scholarly journals Imaginative Possibilities of Harry Gordon`s Poetry

2021 ◽  
Vol 1 (21) ◽  
Author(s):  
�lena I. Seifert ◽  
Keyword(s):  
Fine Arts ◽  
Narrow Sense ◽  
Alarm Clock ◽  
Actual Reality ◽  
German Scholar ◽  
Art Form ◽  
The World ◽  
The Subject ◽  
Tactile Sensations ◽  
Clear Predominance

The author of the article examines the lyrics of the poet and artist Harry Gordon through the category of intermediality, discovering the unique visual possibilities of his word when creating ekphrasises in the narrow sense of the word (�translations from the language of painting�) and works in the author`s artistic form � �daguerreotypes�. The use of the word as a pictorial tool to create artistic imagery by poet Harry Gordon is of scholarly interest. The study is based on the theory of intermediality. The category of �intermediality�, primarily known from the works of the German scholar Aage A. Hansen-Lowe, has been further developed by a number of scholars. Gordon�s landscapes appear as (framed) paintings; portraits are masterfully created; contour, colour, outline actively work along with the word. Literature does not belong to the expressive, but to the fine arts, which can display the contours of actual reality, but the share of representationalism in the poems and the optics of the artists of the word are undoubtedly different. Harry Gordon is a poet in poetry, a painter in painting. However, the intermediality and ekphrastic nature of his poetry is extremely interesting: the poet combines words, colours and outlines as a means of creating artistic imagery, he creates poems as �translations from the language of painting�, literary ekphrasis, works with a multiview lens. The art form, which Harry Gordon called the �daguerreotypes�, is often titled with visual motifs. Often these are images from the lyrical protagonist`s childhood, but a number of them belong to the present. They are mediators that take the protagonist back to the world of childhood, such as the alarm clock. Odessa and, more broadly, maritime motifs (�Dophinovka�, �Privoz�, �Bread Harbour�, �Liman�) are autobiographical. Gordon�s daguerreotypes are mostly images from his childhood, imprinted on the retina of the lyrical character. The lyrical protagonist is often an observer (sometimes the title even specifies the angle from which the observation is made: �At the window�), but often he is also the subject, sometimes observed by another lyrical character, or even an object mentioned but not in the picture. Often Gordon�s poetic pictures are filled with the gamut of experiences of the lyrical self, such as childhood fears, shame and embarrassment, lingering curiosity, excitement, a sense of freshness, longing, etc. With a clear predominance of visual motifs (and even endowing non-visible phenomena with the properties of the visual), Gordon�s �daguerreotype� depicts a picture with sound, smell, taste and tactile sensations. As a result of the study, it has been found that Gordon�s depiction is acquired by sound, olfactory, tactile, gustatory images, with the predominance of the visual, an exchange of signs is observed between the images generated by different senses.

My Dad. Life and Art of Teacher and Artist Sergiy Solodovnyk

2021 ◽  
Vol 2021 (02) ◽  
pp. 329-344
Author(s):  
S. Solodovnyk ◽  
Keyword(s):  
Personality Traits ◽  
Subject Matter ◽  
Fine Arts ◽  
Work Of Art ◽  
Artistic Creation ◽  
Talented People ◽  
The World ◽  
The Subject ◽  
Life Path

This article dwells upon the life path and the art of an artist and teacher, professor of Kharkiv Art and Industrial Institute (now Kharkiv State Academy of Design and Fine Arts) – Sergiy Solodovnyk (1915–1991) – my Dad. It is described in what way important events or important meetings with talented people can influence the development of personality, the formation of the artist’s and teacher’s views upon the methods of teaching and drawing and imagery in Arts, also the choice of the subject matter and genre. In artistic creation, both innate personality traits and those acquired in the process of studying the world, through which the artist passes in the process of creating a work of art and his formation as a person, as a lecturer or Teacher, are of great importance. The influence of his personality upon the students of several generations. His great importance in my life as a wise, delicate and caring dad. It is underlined in this article that good, honest deeds, love to people, homeland and to his direction in Art, sensitive attitude to the youth will always find reflection in human souls.

scholarly journals The phenomenon of human alienation: socio-ontological aspect

2020 ◽  
pp. 45-57
Author(s):  
Kirill Prozumentik
Keyword(s):  
Autonomous Agents ◽  
Human Mind ◽  
Social Philosophy ◽  
Broad Sense ◽  
Narrow Sense ◽  
Fundamental Ontology ◽  
The World ◽  
The Status ◽  
The Subject

This article is dedicated to one of the key problems of social philosophy – the phenomenon of human alienation. The subject of this research is the ontological grounds of alienation. The goal consists in determination of the existential foundation of alienation as a complicated socio-ontological phenomenon, as well as differentiation of the narrow and broad sense of the concept of “alienation”. In the narrow sense, alienation implies the process, when the products of human activity and activity itself obtain the status of autonomous agents opposing to human. In a broad sense, alienation is interpreted as an ontological distinction within the structure of being. For revealing the ontological grounds of alienation, the author attracts and reconsiders the ideological arsenal of philosophical anthropology, fundamental ontology, existentialism, personalism, Marxism, and post-phenomenology. The ontological interpretation allows comprehending the anthropogenesis, historical development of human, and evolution of human mind in the context of the terms of alienation. Thus, the first is interpreted as a self-alienation of the world; the second – as alienation of human from himself; and the third – as an ideal of appeal of the world towards itself, realized through human spiritual activity. All elements of the triad form an ontological basis doe alienation in the narrow sense.

scholarly journals "Theatricalisation" of the lyrical hero in the poetry of Alexander Blok: genesis and ways of artistic realization

2019 ◽  
pp. 107-112
Author(s):  
Nataliya G. Koptelova
Keyword(s):  
Characteristic Feature ◽  
Creative Thinking ◽  
Creative Mind ◽  
Art Form ◽  
The World ◽  
Stage Directors ◽  
Inner World ◽  
The Subject ◽  
The Creation ◽  
Way Of Knowing

The article deals with the "theatricalisation" of the lyrical hero, which is a characteristic feature of Alexander Blok’s poetry. It is shown that the desire for theatre, as the highest art form, meets the resistance of the lyrical way of knowing the world that prevails in Alexander Blok’s creative mind. This leads to the fact that the streams of lyricism and theatre in his artistic system collide and interact. As a result, traits which are inherent in the creative thinking of playwrights, actors and stage directors and organic for Alexander Blok are realised on the basis of lyricism. It is proved that the "theatricalisation" of the lyrical hero in Alexander Blok's poetry is expressed both in the reincarnation of the subject, revealing autopsychological experiences (then the reception of the "lyrical mask" arises), and in the statement of the role principle. It is emphasised that the "theatricalisation" of the lyrical hero, occurring in Alexander Blok's verses, leads to the creation of characters whose inner world can be in the most varying degrees of distance from the author's consciousness.

Diderot Et Roger De Piles

PMLA ◽  
1970 ◽  
Vol 85 (3) ◽  
pp. 444-455 ◽  
Author(s):  
Par Gîta May
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Fine Arts ◽  
Composition Design ◽  
Art Form ◽  
French Art ◽  
High Esteem ◽  
The Subject ◽  
The Impact ◽  
Technical Terms

While it has recently been established (thanks to the records of the Bibliothèque du Roi, now the Bibliotheque Nationale) that Diderot read a major treatise by Roger de Piles, the influential seventeenth-century art critic and theorist, as early as 1748, the nature and extent of Diderot's indebtedness to his predecessor have not yet been fully explored. Internal evidence, as well as direct and indirect references, reveal the impact of Roger de Piles on Diderot's ideas concerning composition, design, and color. Roger de Piles was the first French art critic to take an uninhibited delight in light and color and to attempt to render, through a bold use of concrete and technical terms, the freshness and vividness of his impressions. In this respect, too, he is an important precursor of Diderot, for the latter frequently borrowed especially apt expressions and images from the writings of Roger de Piles. Articles in the Encyclopedia devoted to the fine arts also confirm the high esteem in which de Piles was held by eighteenth-century artists and connoisseurs. Diderot and his contemporaries recognized above all de Piles's expertise in practical matters concerning the artist's craft. Even though Diderot departs from de Piles in his preoccupation with the moral message of a work of art, he shares with his predecessor a spontaneous appreciation of the exuberant forms, the animated scenes, the down-to-earth realism that characterize the Dutch and Flemish schools of painting. The sketch, as an art form more revelatory of a painter's inner spirit and genius than the more finished product, was the subject of several key remarks by de Piles which Diderot, in turn, amplified and developed in his critical essays. And it was in the writings of de Piles that Diderot found some of his most telling arguments against artificiality and mannerism in art and against an unquestioning adherence to doctrine and dogma. (In French)

scholarly journals Indian Paintings: An Analysis of Geographical and Chronological Context

2021 ◽  
pp. 75-84
Keyword(s):  
Indian Subcontinent ◽  
Art Form ◽  
The People ◽  
Aesthetic Sense ◽  
The World ◽  
The Subject ◽  
Supernatural Beliefs ◽  
Indian Painting ◽  
Geographical Locations ◽  
Different Parts

The development of various genres of painting can be traced back to the beginning of history on the basis of various archeological evidences. Even within the limitations of the materials and techniques in the distant past, the people spread their aesthetic sense and sensibility through wonderful creations. Artists have drawn portraits, combining capacity and expectation together and with the passage of time, it has been expressed inside caves, on temple walls, on floors, on doors, on earthenware, on cloth, etc. Although the paintings of the ancient period were based on various supernatural beliefs, rituals of worship, etc., later on, it has been transformed into special aesthetic forms. Initially, the totem was developed as a symbol of faith and adherence to various supernatural beings, but later it reflected the diverse geographical locations, environment-nature, and the tastes of the ruling society. In the course of time, the subject of this change has become clear in the art-form of India, as well. The diverse tastes of rulers from different parts of the world, who ruled the Indian subcontinent, have also contributed to the rise of the Indian art-form. This article on Indian painting attempts to provide a regional and chronological analysis of the material, morphological and characteristic changes in paintings from prehistoric times to the contemporary era.

Telling Tales with the Body

2020 ◽  
pp. 59-81
Author(s):  
Fiona Macintosh ◽  
Justine McConnell
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
First Century ◽  
Ancient Greek ◽  
Art Form ◽  
Early Twenty ◽  
Theatrical Performance ◽  
The World ◽  
The Subject ◽  
Classical Ballet

Telling tales with the body was generally despised as a ‘lowbrow’ art form in the ballet world of the twentieth century—and there are still many practitioners and dance scholars who share this view. For most of the twentieth century, storytelling was not deemed to be something to which classical ballet should aspire. From the perspective of the new millennium, however, things look rather different. Stories are no longer eschewed by choreographers; indeed, it may well be possible to detect what one might term a ‘narrative’ turn in the classical ballet repertoire, where the ancient Greek and Roman epics are often providing the subject matter for these works. Chapter 4 explores the reasons behind twentieth-century ballet’s resistance to narrative and seeks to offer some thoughts on this early twenty-first-century narrative re-turn. This narrative eschewal in ballet matters because it has had profound repercussions beyond the world of dance, not least in the world of theatrical performance, where plotless dance is regularly invoked as a model for postdramatic theatre.

ESTETIKA KARAWITAN TRADISI SUNDA

Panggung ◽  
2012 ◽  
Vol 22 (3) ◽  
Author(s):  
Heri Herdini
Keyword(s):  
Subject Matter ◽  
Human Life ◽  
Philosophical Study ◽  
Musical Form ◽  
Art Form ◽  
The World ◽  
The Subject ◽  
The Aesthetic ◽  
Two Sides

The problem of "aesthetics" related not only to the "text" or the art form itself, but also to the mindset and worldview of the communities on "the world" and "the nature of human life." Behind the musical form itself, there lies the mindset of Sundanese people which formed the basis for the "text" of karawitan. The understanding on "karawitan context" is, therefore, important. It means that "text" and "context" constitute "two sides of the same coin" which are interrelated to each other. This is the subject matter to be discussed in this paper.            This paper is a philosophical study in order to find "the aesthetic of traditional karawitan" which has not been revealed so far. To reveal this problem the writer uses the theory of "Antagonistic Dualism" by Jakob Sumardjo. Based on the analysis to the "text" and "context" of Sundanese traditional karawitan, it is concluded that "the aesthetic of Sundanese traditional karawitan" comes from the concept of "masagi" that in substance may produce "pola tiga” (pattern of three) as a reflection of the culture of tritangtu, those are: tekad, ucap, and lampah. Keywords: Aesthetic,traditional karawitan, pola tiga. 

Emplacing Time: Photography, Location, and the Cinematic Pilgrimage

2018 ◽  
Vol 23 (4) ◽  
pp. 548-560
Author(s):  
Alberto Zambenedetti
Keyword(s):  
Original Film ◽  
Short Film ◽  
Michel De Certeau ◽  
Art Form ◽  
The World ◽  
The Subject ◽  
Travel Blog ◽  
The Relationship ◽  
Ongoing Project

Cinema, arguably the time-based medium most synonymous with modernity, is also an art form of place: cinema records place in time and, in the best circumstances, stores it through time. If, as Michel de Certeau remarked, “space is a practiced place,” then cinema is the memory of that practice; it is the archive of that transformation. Cinema, in other words, “emplaces time.” Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a dual contemplation on the part of a generation of photographers whose projects re-photograph cinema’s loci, from movie palaces to film locations. This article investigates the relationship between film the work of three “cinematic pilgrims”: British artist Michael Lightborne, whose 2012 installation Interval (After Intervals) included photographs of the locations for Peter Greenaway’s 1969 short film Intervals alongside the original film; Christopher Moloney’s ongoing project FILMography, in which the Canadian photographer travels the world bringing printed reproductions of film stills to the sites where they were originally shot and then re-photographs them in situ; and the travel blog Fangirl Quest by the Finnish Tiia Öhman and Satu Walden, a photographer and a travel expert, respectively, who re-photograph a location while displaying the related movie scene on a tablet practice (a practice they call “sceneframing”). These projects underscore cinema’s innate relationship with place, while they also highlight the changes that occurred in the time that intervened since production, revealing the instability of the filmic object as one of time as well as in time.

Digital Drawing as a Tool for Achieving Decorative-Abstract Imagery in Visual Art Education

2020 ◽  
Vol 4 (3) ◽  
Author(s):  
Ventsislava Stoyanova ◽  
◽  
Maya Antova
Keyword(s):  
Digital Media ◽  
Arts Education ◽  
Fine Arts ◽  
Abstract Art ◽  
Progressive Development ◽  
Art Form ◽  
Present Complex ◽  
The World ◽  
Electronic Technologies ◽  
Fine Arts Education

In fine arts education more and more dynamic changes are required in the context of the current situation. Their main goal is to achieve adequacy with regard to contemporary social reality, reflected in current concepts and forms related to the art itself. Fine arts education is not intended solely to train and transform students into artists and authors. It aims to develop the visual culture and literacy, creative, abstract and contextual thinking, as well as value orientation, that everyone needs. These are all things essential for building the personality of today’s people, for their progressive development, success and adaptability in the context of today’s reality. Decorative-abstract imagery is at the heart of the present complex reality, almost entirely enveloped by digital media and electronic technologies, where everything is deep in information and visual glut. The understanding, comprehension, and application of abstract art forms is increasingly changing in tune with the changing thinking, behavior, and understanding of today’s people about the world and art. In this context, digital drawing is increasingly entering the present day and is gradually replacing the classical methods of drawing. It was initially perceived as a new art form in which traditional techniques are applied through digital instruments. The computer helps the artist to perceive the world in a new way.

Alignment

2016 ◽  
pp. 33-50
Author(s):  
Pier Giuseppe Rossi
Keyword(s):  
Teaching And Learning ◽  
Enactive Approach ◽  
The World ◽  
Strategic Role ◽  
Education Today ◽  
Current Context ◽  
The Subject

The subject of alignment is not new to the world of education. Today however, it has come to mean different things and to have a heuristic value in education according to research in different areas, not least for neuroscience, and to attention to skills and to the alternation framework.This paper, after looking at the classic references that already attributed an important role to alignment in education processes, looks at the strategic role of alignment in the current context, outlining the shared construction processes and focusing on some of the ways in which this is put into effect.Alignment is part of a participatory, enactive approach that gives a central role to the interaction between teaching and learning, avoiding the limits of behaviourism, which has a greater bias towards teaching, and cognitivism/constructivism, which focus their attention on learning and in any case, on that which separates a teacher preparing the environment and a student working in it.

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