scholarly journals Wading through black jade in Marianne Moore’s sunken cathedral: The modernist sea poem as a Deleuzian fold

2015 ◽  
Vol 50 (4) ◽  
pp. 79-97
Author(s):  
Paulina Ambroży
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Close Reading

Abstract The study is a close reading of Moore’s poem “The Fish” (1918) through the conceptual lens of Gilles Deleuze’s trope of the fold, as explained in his influential 1988 study of Leibniz, The Fold: Leibniz and the Baroque. The purpose is to explore Moore’s (neo)baroque sensibility and her peculiar penchant for Baroque tropes, images and forms. The Deleuzian concept of the fold, with its rich epistemological implications and broad cultural applicability as the universal trope of crisis, change, unrest and transience, helps to comprehend Moore’s own philosophical and aesthetic concerns. The study, in accord with the interdiscursive character of the contemporary studies of modernism draws from art history, philosophy, theory, literature, and visual arts, to uncover a strong Baroque undercurrent in the poet’s polyphonic imagination. Seen in the light of Deleuze’s fold, Moore’s poem emerges as a quasi-Baroque ruin, a sunken cathedral-cum-graveyard, with a theatrical chiaroscuro lighting and folding and unfolding of sense, which both shelters and entombs the severely wounded modernist soul.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

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.

Toward an international art library: the growth of the Research Library at the Getty Research Institute, 1979-2002

2002 ◽  
Vol 27 (4) ◽  
pp. 25-32 ◽  
Author(s):  
Susan M. Allen
Keyword(s):  
Visual Arts ◽  
Research Program ◽  
Art History ◽  
General Public ◽  
The Other ◽  
Research Library ◽  
Grant Program ◽  
Research Institute

The Getty Research Institute (GRI) is one of four programs of the J. Paul Getty Trust, an international cultural and philanthropic institution devoted to the visual arts, all of which reside at the Getty Center situated high on a beautiful hilltop in Brentwood, California. (The other programs of the Getty Trust are the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Grant Program.) From the beginning it was understood that the GRI would develop a research program in the discipline of art history and more generally the humanities, and that a library would support its work. Since its founding the GRI has, in fact, developed a major library as one of its programs alongside those for scholars, publications, exhibitions and a multitude of lectures, workshops and symposia for scholars, students and the general public. What is now known as the Research Library at the GRI has grown to be a significant resource and this article focuses on its history, the building that houses it, its collections and databases, and access to them all.

Digital Humanities in Singapore

2019 ◽  
pp. 91-117
Author(s):  
Miguel Escobar Varela ◽  
Andrea Nanetti ◽  
Michael Stanley-Baker
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Performing Arts ◽  
Digital Humanities ◽  
Museum Studies ◽  
Research Projects ◽  
Formal Institutions ◽  
Current Trends ◽  
Heritage Studies ◽  
High Degree

In Singapore, digital humanities (DH) is inclusive of the larger spectrum of the humanities, including not only its traditional disciplines (e.g., languages and literature, philosophy, law, geography, history, art history, musicology) but also anthropology, heritage studies, museum studies, performing arts, and visual arts. Multilingual, interdisciplinary, and audiovisual projects are particularly prominent. A community is growing around an emergent concept of DH, and it is developing results mainly in society-driven research projects. Although the DH label is relatively new, and DH dialogue across Singapore institutions is at its early stages, Singapore-based researchers have carried out digital research for decades. An increasing number of projects are home-grown, but several projects have also migrated to Singapore recently due to the high degree of mobility at Singaporean institutions. Current trends suggest that the next stage of DH history in Singapore will include the development of more formal institutions and more participation in global DH conversations.

Art History: A Very Short Introduction

2020 ◽  
Author(s):  
Dana Arnold
Keyword(s):  
Visual Arts ◽  
Art History ◽  
The Other ◽  
Short Introduction ◽  
Western Art ◽  
Wide Range ◽  
Critical Approaches ◽  
Key Aspects ◽  
The Impact ◽  
Global Art

Art history encompasses the study of the history and development of painting, sculpture, and the other visual arts. Art History: A Very Short Introduction considers the issues, debates, and artefacts that make up art history. It explores the emergence of social histories of art and, using a wide range of images, it discusses key aspects of the discipline including how we write about, present, read, and look at art, and the impact this has on our understanding of art history. This second edition includes a new chapter on global art histories, considering how the traditional emphasis on periods and styles in art originated in Western art and can obscure other critical approaches and artwork from non-Western cultures.

The Digital Cicognara Library: transforming a 19th century resource for the digital age

2020 ◽  
Vol 45 (2) ◽  
pp. 47-54
Author(s):  
Holly Hatheway ◽  
Roger Lawson ◽  
Charlotte Oertel
Keyword(s):  
Open Access ◽  
Visual Arts ◽  
Art History ◽  
Web Application ◽  
Access Point ◽  
Diverse Range ◽  
Printed Books ◽  
Digital Collection ◽  
The Individual ◽  
International Initiative

The Digital Cicognara Library is an international initiative to recreate in digital form the private book collection of Count Leopoldo Cicognara (1767–1834). His collection of five thousand early imprints comprises foundational literature of art and archaeology, and includes a diverse range of publications in all areas of the visual arts. Our partnership's 21st- century effort advances Cicognara's Enlightenment-era ideals by making digital copies of his library available through an open access web application, where they will be fully searchable from a centralized database as well as relevant subject research interfaces. The aggregated images and text offer a potentially transformative opportunity for the discipline of art history and allied disciplines. By offering a new interface for Cicognara's collection, the endeavour allows open access availability to nearly all of the key historical volumes, the illustrations within, and the searchable metadata. The Digital Cicognara Library offers a corpus that will allow scholars to ask and answer new questions in disciplines beyond art history and archaeology, and will offer scholars of early printed books a new access point to study both the individual volumes and their relationship to each other in an accessible digital collection.

(Re-)Creating Order: Narrativity and Implied World Views in Pictures

Tekstualia ◽  
2015 ◽  
Vol 4 (43) ◽  
pp. 57-78
Author(s):  
Michael Ranta
Keyword(s):  
Cognitive Psychology ◽  
Visual Arts ◽  
Art History ◽  
Schema Theory ◽  
Human Existence ◽  
World Views ◽  
Philosophical Debate ◽  
Traditional Art ◽  
Narrative Structures ◽  
High Level

The philosophical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been rather neglected. Within traditional art history, however, the narrative potential of the visual arts has usually been taken for granted, though rarely by attempting to elucidate any deeper cognitive, semiotic, and philosophical aspects involved. Now, generally speaking, narratives contribute to the human endeavour to reduce the unpredictability of worldly changes, and human existence in particular, attempting to establish order in our experiences of transitoriness and existential vulnerability. The paper discusses some possible criteria of narrativity with regard to their applicability to pictorial objects. It demonstrates thatpictorial works may express or imply high- -level narrative structures or, put in another way, wider world views or schemata, and that our comprehension of and need for these schemata can be explained by taking recent research within cognitive psychology, schema theory, and narratology into account.

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