scholarly journals Sculpture as a Code – Rhetorical Devices Used by the Sculptor

2017 ◽  
Vol 35 (5) ◽  
pp. 239-252
Author(s):  
Zofia Władyka-Łuczak
Keyword(s):  
Verbal Communication ◽  
Artistic Expression ◽  
German Reunification ◽  
Personal Reflection ◽  
Formal Organization ◽  
Work Of Art ◽  
Rhetorical Devices ◽  
Visual Message ◽  
Verbal Message ◽  
Basic Content

The aim of the paper is to compare the formal organization of a visual message with the rhetorical devices used in a verbal message. This analysis is carried out based on the example of the sculpture Dual by Zbigniew Władyka. The creativity found in the rhetorical devices used in the sculpture Dual to trigger and amplify feelings proves that they can be employed even in this form of artistic expression. Creativity in the analysed sculpture is represented by German reunification, reflected in the form of the transformation of two characters into one. The sculpture is meant to inspire, to be an object (res) directing the viewer toward personal reflection, and invoking projections of fear and doubt, but also of confidence and courage. Confidence and courage are represented by a strong figure with a head, firmly standing on its feet. Fear and doubt are represented by a weak figure, carried by the first one. The centripetal composition used in the sculpture suggests merger rather than destruction. The sensory perception of the viewer is controlled by directional tensions, which lead the viewer’s sight along designated linear directions. As described earlier by Witkiewicz, directional tensions and motionless substance correspond to a rhetorical enlarging and diminishing. By interacting with the sculpture, you can experience these devices. Not only visualization is at work here, as in verbal communication, but also physical experience. The presented analysis shows that a sculptural work of art can be analysed in a similar way to verbal communication. Of course, not all verbal devices have their counterparts in visual communication, but the basic content and emotions can be expressed regardless of the code.

scholarly journals Paris: A Poem by Hope Mirrlees: The liminal world of Paris in 1919

2021 ◽  
Vol 51 (3-4) ◽  
pp. 192-203
Author(s):  
Sofia Permiakova
Keyword(s):  
Original Publication ◽  
Formal Organization ◽  
Liminal Space ◽  
Work Of Art ◽  
Urban Representation ◽  
Modernist Studies ◽  
The City

Paris: A Poem by Hope Mirrlees is a modernist ‘curiosity’ which remained largely unknown due to the peculiar conditions of its original publication. In recent years, however, it has regained its place within the field of modernist studies due to the efforts of Julia Briggs and Sandeep Parmar. Instead of approaching the poem through established categories of urban representation, such as flânerie, urban phantasmagoria or the urban palimpsest, this article focuses on Paris, then in the midst of the 1919 Peace Conference, as a liminal space and site of Bakhtinian carnival. This framework advances an understanding of the poem as a complete and complex work of art. The article argues that the peculiar structure and formal organization of the poem, and its relation to the reality of Paris in 1919 and beyond, turns the poem into a liminal space of its own, thus doubling the city it speaks of.

Pictorial Art, Viewed from the Standpoint of Mental Organization As Revealed by the Excitatory Abreaction Techniques of Psychiatry

1953 ◽  
Vol 99 (414) ◽  
pp. 136-143 ◽  
Author(s):  
N. C. Colquhoun ◽  
Harold Palmer
Keyword(s):  
Raw Material ◽  
Artistic Expression ◽  
Creative Activity ◽  
Emotional Life ◽  
Work Of Art ◽  
External Appearance ◽  
Private World ◽  
The Spectator

The pictorial work of art bears witness, above all else, to the process of creation. Whatever it is that differentiates a work of art from mere skilled productivity—(and aesthetic theories rage about this issue)—it would appear that only in the case of the former is the spectator made conscious of that heightened scale of perception, at once purposive, integrated, and whole, which is the distinguishing feature of creative activity. And if we admit the principle of creativity in artistic expression, then we must seek in paintings something more than a reproduction of external appearance. The visible world indeed is the raw material of art, but it is moulded and fashioned by the artist according to his own purposes and, it is now suggested, by certain qualities of reminiscence. As a consequence of the relation which exists between his own emotional life and these qualities he creates in pictures a world of reality which has for him a compelling intensity—an irradiance in which he finds meaning and justification for his work. It is the embodiment of some new state of comprehension, bringing order, coherence and purpose to what otherwise would be formless and lacking in meaning. This world re-born, founded in experience, is invested with conviction and validity. The making of such an extra-sensory world is at the heart of creativity, for only so can the artist create the conditions for a communicable experience. A purely private world is mysterious and incommunicable, and does not provide the conditions in which schools of art can develop.

scholarly journals Действие принципа нонселекции в языковoй организации постмодерного художественного текста

2018 ◽  
pp. 260-269
Author(s):  
Elena Stepanowna Perelomowa
Keyword(s):  
Literary Text ◽  
Artistic Expression ◽  
Work Of Art ◽  
Selection Principle ◽  
Associative Chain ◽  
Clear Sign ◽  
Postmodern Art ◽  
Poetic Function ◽  
The Individual ◽  
Linguistic Means

The article discusses the organization of linguistic postmodern literary text. Analyzes the poetic works of Ukrainian postmodern art discourse for selection by the authors of language means of expression to achieve communicative goals. Word in a work of art does not only nominative function, it is used in a subjectify lingual space and determine speechthinking freedom of speaker. The author draws attention to the fact that the poetic function of language, along with the reference, ambiguity and gives it an opportunity for the ambiguity of the utterance. In connection with this understanding of the meaning of art depends on the different attitudes to the very subject of the statement saying, an the method of reading the text. Related words in the concept of becoming unfit for the image “literal” pattern of life. Therefore, a clear sign of postmodernism become Ukrainian verbal games, heteroglossy languages, discourse, linguistic hybrids, marginal dictionaries. He rejects the discourse of a totalitarian society, the official lexicon of Soviet-style language as inadequate to express the individual senses and feelings, instead of resorting to repetition of words, obscene language, citations, etc. The essence of the product is replaced by rhythmic melodic phrase, a phrase open to freely attach to it any associative chain. In the process of generation of artistic expression is present in the selection principle nonselection linguistic means of expression. The dialogue is born and polylogue game between the text of culture, the reader, the author.

scholarly journals Types of Catharsis in the Perception of Paintings

2019 ◽  
Vol 15 (3) ◽  
pp. 125-132
Author(s):  
M.V. Yermolayeva ◽  
D.V. Lubovsky
Keyword(s):  
Meaning Making ◽  
Main Character ◽  
Personal Reflection ◽  
Work Of Art ◽  
Art Historians ◽  
The Moment

The article analyzes the functions and structure of psychological catharsis as a cultural means of meaning-making. Basing on eudemonistic understanding of catharsis, the authors show its meaning-making action. In the structure of catharsis, there are phases of excitement (pathos), concentration (‘merging’ with the main character), and transcendence (‘reaching beyond one’s limitations’) which, through personal reflection, concludes with the individual’s ‘return to oneself’, transformed through the encounter with the work of art. The authors consider catharsis as an event that encourages action and creates the space of opportunities for it; basing on the research of art historians, the authors describe two kinds of catharsis (in the perception of Caravaggio’s and Rembrandt’s works). The authors identify psychotechnical means of interrupting catharsis at the moment of emotional extremum (in the works of Caravaggio) and the conditions for completing the reflective catharsis with the ‘return to one’s transformed self’ (using the paintings of Rembrandt as an example). The paper concludes with an outline of further prospects of exploring catharsis as a cultural means of meaning-making.

scholarly journals Communication Models in Contemporary Art

2021 ◽  
pp. 84-90
Author(s):  
Rugilė Navickaitė
Keyword(s):  
Contemporary Art ◽  
Nonverbal Communication ◽  
Mass Communication ◽  
Body Language ◽  
Verbal Communication ◽  
Process Models ◽  
Communication Process ◽  
Review Of The Literature ◽  
Work Of Art ◽  
Communication Models

The object of research is the communication features of contemporary art. The aim is to reveal these features based on a review of the literature. The paper discusses the concept of communication in contemporary art; describes the characteristics of contemporary art as a medium; defines communication models in contemporary art. Communication and its features are manifested in many fields, one of which is art. To discuss the concept of communication in contemporary art, the levels of verbal and nonverbal communication are distinguished. Image forms, colours, lighting, lines, motifs, body language, sound, as well as the written or unwritten language of verbal communication about a work of art, can serve to recognise the communicative properties of a work of art. Types of intrapersonal and public and mass communication are applied, communication process models are based.

scholarly journals THE COMMUNICATION BETWEEN CONDUCTOR AND CHOIR IN THE PROCESS OF CREATING A MUSICAL WORK OF ART

2017 ◽  
pp. 62-67
Author(s):  
А. Zeman
Keyword(s):  
Crucial Role ◽  
Information Transfer ◽  
Effective Communication ◽  
Musical Score ◽  
Musical Work ◽  
Hidden Information ◽  
Work Of Art ◽  
Complex Process ◽  
Verbal Message ◽  
To Come

The work of a conductor requires the ability of effective communication in order for a unique musical work to come alive. This communication is not a matter of dictionary definitions but a complex process requiring the ability to encode and decode messages. Starting from reading musical score, which still has a lot of hidden information, through the art of carrying out the thoughtful interpretation of the piece, ending up with the communication between the conductor and the listener via the choir, the artist, including the conductor, can explore the space in which they act, identify it and thus verify and enrich it. Three links may be distinguished in the process of communication between the conductor and the choir: the sender — the conductor who sends a verbal and non-verbal message, the receiver — the ensemble and the code by the means of which the information transfer takes place. What determines effective communication between the conductor and the choir? Undoubtedly, an important if not a crucial role is played by the conductor’s attitude. The communication between the conductor and the choir in the process of creating a musical work depends on the conductor’s abilities, skills and personality, the choir singers’ vocal skills as well as on the regular, relentless work on the conductor’s own and the choir’s development.

scholarly journals Deployment of Rhetorical and Literary Tropes in Ewa-ọma Festival Performances of Nkporo, South-East Nigeria

SAGE Open ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 215824402110231
Author(s):  
Anya Ude Egwu ◽  
Ebuka Elias Igwebuike ◽  
Chinasa Abonyi
Keyword(s):  
Critical Analysis ◽  
Space Time ◽  
Verbal Communication ◽  
Performance Goals ◽  
Rhetorical Strategies ◽  
Verbal Language ◽  
Rhetorical Devices ◽  
Analysis Methods

African traditional drama has been researched from several perspectives. But there are hardly studies fully focusing on the deployment of language to achieve performance goals in particular performances. This failure may have roots in the widely held assumption that verbal language (dialogue) is not a serious element of African traditional drama. Studying language in particular performances will show that there are instances of full and effective deployment of verbal communication in the African traditional drama. This article, therefore, studies language in ewa-ọma performances. Using basic literary appreciation and critical analysis methods, with a new historicist bias, the literary and rhetorical components of language are identified and analyzed according to their space-time relevance in two performances, to demonstrate the manner of realization of dialogue and (inter)weaving of literary and rhetorical strategies. Literary tropes and rhetorical devices are effectively deployed in well-developed dialogues to achieve a satirical goal in the performances.

scholarly journals Teacher’s Nonverbal Communication in Teaching Learning Process at SMP Negeri 2 Robatal Sampang Madura

2020 ◽  
Vol 6 (1) ◽  
pp. 74-82
Author(s):  
Wildona Zumam ◽  
Mahfud
Keyword(s):  
Nonverbal Communication ◽  
Learning Process ◽  
Verbal Communication ◽  
Verbal Message ◽  
The Subject ◽  
Teacher Use ◽  
To Come ◽  
Teaching Learning ◽  
To Receive

The teacher is not only used verbal communication but also used nonverbalcommunication, this study aims to investigate the teacher use nonverbalcommunication in teaching learning process and the teachers’ nonverbalcommunication effect on the classroom atmosphere at SMP Negeri 2 RobatalSampang Madura. The subject of the study is the teacher and the students. Theinstruments used to get the data were observation, interview and documentation.Observation was applied in order to know the use nonverbal communication inteaching learning process at SMP Negeri 2 Robatal Sampang and activity in theclassroom. Interviews were conducted to know the effect of nonverbalcommunication in teaching learning process at SMP Negeri 2 Robatal Sampang.The result of the shows that teachers’ nonverbal used in teaching learning processare hands, space and distance, touching and chronemics. Hands is nonverbal themost used by the teacher in teaching learning process, the manner of the usedhands in teaching learning process , he ups his hands to ask students to comeforward. Space and distance is the second nonverbal that’s more often thantouching in teaching learning process after hands. It used the teacher to explainhis material in the used space and distance the teacher stands up in front of astudents to explains his material, touching is nonverbal used the teacher inteaching learning process, touching used the teacher to communication with astudent’s while the teacher asks a students to come forward if the students didn’twant to come forward the teacher stand up beside a students and be touches theirbody. Chronemics was rarely used by the teacher in the classroom, chonemicsused the teacher while he gives task to the students he gives limed the time to thestudents to prepare the material that would be presentation. Beside that the effectof nonverbal communication used were helping students understanding andaccompanying to verbal message. Helping students understanding more easily toa students to receive the material that’s explains by the teacher. Accompanying toverbal message is a student’s more easily understand to get the point of teachers’explanation in teaching learning process.  

scholarly journals The body in museology as expression of identity in contemporary thought

2020 ◽  
pp. 167-187
Author(s):  
Sara Freitas
Keyword(s):  
Key Words ◽  
Present Article ◽  
Self Esteem ◽  
The Body ◽  
Artistic Expression ◽  
Work Of Art ◽  
Subject And Object ◽  
The Subject ◽  
Self Knowledge

In the present article we seek to reflect, within the scope of an PhD investigation in ULHT, Sociomuseology department, about tattoo as an artistic expression for cotemporary museology, where we try to give visibility to a process of identity, to a mapping of experiences and of affirmation of a territory that belongs to each one of us – our body. If on one hand, we seek to answer to one of the problems that we consider important in the today’s world, we also seek to reflect about some issues that concern the Museology and the Museums. Throughout this investigation we also seek, through fieldwork expressed by interviews with the tattooed, to highlight the importance of the subject, in the museological processes, through self-knowledge, self-esteem and self-criticism, in which the subject is at the same time a museological object, considered as a work of art. Then the tattooed subject then shares many of the problems that are also common to the Sociomuseological universe: he is the subject and object of memory and forgetfulness - mapping his territory; he is also a subject of power, of his body; it is a point of heritage identification through its aesthetics; it is the search for an identity or a difference in its territory, and it is the result of the phenomenological processes of modernity. These are just some of the points that will be discussed in this text. Key words: Sociomuseology; Identity; Power; Artistic Expression; Postmodernity

scholarly journals Poetics of B. Brecht’s epic theatre in terms of the cubist principle

2021 ◽  
Vol 1 (1) ◽  
pp. 61-69
Author(s):  
Daria D. Moroseeva
Keyword(s):  
Integrated Approach ◽  
Artistic Expression ◽  
Work Of Art ◽  
Avant Garde ◽  
Epic Theatre ◽  
Inner World ◽  
Artistic Image ◽  
Affective Involvement

This article is devoted to an attempt to consider the concept of B. Brechts epic theatre in terms of the cubist principle as a characteristic technique of the avant-garde and postmodernism, based on overcoming traditional mimetic forms when creating an artistic whole and suggesting such a way of organizing an artistic image in which affective involvement based on ready-made forms of perception and recognition, is replaced by the need for the so-called work of understanding. The main objectives of the article include the discovery and description of the mechanisms for the implementation of the cubist principle in the concept of Brechts epic theatre. The goal of the study is to prove the productivity of considering Brechts poetics in terms of the cubist principle. The research is carried out on the basis of an integrated approach that combines systemic-holistic and hermeneutic methods. The block of empirical materials includes Brechts works on the theory of epic theatre, as well as the works of Russian and foreign literary scholars and art theorists, devoted to both highly specialized aspects of Brechts theory of dramaturgy and issues related to the problem of authenticity of artistic expression and features of the structure of a work of art in the context of the collapse of traditional ideas about an artistic object as a result of imitation or expression of the artists inner world. The results obtained make it possible to present the concept of Brechts epic theatre as an experience of problematization of the creative act in a situation of crisis of artistic forms and reveal the expediency of considering Brechts poetics in terms of the cubist principle due to a much broader view of the technical and ideological-content aspects of his concept, in contrast to previously adopted concepts montage and separation of elements.

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