scholarly journals ROMAN INGARDEN’S CONCEPT OF THE FILMIC WORK OF ART: STRATA, SOUND, SPECTACLE

2020 ◽  
Vol 9 (2) ◽  
pp. 683-702
Author(s):  
ROBERT LUZECKY ◽  
Keyword(s):  
Silent Film ◽  
Borderline Case ◽  
Work Of Art ◽  
Literary Works ◽  
Works Of Art ◽  
Two Stages

In the present paper, I suggest a modification to some aspects of Ingarden’s analyses of the sound-synchronized filmic work of art. The argument progresses through two stages: (1) I clarify Ingarden’s claim that the work of art is a stratified formation in which the various aspects present objectivities; (2) I elucidate and critically assess Ingarden’s suggestion that the filmic work of art is a borderline case in respect to other types of works of art—paintings and literary works. Here, I identify a problem with Ingarden’s claims about the function of sound in the concretized filmic work’s presentation of its fictive world. Ingarden identifies the presented universe of the filmic work of art as a habitus of reality, but Ingarden seems oddly conflicted with respect to his notion of habitus. I argue that this stems from Ingarden’s conceptualization of the filmic work of art as primarily composed of the stratum of represented “visible aspects” in both the cases of the silent film and the sound-synchronized film, and his restriction of the role of phonetic content in the latter. I suggest that were we to reconceptualise the role of aurally presented phonetic content in the concretized sound-synchronized film, we could better understand how film has the seeming magical capacity to transfix us.

People and Things: Questions Museums Make us Ask and Answer

2016 ◽  
Vol 79 ◽  
pp. 199-216
Author(s):  
Alda Rodrigues
Keyword(s):  
The Other ◽  
Material Object ◽  
Work Of Art ◽  
Material World ◽  
Works Of Art

AbstractThis chapter first analyzes two texts in the tradition of essays which associate museums with the notion of displacement: Moral Considerations on the Destination of Works of Art, by Quatremère de Quincy, and ‘The Origin of the Work of Art’, by Heidegger. Both authors claim that a work of art is not only a material object but also a centre of practices, values, beliefs, traditions, memories, and so on. I argue that, insofar as a work of art can be the centre of this type of network in a museum, the description of art these authors propose defeats their own claims against museums. In the second part, I suggest that Heidegger's and Quatremère's descriptions of the role of art can be articulated with the help of Donald Davidson's understanding of the interconnection between the material world and human concepts. As Davidson sees it, things and people can only be described in relation to the other particular persons, objects, events and places they are connected to. From this perspective, the subjective, the objective and the intersubjective cannot be grasped independently. Museums stage this interconnection and can, therefore, be regarded as philosophical instruments that may help us describe things and, by extension, also ourselves.

scholarly journals THE ROLE OF WORKS OF ART IN THE DISCOURSE OF SOCIAL ADVERTISING

2020 ◽  
Vol 4 (10(79)) ◽  
pp. 33-40
Author(s):  
T. Anissimova
Keyword(s):  
Work Of Art ◽  
Works Of Art ◽  
Social Advertising

The article discusses ways to use well-known works of painting, sculpture, and architecture in social advertising. There are three main ways: first, a work of art can be completely reproduced on a poster, second, when transferred to a poster, the work of art can undergo a significant transformation, and third, social advertising contains only an allusion to the work of art. 

THE ROLE OF IRONY IN UZBEK LITERATURE

2021 ◽  
Vol 5 (3) ◽  
pp. 50-59
Author(s):  
Ugiloy Mavlonova ◽  
Keyword(s):  
Literary Criticism ◽  
Research Methods ◽  
World Literature ◽  
Work Of Art ◽  
Scientific Investigations ◽  
Works Of Art ◽  
The World ◽  
The Individual

Introduction. In world literature, a number of scientific investigations are being conducted on the classification of irony, its artistic manifestations, parody, paradox, grotesque and image. The role of irony and image in the structure of the work of art in the world literary science, in which the coverage and identification of the individual skills of the writer remains one of the urgent tasks. In modern Uzbek literature, there is an approach based on various research methods of world literature in the analysis of works of art, the coverage of the poetic skills of the author. Research methods. At the same time, as poetry and prose of the 1970s and 1980s emerged from ideological stereotypes, literary criticism seemed to lag behind.

scholarly journals Herder and the limits of the work of art

KÜLÖNBSÉG ◽  
2016 ◽  
Vol 16 (1) ◽  
Author(s):  
Szilvia Csanádi-Bognár
Keyword(s):  
18Th Century ◽  
Work Of Art ◽  
The Third ◽  
Works Of Art ◽  
Epistemological Model ◽  
Formed Part

In the 16th and 17th centuries the concept of the line was discussed in the context of the debate between advocates of disegno colore and Poussin-Rubens as the device for forming images and the space of paintings. In contrast, parallel to the emergence of aesthetic discussion in the 18th century, the discussion of the concept formed part of the relation and the space between the work of art and the viewer. The distinctness of form became part of the discussion on abstract notions and ethical states. The importance of the line was discussed by several authors of the 18th century, like Winckelmann’s ideas on the outline. As a result, a whole cult of the silhouette emerged by the end of the 18th century. Wincklemann connected the notion of the outline to the concept of the idea, while Herder resisted granting importance to the notion of the line. The first section of the paper traces the place of the concept in 18th century theories of art. The second section summarizes the reasons for Herder’s resistance and shows what other concepts take over the role of the line in his epistemological model. The third section traces another difference between Herder and his contemporaries: why it remains unproblematic to talk of works of art, especially of sculpture, for Herder.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

Smolensk Proper Names in A.T. Tvardovsky’s Poems

2020 ◽  
pp. 54-62
Author(s):  
Inna A. Koroleva ◽  
Keyword(s):  
Proper Names ◽  
Personal Characteristics ◽  
Entire Body ◽  
Literary Works ◽  
Thematic Content ◽  
Home Town ◽  
Birthday Anniversary ◽  
Long Poems ◽  
First Time

This article is dedicated to the 110th birthday anniversary of a great Russian poet, native of Smolensk, one of the founders of the Smolensk Poetic School Aleksandr Tvardovsky (1910–1971). It examines how Smolensk motifs and Tvardovsky’s love for his home town are reflected in his works at the onomastic level. Smolensk-onyms reflected in long poems are analysed here, the focus being on anthroponyms and toponyms naming the characters and indicating the locations associated with Smolensk region. A close connection between the choice of proper names and Tvardovsky’s biography is established. An attempt is made to demonstrate how, using onomastic units introduced by the author into the storyline of his artistic text, the general principles of autobiography and chronotopy are realized, which have been noted earlier in critiques of Tvardovsky’s literary works. The onomastic component of the poems is analysed thoroughly and comprehensively, which helps us to decode the conceptual chain writer – name – text – reader and identify the author’s attitude to the characters and the ideological and thematic content of the works, as well as some of the author’s personal characteristics, tastes and passions. At the onomastic level, the thesis about the role of Smolensk motifs in Tvardovsky’s literary works is once more substantiated. A review is presented of onomastic studies analysing proper names of different categories in Tvardovsky’s poems (mainly conducted by the representatives of the Voronezh Onomastic School and the author of this article). It should be noted that Smolensk proper names in the entire body of Tvardovsky’s poetry are analysed for the first time.

Becoming the Demon Woman

2017 ◽  
Author(s):  
Per Faxneld
Keyword(s):  
Cultural Context ◽  
Silent Film ◽  
Femme Fatale ◽  
Individual Level

Chapter9 analyses individuals who, both on and off the stage, actively assumed the role of the demon woman. Three persons are considered in detail: Sarah Bernhardt, the Italian marchioness Luisa Casati, and silent film actress Theda Bara. They chose—or, in Bara’s case, were chosen—to embody the (more or less supernatural or occult) femme fatale, as constructed mostly by male authors and artists. Seemingly, they felt this was empowering or useful for commercial, subversive, or other purposes. The analysis attempts to tease out some of the implications this enactment of a disquieting stereotype had on an individual level as well as in a broader cultural context. This also applies to the unknown women who wore jewellery depicting devils, demons, or Eve—a rebellious token clearly drawing on motifs familiar from Satanic feminism.

scholarly journals Place matters: geographical context, place belonging and the production of locality in Mediterranean Noirs

GeoJournal ◽  
2021 ◽  
Author(s):  
Nicola Gabellieri
Keyword(s):  
20Th Century ◽  
Crime Fiction ◽  
The Novel ◽  
Late 20Th Century ◽  
Literary Works ◽  
Geographical Discourse ◽  
Detective Stories ◽  
Narrative Medium ◽  
Geographical Context

AbstractScholars have been investigating detective stories and crime fiction mostly as literary works reflecting the societies that produced them and the movement from modernism to postmodernism. However, these genres have generally been neglected by literary geographers. In the attempt to fill such an epistemological vacuum, this paper examines and compare the function and importance of geography in both classic and late 20th century detective stories. Arthur Conan Doyle’s and Agatha Christie’s detective stories are compared to Mediterranean noir books by Manuel Montalbán, Andrea Camilleri and Jean Claude Izzo. While space is shown to be at the center of the investigations in the former two authors, the latter rather focus on place, that is space invested by the authors with meaning and feelings of identity and belonging. From this perspective, the article argues that detective investigations have become a narrative medium allowing the readership to explore the writer’s representation/construction of his own territorial context, or place-setting, which functions as a co-protagonist of the novel. In conclusion, the paper suggests that the emerging role of place in some of the later popular crime fiction can be interpreted as the result of writer’s sentiment of belonging and, according to Appadurai’s theory, as a literary and geographical discourse aimed at the production of locality.

scholarly journals Characterizing Highly Benefited Patients in Randomized Clinical Trials

2017 ◽  
Vol 13 (1) ◽  
Author(s):  
Vivek Charu ◽  
Paul B. Rosenberg ◽  
Lon S. Schneider ◽  
Lea T. Drye ◽  
Lisa Rein ◽  
...  
Keyword(s):  
Randomized Clinical Trials ◽  
Controlled Trial ◽  
New Method ◽  
Usual Model ◽  
Randomized Controlled ◽  
Working Model ◽  
Large Numbers ◽  
High Benefit ◽  
Two Stages

AbstractPhysicians and patients may choose a certain treatment only if it is predicted to have a large effect for the profile of that patient. We consider randomized controlled trials in which the clinical goal is to identify as many patients as possible that can highly benefit from the treatment. This is challenging with large numbers of covariate profiles, first, because the theoretical, exact method is not feasible, and, second, because usual model-based methods typically give incorrect results. Better, more recent methods use a two-stage approach, where a first stage estimates a working model to produce a scalar predictor of the treatment effect for each covariate profile; and a second stage estimates empirically a high-benefit group based on the first-stage predictor. The problem with these methods is that each of the two stages is usually agnostic about the role of the other one in addressing the clinical goal. We propose a method that characterizes highly benefited patients by linking model estimation directly to the particular clinical goal. It is shown that the new method has the following two key properties in comparison with existing approaches: first, the meaning of the solution with regard to the clinical goal is the same, and second, the value of the solution is the best that can be achieved when using the working model as a predictor, even if that model is incorrect. In the Citalopram for Agitation in Alzheimer’s Disease (CitAD) randomized controlled trial, the new method identifies substantially larger groups of highly benefited patients, many of whom are missed by the standard method.

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