TEXT-FORMING FUNCTIONS OF THE NARRATIVE-ARTISTIC IMAGE “THE FRIEND OF THE HOUSE” AS A PERSONALIZED NARRATOR IN THE TEXTS OF CALENDAR STORIES BY J. P. HEBEL

2021 ◽  
Vol 3 (102) ◽  
pp. 119-132
Author(s):  
ULYANA A. NEBESNYUK
Keyword(s):  
18Th Century ◽  
Third Parties ◽  
The Cross ◽  
Artistic Image

The article focuses on the text-forming functions of the personalized narrator “The friend of the house” in the texts of J. P. Hebel's calendar stories. Applying the cross-cutting analysis of the practical material it has been determined that the auctorial narrator “The friend of the house” reflects a special historical path in the development of the “calendar story” (German: “Kalendergeschichte”) as part of a calendar. The personalized calendar figure of “The Rhenish friend of the house” (based on the image of the “lame messenger”) is characterized by the appearance of a typical German urban inhabitant of the 18th century, a locally determined polysemous name and a “heavenly” metaphorical image. In his “divine” purpose he yields to the prophet a bit and tells readers amazing everyday stories of a sentential nature. Sources of his stories are his personal observations, stories of anonymous or mentioned eyewitnesses, second or third parties (“The Rhenish brotherhood of the friend of the house”, the loyal helpers “the adjunct” and “the mother- in-law”) which also have a projection of the personal biography and the ambience of the writer - the author of the “calendar stories”...

scholarly journals Image of Kumgang Mountains (Geumgangsan) in Korean fine arts: tradition and modernity

2021 ◽  
pp. 102-117
Author(s):  
Ю.И. Гутарёва
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
Mountain Range ◽  
Korean Art ◽  
Traditional System ◽  
Central Image ◽  
The Republic ◽  
Definition Of ◽  
Far Eastern ◽  
Artistic Image

В статье исследуются особенности корейской пейзажной живописи, развитие которой с начала XVIII века оказывается неразрывно связано со знаменитой горной цепью Корейского полуострова Кымгансан. Утвердившись как центральный образ в пейзажах «подлинного вида», горы Кымган со временем приобретают значение не только художественного феномена, но и знакового национального символа родной земли в корейском культурном сознании, оставаясь для художников воплощением естественных красот и сплетением разнообразной символики. Цель статьи — определить значимость образа гор Кымган в корейском изобразительном искусстве как выразителя национальной самобытности искусства Кореи и хранителя художественно-ценностных традиций. В статье изложен анализ произведений корейских художников с XVIII столетия и до наших дней. Исследуются произведения ряда современных северокорейских и южнокорейских художников, чьи работы, разные по стилю и технике исполнения, объединяет единство мировосприятия гор Кымган как духовного источника, репрезентируя стремление к этнической аутентичности, возрождение традиций и выражение патриотизма в современном искусстве Республики Корея и КНДР. Предлагается обзор тенденций в корейском изобразительном искусстве, где в данном образе проявился национальный подход, натурное видение природы родной страны и творческое переосмысление открытий великих корейских пейзажистов в контексте адаптации новых художественно-выразительных особенностей в рамках традиционной системы дальневосточной живописи тушью и творческих экспериментов с разнообразными техниками. В заключение делается вывод о важности художественного образа гор Кымган, который, утвердившись в корейском пейзаже в XVIII веке, стал прочной основой для развития корейской живописи современного периода, демонстрируя не только приверженность традициям, но и способность к новациям как в приобретении новых символических оттенков в его прочтении, так и в расширении творческих поисков для выражения его эстетического идеала в картине мира современности. The article examines the features of Korean landscape painting, the development of which since the beginning of the 18th century is inextricably linked with the famous mountain range of the Korean Peninsula Kumgangsan (Diamond Mountains). Having established itself as the central image in landscapes of “true appearance”, the Kumgang Mountains over time acquire the significance of not only an artistic phenomenon, but also an iconic national symbol of the native land in the Korean cultural consciousness, remaining for artists the embodiment of natural beauties and the interweaving of various symbols. The purpose of the article is to determine the significance of the image of the Kumgang Mountains in Korean fine art of past and present eras, as an exponent of the national identity of Korean art and a keeper of artistic value traditions. The main objective of the article is to study the image of the Kumgang Mountains based on the analysis of the works of Korean artists from the 18th century to the present day, with the definition of its role and place in the contemporary fine arts of Korea. The article analyzes the works of a number of modern North Korean and South Korean artists, different in style and technique of execution, but similar in perception of the Kumgang mountains as a spiritual source, representing the desire for ethnic authenticity, the revival of traditions and the expression of patriotism in contemporary art of the Republic of Korea and the DPRK. The article provides an overview of trends in Korean painting, where this image manifests a national approach, a natural vision of the native country and a creative rethinking of the discoveries of the great Korean landscape painters in the context of adapting new artistic and expressive features within the traditional system of Far Eastern ink painting and creative experiments with various techniques. It is concluded that the artistic image of the Kumgang mountains is important as it has established itself in the Korean landscape in the 18th century, and become a solid foundation for the development of Korean painting in the modern period, demonstrating not only adherence to traditions, but also the ability to innovate, both in acquiring new symbolic shades, and expanding artistic and expressive means to display its aesthetic ideal in the picture of the world of our time.

scholarly journals ARCHITECTURAL SPACE IN DANCE AS AN ARTISTIC AND FIGURATIVE SYSTEM

2021 ◽  
Vol 17 (4) ◽  
pp. 79-90
Author(s):  
Tatiana V. Portnova
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Human Movement ◽  
Architectural Space ◽  
Artistic Process ◽  
Fundamental Research ◽  
Architectural Principles ◽  
Production Solutions ◽  
The 19Th Century ◽  
Artistic Image

The study examines the expressive means of dance and architecture, establishes common and specific areas in the nature of their artistic language, identifies the extent of interaction between architectural principles with dance dramaturgy and choreographic composition, and analyzes examples of interpretation of dance production solutions in the architectural space. Through a simultaneous review, the author examines the expressive means of dance and architecture, establishing the common and the specific in the expressive and pictorial nature of their artistic language. The focus is on identifying the degree of influence of architectural principles on the dance drama, choreographic composition, and the reverse impact. The analysis provides examples of the interpretation of dance staging solutions in the architectural space, including innovative modern practices of the 20th‑21st centuries. The artistic and imaginative metamorphoses of staged choreographic solutions occurring in different kinds of architectural spaces are considered. Starting with the perspectivism of the scenery on the stage and the light architecture of the 18th century, the author moves on to the monumental construction of the large stage performance of the 19th century and concludes with the choreographic experiments of the early 20th century. The article points out that modern times offer the most curious design solutions. There are examples of bold, original methods of interaction between choreography and architecture: dances are staged directly in the interiors of buildings, bypassing the traditional stage platform. The implied idea of human movement in space, encompassing the viewer, appears here because of successively changing impressions. Finally, the author explores the directorial approach, where the choreography itself masters and constructs the architecture, helping the viewer to perceive themselves as if within its own spatial structure. This peculiar artistic and visual synthesis appears in the dynamics of genre and style of the author’s stage context. The study of the specifics of ballet as a dramatic phenomenon seems to be a fundamental research task, because, more than any other theatrics genre, it is the ballet that provided extremely diversified artistic samples of space and stage creativity in the heritage of the 20th century, and probably, will continue to do so in the 21st. The question of dance interpretation in the architectural space is a significant independent subject of research in connection with the structure and evolution of the artistic image in contemporary choreographic art. Against the background of postmodernist modern style trends as a global creative principle of post-culture, this topic includes broad general aesthetic associations. It is vital to the understanding of the artistic process in contemporary art in general.

OBSERVATIONS ON MONEY, BARTER AND BOOKKEEPING

2004 ◽  
Vol 31 (1) ◽  
pp. 129-139 ◽  
Author(s):  
William T. Baxter
Keyword(s):  
18Th Century ◽  
Third Parties ◽  
Severe Handicap ◽  
American Colonies ◽  
Set Up ◽  
Unusual Situation

Britain forbade her 18th-century American colonies to set up mints, and sent no supplies of her own coins. In consequence, the colonies were without any official money. Account books of the period reveal how traders fared in this unusual situation. They show that the lack of money was a severe handicap that hindered and distorted trade, but that the colonists to some extent overcame it with the aid of ingenious ledger entries. These culminated in payment by credit transfers in the books of third parties. Such transactions lead to a discussion of the nature of money.

scholarly journals A geographic information system for the study of past epidemics: The 1705 epidemic in Martigues (Bouches-du-Rhône, France)

2013 ◽  
Vol 39 (3-4) ◽  
pp. 107 ◽  
Author(s):  
Isabelle Séguy ◽  
Nicolas Bernigaud ◽  
Arnaud Bringé ◽  
Michel Signoli ◽  
Stéfan Tzortzis
Keyword(s):  
Information System ◽  
Geographic Information System ◽  
18Th Century ◽  
Geographic Information ◽  
Cross Linking ◽  
The South ◽  
The Cross ◽  
Demographical Data ◽  
New Diagnosis ◽  
Pathogenic Agents

At the beginning of the 18th century, the Provence region was hit by several severe epidemics whose causes are still not clearly understood.To draw up epidemic profiles and to identify the pathogenic agents concerned, we constituted a large onomastic database and built ageographic information system for Martigues, a medium-sized community in the south of France. The cross-linking of epidemiological,spatial and demographical data allows us to propose a new diagnosis for the epidemic which reached Martigues in the autumn of 1705.

scholarly journals Константин Великий и св. Елена на фресках Яна Кубена в Воздвиженском костеле в Бжеге

2020 ◽  
Vol 17 (3) ◽  
pp. 173-182
Author(s):  
Andrzej Szymański
Keyword(s):  
18Th Century ◽  
Trompe L'oeil ◽  
Ancient Times ◽  
The Cross ◽  
Catholic Reform ◽  
The Church

The paper introduces the splendid representations of Emperor Constantine the Great and Saint Helena in Jan Kuben’s frescos in the church under invocation of the Triumph of the Cross in Brzeg. They testify strongly of the incessant presence of the creative reflection over the Christian ancient times in the area of Opole Silesia in the period of the Catholic reform in the 18th century. Kuben’s trompe-l’oeil constitutes a wonderful combination of deeply experienced Catholic spirituality with the genius of the artist – a visionary.

scholarly journals Paintings of Dotnuva Church of the Lord’s Revelation to Virgin Mary

Menotyra ◽  
2018 ◽  
Vol 25 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Virgin Mary ◽  
Identical Composition ◽  
The Cross ◽  
Dutch Painter ◽  
The 19Th Century ◽  
The Church ◽  
The Way

The article discusses the poorly investigated painting heritage of the Dotnuva Bernardine Church, which covers the period from the monastery establishment in 1701 until its closure in 1864. In the article, we have tried to disclose, based on written sources and studies in situ, the origin of the pictures, their shifts during the time, to examine the iconography, attribution questions and also to reveal the piety traditions of Bernardines manifested through the paintings. The Bernardines in Dotnuva have retained a rare and valuable painting of the Virgin Mary with a child adorned with the baroque crowns from the second half of the 17th century. The painting was created according to the example of “The Virgin Mary with a Child” (1520) of a Dutch painter Adriaen Isenbrant. In the iconographic programme of the altars and the titles of the church the spirituality of Bernardines is reflected. They were intended to bless the Revelation to Virgin Mary, the sufferings of Jesus and to glorify the most important Saints of the Franciscans as well as other Saints (St. Anna, St. Barbara). Tense artistic interactions between the monasteries of St Casimir province reveal the early paintings of Dotnuva Church – St. Anthony of Padua and St. Anna (“St. Family”) painted by the same iconographic types prevalent in the environment of Bernardines. A painting of St. Anthony (beginning of the 18th century) brought from Vilnius is of identical composition as paintings of Vilnius Bernardines, and a painting of St. Anna as paintings from Kretinga). This tendency is also observed in the later paintings of Dotnuva Church. Several paintings remain in Dotnuva Church from the 18th century, but the paintings from the first half of the 19th century comprise the largest part. It can be assumed that the artistic quality of the paintings acquired from the first half of the 19th century was influenced by Chrapowicki family, church benefactors and collators, representative position and a demanding approach of Bernardines to art works. From the beginning until the middle of the 19th century, installation works in a new masonry church took place. Valuable altar paintings depicting the Way of Cross of exceptional iconography and a rare painting from the Old Testament were acquired. In the 1770s, GeorgiusKosztown, a professional painter, created a painting “The Trial of Susanna” for the church, which was mentioned in the visitation act in 1817. On the basis of stylistics and historical assumptions, he also could be the author of other altar paintings created at the same time: St. Francis of Assisi, St. Anna (St. Family), St. Barbara, St. Anthony of Padua, Way of the Cross and St. Dominic. J. Roselino, another professional painter, worked in Dotnuva at the same time. In 1819, he created a painting “St. Florian”. The artistic value of the works acquired in the middle of the 19th century has decreased. Adolf Czapski (“The Trinity”), a painter from Kėdainiai, Zboilev (“The Divine”) and other unknown painters participated in the decoration of the church. This study of the heritage of the Dotnuva Bernardine Church is only preliminary. This publication is intended to draw attention to the survived altar paintings characterised by stylistic integrity, images of the Way of the Cross and other valuable works.

A New Approach to the Demonstration of Oxidase-Localization Using Tannic Acid Or Catechin

1973 ◽  
Vol 31 ◽  
pp. 698-699
Author(s):  
V. Mizuhira ◽  
Y. Futaesaku
Keyword(s):  
Cross Section ◽  
Tannic Acid ◽  
Elastic Fiber ◽  
The Other ◽  
New Approach ◽  
Tissue Block ◽  
Active Reaction ◽  
The Cross

Previously we reported that tannic acid is a very effective fixative for proteins including polypeptides. Especially, in the cross section of microtubules, thirteen submits in A-tubule and eleven in B-tubule could be observed very clearly. An elastic fiber could be demonstrated very clearly, as an electron opaque, homogeneous fiber. However, tannic acid did not penetrate into the deep portion of the tissue-block. So we tried Catechin. This shows almost the same chemical natures as that of proteins, as tannic acid. Moreover, we thought that catechin should have two active-reaction sites, one is phenol,and the other is catechole. Catechole site should react with osmium, to make Os- black. Phenol-site should react with peroxidase existing perhydroxide.

Structures Resembling Striated Rootlets in Oocytes

1972 ◽  
Vol 30 ◽  
pp. 124-125
Author(s):  
Valerie V. Ernst
Keyword(s):  
Golgi Complex ◽  
Fibrous Structure ◽  
Oocyte Development ◽  
The Cross

During the earliest stage of oocyte development in the limpet, Acmea scutum, Golgi complexes are small, few and randomly dispersed in the cytoplasm. As growth proceeds, the Golgi complexes increase in size and number and migrate to the periphery of the cell. At this time, fibrous structures resembling striated rootlets occur associated with the Golgi complexes. Only one fibrous structure appears to be associated with a Golgi complex.The fibers are periodically cross banded with an average of 4 dense fibrils and 6 lighter fibrils per period (Fig. 1). The cross fibrils have a center to center spacing of about 7 run which appears to be the same as that of the striated rootlets of the gill cilia in this animal.

Energy Distribution in Electron Beams

1972 ◽  
Vol 30 ◽  
pp. 568-569
Author(s):  
Tamotsu Ohno
Keyword(s):  
Electron Beam ◽  
Energy Distribution ◽  
Cross Section ◽  
Integral Curve ◽  
Electron Beams ◽  
Electron Gun ◽  
Angular Divergence ◽  
Apparent Increase ◽  
Integral Width ◽  
The Cross

The energy distribution in an electron; beam from an electron gun provided with a biased Wehnelt cylinder was measured by a retarding potential analyser. All the measurements were carried out with a beam of small angular divergence (<3xl0-4 rad) to eliminate the apparent increase of energy width as pointed out by Ichinokawa.The cross section of the beam from a gun with a tungsten hairpin cathode varies as shown in Fig.1a with the bias voltage Vg. The central part of the beam was analysed. An example of the integral curve as well as the energy spectrum is shown in Fig.2. The integral width of the spectrum ΔEi varies with Vg as shown in Fig.1b The width ΔEi is smaller than the Maxwellian width near the cut-off. As |Vg| is decreased, ΔEi increases beyond the Maxwellian width, reaches a maximum and then decreases. Note that the cross section of the beam enlarges with decreasing |Vg|.

On the cross-sectional shape of the cellulose crystallites in the tunicate Halocynthia papillosa

1990 ◽  
Vol 48 (3) ◽  
pp. 566-567
Author(s):  
J.-F. Revol ◽  
Y. Van Daele ◽  
F. Gaill
Keyword(s):  
Contrast Imaging ◽  
Animal Kingdom ◽  
Bright Field ◽  
Field Mode ◽  
Cross Sectional ◽  
Ultrathin Sections ◽  
The Cross ◽  
Sectional Shape ◽  
Valonia Ventricosa ◽  
C Nmr

The only form of cellulose which could unequivocally be ascribed to the animal kingdom is the tunicin that occurs in the tests of the tunicates. Recently, high-resolution solid-state l3C NMR revealed that tunicin belongs to the Iβ form of cellulose as opposed to the Iα form found in Valonia and bacterial celluloses. The high perfection of the tunicin crystallites led us to study its crosssectional shape and to compare it with the shape of those in Valonia ventricosa (V.v.), the goal being to relate the cross-section of cellulose crystallites with the two allomorphs Iα and Iβ.In the present work the source of tunicin was the test of the ascidian Halocvnthia papillosa (H.p.). Diffraction contrast imaging in the bright field mode was applied on ultrathin sections of the V.v. cell wall and H.p. test with cellulose crystallites perpendicular to the plane of the sections. The electron microscope, a Philips 400T, was operated at 120 kV in a low intensity beam condition.

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