life. A number of publications by H. Smolsky of the late 1950s and 1970s were studied. They prove that the author was able to maintain his socio-cultural position even in the conditions of the rigid ideological framework. The artist’s significant contribution in illuminating the history of the O. Novakivsky Art School’s achievements is highlighted. It is summarized that H. Smolsky is a talented publicist, and although his journalistic legacy (rediscovered today) has only 22 articles, those are an important source of study of the Ukrainian artistic environment of Galicia in the 1920s–1940s. Key words: H. Smolsky, journal, article, art, O. Novakivsky Art School.
22
Wildgoose, Jane. "FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves." European Journal of Life Writing 9 (July 6, 2020): LW&D313—LW&D343. http://dx.doi.org/10.21827/ejlw.9.36912.
Анотація:
Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.
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Hanson, Matt A. "Iz Öztat: Underbelly." Public 34, no. 68 (December 1, 2023): 154–55. http://dx.doi.org/10.1386/public_00178_4.
Анотація:
Underbelly, by Iz Öztat, is an exhibition that ran from February to May at Zilberman Istanbul, and featured themes from across the artist’s oeuvre musing on queer sculpture and art history through a variety of media, including video, installation, drawing and writing. This review examines and critiques the role of the artist’s biography and identity in the production and archiving of their work, foregrounding issues of cultural heritage and personal intimacy despite divisions of nationality, gender, and other limitations to the canonization of non-Western perspectives on the fringes of Europe. Öztat’s alter ego, ghost and muse, the character Zisan, parallels her own narratives of exile, as the fictive daughter of an Armenian photographer who flees Istanbul in 1915 and whose presence embodies forgotten victims of genocide, patriarchy and nationalism.
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Prylipko, Iryna. "SHEVCHENKO’S POEMS NAMED “MY THOUGHTS, MY THOUGHTS...”: HISTORY OF THE TEXT AND FEATURES OF POETICS." Слово і Час, no. 2 (April 10, 2022): 30–41. http://dx.doi.org/10.33608/0236-1477.2022.02.30-41.
Анотація:
The paper highlights the formation of the main text of T. Shevchenko’s poems “My Thoughts, My Thoughts...” from 1840 and 1848. The research focuses on the literary features of the poems, clarifies the coherence of their ideas and design, emphasizes the significance of these pieces within the poet’s works.
Both poems, differing in volume, time, and place of writing, are related not only in title but also in the key motives, images, and their weight in the ideological and aesthetic context of all Shevchenko’s writings. The changes made on the way from the first edition to the main text of the poem from 1840, although insignificant, testify to the author’s desire to improve his text both on the grammatical and semantic levels. The textual history of the poem from 1848 more clearly represents the peculiarities of the creative process, since on the way from the draft autograph to the main text one can trace not cardinal but significant semantic changes that reveal the specifics of the poet’s creative pursuits, his careful treatment for the form and content of the works, and their proper preparation for print.
Both poems testify to the invariability of the artist’s ideas and aesthetic guidelines and, at the same time, the creative evolution of his worldview, based on life experience and living conditions. If the importance of the poem from 1840 lies primarily in shaping the author’s literary strategy, as it accumulates key motives and images of Shevchenko’s work, reveals the specifics of the artist’s worldview and creative personality, the poem from 1848 is a result of the experience that made creativity and freedom axiological dominants of the artist’s life.
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Naydenko, Viktoriia. "Oleg Lazarenko’s Mosaic Color Painting: Features of Plastic Language." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 161–75. http://dx.doi.org/10.33625/visnik2022.01.161.
Анотація:
The article examines the work of the Kharkiv art school and a member of the art association Burime, artist and designer Oleg Lazarenko. The article highlights the problem of color, which was actively raised by the Impressionists, and was subsequently picked up and comprehended by avant-garde movements. The genesis of color painting as an artistic technique in the art of the twentieth century is traced. Attention is focused on the avant-garde traditions, in particular, collage, suprematism and op-art, which greatly influenced the formation of the artist’s pictorial manner — mosaic color painting. The circle of postmodern innovations is revealed, which can be traced in the author’s manner of painting. It was revealed that in his creative activity the artist uses several pictorial techniques, which can be classified as follows: “plein air painting”, “mosaic color painting”, “oil color painting”. In addition, the art history analysis of the works showed his potential as a color painter and demonstrated the artist’s ability to go beyond the framework of a two-dimensional canvas with the help of optical illusions, color transitions, and influence the psychological state of the viewer. The origins of the design component in the master’s painting, which originate from the time of study at the “Khudprom” (Kharkiv State Academy of Design and Fine Arts) and have a significant impact on the author’s writing technique. The connection of the artist’s pictorial language with the ancient artistic culture is traced, which is expressed through Lazarenko’s appeal to the Trypillian ornamentation and Ukrainian folk traditions. The author reveals the relationship between religious art and icon-painting reminiscences of the master, which are transmitted through mosaic and oil color painting and illuminated in sacramental images on canvas. An art history analysis of O. Lazarenko’s selected works, performed in the technique of mosaic and oil color painting, is carried out, and the peculiarities of their structural-compositional and figurative-meaningful solutions are revealed.
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Beck Cohen, Stephanie. "Quilting in West Africa: Liberian Women Stitching Political, Economic, and Social Networks in the Nineteenth Century." Arts 12, no. 3 (May 8, 2023): 97. http://dx.doi.org/10.3390/arts12030097.
Анотація:
Quilts occupy a liminal position in the histories of art and material culture. Centering analyses around specific artworks like Martha Ricks’ 1892 Coffee Tree quilt, as well as investigating women’s writing about their material production, illuminates ignored narratives about the ways black women participated in international social, political, and economic networks around the nineteenth-century Atlantic world. Quilters who emigrated from the United States to Liberia in the nineteenth century incorporated an aesthetic heritage from the American South with new visual vocabularies developing alongside the newly independent nation. Artists relied on networks with abolitionists in the United States and local textile knowledge to source materials for their work. Finished quilts circulated in local and international contexts, furthering social, political, and economic objectives. Like Harriet Powers’ bible quilts, Ricks’ quilts gained fame through exhibition and a whimsical artist’s biography. Quilts’ fragility as natural-fiber textiles in a tropical climate makes a finding a body of works difficult to examine as there are no extant Liberian quilts from the nineteenth century. However, it is possible to patch together a network of women artists, their patrons, and audiences from West Africa to North America and Europe through creative investigation of diverse historical records, including diary entries, letters, newspaper articles, and photographs. I argue that by examining Martha Ricks’ artworks, self-presentation through portraiture, and published writing, it is possible to envision a new narrative of black women’s participation in visualizing the newly-minted Republic of Liberia for Atlantic audiences.
27
Leonard, Paul. "Rhubarb! / 2: Towards a New Dramaturgy." Canadian Theatre Review 49 (December 1986): 44–50. http://dx.doi.org/10.3138/ctr.49.009.
Анотація:
The possibility for co-operative artistic input which characterizes theatre in part gives rise to the well-known workshop process, in which a group focuses attention and expertise on an individual playwright’s work, in order to improve it. Sky Gilbert, artistic director of Toronto’s Buddies in Bad Times Theatre, is an outspoken critic of this practice, which he sees as a violation of the artist’s vision. The whole system of play development In this country, according to Gilbert, is based on a fundamental distrust of the individual writer, on an implicit assumption that directors, actors, and dramaturgs know better than the playwright what Is needed to make a script “work.” This communal approach to theatre Is so deeply rooted, Gilbert suggests, that artistic directors feel they should be able to dictate what playwrights write about. Indignantly, he recounts an experience from the beginning of his career as a playwright, “An artistic director in this city actually told me, actually said, ‘You shouldn’t be writing plays about Baudelaire’!” Continues Gilbert: “Artistic directors telling you what to write about Is the beginning of the workshop process.”
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Sampson, Chris. "Developing projection in student songwriters: Writing popular songs that are actually popular." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 105–11. http://dx.doi.org/10.1386/jpme.3.1.105_1.
Анотація:
An important turning point in the development of a young songwriter occurs when they transition from writing songs that might only be meaningful to themselves to writing songs with the intention of connecting to a wider audience. This accomplishment can be described as a student achieving good projection through their songs. More specifically, good projection in songwriting happens when student’s successfully leverage elements of the craft that effectively produces audience participation through groove, melody, form and lyrics. An artist’s persona can also contribute significantly to connecting with a wide audience through their unique and compelling performance style. Through understanding these elements, songwriting instructors at all levels can craft lessons that focus on these fundamentals with the explicit goal of improving projection in their students writing. Furthermore, the concept of projection helps create baseline criteria for the assessment of songs in the classroom regardless of genre or subgenre.
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Muhamad, Noor A'yunni, Azian Tahir, and Noor Enfendi Desa. "Art Appreciation: The Expression of Etching in Printmaking through Mohd Fawazzie Arshad’s Artwork." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 35–42. http://dx.doi.org/10.24191/idealogy.v6i1.252.
Анотація:
In art world, Intaglio is one of the printmaking techniques that focuses on incising metal surfaces such as copper, steel or zinc plate. By using intaglio technique in producing printmaking artworks, that includes etching, drypoint or even mezzotint approach, the only thing that matters is the development of form through the understanding of lights and dark which leads to the exploration of value in art and design. On 14th September 2020, an artwork exhibition titled SI+SA was held at Galeri Shah Alam, with the aim of this exhibition is celebrating art from the different backgrounds of artistes during Covid-19 pandemic phenomenon. Mohd Fawazzie Arshad is one of the featuring artistes who participated in this exhibition and presented his remarkable intaglio artwork which emphasises the value of element and principle in arts. In this writing, the author was granted with the opportunity to conduct an interview with Mohd Fawazie Arshad to discuss the insight in his artworks and how does his artwork embark a different perspective in intaglio printmaking. This interview scrutinised on what are the elements that inspired the artist to produce his artwork and what are the references that artist has used in terms of developing idea and style in his artwork making. In this writing also, Mohd Fawazie Arshad will also explain the process of his artwork making based on his studio practises. It is important to understand the artist’s studio environment in order to explore the techniques and medium which has been practised by the artist in his artwork making. Findings from this research will produce a complete exclusive write up about Mohd Fawazie Arshad past and present artwork. It will enliven the art industry and academic writing especially in the field of Malaysian Printmaking art scene.
30
Marie, Farzana. "Modernity, Sexuality, and Ideology in Iran." American Journal of Islam and Society 30, no. 2 (April 1, 2013): 123–25. http://dx.doi.org/10.35632/ajis.v30i2.1141.
Анотація:
Modernity, Sexuality, and Ideology in Iran represents a significant momentin artistic resurrection and re-vision. It examines the life and work of a discardedIranian female popular artist known as Shahrzad (b. 1946). Throughcritical attention previously denied to Shahrzad, Talattof honors her creativecontributions and, by extension, recognizes and honors artists like her whohave been marginalized for the last several decades, their art labeled as“shameful” or “profane” due to their unacceptable sexual roles as dancers,singers, and actresses. Through the lens of her life and legacy, he argues thattrue modernity can never fully emerge without space for the discussion ofsexuality – especially that of women.The author takes a risk in offering critical analysis of this artist’s life andwork, for Shahrazad is recognized neither in the canon, nor by the giants ofcommitted literature in Iran, the dominant style when she was writing in the1970s. While detailing and noting the significance of her accomplishments,he asks why she has not been so recognized and locates that question along aline of inquiry as regards Iran’s “missing” modernity. He asks why a nationwith such a long tradition of the scientific and socio-cultural accomplishmentsseems suddenly stuck in a medieval mindset, selectively applying modernityin such a way that it serves only to fortify the establishment in its extremepolicies – through such “modern” means as technology ...
31
Szewczyk-Haake, Katarzyna. "The ethical turn in the early writings of Pär Lagerkvist." Folia Scandinavica Posnaniensia 18, no. 1 (December 1, 2015): 49–66. http://dx.doi.org/10.1515/fsp-2015-0018.
Анотація:
Abstract In the text presented, I have undertaken an analysis of the early essays of Pär Lagerkvist (dated 1915-1917), both the ones published in periodicals and the unpublished manuscripts in the possession of the Kungliga Biblioteket in Stockholm. In those essays, Lagerkvist paid considerable attention to the matters of the ethics of art and the conflict between the ethical and aesthetical criteria of assessment of the work of art, and those problems are discussed also in Lagerkvist’s letters from that time. The aim of the article is to present this less known area of the artist’s activity and to point to the fact that the consequences of those reflections can be tracked in Lagerkvist’s literary works written in the same time period. Moreover, it can be argued that the understanding of the ethical art and the moral sense of the artistic activity presented in the early texts became an import and lasting feature of Lagerkvist’s writing - and, consequently, it can be claimed that the essays under discussion have a formative effect on Lagerkvist’s later output.
32
ZIJING, ZHANG. "Bohdana Filts’s vocal chamber works of the late-life period: artistic design and performance implementation." CONTEMPORARY ART, no. 18 (November 29, 2022): 285–93. http://dx.doi.org/10.31500/2309-8813.18.2022.269745.
Анотація:
The article considers the features of artistic and imaginative thinking of Bohdana Filts (1932-2021) in the vocal chamber work of late-life creativity. The author highlights the performing features of the solos chosen for analysis based on poetic texts by L. Ukrainka, I. Franko, L. Kostenko, and H. Kanych. An attentive and careful attitude to the requirements of performing practice, skilful use of all the possibilities of the voice, and its timbre-expressive palette are prominent in Filts’s solos. The composer masterfully creates the piano accompaniment’s part, which always plays an essential figurative and semantic role. In the analyzed works of the late-life period, there is a direct connection with the vocal chamber compositions of earlier stages of the artist’s work through the ideological and aesthetic orientation of the idea, features of intonation thinking of the composer, her harmonic language, and unique style of vocal writing with characteristic genre preferences.
33
Prado, Gilbertto. "Project Amoreiras (Mulberry Trees): Autonomy and Artificial Learning in an Urban Environment." Leonardo 51, no. 1 (February 2018): 61–62. http://dx.doi.org/10.1162/leon_a_01557.
Анотація:
This artist’s writing discusses Project Amoreiras, developed by the Poéticas Digitais Group. The proposal is an urban intervention involving art, technology and environment, configured as an interactive installation of mulberry trees on the Paulista Avenue (São Paulo, Brazil). The article highlights its poetic and technological elements as critical positioning on pollution in the metropolitan environment, the processes of autonomy and artificial learning, the emergent behavior of the trees, the application of John Conway’s neighborhood principles to the project as well as the positive reception of the proposal by the pedestrians during the exhibition.
34
Papastergiadis, Nikos. "A Breathing Space for Aesthetics and Politics: An Introduction to Jacques Rancière." Theory, Culture & Society 31, no. 7-8 (November 6, 2014): 5–26. http://dx.doi.org/10.1177/0263276414551995.
Анотація:
Jacques Rancière is one of the central figures in the contemporary debates on aesthetics and politics. This introduction maps the shift of focus in Rancière’s writing from political theory to contemporary art practice and also traces the enduring interest in ideas on equality and creativity. It situates Rancière’s rich body of writing in relation to key theorists such as the philosopher Alain Badiou, art historian Terry Smith and anthropologist George E. Marcus. I argue that Rancière offers a distinctive approach in this broad field by clarifying the specificity of the artist’s task in the production of critical and creative transformation, or what he calls the ‘distribution of the sensible’. In conclusion, I complement Rancière’s invocation to break out of the oppositional paradigm in which the political and aesthetic are usually confined by outlining some further methodological techniques for addressing contemporary art.
35
Hines, Megan. "A Journey That Wasn’t: Pierre Huyghe’s Graphic Film." Edgar Allan Poe Review 22, no. 1 (June 1, 2021): 167–87. http://dx.doi.org/10.5325/edgallpoerev.22.1.167.
Анотація:
Abstract This article considers the influence of Edgar Allan Poe’s 1838 novel The Narrative of Arthur Gordon Pym of Nantucket on contemporary artist Pierre Huyghe’s 2005 video installation A Journey That Wasn’t, a documentation of the artist’s journey to the Antarctic and its subsequent reenactment as a performance in New York City’s Central Park. Whereas cinema has been attracted to the graphicality of Poe’s writing, his ability to create compelling images in words, A Journey distinguishes itself from that tradition. This article employs a close reading of Poe’s definition of graphicality in order to expand the critical interpretation of Poe’s neologism and relate it to contemporary debates about the nature of representation in art’s documentary turn and artistic research, both genres that emerged in the mid-1990s and to which Huyghe’s project relates. It argues that graphicality is a theory of representation specifically positioned against objectivity as the sole means of producing shared knowledge. It demonstrates graphicality’s relevance for A Journey, which is concerned with contemporary debates surrounding art and film’s relationship to science and knowledge production.
36
Stone, Nomi. "Poetics in the Ethnographic." Commoning Ethnography 1, no. 1 (December 15, 2018): 45. http://dx.doi.org/10.26686/ce.v1i1.5205.
Анотація:
ARTIST’S BIO: Nomi Stone is a Postdoctoral Research Associate at Princeton University. She has recently published articles in Cultural Anthropology and American Ethnologist, and her poetry appears in The New Republic, The Best American Poetry, POETRY Magazine, American Poetry Review, Tin House, and widely elsewhere. Nomi Stone has won a Pushcart Prize and was a Fulbright scholar in creative writing in Tunisia. She has recently served as a judge for the Society of Humanistic Anthropology’s Ethnographic Poetry Competition. Her first poetry collection, entitled Stranger’s Notebook (TriQuarterly Books), was published in 2008, and her forthcoming collection, Kill Class, will be published in 2019 by Tupelo Press.
37
Samusenko, Oksana. "UKRAINIAN EPISTOLARY HERITAGE AS A MATERIAL FOR THE DEVELOPMENT OF FOREIGNERS’ WRITING SKILLS: LETTERS OF LESIA UKRAINKA." Theory and Practice of Teaching Ukrainian as a Foreign Language, no. 18 (May 30, 2024): 67–79. http://dx.doi.org/10.30970/ufl.2024.18.4394.
Анотація:
The paper deals with writing as a type of speech activity in terms of linguodidactics. The purpose of the study is to highlight Lesya Ukrainka’s epistolary heritage as a material for developing the writing skills of foreigners learning Ukrainian. The choice of material is due to a number of factors, including the outstanding figure of Lesya Ukrainka, her powerful epistolary talent, multilingualism, the artist’s cultural and translation activities. The free access to the letters on the website of the publication, where spelling and punctuation are presented per the norms of modern spelling, makes it possible to use these texts in teaching Ukrainian as a foreign language. Although the use of Lesya Ukrainka’s texts as teaching material for foreign language students already has a good tradition, her epistolary heritage is only beginning to attract the interest of teachers of Ukrainian as a foreign language. The paper focuses on theoretical and practical recommendations for developing writing skills in a foreign audience. The paper highlights the place of writing Ukrainian letters in the methodology of teaching the language as a foreign language. It outlines the materials and tasks for foreigners to develop their skills in writing friendly and business letters in Ukrainian. The paper emphasizes the importance of the preparatory stage, which includes a set of tasks for working on the forms of the vocative case, formulas of address, greetings, farewells, expressions of gratitude, etc. Special attention is paid to the structure of a letter in the Ukrainian language. It has been proved that working with Lesya Ukrainka’s letters can effectively develop writing skills. The article presents language materials and a list of tasks for different levels of Ukrainian language proficiency that students can do based on Lesya Ukrainka’s letters. Such tasks will help foreigners develop their writing skills, improve their knowledge of the Ukrainian language, and contribute to the formation of socio-cultural competence. Key words: Ukrainian as a foreign language, writing as a type of speech activity, epistolary, letter, Lesya Ukrainka.
38
Miteva, Kremena. "The Artist Petar Dachev in Plamak Magazine." Chuzhdoezikovo Obuchenie-Foreign Language Teaching 48, no. 6 (December 17, 2021): 614–28. http://dx.doi.org/10.53656/for21.66tvor.
Анотація:
The article has a cultural-historical character, aiming to briefly present the biography and the first steps in art of an unfamous Bulgarian artist - Peter Dachev, as 2021 marks 125 years since his birth. What is taken into consideration are the reviews for his debut solo exhibition in Sofia in 1924, which impressed the art critics of the time with its originality and modernity. Special emphasis is placed on the artist’s presence on the pages of Plamak Magazine – an issue not previously taken into account. Based on archival information, it became known and commented that Peter Dachev made an attempt at fiction writing in Geo Milev’s edition, where the artist wrote under a pen name. The study is richly illustrated, with some of the images being published for the first time.
39
Wilkins, Caroline. "Re-Listening to Derrida and Benjamin." Performance Philosophy 8, no. 1 (July 3, 2023): 111–19. http://dx.doi.org/10.21476/pp.2023.81451.
Анотація:
News on the publication of Two Plays for the Stage was announced on the Performance Philosophy website during 2021 but only received my attention this year, when I ordered a copy of the book out of curiosity. After reading it and making copious notes, I contacted the two authors to give them my impressions, particularly those concerning my responses to it in terms of sound. The trigger for this ReView came from an email discussion with John Schad on critical-creative writing, which I interpret as creative criticism, meaning that this could take any form appropriate to the artist’s discipline. Indeed my essay in an earlier edition of the journal (Wilkins, 2016) took the form of a labyrinthine script during its writing process, this as a response to Freddie Rokem's initial article (Rokem, 2015). It later manifested itself in an audio piece presented in Vol. 7.1, a collaboration between myself and Leona Jones entitled With W/Ringing Ears. (Jones, Wilkins, 2022). Fred Dalmasso’s research into the syncope (2017), which surfaces within the concluding essay to the book, has interested me for some time in terms of its possible parallels in the world of sound.
In this current contribution I present a parallel sound-world that was spontaneously invoked during my reading of Derrida | Benjamin. I refer to key phrases / quotes that became pointers for triggering the sonic responses that follow. This is by no means an attempt to suggest audio for any future production of the plays, rather a series of independent sonic ideas that spring from the writings of John Schad and Fred Dalmasso.
40
Senasinghe, Ranjana Devamitra. "The geography of Nicholas Roerich’s travels in Ceylon (on the basis of the artist’s writings and paintings)." RUDN Journal of Russian History 18, no. 3 (December 15, 2019): 642–60. http://dx.doi.org/10.22363/2312-8674-2019-18-3-642-660.
Анотація:
This article discusses Nicholas Roerich´s travel to Ceylon as part of his Central Asian expedition of 1923 -1928, which is a less-known episode in the biography of the artist and thinker. Roerich’s stays in India, Bhutan, Manchuria, China and other countries are already well known, but his visit to Ceylon has not yet been subject to research. One important question pertains to chronology: while Roerich´s diaries establish that he was on the island in 1923, his letters from December 1923 indicate that at the time of writing he was in India. Solving this issue is one purpose of this article. On Roerich’s map of his Central Asian Expedition, Ceylon is marked as a point of stay, yet without specifying the particular places of his visit. This article reconstructs the route of Nicholas Roerich’s trip to Ceylon during which he established contacts and spiritual ties with representatives of religious and secular circles of this island. The present study is based on Roerich´s documents of personal origin, as well as on visual materials from the cycle ‘Ashram’ that the artist created during his visit to Ceylon.
41
Turowski, Andrzej. "List, który zaginął." Artium Quaestiones, no. 28 (May 22, 2018): 273–78. http://dx.doi.org/10.14746/aq.2017.28.12.
Анотація:
A Letter That Was Lost Summary The paper presents the history of a letter by Tadeusz Kantor of 1981 that was long lost. Kantor responds in it to a proposal from the Institute of Art History of the University of Poznań to have a series of lectures on the avant-garde. Writing that he had not time for it, he explains in some detail his detachment from the institutional study of the avant-garde at the university, stressing his involvement in the avant-garde activity through his art, in particular the Cricot theater. Kantor insists that the avant-garde does not belong to the public domain, but is a result of the artist’s private experience of anxiety and fear in confrontation with the audience and their emotional response to engaged art.
42
Rivers, with Students in ENGL 167, Daniel Lanza. "Reflections from the Classroom: Students Engage Steinbeck’s Work with the Arts at San José State University." Steinbeck Review 20, no. 2 (December 1, 2023): 218–38. http://dx.doi.org/10.5325/steinbeckreview.20.2.0218.
Анотація:
Abstract This article offers a showcase of students’ work from the class “ENGL 167: Steinbeck” at San José State University. At the end of the term, students were presented with three options: they could compose a traditional research-based, analytical essay; they could create a series of lesson plans for a high school unit on Steinbeck’s work; or they could craft a creative response. All students were required to submit an initial prospectus and a research summary, and students who submitted a creative project were also asked to submit an artist’s statement that connected their project to the semester’s readings and their external research. The projects shared here use visual art, crafts, collage, creative writing, music, and a crossword to reflect on the author, his work, and his enduring legacy.
43
A. Wazzan, Suzanne. "Analyzing Robert Frost’s Statement Writing Free Verse is Like Playing Tennis without a Net." Arab World English Journal For Translation and Literary Studies 6, no. 4 (October 24, 2022): 79–88. http://dx.doi.org/10.24093/awejtls/vol6no4.6.
Анотація:
Free verses and poetry of Robert Frost, an extremely commended twentieth-century American poet, are still preferred themes for debate among fictional critics even almost an era after his death. While many critics refer to Frost as a modernist poet, a mysterious personality who manipulated rare celebrities with an exceptionally tough private life, or a rural poet of New England. Frost’s character also lobbed authors and critics at diverse guidelines. Most of these critics of poetry consider and expound that Frost’s long-used set design of rhyme, meter, and rhythm oblige the poet’s understanding and obstruct his distinctiveness. Without standards or measures of design and type, this method of poetry structure suppresses the development of an artist’s imaginative meaning. Exceptional design in which essence arises in a poet’s opinion is commonly the content for a rhyme. The entire self-determination of communication attracts them to maintain a belief that precludes them from stating all poetry and sensing the melody that can arise in them. This study examines Robert Frost’s statement writing free poetry is like playing tennis without a net in terms of poem structure traditional views and argues the “pro free verse” school in meantime ends up with a balanced approach.
44
Boukla, Eirini. "A ‘certain hand’ and its margin of error." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 49–67. http://dx.doi.org/10.1386/drtp_00050_1.
Анотація:
Suppose we consider an independent artist tolerance allows for a ‘margin of error’ as an aesthetic measure, it follows that its innate implication must impact on any, and all artworks, its intervention and the effects of its making. Seeing this independent tolerance, strangely, intersecting with a certain drawing and its erring in doing, this writing considers the link between error and an enduring measure of the artist’s hand and reconsiders its indexical relation to the artist. The inquiry begins with a reflection on Katharina Hinsberg’s (1999) Nulla dies sine linea ('No Day without a Line'), where error and a detached automated approach to drawing is emphasized. Going on, brings into the discussion Warhol’s ‘blotted line’, which prefigures a notion of a ‘failure of reproduction’ and the production of its effects. Elaborating, on Hinsberg’s subjective resistance and Warhol’s failure of reproduction, the discussion brings on board Christopher Wool’s, and Wade Guyton’s technical execution and erring. Marked by craft, tools and by decisions about tools, Wool’s and Guyton’s work resolutely embraces the hand encumbering the reasoning of the mind’s judgements and the use and fidelity of machined methods of reproduction. Wool’s roller, stamp, stencil, and Guyton’s skewed digital technologies, their operational error and technical failure take the mind and the hand back together, and demonstrate that perhaps the trace of the artist’s hand, no matter how dispassionate, ironic or vacuous of meaning stubbornly remains a drawing’s most compelling message.
45
Rybina, Polina. "Jane Austen and the Uncanny: The Colonial Past in Patricia Rozema’s Adaptation, Mansfield Park." Acta Universitatis Sapientiae, Film and Media Studies 24, no. 1 (November 1, 2023): 156–69. http://dx.doi.org/10.2478/ausfm-2023-0018.
Анотація:
Abstract Neither Jane Austen’s writing, nor film adaptations of her novels made in the heritage film tradition seem particularly uncanny. Linked in the viewers’ minds with the representation of the English countryside stability, the films promote traditional values and take the spectators away from the problems and anxieties of the contemporary status quo. However, Patricia Rozema’s Mansfield Park (1999) uses Austen’s plot to question the colonial past by creating uncanny effects. Understood in this paper as an eerie resurfacing of the hidden (following Friedrich Wilhelm Joseph Schelling, Sigmund Freud, John Hodgkins, Barbara Creed), the uncanny becomes a tool for inquiring into how contemporary filmmakers and their audiences revisit old stories. Rozema creates two subplots for the main narrative: a story about an artist’s growth (Fanny Price becomes a writer) and a colonial narrative, which foregrounds the Bertrams’ dependence on their property in Antigua and their use of slave labour. Both plot lines enrich the film with uncanny effects linked to the inherent intermediality of film adaptations. Grotesquely frightening verbal images from Fanny’s writing (extracts from Austen’s Juvenilia) and the uncanny visuality of Tom Bertram’s drawings frame the viewer’s revisitation of Mansfield Park while reminding him/her of a subversive potential – of the uncanny and film adaptations.
46
Roberts, Matthew. "The Dignity within Us: Harold Pinter’s Search for Truth." Harold Pinter Review 7 (June 2023): 42–59. http://dx.doi.org/10.5325/haropintrevi.7.1.0042.
Анотація:
ABSTRACT “Art, Truth and Politics” juxtaposes the artist’s pursuit for truth with the citizen’s obligation to define the “real truth” of their lives. Drama does not need to distinguish what is real from what is unreal, leading an artist or spectator on an interminable quest to discover a play’s truth. However, citizens must identify what is true about their societies or risk losing a politics founded on dignity. Obtuse on this issue, Pinter leaves the reader to imagine what he must have meant by “the dignity of man.” In Anglo-European intellectual history, dignity typically refers to a quality—the soul or free will—that exceeds humanity’s material conditions. Conversely, Pinter’s definition of dignity corresponds with the existential poverty that he discusses in “Writing for the Theatre.” Pinter’s Nobel speech invites “us” to consider how dramatic truth—because it is easy to lose—concerns “what is so nearly lost to us.”
47
Eliot, Karen. "‘Where Burns the Artist's Soul’: Tamara Karsavina's Writings on Artistry and Expression." Dance Research 42, no. 1 (May 2024): 78–97. http://dx.doi.org/10.3366/drs.2024.0418.
Анотація:
The ballerina Tamara Karsavina experienced vast shifts from romantic and post-romantic 1 performance styles to twentieth-century modernism. In the first section of this essay, I give an overview of these shifts; then, I explore Karsavina's writings for insights into her views on performance and artistry. In her writing, she develops her artistic credo and expresses the conviction that to contribute to a living art form, ballet dancers must deepen their expressivity while expanding technique and their practice of classical mime. For her, the future of ballet can be found in the traditions of the danse d'école and the classical repertoire
48
Kim, Christine Sun, and Amanda Cachia. "Six Types of Waiting in Berlin, 2017." South Atlantic Quarterly 120, no. 2 (April 1, 2021): 279–83. http://dx.doi.org/10.1215/00382876-8915980.
Анотація:
In Six Types of Waiting in Berlin, Christine Sun Kim’s drawings provide a fascinating constellation of cultural and sensorial experiences with time. Originally from the United States, the artist shares her account of how time (and waiting) is measured differently according to the cities in which she has lived, with each place having its own advantages and drawbacks. While each environment in which one must tediously wait—an immigration office, the health insurance office, the doctor’s office, the bank, an art supplies shop, and the grocery store—is familiar, the subtext of the drawings is how the artist’s relationship with time is also measured by her style of communication. Kim uses American Sign Language and asks questions in a written form using an iPhone on a daily basis as she goes about her chores. “Crip time” is thus also punctuated by the pauses in writing/scrawling questions, in reading, and the creativity involved in ad-lib responding between deaf and non-deaf sensorial modalities.
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Antsyferova, Olga. "Rethinking the biographical canon: Silences and gaps in Colm Tóibín’s "The Master"." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 16/2 (June 20, 2019): 7–23. http://dx.doi.org/10.26881/bp.2019.2.01.
Анотація:
Over the last number of decades, the biographical canon has become the focus of scholarly attention for several reasons: revision of the essential concepts of (self)-identity, keen interest in liminal literary forms, searches for new forms of assessment of the artist’s creative output and new interpretive methodologies. Biofiction as a genre encompassing both documentary and fictional elements represents not only the biographical subject proper but also the author’s subjective orientation. The case study of a recent biofiction about Henry James (“The Master” by the Irish gay writer Colm Tóibín) suggests that silence as a semiotic practice and cognitive failure plays an important role in this particular example of the numerous biographies of James and functions not to uncover the sites of suppression of a presumably gay protagonist but acquires a universal, ontological meaning, signifying the fatal solitude of the artist, which is very close to the main credo of James’ own writing.
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Meneses, Luis, and Enrique Mallen. "Semantic domains in Picasso’s poetry." Digital Scholarship in the Humanities 34, Supplement_1 (December 24, 2018): i123—i128. http://dx.doi.org/10.1093/llc/fqy078.
Анотація:
Abstract The question of why Pablo Picasso dedicated a considerable amount of his time to writing around 1935 is open to speculation. Many have cited, among possible causes: the Spanish artist’s emotional crisis, the political turmoil in Europe in the period between the two wars, and the menace of a confrontation in Spain. All of these views are predicated on an assumed irreducible conflict between visual composition and verbal expression. However, we cannot forget that Picasso’s interest in alternative methods of expression might have started with his fascination for linguistic structure as a whole during his cubist period. In this article, we explore the possibility that the transition into poetry that we observe in Picasso is simply one more manifestation of his pursuit of alternative approaches to language as a means of representation. In this sense, one thing that remained to be determined was how concrete concepts in both languages cluster into representative semantic categories and how these categories interact with each other in semantic networks.