scholarly journals “Genre”: A nomadic concept or an aesthetic universal?

2021 ◽  
Vol 32 (4) ◽  
pp. 252-258
Author(s):  
Irina A. Tarasova ◽  
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Specific Weight ◽  
Structural Features ◽  
Structural Parameter ◽  
Interdisciplinary Dialogue ◽  
Speech Genres ◽  
Genre Identification ◽  
Meaningful Category ◽  
Musical Genres

The article raises the problem of the metadisciplinary interpretation of the term “genre”, which can be equally well defined as a nomadic concept or as an artistic universal. The author focuses on the question of the configuration of features defining the concept of genre in philology, art history, and musicology. Taking as a basis the general aesthetic principles of genre specification – functional, thematic, and structural – the author analyzes their genre-forming potential in various artistic forms and comes to the conclusion that understanding genre as a communicative and formally meaningful category provides an interdisciplinary dialogue, but at the same time, genre dominants can be different. For speech genres, such a dominant is a communicative goal, for painting genres – a subject content. The semantic parameter of the genre is interpreted in a similar way in literary criticism and musicology. The division into primary and secondary genres is a common feature for both philology and musicology. The structural parameter includes compositional features and elements of genre style, and the specific weight of this parameter is especially high in canonical (protoliterary and literary) and primary musical genres. The meaning of the structural features of the genre is inversely proportional to the visualization of an artistic form. This parameter is least significant for the genre identification of a painting.

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

Raw, roast or half-baked? Hogarth’s beef in Calais Gate

2018 ◽  
Vol 22 (3) ◽  
pp. 426-444 ◽  
Author(s):  
Piers Beirne
Keyword(s):  
National Identity ◽  
Literary Criticism ◽  
Animal Rights ◽  
Art History ◽  
Animal Studies ◽  
Animal Species ◽  
The Political ◽  
Green Criminology ◽  
Repressed Memory ◽  
Roast Beef

Scholars of human–animal studies, literary criticism and art history have paid considerable attention of late to how the visual representation of nonhuman animals has often and sometimes to great effect been used in the imagining of national identity. It is from the scrutinies of these several disciplines that the broad backcloth of this article is woven. Its focus is the neglected coupling of patriotism and carnism, instantiated here by its deployment in William Hogarth’s painting Calais Gate (1749). A pro-animal reading is offered of the English artist’s exhortation that it is in the nature of ‘true-born Britons’ to consume a daily dish of roast beef served with lashings of francophobia and anti-popery. The article suggests that alert contemporary viewers of Calais Gate would nevertheless have noticed that Hogarth’s painterly triumphalism ironically rekindles the repressed memory of English military defeat and territorial loss. Because the political and religious borders between England and France were so easily defaced and refaced, the accompanying air of uncertainty over national identity would also have infiltrated the perceived authenticity of English roast beef. The article draws on animal rights theory, on nonspeciesist green criminology and on green visual criminology in order to oppose the historical dominance of human interests over those of other animal species in discourses of abuse, cruelty and harm.

Ultrasonics for microcrystalline structure examination

1986 ◽  
Vol 320 (1554) ◽  
pp. 161-169 ◽  
Keyword(s):  
Structural Features ◽  
Point Of View ◽  
Structural Parameter ◽  
Order Effects ◽  
Technological Parameters ◽  
Destructive Testing ◽  
Materials Properties ◽  
Information Parameter ◽  
Non Destructive

Non-destructive testing (NDT) methods are used to determine the ability of materials and components to withstand applied loads of different kinds. Besides defects, materials’ properties are the interesting features from the engineering point of view. But although defect parameters of materials can be determined quantitatively by NDT, the mechanical-technological parameters cannot be measured directly. They are related to the structure of the materials by different types of multi-parameter dependencies. Ultrasound interaction with the structure can be measured by adjusting the ultrasonic wavelength to the linear dimension of the interesting structural parameter. A second advantage of ultrasonics is the great amount of information about the microstructure obtained by the frequency-dependent measurable quantities: velocity, attenuation, absorption and scattering. The determination of different structural features in this way enables their correlation with the wanted technical materials’ properties to be investigated. This contribution discusses, in particular, the following aspects: velocity depending upon microcrystalline features as higher-order effects, leading to correlations with materials properties; scattering as the information parameter about microstructures integrally while describing microcrystalline features locally; independent absorption measurements for the description of microcrystalline structures; interdependence of velocity and attenuation, via the Kramers-Kronig relation.

Joseph Addison

2021 ◽  
Keyword(s):  
Literary Criticism ◽  
Travel Writing ◽  
Art History ◽  
Full Range ◽  
Samuel Johnson ◽  
Joseph Addison ◽  
Poetry Translation ◽  
The Spectator ◽  
Victorian Age ◽  
Historical Periods

Joseph Addison: Tercentenary Essays is a collection of fifteen essays by a team of internationally recognized experts specially commissioned to commemorate in 2019 the three-hundredth anniversary of Addison’s death. Almost exclusively known now as the inventor and main author of The Spectator, probably the most widely read and imitated prose work of the eighteenth century, Addison also produced important and influential work across a broad gamut of other literary modes-poems, verse translations, literary criticism, periodical journalism, drama, opera, travel writing. Much of this work is little known nowadays even in specialist academic circles; Addison is often described as the most neglected of the eighteenth century’s major writers. Joseph Addison: Tercentenary Essays sets out to redress that neglect; it is the first essay collection ever published which addresses the full range and variety of his career and writings. Its fifteen chapters fall into three groupings: an initial group of five dealing with Addison’s work in modes other than the literary periodical (poetry, translation, travel writing, drama); a central core of five addressing The Spectator from a variety of disciplinary perspectives (literary-critical, sociological and political, bibliographical); and a final set of five exploring Addison’s reception within several cultural spheres (philosophy, horticulture, art history) by individual writers (Samuel Johnson) or across larger historical periods (the Romantic age, the Victorian age), and in Britain and Europe (especially France). Joseph Addison: Tercentenary Essays provides an overdue and appropriately diverse memorial to one of the eighteenth century’s dominant men of letters.

Blue Funk

Groove Theory ◽  
2020 ◽  
pp. 37-84
Author(s):  
Tony Bolden
Keyword(s):  
Civil Rights ◽  
Literary Criticism ◽  
Civil Rights Movement ◽  
Black Artists ◽  
Black Vernacular ◽  
Modern Jazz ◽  
Central Argument ◽  
Cultural Aesthetics ◽  
Cultural Affirmation ◽  
Musical Genres

This chapter examines the development of funk as a distinct concept in black vernacular culture, and explains how blues artists, modern jazz musicians, and political attitudes during the civil rights movement combined to establish the foundation for the musical genre of funk as well as the non-conformist aesthetics and attitudes the music expressed. The central argument is therefore two-fold: that blues artists formulated the concept now known as funk, and that funk became the epistemic centerpiece of a broader cultural aesthetics in black working-class environments. As with the previous chapter, “Blue Funk: The Ugly Beauty of Stank ” foregrounds the central role of kinesthesia in blues-oriented approaches to music-making. Using insights and methods from multiple areas of scholarship, including musicology, ethnomusicology, philosophy, literary criticism, dance criticism, and art history, Bolden explains how the concept of funk and/or precepts associated with funk were not only exemplified in several black musical genres but also dancing, literature, and visual art as well. In this way, black artists working in several mediums contributed to the transformation of “funky” from a stigmatizing signification, that is, a negative, stereotypical expression into a metaphor of black cultural affirmation.

Picturing Cuba

2019 ◽  
Keyword(s):  
Cultural Identity ◽  
Literary Criticism ◽  
Art History ◽  
Historical Context ◽  
American Art ◽  
Defining Moments ◽  
Cuban Art ◽  
National Tradition ◽  
Multidisciplinary Perspective ◽  
Historical Trajectory

This book delves into several defining moments of Cuba’s artistic evolution from a multidisciplinary perspective, including art history, architecture, photography, history, literary criticism, and cultural studies. Situating Cuban art within a wider social and historical context, fifteen prominent scholars and collectors scrutinize the enduring links between Cuban art and cultural identity. Covering the main periods in Cuban art (the colonial, republican, and postrevolutionary phases, as well as the contemporary diaspora), the contributors identify both the constant and changing elements and symbols in the visual representation of Cuba’s national identity. The essays collected in this volume provide insightful information and interpretation on the historical trajectory of Cuban and Cuban-American art. From colonial engravers to contemporary photographers, several generations of Cuban artists have been fascinated—perhaps even obsessed—with picturing Cuba’s landscapes, architecture, people, and customs. Each generation of artists focused on various tropes of Cuban identity, whether it was the tropical environment, the lights and colors of the island, certain human types, the fusion of European and African traditions, or the uprootedness produced by exile and resettlement in another country. Even when artists shed the attempt to represent their subject matter realistically, they sought to contribute to a longstanding national tradition in dialogue with a broader international scenario. The cumulative result of more than three centuries of Cuban art is a kaleidoscopic view of the island’s nature, population, culture, and history.

scholarly journals МЕТАФОРА МЕН МЕТОНИМИЯНЫҢ ӘДЕБИЕТТАНУШЫ ҒАЛЫМДАРДЫҢ ЕҢБЕГІНДЕГІ ЗЕРТТЕЛУІ

2020 ◽  
Vol 52 (1) ◽  
pp. 110
Author(s):  
Б. Хасен ◽  
Ә. Даниял
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Comprehensive Analysis ◽  
Work Of Art ◽  
Domestic Science ◽  
Works Of Art ◽  
Reasonable Approach ◽  
Main Thing ◽  
Metaphor And Metonymy

Аңдатпа. Мақалада метафора және метонимия ұғымдары енгізілген, сонымен қатар әдебиеттанушы ғалымдардың зерттеуіне жан-жақты талдау жасалынған, біз оқуды жеңілдету үшін Ахмет Байтұрсыновтың нұсқаларын қолдану дұрыс болады деген ойды зерттеу арқылы жеткізгіміз келеді. Ұлттық әдебиеттану ғылымы қазір қолданып жүрген негізгі терминдер мен категориялар, сондай-ақ, ұғымдардың қазақша өте дәл, ықшам, оңтайлы баламаларының басым көпшілігі тұңғыш рет осы зерттеуде жасалғанын ашып айтатын уақыт жетті. Бұл ретте, Ахмет Байтұрсынов - тіл терминдерін жасауда қандай кемеңгер, данышпан болса, әдебиеттану, өнертану, фольклортану терминдерін жасауда да сондай кемеңгер, данышпан. Бастысы, ол ұсынған термин мәселесінде бірде бір грек, латын не болмаса орыс сөзін қолданбайды. Барлығын қазақы дүниетанымнан, әрбір сөздің өз түбірінен, өз төркінен алып, соны термин етіп түсіндіреді. Бұл да оқушының өзіндік туа бітті жаратылысына лайық, ақылына қонымды тәсіл. Осы тұрғыда «Әдебиет танытқыш» – әдебиетті танытудың шынайы тәсілдерін қолданған. Сондықтан оқырман жүрегінің төрінен орын алып отыр. Кез келген көркем шығарма жаратылыстың сырлы сыпаттарын көркем тілмен баян етеді. Біз әдебиетті тануда, талдауда көркем туындылардан сол сырлы сыпаттарды іздейміз. Ал материалдан тыс теориялар мен анықтамалар ойлап тауып, соларды материалға теліп талдау – барып тұрған сауатсыздық. Өкініштісі, біздің мектептерде сол сауатсыздық салтанат құрып тұр. Әсіресе, әдебиетті оқытуда. Мақалда осы артықшылықтар талдап көрсетілген. Түйін сөздер: метонимия, метафора.   *** Аннотация. В статье вводятся понятия метафоры и метонимии, а также, проведен всесторонний анализ на исследование литературоведов, путем исследования хотим доносить мысль, что будет правильно использовать варианты Ахмета Байтурсунова для легкости обучения. Настало время раскрыть, что основные термины и категории, используемые в отечественной науке литературоведения, а также подавляющее большинство очень точных, кратких, оптимальных альтернатив казахским понятиям были впервые разработаны в этом исследовании. В то же время Ахмет Байтурсынов столь же гениален и гениален в разработке языковых терминов, как и в создании терминов литературной критики, искусствоведения, фольклора. Главное, что он не использует греческие, латинские или русские слова в предложенном термине. Он берет все из казахского мировоззрения, каждое слово из своего корня, своего собственного значения и интерпретирует его как термин. Это тоже разумный подход, достойный врожденного характера студента. В связи с этим «Әдебиет танытқыш» - использовались реальные методы подачи литературы. Вот почему это в сердце читателя. Любое произведение искусства выражает таинственные свойства природы в художественном языке. При распознавании и анализе литературы мы ищем эти таинственные качества в произведениях искусства. И изобретать теории и определения вне материала и анализировать их в материале - постоянная неграмотность. К сожалению, эта неграмотность широко распространена в наших школах. Особенно в изучении литературы. В статье анализируются эти преимущества. Ключевые слова: метонимия, метафора.   *** Abstract. The article introduces the concepts of metaphor and metonymy, as well as a comprehensive analysis of the study of literary critics, through research we want to convey the idea that it will be correct to use the options of Akhmet Baitursunov for ease of learning. It is time to discover that the basic terms and categories used in the domestic science of literary criticism, as well as the vast majority of very accurate, concise, optimal alternatives to Kazakh concepts, were first developed in this study. At the same time, Akhmet Baitursynov is just as brilliant and brilliant in developing language terms as in creating terms of literary criticism, art history, and folklore. The main thing is that he does not use Greek, Latin or Russian words in the proposed term. He takes everything from the Kazakh worldview, each word from its root, its own meaning and interprets it as a term. This is also a reasonable approach, worthy of the inborn character of the student. In this regard, “ Әдебиет танытқыш ” - real methods of presenting literature were used. That is why it is in the heart of the reader. Any work of art expresses the mysterious properties of nature in an artistic language. In the recognition and analysis of literature, we look for these mysterious qualities in works of art. And to invent theories and definitions outside the material and analyze them in the material is constant illiteracy. Unfortunately, this illiteracy is widespread in our schools. Especially in the study of literature. The article analyzes these benefits. Keywords: metonymy, metaphor.

scholarly journals The Apocalypse of John: the architectural symbolism of visual exegesis

2021 ◽  
Vol 2 (1) ◽  
pp. 53-70
Author(s):  
S. S. Vaneyan
Keyword(s):  
Literary Criticism ◽  
Old Testament ◽  
Religious Experience ◽  
Art History ◽  
Experimental Paradigm ◽  
Figurative Painting ◽  
The New Testament ◽  
Visual Exegesis ◽  
Rhetorical Structures ◽  
Architectural Symbolism

A hermeneutic literary criticism of the last text of the New Testament canon can be complemented by an architectural criticism of metaphorical and rhetorical structures and plots, presented as an ultimate resolution to fundamental problems, posed both by the kerigma and by the Hellinised religious experience of the Old Testament (apocalyptic and epistolary genres). The text of the Revelation has staging structures that imply its performative reading, and suggested radical eschatological ways of resolving conflicts allow for equally radical exegetic methods, with a feminist orientation, for example. Analytical metaphors that we have employed, taken from the arsenal of art history, such as ‘polyptich’ or ‘non-figurative painting’, prompt us to use an experimental paradigm of diagrammatics: a visualization of compositional schemata as the equivalents of a cognitive apparatus. The hearer/reader has the opportunity to set off on an eschatological journey with the author of the Revelation but also to have an epistemological walk with its exegetes and commentators.

Introduction

2018 ◽  
pp. 1-7
Author(s):  
Robert E. Lerner
Keyword(s):  
United States ◽  
Literary Criticism ◽  
Political Thought ◽  
Art History ◽  
The United States ◽  
Full Professor ◽  
Princeton University ◽  
One Year ◽  
Two Bodies

This introductory chapter provides an overview of the life and work of Ernst Kantorowicz (1895–1963). Kantorowicz is considered one of the most influential of all medieval historians, if not the most influential. His book The King's Two Bodies has been kept in print by Princeton University Press since its first appearance in 1957. The steady sales and numerous translations reflect the fact that Kantorowicz's book has had extraordinary resonance in several disciplines: not only in history but in art history, literary criticism, and political thought. After the Nazis took power, Kantorowicz courageously spoke against them as a full professor from the lecture platform to an overflowing crowd in Frankfurt in November 1933. In 1938 he barely escaped Kristallnacht and fled first to England and then the United States, where in the fall of 1939 he took a one-year position at Berkeley.

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