Stucco Decoration in Pre-Augustan Italy

1972 ◽  
Vol 40 ◽  
pp. 11-57 ◽  
Author(s):  
Roger Ling
Keyword(s):  
Basic Study ◽  
Art Form ◽  
The Subject ◽  
Consummate Skill

Fifty years ago, when Miss E. L. Wadsworth (Mrs. H. F. Cleland) wrote her monograph on Roman stucco reliefs, still the basic study of the subject, the earliest decorations that she examined in detail were those of a house discovered in the grounds of the Villa Farnesina in Rome. These stuccoes, which have been dated (with a precision perhaps unduly optimistic) to 19 B.C., are generally acknowledged to be among the masterpieces of their medium. From the vaults of three small cubicula come a large number of fragments showing a system of long borders and interlocking rectilinear panels, all framed by shallow mouldings and containing reliefs of great delicacy, of which the most important are landscapes, Dionysiac scenes, Victories, busts, grotesques and floral motifs (cf. Fig. 7, p. 52 and Plates I, a; II, a and b). Unpublished pieces of stucco-work from other vaults in the house repeat the same formula; and all attest the presence of artists of consummate skill and of an art-form which is technically perfect.Such work represents the culmination of a development, rather than its beginning. Miss Wadsworth was of course aware of this: indeed, she knew of at least one earlier set of decorations, the stuccoes of the Casa dei Grifi on the Palatine, and was only prevented from treating them in full by the fact that they were awaiting a definitive publication. But the general paucity of earlier material forced her to give short shrift to Republican stucco-work and to consign its origins to the realm of conjecture. She suggested that stucco reliefs first appeared in Italy at the time of Sulla, that they originated in Alexandria, and that they were introduced by way of Campania.

Glorious Apollo: Poetic and Political Themes in the First Opera

1979 ◽  
Vol 32 (4) ◽  
pp. 485-513 ◽  
Author(s):  
Barbara Russano Hanning
Keyword(s):  
Art Form ◽  
History Of ◽  
The Subject ◽  
The Universe ◽  
Early Opera

Historians of early opera have occasionally noted the appropriateness of Orpheus’ appearance as artistic spokesman for the new art form. Poet-singer par excellence of antiquity, whose music shook the very depths of the universe as he retrieved Eurydice from the Underworld, Orpheus surely appealed to the early opera composers and their humanist program—to recreate the moving power of an entirely sung drama by forging a new union of poetry, music, and gesture.In the history of opera, however, primacy of place must be given to the god Apollo, for the legend of Apollo and Daphne was the subject of the first favola per musica, La Dafne, written by Ottavio Rinuccini, with music composed by Jacopo Corsi and Jacopo Peri, and first performed in 1598 at Corsi's home in Florence.

Musical Color-Painting: In Memory of Yu. A. Pravdyuk

Leonardo ◽  
2005 ◽  
Vol 38 (1) ◽  
pp. 60-66 ◽  
Author(s):  
Sergei Zorin
Keyword(s):  
Present Article ◽  
Art Form ◽  
Simple Instrument ◽  
The Subject

On 17 May 2002 the master of the art form known as musical color-painting, Yury Pravdyuk, passed away in Kharkov, Ukraine. Pravdyuk was the inventor of an ingeniously simple instrument for color-painters and the author of approximately 150 inimitable color-dynamic compositions to accompany the music of composers of different eras and peoples. How the idea of musical color-painting was born and Pravdyuk's creative path is the subject of the present article by one who had been a close assistant of Pravdyuk since 1965.

The Teaching Life

2005 ◽  
Author(s):  
Jay Parini
Keyword(s):  
Beginning Teacher ◽  
Good Deal ◽  
Self Presentation ◽  
Successful Teachers ◽  
Art Form ◽  
Teaching Life ◽  
The Subject ◽  
The Mind ◽  
Teaching Voice ◽  
The Voice

Nobody just walks into a classroom and begins to teach without some consideration of self-presentation, much as nobody sits down to write a poem, an essay, or a novel without considering the voice behind the words, its tone and texture, and the traditions of writing within a particular genre. Voice is everything in literature, playing in the mind of the writer, the ear of the reader; the search for authenticity in that voice is the writer’s work of a lifetime. What I want to suggest here is that teachers, like writers, also need to invent and cultivate a voice, one that serves their personal needs as well as the material at hand, one that feels authentic. It should also take into account the nature of the students who are being addressed, their background in the subject and their disposition as a class, which is not always easy to gauge. It takes a good deal of time, as well as experimentation, to find this voice, in teaching as in writing. For the most part, the invention of a teaching persona is a fairly conscious act. Teachers who are unconscious of their teaching self might get lucky; that is, they might adopt or adapt something familiar—a manner, a voice—that actually works in the classroom from the beginning. Dumb luck happens. But most of the successful teachers I have known have been deeply aware that their selfpresentation involves, or has involved at some point, the donning of a mask. This taking on of a mask, or persona (from the Latin word implying that a voice is something discovered by “sounding through” a mask, as in per/sona), is no simple process. It involves artifice, and the art of teaching is no less complicated than any other art form. It is not something “natural,” i.e., “found in nature.” A beginning teacher will have to try on countless masks before finding one that fits, that seems appropriate, that works to organize and embody a teaching voice. In most cases, a teacher will have a whole closet full of masks to try on for size.

scholarly journals Exploring Art and Craft in Teacher Education Whilst Going Toward a Performative Approach

2019 ◽  
Vol 12 (1) ◽  
pp. 68-81
Author(s):  
Samira Jamouchi
Keyword(s):  
Teacher Education ◽  
Ways Of Knowing ◽  
Textile Materials ◽  
Art Form ◽  
Different Types ◽  
Teacher Students ◽  
The Subject ◽  
Active Pedagogy ◽  
Artist Teacher ◽  
Epistemological Framework

Since 1997, I have returned to and revisited textile materials through different types of approaches. As an artist, I have been working with soft sculptures and immersive installations. As an artist-teacher, I sought to (re-)introduced wool felting tradition to teacher students in Norway. As a researcher, I re-turn (Barad, 2014) my approach to wool felting and engage diffractively (ibid.) within teacher education. I am now still exploiting a performative approach to the subject of arts and craft within teacher education. This approach is conjointly inspired by contemporary visual art form of expressions and by Barad’s performative ontology. In this text I attempt to convey my working processes as I relate how I started to engage with a performative approach to drawing in the field of arts and craft in teacher education, and how I now aim to enact further a performative approach to wool felting. This approach is inspired by post-humanism perspectives. Consequently, traditional binaries or dichotomies one can find in assumptions related to the humanities, as subject-object and theory-practice (van der Tuin and Dolphijn, 2010), are here deterritorialized to be simultaneously and differently reterriorialized (Deleuze and Guattari,1980). My approach goes thus beyond the theory-practice division to hold an intra-active pedagogy (Lenz Taguchi, 2010) and an ethico-onto-epistemological framework (Barad, 2007). This implies a set of mind considering an intimated relationship between making, being and knowing: all those aspects are present under a creative process, not isolated and nor independent of the process. Adopting a performative approach with my students, I do not necessarily privilege a linear approach and I do not necessarily privilege human agency above non-human entities. Following an ethico-onto-epistemological framework means here to merge the phenomenon of felting (beings) and its written study and analysis (ways of knowing).

Film as Hierophany

Horizons ◽  
1979 ◽  
Vol 6 (1) ◽  
pp. 81-97
Author(s):  
Michael Bird
Keyword(s):  
Present Article ◽  
Religious Art ◽  
Paul Tillich ◽  
Art Form ◽  
The Subject ◽  
Spiritual Reality ◽  
Andre Bazin

AbstractWithin the discussion of religious art there arises the fascinating question of how art can engender the awareness of those special (hierophanous) moments in culture where the sacred dimension breaks through into otherwise profane experience. This question requires a consideration of the peculiar relationship which a given art form has to its world (e.g., imitation vs. interpretation, recording vs. transformation).The special potency of cinematic art in its relationship to physical and spiritual reality, and to surface and depth, is the subject of the present article. While religion-and-film discussions frequently focus upon religious themes in film, the purpose of the following analysis is that of considering a theology of film, taking account of fundamental questions of cinematic theory. Among thinkers whose systems suggest possibilities for dialogue are theologian (Paul Tillich), a phenómenologist (Mikel Dufrenne) and a “school” of film theorists, including especially the followers of André Bazin.

I. Portraits

2004 ◽  
Vol 34 ◽  
pp. 5-28
Keyword(s):  
Art History ◽  
Classical Antiquity ◽  
Roman Art ◽  
Roman World ◽  
Art Form ◽  
Roman Coins ◽  
Country Houses ◽  
The Subject ◽  
Point Of Departure ◽  
As If

Portraiture is among the most obvious legacies of classical antiquity. Roman busts of rulers and private individuals, sculpted in marble or occasionally cast in bronze, are the frequent inhabitants of museums and country houses. Imposing portrait-statues survive in great numbers, albeit frequently missing some of their extremities. We also have many smaller and more subtle images like those carved in gems and semiprecious stones, and, of course, the heads on Roman coins whose influence on the design of modern money is still obvious. The very custom of modern portraiture itself is, broadly speaking, derived from Rome, though it is easy to take it for granted as if it were an obvious or universal art-form. The Roman world was truly crowded with portraits. They are the subject of intense study and interesting debate. As such they present a useful point of departure for this survey of Roman art history.

scholarly journals பாரம்பரியக் கூத்தில் பறையறைவோன் பாத்திரமும் அதன் மீளுருவாக்கமும்

2021 ◽  
Vol 5 (3) ◽  
pp. 13-23
Author(s):  
T Gowrieeshwaran
Keyword(s):  
Gender Discrimination ◽  
Performing Arts ◽  
Research Work ◽  
Great Influence ◽  
Timely Manner ◽  
Art Form ◽  
The Subject ◽  
And Gender ◽  
Traditional Arts ◽  
Caste Structure

The caste structure, which is deeply rooted in the culture of Tamil societies and its inequitable mentality, has a great influence on the traditional forms of performing arts carried on by Tamils.We often see caste inequality and gender discrimination reinforced in traditional chants that are mostly epic and mythologically centered. As a result, traditional performances have become increasingly predictable. The vast majority of artists who seek to speak of the progressive issues of the time are drawn to express their ideas not in the traditional arts but in the modern art form. In this context, the participatory research work on the koothu renaissance carried out at the Eelathu Kootharangu in the years 2002-2003 is proposed as a practical study to recreate the subject of traditional performing arts forms with the participation of the communities that follow them in a timely manner. In this way, this article examines the process by which the Valluvar community, which has been marginalized as a marginalized caste in Tamil culture, and the rhetorical character it represents, have recreated that character in a contemporary manner, questioning the structure of Eelam’s Vadamodik koothu.

scholarly journals "Theatricalisation" of the lyrical hero in the poetry of Alexander Blok: genesis and ways of artistic realization

2019 ◽  
pp. 107-112
Author(s):  
Nataliya G. Koptelova
Keyword(s):  
Characteristic Feature ◽  
Creative Thinking ◽  
Creative Mind ◽  
Art Form ◽  
The World ◽  
Stage Directors ◽  
Inner World ◽  
The Subject ◽  
The Creation ◽  
Way Of Knowing

The article deals with the "theatricalisation" of the lyrical hero, which is a characteristic feature of Alexander Blok’s poetry. It is shown that the desire for theatre, as the highest art form, meets the resistance of the lyrical way of knowing the world that prevails in Alexander Blok’s creative mind. This leads to the fact that the streams of lyricism and theatre in his artistic system collide and interact. As a result, traits which are inherent in the creative thinking of playwrights, actors and stage directors and organic for Alexander Blok are realised on the basis of lyricism. It is proved that the "theatricalisation" of the lyrical hero in Alexander Blok's poetry is expressed both in the reincarnation of the subject, revealing autopsychological experiences (then the reception of the "lyrical mask" arises), and in the statement of the role principle. It is emphasised that the "theatricalisation" of the lyrical hero, occurring in Alexander Blok's verses, leads to the creation of characters whose inner world can be in the most varying degrees of distance from the author's consciousness.

Panicker, K.C.S. (1911–1977)

2018 ◽  
Author(s):  
John Clark
Keyword(s):  
Tamil Nadu ◽  
Colonial History ◽  
International Level ◽  
Visual Material ◽  
The Past ◽  
Active Life ◽  
Art Form ◽  
Invented Tradition ◽  
Before And After ◽  
The Subject

Kovalezhi Cheerampathoor Sankaran Paniker was of Malayali background but spent most of his active life as a painter, teacher, and organizer in Madras, now Chennai, in Tamil Nadu. His work is important for three reasons: it shows his own stylistic trajectory out of the modernist dilemmas faced by an artist before and after Indian Independence; it indicates the way Indian visual material from Malayalam script to magical diagrams could be mobilized to produce a kind of abstract pictorial discourse; it manifests how a regionally based artist could link up with and generate significant modernist work at a national and international level. Modernism is a reflexive discourse where the subject is how an art form manifests the modern, the position which relativizes the past, to make new selections of pre-modern exemplars where the modern becomes a pair with an invented tradition, and distances practice from a naturalized, unconscious customary. Modernism’s subject is the modality of the modern. Paniker’s work clearly shows this shift from a humanist identification with the Indian poor or politically oppressed using the practices of Post-Impressionism to the early-1950s. He moves to an identification with the Indian folk as a repository of visual experience but also a public visuality with considerable pre-colonial history.

scholarly journals “You’ll never meet someone like me again”: Patty Jenkins’s "Monster" as Rogue Cinema

Text Matters ◽  
2019 ◽  
pp. 66-80
Author(s):  
Michelle D. Wise
Keyword(s):  
Subject Matter ◽  
Power Structure ◽  
Romantic Love ◽  
Serial Killers ◽  
Gendered Violence ◽  
Social Standards ◽  
Art Form ◽  
The Subject ◽  
And Performance

Film is a powerful medium that can influence audience’s perceptions, values and ideals. As filmmaking evolved into a serious art form, it became a powerful tool for telling stories that require us to re-examine our ideology. While it remains popular to adapt a literary novel or text for the screen, filmmakers have more freedom to pick and choose the stories they want to tell. This freedom allows filmmakers to explore narratives that might otherwise go unheard, which include stories that feature marginal figures, such as serial killers, as sympathetic protagonists, which is what director Patty Jenkins achieves in her 2003 film Monster. Charlize Theron’s transformation into and performance as Aileen Wuornos, and Jenkins’s presentation of the subject matter, make this film an example of rogue cinema. In addition, Aileen Wuornos is portrayed as a clear example of the rogue character. This character trope frequently defies social standards, suffers from past trauma, is psychologically complex, and is often exiled. As a prostitute and social outcast, Aileen Wuornos exists on the fringes of society and rejects the hegemonic power structure and later heteronormativity of society, which makes her a rogue figure. While there are several aspects to consider when analyzing Jenkins’s film, my intention is to argue that this film is an example of rogue cinema because of its content. In order to accomplish this task, I examine Theron’s bodily transformation and her performance as Wuornos. Furthermore, I look at how Jenkins handles the depiction of romantic love and gendered violence and argue that her treatment of this content renders this film rogue.

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