The Representation of Visual Reality in Perceval and Parzival

PMLA ◽  
1974 ◽  
Vol 89 (3) ◽  
pp. 537-550 ◽  
Author(s):  
Annemarie E. Mahler
Keyword(s):  
Visual Arts ◽  
The Other ◽  
Medieval Art ◽  
Wolfram Von Eschenbach ◽  
Real Motion ◽  
Space And Time ◽  
Other Hand ◽  
Self Consistent ◽  
Visual Reality ◽  
Surface Detail

The image projected in the reader's mind by an author's description offers a basis for comparison with the visual arts. Art historical criteria are applied to equivalent descriptions—a portrait, an architectural complex, and a scene involving motion—in the Perceval of Chrestien de Troyes and the Parzival of Wolfram von Eschenbach. Chrestien's traditional rhetorical portrait of Blancheflor is a still, frontal, symmetrical image; his description of chastel merveile gives meticulous surface detail but instead of a logical spatial connection the parts are simply juxtaposed in the plane; Gavain's fight with the lion shows no real motion but breaks down into a series of still vignettes which represent rather than show the action. On the other hand, Wolfram's portrait of Condwiramurs is glimpsed from various angles and distances as she moves through space; Schastel Marveile is vaguely described but spatially self-consistent; motion in Gawan's lion fight is continuous in both space and time. Thus Chrestien's descriptions relate to the dominant tradition of medieval art which shows figures and objects in characteristic poses or arrangements outlined in the plane, Wolfram's to that uncommon strain which attempts to cope with natural relationships, particularly those of volumes in space.

USE OF THE GALAXY AS A TOOL FOR SPATIAL AND TEMPORAL ORIENTATION DURING THE EARLY ISLAMIC PERIOD AND UP TO THE 15TH CENTURY

2021 ◽  
Vol 31 (1) ◽  
pp. 1-44
Author(s):  
Andreas Eckart
Keyword(s):  
Milky Way ◽  
The Other ◽  
Temporal Orientation ◽  
Islamic Period ◽  
Space And Time ◽  
15Th Century ◽  
Other Hand ◽  
The Galaxy ◽  
Early Islamic Period ◽  
Early Islamic

AbstractWe study to what extent the Milky Way was used as an orientation tool at the beginning of the Islamic period covering the 8th to the 15th century, with a focus on the first half of that era. We compare the texts of three authors from three different periods and give detailed comments on their astronomical and traditional content. The text of al-Marzūqī summarises the information on the Milky Way put forward by the astronomer and geographer ʾAbū Ḥanīfa al-Dīnawarī. The text makes it clear that in some areas the Milky Way could be used as a geographical guide to determine the approximate direction toward a region on Earth or the direction of prayer. In the 15th century, the famous navigator Aḥmad b. Māǧid describes the Milky Way in his nautical instructions. He frequently demonstrates that the Milky Way serves as a guidance aid to find constellations and stars that are useful for precise navigation on land and at sea. On the other hand, Ibn Qutayba quotes in his description of the Milky Way a saying from the famous Bedouin poet Ḏū al-Rumma, which is also mentioned by al-Marzūqī. In this saying the Milky Way is used to indicate the hot summer times in which travelling the desert was particularly difficult. Hence, the Milky Way was useful for orientation in space and time and was used for agricultural and navigational purposes.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

The Aesthetic Mediation

2018 ◽  
pp. 143-200
Author(s):  
Richard Viladesau
Keyword(s):  
Nineteenth Century ◽  
Visual Arts ◽  
The Other ◽  
Romantic Period ◽  
Popular Piety ◽  
Biblical Scholarship ◽  
Other Hand ◽  
The Cross ◽  
The Aesthetic ◽  
Naturalistic Realism

In the visual arts of the Romantic period the crucifixion of Christ often became a representation of the sufferings of humanity. Caspar David Friedrich’s paintings placed the cross in the context of the immensity of nature. Toward the end of the nineteenth century there was an increasing tendency to portray Jesus’ suffering in the genre of naturalistic realism. Some painters consciously attempted to incorporate the findings of modern biblical scholarship, rather than follow traditional models. Early film representations, on the other hand, tended to rely on classical types and popular piety.

scholarly journals Sobre la perífrasis 'soler' + estativo: una lectura genérica

2015 ◽  
Vol 4 (2) ◽  
pp. 103
Author(s):  
Axelle Vatrican
Keyword(s):  
Semantic Analysis ◽  
The Other ◽  
Dynamic Event ◽  
Space And Time ◽  
Other Hand ◽  
Normal Man ◽  
The One

<p><span style="font-family: Times New Roman;">Abstract. This paper presents a semantic analysis of a periphrastic construction which has not been studied at this time in Spanish: <em>soler </em>+ stative (<em>Un poeta suele ser un hombre normal, “A poet usually is a normal man</em>”). Whereas the habitual construction has been largely studied (<em>Juan suele cantar “Juan usually sings”</em>), it seems that the first one does not carry the same interpretation. We will claim that we need to distinguish between two readings: the habitual reading on the one hand and the generic reading on the other hand. According to Menéndez-Benito (2013), Krifka et al. (1995) and Shubert &amp; Pelletier (1989), among others, we will argue that <em>soler </em>contains a frequentative adverb of quantification <em>Q</em>. In the habitual reading, the <em>Q</em> adverb quantifies over an individual participating in an event at a time t (<em>Juan está cantando</em>, <em>“Juan is singing”</em>), whereas in the generic reading, <em>Q</em> adverb quantifies over a characterizing predicate (<em>un poeta es un hombre normal, “A poet is a normal man”</em>). In the habitual reading, the NP must refer to an individual and the VP to a dynamic event anchored in space and time. In the generic reading, the NP must refer to a class of objects and the VP to a stative predicate.</span></p>

scholarly journals Gris: metáfora, símbolo y relato en (inter)acción.

Sincronía ◽  
2021 ◽  
Vol XXV (80) ◽  
pp. 314-334
Author(s):  
Ismael Antonio Borunda Magallanes ◽  
Keyword(s):  
Visual Arts ◽  
Video Game ◽  
Symbolic Representation ◽  
The Other ◽  
Psychological Process ◽  
Other Hand ◽  
Theoretical Perspectives ◽  
History Of Art ◽  
History Of ◽  
Narrative Hermeneutics

Gris, an independent Spanish video game, explores the expressive possibilities of this creative medium through a story that is, on one hand, a symbolic representation of the psychological process of the protagonist, and, on the other hand, a foundational narrative about the loss and recovery of identity. This title employs the expressive tools of the history of art to build its aesthetic proposal; in particular, it is categorically placed in the line of surrealism as an artistic current. The analysis of this elements is realized through fundamental notions of rhetoric and poetics, referencing authors such as Helena Beristáin and Carmen Bobes, and the narrative hermeneutics of Paul Ricoeur, as well as theoretical perspectives that allow building bridges of analysis between literature and the visual arts.

scholarly journals A self-consistent weak friction model for the tidal evolution of circumbinary planets

2019 ◽  
Vol 627 ◽  
pp. A109 ◽  
Author(s):  
F. A. Zoppetti ◽  
C. Beaugé ◽  
A. M. Leiva ◽  
H. Folonier
Keyword(s):  
Body Problem ◽  
Semimajor Axis ◽  
Orbital Evolution ◽  
Friction Model ◽  
The Other ◽  
Tidal Evolution ◽  
Other Hand ◽  
Self Consistent ◽  
The Masses ◽  
Circumbinary Planets

We present a self-consistent model for the tidal evolution of circumbinary planets that is easily extensible to any other three-body problem. Based on the weak-friction model, we derive expressions of the resulting forces and torques considering complete tidal interactions between all the bodies of the system. Although the tidal deformation suffered by each extended mass must take into account the combined gravitational effects of the other two bodies, the only tidal forces that have a net effect on the dynamic are those that are applied on the same body that exerts the deformation, as long as no mean-motion resonance exists between the masses. As a working example, we applied the model to the Kepler-38 binary system. The evolution of the spin equations shows that the planet reaches a stationary solution much faster than the stars, and the equilibrium spin frequency is sub-synchronous. The binary components, on the other hand, evolve on a longer timescale, reaching a super-synchronous solution very close to that derived for the two-body problem. The orbital evolution is more complex. After reaching spin stationarity, the eccentricity was damped in all bodies and for all the parameters analysed here. A similar effect is noted for the binary separation. The semimajor axis of the planet, on the other hand, may migrate inwards or outwards, depending on the masses and orbital parameters. In some cases the secular evolution of the system may also exhibit an alignment of the pericenters, requiring the inclusion of additional terms in the tidal model. Finally, we derived analytical expressions for the variational equations of the orbital evolution and spin rates based on low-order elliptical expansions in the semimajor axis ratioαand the eccentricities. These are found to reduce to the well-known two-body case whenα→ 0 or when one of the masses is taken as equal to zero. This model allows us to find a closed and simple analytical expression for the stationary spin rates of all the bodies, as well as predicting the direction and magnitude of the orbital migration.

Between the Body, the Object and the Image: Dance and the Visual Arts in Puppet Art

Maska ◽  
2016 ◽  
Vol 31 (179) ◽  
pp. 34-45
Author(s):  
Renaud Herbin
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Other ◽  
Phantom Limb ◽  
Close Connection ◽  
Other Hand ◽  
Starting Point ◽  
The Relationship

The close connection between creation, theory, and institutions is the starting point for the author’s reflection on the kinds of spaces the latter should prepare. He emphasises that of particular interest are those spaces that are established between different approaches (or rather relationships between the body, the object, and the image). In Reprendre son soufflé by Julika Mayer, the puppet and the actor form a relationship that leaves none of the participants untouched but allows their identities to be changed. Similarly, the puppeteer-dancer in Uta Gebert’s Anubis reveals himself in order to uncover the relationship which links him and the puppet: both exist solely in motion, in the zone of exchange. Bodies and objects, assembled into body-objects, seem to meet by chance in Miet Warlop’s Springville, but in the forefront is the Image, which follows a visual logic in placing the body-objects in different configurations. On the other hand, the space occupied by the body in Yngvild Aspeli’s Signaux is undefined: the actor, his puppet-double, and his phantom limb embody a feeling of strangeness and pain. In the project Anémochore, Christophe Le Blay enables the embodiment of the environment (the wind) in the image of a recorded trace, with which a dancer then engages in dance. Space is therefore something unfinished, something open, undefinable and empty, all of which applies equally to bodies, objects, and images.

Frame Models Forming English Metadiscourse

2019 ◽  
Vol 8 (2) ◽  
pp. 68-74 ◽  
Author(s):  
Оксана Федотова ◽  
Oksana Fedotova
Keyword(s):  
Outer Layer ◽  
Layer Structure ◽  
Specific Form ◽  
The Other ◽  
Communicative Interaction ◽  
Frame Model ◽  
Conceptual Frame ◽  
Space And Time ◽  
Other Hand ◽  
The One

The paper presents fiction as a multi-layer unit. On the one hand, there is fictional reality in which characters live and act. On the other hand, there is a specific form of presentation of the plot to the reader, fiction narrative metadiscourse. The paper shows that metadiscourse unites the plot and the author’s metadiscourse into fiction text. Metadiscourse is presented as a two-layer structure, which consists of the inner conceptual layer and the outer layer, which includes the system of language means the choice of which is made on the basis of conceptual frame models. The paper describes frame models of metadiscourse forming the inner structure of the text. They are: the frame model of space and time, the frame model of generalization and the frame model of communicative interaction between the writer and the reader.

scholarly journals Confinement Mechanism in the Field Correlator Method

2009 ◽  
Vol 2009 ◽  
pp. 1-30 ◽  
Author(s):  
Yu. A. Simonov ◽  
V. I. Shevchenko
Keyword(s):  
Critical Temperature ◽  
Green's Function ◽  
Gluon Condensate ◽  
String Tension ◽  
The Other ◽  
Vacuum Fluctuations ◽  
Qcd Vacuum ◽  
Other Hand ◽  
Self Consistent ◽  
Nonperturbative Qcd

Confinement in QCD results from special properties of vacuum fluctuations of gluon fields. There are two numerically different scales, characterizing nonperturbative QCD vacuum dynamics: “small” one, corresponding to gluon condensate, critical temperature etc, which is about 0.1–0.3 GeV, and a “large” one, given by inverse confining string width, glueball and gluelump masses, and so forth, which is about 1.5–2.5 GeV. We discuss the origin of this hierarchy in a picture where confinement is ensured by quadratic colorelectric field correlators of the special type. These correlators, on the other hand, can be calculated via gluelump Green's function, whose dynamics is defined by the correlators themselves. In this way one obtains a self-consistent scheme, where string tension can be expressed in terms ofΛQCD.

Monte Carlo Simulation of Diffusion with Uniform Sinks and Sources for Vacancies

2005 ◽  
Vol 237-240 ◽  
pp. 1168-1173 ◽  
Author(s):  
Jaroslav Ženíšek ◽  
Jiří Svoboda ◽  
Franz Dieter Fischer
Keyword(s):  
Monte Carlo Simulation ◽  
Monte Carlo ◽  
Monte Carlo Model ◽  
Kirkendall Effect ◽  
The Self ◽  
The Other ◽  
Other Hand ◽  
Self Consistent

A new concept of generation and annihilation of vacancies at uniform sinks and sources for vacancies is incorporated into the standard Monte Carlo model for vacancy mediated diffusion. This model enables to treat the vacancy wind as well as the deformation of the specimen and the shift of the Kirkendall plane. The Monte Carlo model is used for the testing of the recent phenomenological theories of diffusion by Darken, Manning and Moleko. The agreement with the self-consistent Moleko theory is excellent. On the other hand the agreement with the classical Darken theory used very often for the explanation of the Kirkendall effect is rather poor.

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