TRADITION AND INNOVATION IN THE WORKS OF O. A. KIPRENSKY: PORTRAIT OF A. K. SCHWALBE

2021 ◽  
Vol 1 (3) ◽  
pp. 94-100
Author(s):  
Yu. Yu. Gudymenko ◽  
Keyword(s):  
Careful Analysis ◽  
Face Representation ◽  
The Past ◽  
Art Historians ◽  
Full Face ◽  
Artistic Image ◽  
Formal Features

The article considers one of the key works of the portrait genre of the 1800s — the portrait of Adam K. Schwalbe by Orest A. Kiprensky. The analysis of this work by several generations of art historians (Herman A. Nedoshivin, Natalia N. Kovalenskaya, Dmitry V. Sarabyanov, Yakov V. Brook, Irina V. Linnik) reveals its main substantial and formal features, and also clarifies issues related to the concepts of tradition and innovation. All those who have written about this work agree that the artistic image of A. K. Schwalbe's portrait is based on impressions of Rubens and Rembrandt. However, a more careful analysis of Kiprensky's work provides an opportunity to considerably expand the sources of possible borrowings not only from the masters of the past. Studying it in the context of the art of 1800s leads to the conclusion that the works of Kiprensky's contemporaries (in particular Salvatore Tonchi) contain the same motifs used in the portrait of Schwalbe, namely: attributes of "fur coat portraits", the full-face representation of the model and the tightness of space, sharp character and expressiveness of the portrait's appearance. To prove the thesis that Kiprensky was influenced by the art of his time, a large number of works (including those by unknown artists), both famous and little-known, are involved.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

The Study of Heikhalot Literature: Between Mystical Experience and Textual Artifact

2007 ◽  
Vol 6 (1) ◽  
pp. 130-160 ◽  
Author(s):  
Ra'Anan S. Boustan
Keyword(s):  
Mystical Experience ◽  
Careful Analysis ◽  
Late Antique ◽  
Important Work ◽  
Complex Material ◽  
Jewish Mysticism ◽  
The Past ◽  
Religious Significance ◽  
Heterogeneous Nature ◽  
Material Conditions

This essay outlines the fundamental methodological and empirical advances that the study of Heikhalot literature has experienced during the past 25 years with the aim of encouraging specialists and enabling non-specialists to approach this complex material with greater precision and sophistication. The field of early Jewish mysticism has been profoundly shaped by the increasing integration in the humanities of cultural and material histories, resulting in an increased focus on scribal practice and other material conditions that shaped the production and transmission of these texts. Against previous assumptions, recent research has shown Heikhalot literature to be a radically unstable literature. This article will review the research tools (editions, concordances, translations, etc.) that now allow for careful analysis of Heikhalot and related texts. Tracing recent research, I demonstrate how our new understanding of the fluid and heterogeneous nature of the Heikhalot corpus will better enable scholars to pursue the important work of understanding its social and religious significance, within the broader landscape of late antique and medieval religions.

scholarly journals Being Biblical? Slavery, sexuality, and the inclusive community

2008 ◽  
Vol 64 (1) ◽  
Author(s):  
Richard A. Burridge
Keyword(s):  
Church Leadership ◽  
World View ◽  
Careful Analysis ◽  
The Past ◽  
The Bible ◽  
Ethical Debate ◽  
Ethical Teaching ◽  
Women In Church Leadership ◽  
The Last Two Millennia

The use of the Bible in ethical debate has been central for the last two millennia. Current debates about sexuality, or the position of women in church leadership, are marked by both, or all, sides of the argument using Scripture. However, this has been true of many issues in the past. This is demonstrated in the debate about slavery two hundred years ago. Careful analysis of the use of Scripture in both the justification and critique of apartheid reveals how both sides quoted Scripture in its various modes, such as rules, principles, paradigms, and overall world-view. The biographical nature of the Gospels means that we must set Jesus’ rigorous ethical teaching in the context of the narrative of his deeds, including his open and welcoming acceptance of all people. It was an inclusive community of interpretation which changed the debates about slavery and apartheid, and a similar inclusive community is needed today.

Telling the Traumas of History

2017 ◽  
Author(s):  
Joanne Lipson Freed
Keyword(s):  
Cognitive Distortions ◽  
Leslie Marmon Silko ◽  
Careful Analysis ◽  
Arundhati Roy ◽  
The Third ◽  
The Past ◽  
Non Linear ◽  
Third Person ◽  
Small Things ◽  
The Third Person

Focusing on the novels Ceremony, by Leslie Marmon Silko, and The God of Small Things, by Arundhati Roy, Chapter 2 uses trauma theory to explore how histories of imperial domination refuse to be confined to the past. These two novels invite readers to identify to varying degrees with their traumatized protagonists, holding out the possibility of a resistant and revisionary “history from below.” Ultimately, however, a careful analysis of these two works reveals how literary trauma theorists, in their eagerness to give voice to the voiceless, are too readily taken in by the imaginative construct of the third-person narrator. While individual characters in these novels may suffer the cognitive distortions of trauma, the fragmentary, non-linear account that their readers receive is, in both cases, mediated by the presence of a narrator whose choices are conscious, volitional, and strategic.

From anti-idyll to the “poem of desolation”: the traditions of M.E. Saltykov-Shchedrin in the “estate text” of the early XX century

2020 ◽  
pp. 36-47
Author(s):  
Galina I. Romanova ◽  
Keyword(s):  
Short Stories ◽  
Present State ◽  
Final Solution ◽  
Cause And Effect ◽  
The Road ◽  
The Past ◽  
The Family ◽  
The World ◽  
Speech Genre ◽  
Formal Features

On the basis of thematic proximity and similarity of a number of formal features (chronotope of the noble nest; the image of the negative aspects of the es- tate life; the weakening of cause-and-effect relations between the events; the system of characters, tied by relation, but separated spiritually; the specificity of organization of speech) genre transformations in the last novel of M.E. Saltykov-Shchedrin “Old Years in Poshe khonye” (1889) and in the short stories cycle of I.A. Bunin “Black Earth” (1903) have compared. The theme of returning to their homeland also brings them closer together — a mental appeal to the past, that is, in Poshekhon’s childhood by Saltykov-Shchedrin, the road to the family estate — by Bunin. In both works embodied a persistent conflict that does not find a final solution. The sharp denial of the present state of reality, characteristic of satire, presupposes the existence of an ideal, which in the works by Saltykov-Shchedrin and appears as an idyllic picture of the world. In relation to it, the image of estate life in both “Old Years in Poshekhonye” and “Black Earth” is anti-idyllic: here everything is the opposite and contradicts the idyllic notions of peaceful life in harmony with nature. In Bunin’s story, this feature is shown in the appeal to the genre of “poem of desolation”.

Regional Trade and 19th-Century Mosul: Revising the Role of Europe in the Middle East Economy

1991 ◽  
Vol 23 (1) ◽  
pp. 19-37
Author(s):  
Sarah D. Shields
Keyword(s):  
International Trade ◽  
Middle East ◽  
19Th Century ◽  
Coastal Areas ◽  
Regional Trade ◽  
The Past ◽  
Art Historians ◽  
Economic Interaction ◽  
The 19Th Century

During the past two decades, historians of the last Ottoman centuries have produced ground-breaking research documenting the increasing economic interaction between Europe and the Middle East. Relying on information about the empire's trade with Europe, scholars have concluded that the 19th century was a time of transformation–in culture, in politics, and in economics. By thus calling our attention to changing circumstances, these historians, economists, art historians, and sociologists have outlined a general landscape of upheaval and change.1 Monographs on Ottoman cities, focusing on the effects of international trade on coastal areas, have begun to sketch in the epicenters of massive economic dislocation.2

scholarly journals Loftier Doctrine: The use of Scripture in Justin Martyr’S Second Apology

Perichoresis ◽  
2014 ◽  
Vol 12 (2) ◽  
pp. 185-200
Author(s):  
Stephen O. Presley
Keyword(s):  
Careful Analysis ◽  
Past Century ◽  
The Past ◽  
Greco Roman ◽  
Theological Perspective ◽  
Frequent Criticism

Abstract Over the past century many scholars have questioned integrity and composition of Justin Martyr’s Second Apology. One frequent criticism is that Justin quotes from a variety of sources in Greco- Roman philosophy, but never once quotes scripture. As a result scholars assume that the Second Apology reveals Justin’s real indebtedness to philosophy that diverges from his broader theological and scriptural concerns expressed in his other works. This article challenges these notions by arguing that scripture is essential Justin’s Second Apology and that the lack of any extended quotations of scripture is no basis to disparage his theological perspective. Careful analysis of Justin’s Second Apology demonstrates that he regularly appeals to the authority of scripture and provides numerous echoes and allusions to scriptural passages. Furthermore, in terms of his theological framework, these echoes and allusions are actually more important than mere quotations. They demonstrate that Justin does not simply quote scripture, but absorbs the scriptural content and applies it to particular theological debates and particular issues of Christian practice.

scholarly journals СЕМАНТИКА І ПОЕТИКА СЛОВА-ОБРАЗУ ГЛЕЧИК У ВІРШОВІЙ МОВІ В. ГОЛОБОРОДЬКА

2019 ◽  
pp. 151-157
Author(s):  
Т. П. Беценко
Keyword(s):  
Everyday Life ◽  
Traditional Culture ◽  
Rural Life ◽  
Poetic Language ◽  
The Past ◽  
The World ◽  
Linguistic Sign ◽  
The Mind ◽  
Artistic Image

The artistic-pictorial system of V. Holoborodko’s poetic works is based on his own – nationally marked words in every way. Each element of the linguistic-visionary poetic paradigm of the artist is imbued with national colour, national-linguistic art, related to ancient folklore sources. The poetic picture of ethnic existence in the vision of the artist – originally simple and understandable; Its cores are known, known to all realities. Attention is drawn to redefined in the artistic name of the dishes. In V. Holoborodko’s poetic universe the jug appears as an element (component) of the macrocosm. Therefore, the philosophy of the poetic thought of the artist is based on the notion that the designated object – the most ancient and universal in everyday use – contains the world and eternity in itself. The article analyzes the semantics and emotionally expressive colouring of the image word jug in the poetic speech of V. Holoborodko. The substantive significance of the pitcher lexeme in the artist’s poetic usage of the word is substantiated. It has been found that the connotative shades of the considered image word are connected with the traditional culture of everyday life of the Ukrainians. In the poet’s figuratively-associative linguistic map, the jug appears as an attribute of harmony of feelings, coherence, understanding, sympathy, as a symbol of the love of young hearts. The linguistic sign of the jug can be considered a poetic universality of Vasyl Holoborodko. This is the favorite artistic image of the writer. Consequently, the word-image of the jug in the poetic language of the writer is a significant and artistically significant reality. In the mind of the artist, he combines the seven «symbol of national existence», «the attribute of rural life», «the original remarkable decoration of the kitchen utensils of our ancestors», «the contents of the past and future, coming»; «Macrocosm and matter of eternity of ethnic existence». So the jug with milk is a symbol of femininity and motherhood, a jug for two is a «symbol of love». The linguistic and aesthetic poetic sign of the jug is marked by emotions of exaltation, solemnity, majesty. This is a symbol of Ukrainian rural life.

A New Instrument for the Energy Dispersive X-Ray Fluorescence Analysis of Objects of Art and Archaeology

1991 ◽  
Vol 35 (B) ◽  
pp. 1157-1163 ◽  
Author(s):  
Manfred Schreiner ◽  
Michael Mantler ◽  
Franz Weber ◽  
Richard Ebner ◽  
Franz Mairinger
Keyword(s):  
Geographic Origin ◽  
Fluorescence Analysis ◽  
Energy Dispersive ◽  
X Ray ◽  
The Past ◽  
Material Analysis ◽  
New Instrument ◽  
Art Historians

Objects of art and archaeology are relicts of the past, and art historians, archaeologists and conservators are constantly concerned with the questions of where, when or by whom such artifacts were made. Usually stylistic considerations can provide answers to these questions, but as styles were sometimes copied at locations and times quite different from those for which they were most characteristic, material analysis is often essential when one is attempting to infer how and of what materials an object was made. The use of several compounds e.g. as pigments in paintings, or the deliberate alloying of Cu with Sn, As, Sb and Pb, has varied greatly from region to region and from time to time and can be used to infer the geographic origin of an object or at least the origin of the materials, out of which it was made.

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