Robert Bringhurst, A story as sharp as a knife: The classic Haida mythtellers and their world. Vancouver & Toronto: Douglas & McIntyre, 1999. Pp. 527. Hb $45.00; Robert Bringhurst, Nine visits to the mythworld: Ghandl of the Qayahl Llaanas. (Masterworks of the Classical Haida Mythtellers, vol. 2.) Lincoln: University of Nebraska Press, 2000. Pp. 222. Hb $37.95; and Robert Bringhurst, Being in being: The collected works of Skaay of the Qquuna Qiighawaay. (Masterworks of the Classical Haida Mythtellers, vol. 3.) Lincoln: University of Nebraska Press, 2001. Pp. 397. Hb. $35.00

2003 ◽  
Vol 32 (5) ◽  
pp. 747-751
Author(s):  
Dell Hymes
Keyword(s):  
Material Culture ◽  
Visual Arts ◽  
Oral Narrative ◽  
The Arts ◽  
Creative Writer ◽  
Unpublished Manuscripts ◽  
Native North America ◽  
The Relationship ◽  
Robert Bringhurst ◽  
Lincoln University

These three volumes invite a volume in return. They bring Haida to the fore of what is known of oral narrative in Native North America. One finds a dedicated philological sleuth, tracking down original texts and unpublished manuscripts (see A story as sharp as a knife, pp. 221–2; Nine visits to the mythworld, p. 17); a historian of anthropology, reconstructing and relating the story of a young fieldworker who is now largely forgotten (John R. Swanton); a pursuit of detail that enters into a past world, identifying in footnotes and photographs the places and foods and material culture of that world; and a creative writer reimagining Haida men, on islands crumbled by disease and occupation, re-creating in narratives a world their minds could still imagine. Not least, one finds someone for whom the arts are a normal part of life, and for whom the conception and misfortunes of a painting by Velasquez (44–49) can illuminate the relationship between myth time and historical time in Haida. Finally, the writing displays an ease, indeed a gift for words, that befits an established poet, and the books themselves are attractive, as befits a typographer versed in visual arts. (Bringhurst was invited to bring out a new edition, Chappell & Bringhurst 1999, of a standard book. The new edition indeed displays two pages [298–99] in line and verse of Victoria Howard's “Gitskux and his older brother” [Clackamas Chinook]; see Hymes 1983. His book of 1992 has been a bestseller.

Personality and interest in the visual arts

2016 ◽  
Vol 6 (2) ◽  
pp. 126-140 ◽  
Author(s):  
Catherine L. Bachleda ◽  
Asmae Bennani
Keyword(s):  
Visual Arts ◽  
Sensation Seeking ◽  
Visual Art ◽  
Online Survey ◽  
Demographic Variables ◽  
Empirical Examination ◽  
Student Sample ◽  
Content Type ◽  
The Arts ◽  
The Relationship

Purpose The purpose of this paper is to explore the relationship between personality and interest in the visual arts in a sample of Moroccan workers. Design/methodology/approach Data were gathered from 210 respondents to an online survey. Findings Results indicate that interest in the visual arts is associated with openness and sensation seeking, even after controlling for income and education. Practical implications This study suggests that to increase consumption of visual arts products or experiences, arts marketers should focus on the personality traits of openness and sensation seeking rather than the demographic variables of income and education. Originality/value Results extend conclusions about openness and interest in the visual arts to a non-student sample and extend the importance of sensation seeking to visual art interests as opposed to visual art preferences and art judgement. This study also represents the first empirical examination of interest in the arts in Morocco.

scholarly journals Paratexts Seeking Understanding: Manuscripts and Aesthetic Cognitivism

Religions ◽  
2020 ◽  
Vol 11 (10) ◽  
pp. 523
Author(s):  
Garrick V. Allen ◽  
Anthony P. Royle
Keyword(s):  
Material Culture ◽  
Literary Work ◽  
Normative Theory ◽  
Manuscript Studies ◽  
Religious Literature ◽  
Qualitative And Quantitative ◽  
Works Of Art ◽  
The Arts ◽  
The Relationship

This article explores the relationship between manuscripts of ancient religious literature and aesthetic cognitivism, a normative theory of the value of art. Arguing that manuscripts both contain and constitute works of art, we explore paratextuality as a phenomenon that connects manuscript studies to both qualitative and quantitative sides of aesthetic cognitivism. Focusing on our work with a single unpublished gospel manuscript (Dublin, CBL W 139) in the context of a larger project called Paratextual Understanding, we make that case that paratexts have aesthetic functions that allow them to contribute to the knowledge yielded by the larger literary work of which they are a part. We suggest a number of avenues for further research that engages with material culture, non-typography, paratexts, and the arts.

Women and the Visual Arts

2011 ◽  
Author(s):  
Jacqueline Marie Musacchio
Keyword(s):  
Visual Arts ◽  
Social Conditions ◽  
Dutch Republic ◽  
New Work ◽  
Italian Peninsula ◽  
Recent Scholarship ◽  
The Arts ◽  
Stuart England ◽  
Near Future ◽  
The Relationship

The relationship between women and art in the Renaissance and Reformation across Europe is still a relatively new area of study, and recent scholarship indicates considerable interest in all aspects of it. Women’s engagement with the arts might be categorized into three broad themes: women as artists, patrons, and subjects. This is perhaps the best way to look at this phenomenon, and a great many art historians, cultural historians, and other scholars have used these themes to structure their inquiries. Within these three themes, however, it is important to note that the women in question were almost always of the middle and upper classes, and they lived in urban settings; these were the women who, via familial wealth or, in some cases, their own resources, could afford encounters with art. Much of the scholarship on this topic has been biased toward cities on the Italian peninsula, where contextual research on economic, political, and social conditions provides a strong foundation across the chronological span. But new work on the Dutch Republic and Tudor and Stuart England, as well as occasional studies in other countries and eras, indicates that this burgeoning field will only become more popular in the near future.

scholarly journals Sponsoring the Arts: Melic Perspectives

2018 ◽  
Vol 31 (2) ◽  
pp. 9-29
Author(s):  
Lucia Athanassaki
Keyword(s):  
Visual Arts ◽  
Keen Interest ◽  
The Arts ◽  
Starting Point ◽  
Monumental Sculpture ◽  
Art Forms ◽  
Relationship Of ◽  
The Relationship

This paper explores the melic poets’ take on art and its sponsors. Since much has been written on the relationship of epinician poets with their patrons, this paper broadens the focus of enquiry to include other melic genres and, in addition to the verbal, to look at the visual arts as well, i.e. melic representations of communities that sponsor songs and of communities or individuals that sponsor other art-forms such as sculpture, architecture, and precious objects. Taking as starting point Xenophon’s depiction of Simonides in Hiero, I discuss epigrams XXVII and XXVIII Page and relevant testimonia that show Simonides’ keen interest in Athenian dithyrambic contests; Bacchylides’ Ode 19, probably composed for the Great Dionysia; Pindar’s Pythian 7, Paean 8, and fragment 3 in conjunction with Homeric Hymn to Apollo 281-99, Herodotus 1.31, Cicero, De oratore 2. 86. 352-353, [Plutarch] Consolatio ad Apollonium, and Pausanias – all of which offer precious insights into Pindar’s views on sponsoring monumental sculpture and architecture; and Bacchylides’ description of the golden tripods that Hieron offered to Apollo in Ode 3. On the basis of this evidence I argue that whatever the nature and the range of remuneration of poets and artists may have been, melic rhetoric shows that it was the relationship of poets, artists and their sponsors with the gods that was ultimately at stake. This is why both the poetry and the traditions about Simonides, Pindar and Bacchylides privilege the divine favour that poets, artists and patrons alike either obtained or were hoping to obtain by offering masterpieces to the gods.

scholarly journals Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes

2015 ◽  
Author(s):  
Fernanda Fernandes da Silva
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Machine Age ◽  
International Conference ◽  
The Arts ◽  
Palabras Clave ◽  
The Relationship

Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture.  Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783

scholarly journals Gestural Intermediality in Jean-Luc Godard’s First Name: Carmen (1983)

2018 ◽  
Vol 15 (1) ◽  
pp. 125-136
Author(s):  
François Giraud
Keyword(s):  
Visual Arts ◽  
Continuous Flow ◽  
String Quartets ◽  
The Other ◽  
Moving Images ◽  
The Arts ◽  
Tableaux Vivants ◽  
Music Film ◽  
The Relationship

Abstract Although the intermediality of Jean-Luc Godard’s films of the 1980s has been extensively analysed, especially the tableaux vivants in Passion (1982), little has been said on the intermedial dimension of gesture in the director’s work of this period. The article investigates how the gestural flows in Godard’s First Name: Carmen (Prénom Carmen, 1983) interrelate heterogeneous forms, meanings, arts, and media. The interconnection between the gestures of the musicians who are rehearsing Beethoven’s late string quartets and the lovers’ gestures, inspired by Rodin’s sculptures, gives cohesion to the hybrid aesthetics of the film. Gesture is the element which incorporates, develops, and sets in motion the features of the other arts, not only by creating an in-between space that forges links between media, but especially by exhibiting the process of making itself. Indeed, the relationship between the performing, musical, and visual arts is made visible in the exhibition of the corporeal effort of making (whether it be making music, film, or love) that tends to open the boundaries separating the different arts. The aural and visual qualities of gestures communicate between themselves, generating rhythms and forms that circulate in the continuous flow of moving images. By fostering the analogy between the gesture of carving, of performing music, and of making film, Godard highlights what unites the arts in cinema, while feeding on their differences.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

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