scholarly journals Authenticity – An Important Property for Artistic Documents?

2016 ◽  
Vol 2 (1) ◽  
Author(s):  
Roswitha Skare
Keyword(s):  
Political Institutions ◽  
Personal Experience ◽  
Original Work ◽  
The Novel ◽  
Work Of Art ◽  
Award Winning ◽  
The Relationship

The notion of authenticity seems to have grown more and more important for artistic documents during the last decades. Critics are using the term as a kind of distinction; an authentic novel or film is a good novel or film. Authenticity in these cases does not mean questioning the novel or film as an original work of art; rather, what is meant by authenticity is the relationship between reality and the content of a novel or film, assuming possible mimesis in terms of a mirror-like relationship. The highly acclaimed and award-winning film Das Leben der Anderen (The lives of others) can be considered one of the most successful recent German films about the GDR. Many critics focused on the film’s authenticity and thus the film’s truthful representation of life in the GDR. In this paper I would like to claim that this happens because of how the producers are using elements of the paratext in convincing us that what we watch is real, is authentic. By focusing on aspects like the producer’s research, the personal experience and memory of producer and actors, and last but not least the approval by leading intellectuals and political institutions, the message of authenticity is broadcasted in an effective way.

Resilient Cyborgs

Extrapolation ◽  
2021 ◽  
Vol 62 (3) ◽  
pp. 247-268
Author(s):  
María Ferrández-Sanmiguel
Keyword(s):  
Digital Technology ◽  
Living Conditions ◽  
Trauma Studies ◽  
The Novel ◽  
Critical Space ◽  
Award Winning ◽  
The Relationship

This article reads Pat Cadigan’s Arthur C. Clarke Award-winning novel Synners (1991) from the perspectives of trauma studies and posthumanism to analyze the representation of the cyborged (post)human in cyberspace. My main focus is Cadigan’s depiction of a posttraumatic world whose living conditions invite escape, and how this depiction emphasizes the fact that escape through technological transcendence is not an option, and neither is the rejection of technology altogether. Despite this bleak scenario, the novel leaves some room for optimism in the figuration of a posthuman form of resilience, inspiring reflection about future forms of engagement with technology. As this article attempts to prove, Synners uses the tropes of the cyborg and cyberspace to explore the implications of subjectivity and embodiment within technoscience. In so doing, the novel opens a critical space for interrogation of the relationship between trauma, the posthuman body, and digital technology.

scholarly journals An exploration of place and its representations: an intertextual/ dialogical reading of the photographs of AB Ovenstone and the novel Gillespie by John MacDougall Hay.

2016 ◽  
Vol 41 ◽  
Author(s):  
Lindsay Fiona Blair
Keyword(s):  
Literary Text ◽  
Landscape Painting ◽  
The Novel ◽  
Work Of Art ◽  
Shipping Company ◽  
Private Collection ◽  
Semiotic Approach ◽  
The Subject ◽  
The Common ◽  
The Relationship

“An intertextual/ dialogical reading of place through photography and fiction” The article is an exploration of place and its representations based on the intertextual reading of a series of photographs (1880-82) of Tarbert, Loch Fyne by Andrew Begbie Ovenstone (1851-1935) and the dialogical reading of a novel, Gillespie (1914), by John MacDougall Hay (1881-1919) which is set in Tarbert. The proposed article is inspired by a sense that a semiotic approach to the subject will reveal far more than has been discovered within the tradition of hermeneutics and patrimony and that much will be gained by a study of the contrast between written and visual signifiers. The article raises questions about the (unexamined) coded readings of place especially in relation to the photograph, and the lack of an adequately theorized tradition for the novel. The literary text is well known - if not well understood - but the images are from a rare, unpublished, private collection of photographs from Scotland, India and the furthest reaches of Empire (Ovenstone was the Atlantic Freight Manager of Anchor Line Ltd, the Glasgow shipping company). The paper emphasizes the need for the use of codes to decipher the texts. When we “read” the photographs we need to be aware of the intertextual relationship between the photograph and the landscape painting tradition as well as the common practice of the created tableau – there is then overlaid upon the image the sense of a set of conventions, a system which operates much like a language. We are able to discover through the notion of the “long quotation from appearances” the potential for more complex “synchronic” readings. Likewise, in the case of Gillespie, the novel operates within a genre which determines a “reading”. When we are aware of a code, we become aware of the way that Hay manoeuvres adroitly to thwart the reader’s best efforts to settle upon a preferred reading – especially one shaped by an authoritative narrator - which thereby allows for the genuine experience of “heteroglossia” to emerge. The notion of truth in Gillespie is interrogated in the light of Heidegger’s essay “The Origins of a Work of Art” in order that the relationship between representation and reality be clarified.

scholarly journals If Looks Could Kill: Looking through the Artist’s Lenses in Oscar Wilde’s The Picture of Dorian Gray (1891)

2019 ◽  
Author(s):  
Abdelfattah Ali Ghazel
Keyword(s):  
Victorian Literature ◽  
Moral Values ◽  
Normative Values ◽  
The Novel ◽  
Work Of Art ◽  
Artistic Creation ◽  
Aesthetic Autonomy ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
The Relationship

This paper investigates aestheticism and authorship in the Oscar Wilde’s only novel The Picture of Dorian Gray (1891). Victorian literature is usually read against the relationship between art and reality. The literary merit of a book is determined by the degree of its conformity with the moral values of the time. This paper offers a detached reading of the novel where the value of the book is found in its ability to initiate the reader into an aesthetic world. The research argues that Wilde fragments the act of artistic creation among the artist (the painter Basil), the sitter (Dorian Gray) and the audience (Lord Henry Wotton). This fragmentation renders the novel aesthetically autonomous from its reality. Aesthetic autonomy contributes to the debate of morality in Victorian literature by placing the work of art in an alternative sphere where normative values cease to apply.

Butor's Use of Literary Texts in Degrés

PMLA ◽  
1973 ◽  
Vol 88 (2) ◽  
pp. 311-320 ◽  
Author(s):  
Jennifer R. Walters
Keyword(s):  
Personal Experience ◽  
Full Range ◽  
Literary Texts ◽  
The Novel ◽  
Willingness To Participate ◽  
Relevant Fact ◽  
Sequence Of Events ◽  
The World ◽  
Relationship Of ◽  
The Relationship

The construction of Degrés is based on a series of texts taken from Western literature and ranging from Homer to Keats. These are grouped in different ways around a brief sequence of events, and it is the responsibility of each reader to elaborate on the scanty story by using the information offered by these texts, to the extent of his knowledge, awareness, and willingness to participate in the creation of the novel. An analysis of the texts extracts the information each contains, then correlates relevant fact and possible interpretation in order to show clearly the two major themes of the novel: the relationship of Vernier to his nephew Eller, and the vast possibilities open to man in the world; and the three styles of presentation: as a structure, a personal experience, and a retrospective fact. Butor teaches his readers to understand his work by attempting to break down mental barriers between different fields of experience and force people to draw on the full range of their knowledge at all times.

scholarly journals Rothko on Speed-Dial: Explorations of the Metaphysical Spatiality, Aura, and Mechanical Reproduction of Architecture

2021 ◽  
Author(s):  
◽  
Jansen Aui
Keyword(s):  
Original Work ◽  
Spatial Thinking ◽  
Work Of Art ◽  
Mechanical Reproduction ◽  
Architectural Representation ◽  
Abstract Expressionist ◽  
Full Effect ◽  
Mark Rothko ◽  
Physical Spaces ◽  
The Relationship

<p>This research explores the relationship between architectural space and the abstract expressionist art of Mark Rothko. Rothko’s large format, post-1950’s paintings employing his signature ‘color-field’ style instigated much discourse relating the works to ideas of spatiality: particularly those of atmosphere, emotional intensity, and the abstract presentation of space. This thesis begins with the observation that there is a certain ‘authenticity’ lacking in reproductions of Rothko’s art, where the full effect of the ‘original’ is lost or betrayed in the process of its reproduction. From this premise within art, it finds an analogical relationship between architecture and its reproduction, particularly in photographed space and in the conventions of architectural representation. In both these cases, the full effect of the ‘space’ they describe (their ‘original’) is argued to be in some way lost. To explore this analogy, this thesis firstly develops a relationship between the artist and space: that ‘within’ the artwork, and that between this art and physical spaces (the artist’s studios and spaces of exhibition). Secondly, this thesis develops a shift of the artist’s spatial thinking toward architecture, with particular reference to Walter Benjamin’s concept of the ‘Aura’ of the original work of art. As read through his essay, The Work of Art in the Age of Mechanical Reproduction [1936], the Aura is interpreted as the essential ‘authenticity’ of the Original work that is lost within the act of reproduction. The argument concerning Rothko and spatiality is therefore furthered through specifically focussed readings of how this Aura might manifest metaphysically (i.e. experientially, as opposed to physically), through a parallel discussion of Rothko’s art and several ‘thematically’ related architectural case studies. In doing so, it explores the way Auratic architectural experiences can be invoked within the perception of an embodied presence. In both the applied aspect of this research by design thesis, and in its conclusion, there is a relationship highlighted between architectural convention (as reproduction), abstraction, and the immediacy, authenticity or Aura of a spatial encounter. It is concluded that from this singular study of an abstract painter, architects can learn something of the direct exchange or translation between the users of architecture and the transcendental realm of the ideas of architecture or space.</p>

scholarly journals Der Fremde Im Königreich Der Dänen. Das Wort, Der Diskurs Und Die Fremdheit in Bronisław Świderskis Roman Słowa Obcego

2018 ◽  
Vol 24 (1) ◽  
pp. 25-38
Author(s):  
Piotr de Bończa Bukowski
Keyword(s):  
Social Problem ◽  
Modern Literature ◽  
Individual Experience ◽  
The Novel ◽  
Language Discourse ◽  
Award Winning ◽  
The Relationship

Abstract The prose work of the Polish exile writer Bronisław Świderski, who has been living in Denmark since 1970, explores strangeness – an important topic of modern literature. Świderski addresses strangeness not only as an individual experience, but also as a social problem. In this article, I would like to take a closer look at the analysis of foreignness and the psyche of an immigrant in Świderski’s award-winning novel Słowa obcego (1998). From many problems addressed in the novel, which are directly or indirectly connected with strangeness, I want to take out one aspect. At this point I will be interested in the relationship between language (discourse) and strangeness.

scholarly journals Rothko on Speed-Dial: Explorations of the Metaphysical Spatiality, Aura, and Mechanical Reproduction of Architecture

2021 ◽  
Author(s):  
◽  
Jansen Aui
Keyword(s):  
Original Work ◽  
Spatial Thinking ◽  
Work Of Art ◽  
Mechanical Reproduction ◽  
Architectural Representation ◽  
Abstract Expressionist ◽  
Full Effect ◽  
Mark Rothko ◽  
Physical Spaces ◽  
The Relationship

<p>This research explores the relationship between architectural space and the abstract expressionist art of Mark Rothko. Rothko’s large format, post-1950’s paintings employing his signature ‘color-field’ style instigated much discourse relating the works to ideas of spatiality: particularly those of atmosphere, emotional intensity, and the abstract presentation of space. This thesis begins with the observation that there is a certain ‘authenticity’ lacking in reproductions of Rothko’s art, where the full effect of the ‘original’ is lost or betrayed in the process of its reproduction. From this premise within art, it finds an analogical relationship between architecture and its reproduction, particularly in photographed space and in the conventions of architectural representation. In both these cases, the full effect of the ‘space’ they describe (their ‘original’) is argued to be in some way lost. To explore this analogy, this thesis firstly develops a relationship between the artist and space: that ‘within’ the artwork, and that between this art and physical spaces (the artist’s studios and spaces of exhibition). Secondly, this thesis develops a shift of the artist’s spatial thinking toward architecture, with particular reference to Walter Benjamin’s concept of the ‘Aura’ of the original work of art. As read through his essay, The Work of Art in the Age of Mechanical Reproduction [1936], the Aura is interpreted as the essential ‘authenticity’ of the Original work that is lost within the act of reproduction. The argument concerning Rothko and spatiality is therefore furthered through specifically focussed readings of how this Aura might manifest metaphysically (i.e. experientially, as opposed to physically), through a parallel discussion of Rothko’s art and several ‘thematically’ related architectural case studies. In doing so, it explores the way Auratic architectural experiences can be invoked within the perception of an embodied presence. In both the applied aspect of this research by design thesis, and in its conclusion, there is a relationship highlighted between architectural convention (as reproduction), abstraction, and the immediacy, authenticity or Aura of a spatial encounter. It is concluded that from this singular study of an abstract painter, architects can learn something of the direct exchange or translation between the users of architecture and the transcendental realm of the ideas of architecture or space.</p>

Two Gambling Women

2012 ◽  
Vol 5 (1) ◽  
pp. 39-49
Author(s):  
Tzu-Hui Chen
Keyword(s):  
Lived Experiences ◽  
Personal Experience ◽  
Cultural Context ◽  
Cross Cultural ◽  
Immigrant Population ◽  
The Other ◽  
Mail Order ◽  
Foreign Brides ◽  
And Migration ◽  
The Relationship

This narrative aims to explore the meaning and lived experiences of marriage that a unique immigrant population—“foreign brides” in Taiwan—possesses. This convergence narrative illustrates the dynamics and complexity of mail-order marriage and women's perseverance in a cross-cultural context. The relationship between marriage, race, and migration is analyzed. This narrative is comprised of and intertwined by two story lines. One is the story of two “foreign brides” in Taiwan. The other is my story about my cross-cultural relationship. All the dialogues are generated by 25 interviews of “foreign brides” in Taiwan and my personal experience.

The Priority of Democracy

2011 ◽  
Author(s):  
Jack Knight ◽  
James Johnson
Keyword(s):  
Decision Making ◽  
Monetary Policy ◽  
Political Institutions ◽  
Federal Reserve ◽  
Democratic Politics ◽  
Institutional Choice ◽  
Democratic Process ◽  
Strong Case ◽  
The Subject ◽  
The Relationship

Pragmatism and its consequences are central issues in American politics today, yet scholars rarely examine in detail the relationship between pragmatism and politics. This book systematically explores the subject and makes a strong case for adopting a pragmatist approach to democratic politics—and for giving priority to democracy in the process of selecting and reforming political institutions. What is the primary value of democracy? When should we make decisions democratically and when should we rely on markets? And when should we accept the decisions of unelected officials, such as judges or bureaucrats? This book explores how a commitment to pragmatism should affect our answers to such important questions. It concludes that democracy is a good way of determining how these kinds of decisions should be made—even if what the democratic process determines is that not all decisions should be made democratically. So, for example, the democratically elected U.S. Congress may legitimately remove monetary policy from democratic decision-making by putting it under the control of the Federal Reserve. This book argues that pragmatism offers an original and compelling justification of democracy in terms of the unique contributions democratic institutions can make to processes of institutional choice. This focus highlights the important role that democracy plays, not in achieving consensus or commonality, but rather in addressing conflicts. Indeed, the book suggest that democratic politics is perhaps best seen less as a way of reaching consensus or agreement than as a way of structuring the terms of persistent disagreement.

Retroaktive Neuverhandlung

2018 ◽  
Vol 63 (1) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
Original Work ◽  
The Other ◽  
Final Part ◽  
Critical Reading ◽  
The Third ◽  
Works Of Art ◽  
The Relationship

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.

Sign in / Sign up

Export Citation Format

Share Document