scholarly journals The notion of the arts as “unnatural natural” communication (exemplified by the discourse of drama)

2020 ◽  
pp. 88-96
Author(s):  
Е.Г. Логинова
Keyword(s):  
Meaning Construction ◽  
Cognitive Poetics ◽  
Literary Works ◽  
The Arts ◽  
Theoretical Assumptions ◽  
Theatrical Performances ◽  
The Aesthetic ◽  
And Linguistics ◽  
Literary Pragmatics ◽  
Communicative Space

В статье предпринимается попытка применить ряд положений когнитивной поэтики, семиотики и лингвистики к традиционным вопросам филологического анализа литературно-художественного дискурса, взятого как пример художественной коммуникации. Обосновывая понятие «неестественной естественности» художественной коммуникации, автор обращается к инструменту, способному обеспечить иной уровень анализа художественного дискурса, включающего исходный и трансформированный тексты (пьесу и ее сценическую интерпретацию), когда изучение смыслоформирования в едином коммуникативном пространстве происходит с учетом параллелизма форм, значений и прагматических установок говорящих. The article attempts to apply a number of provisions of cognitive poetics, semiotics and linguistics to the traditional philological analysis of literary works. Justifying the concept of the arts as “unnatural natural” communication (including literary works, theatrical performances, screen adaptions, paintings, etc.), the author relies on the key assumptions expressed in the works by Yu. Lotman, U. Eco, R. Barthes, R. Jacobson, T. van Dijk, M. Freeman and other scholars: “the second (modeling) system”; “literary pragmatics”; “oriented toward the expressive, the emotive and the aesthetic”; etc. The heterogeneous discourse of drama is used to exemplify the theoretical assumptions and so helps to grasp the idea of the arts as “unnatural natural” communication. Moreover, the author of the article speaks of semiotic resonance as a tool that can help to deepen the analysis of the meaning construction in the discourse of drama. Being a multifaceted phenomenon, semiotic resonance provides new perspectives for the analysis of the discourse of drama, when the study of the aesthetic effect of the communicative space as a whole takes into account the parallelism of forms, meanings and pragmatic attitudes of the characters in the original communicative situation and further communicative situations.

scholarly journals Theatrical interpretation of a literary work from the standpoint of semiotic creativity

2021 ◽  
Vol 12 (3) ◽  
pp. 125-141
Keyword(s):  
Literary Work ◽  
Meaning Construction ◽  
Multimodal Discourse ◽  
Theatrical Performance ◽  
Theatrical Performances ◽  
On Line ◽  
Poetic Function ◽  
Pragmatic Equivalence ◽  
Communicative Space

The study presents the results of linguosemiotic analysis of sign correlations between the play “The Elder Son” by Vampilov and 22 theatrical performances based on it (The Interna­tional on-line Festival “The Elder Son — 55”, November, 2020). The play and its multimodal interpretations are viewed as parts of a unique communicative space. These parts may be specified as the original communicative situation and the ‘derivatives’ characterized by semi­otic creativity of their authors — the playwright and the directors. The concept of semiotic resonance is used as a tool that can help to deepen the analysis of the meaning construction in the heterogeneous discourse of drama. Semiotic resonance is understood as the correlations of recurrently used signs accompanied by the amplification of meaning and emergence of new semantic projections. The investigation of the play — theatrical performance transformations made it possible to identify the specific levels of semiotic creativity, which correspond to the degree of pragmatic identity of the original content and its modulations. The author singled out the level of pragmatic equivalence and the level of pragmatic modulation, which account for different pragmatic effects produced and illustrated the realization of the poetic function of a sign in a multimodal discourse.

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

Meïr Goldschmidt and the main currents in 19th-century Judaism

2001 ◽  
Vol 22 (1) ◽  
pp. 7-45 ◽  
Author(s):  
Kenneth Ober
Keyword(s):  
Nineteenth Century ◽  
19Th Century ◽  
Public Image ◽  
Complete Understanding ◽  
Literary Works ◽  
European Languages ◽  
Jewish Heritage ◽  
The Arts ◽  
Phenomenal Knowledge

Although the noted nineteenth-century Danish-Jewish writer Meïr Goldschmidt (1819–1887) made his entry into literature with a novel on Jewish themes, his later novels treated non-Jewish subjects, and his Jewish heritage appeared progressively to recede into the background of his public image. Literary historians have paid little attention to his complex perception of his own Jewishness and have made no effort to discover the immense significance he himself felt that Judaism had for his life and for his literary works. Moreover, no previous study has comprehensively treated Goldschmidt’s far-reaching network of interrelationships with an astonishing number of other major Jewish cultural figures of nineteenth-century Europe. During his restless travels crisscrossing Europe, which were facilitated by his phenomenal knowledge of the major European languages, he habitually sought out and associated with the leading Jewish figures in literature, the arts, journalism, and religion, but this fact and the resulting mutually influential connections he formed have been overlooked and ignored. This is the first focused and documented study of the Jewish aspect of Goldschmidt’s life, so vitally important to Goldschmidt himself and so indispensable to a complete understanding of his place in Danish and in world literatures.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals Unsur Budaya Material dalam Novel Entrok Karya Okky Madasari

ATAVISME ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 200-216
Author(s):  
Miftahurohmah Hikmasari ◽  
Wening Sahayu
Keyword(s):  
Material Culture ◽  
Research Problem ◽  
Literary Work ◽  
Aesthetic Value ◽  
Literary Works ◽  
Descriptive Research ◽  
The Third ◽  
Qualitative Descriptive ◽  
The Aesthetic

This research aims to classify and describe the material culture elements contained in Okky Madasari’s novel Entrok. The research problem includes the classification of material culture elements which only exist in Indonesia, and most of them are related to Javanese culture. This research was a qualitative descriptive research. The data were in the form of words and phrases obtained from Okky Madasari’s Entrok. The result showed that there were six elements of material culture. The most commonly found material culture element was food, the second was house, the third was clothes, and the least found were vehicle, daily equipment, and art tool. The use of material culture elements in literary works, such as novel, not only improves the aesthetic value of the work, but also can be used as a media of education, so that the literary work enthusiasts can recognize better and are able to preserve the cultures in Indonesia.

scholarly journals Readability and adaptation of children’s literary works from the perspective of ideational grammatical metaphor

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Yan Liu
Keyword(s):  
Case Studies ◽  
Systemic Functional Linguistics ◽  
Original Version ◽  
Literary Works ◽  
Functional Linguistics ◽  
Grammatical Metaphor ◽  
Reading Materials ◽  
Reading Text ◽  
Education Psychology ◽  
And Linguistics

Abstract Widely studied in fields like education, psychology, and linguistics, readability can be defined as (a) reader’s understanding of a reading text, (b) features of a text, or (c) the matching of a text to its reader. The existing research has been focused on the formulaic and multilevel discourse approaches, relatively neglecting others such as systemic functional linguistics oriented one. Moreover, contemporary reading materials pose as a challenge for average children in many ways. This study examines readability and adaptation of children’s literary works from the perspective of ideational grammatical metaphor inspired by systemic functional linguistics. Through case studies of metaphorical transferences involving zero, one, two, and three ideational grammatical metaphors used in the parallel excerpts in the original version of Alice’s Adventures in Wonderland and its eight adapted ones published in China, it is concluded that addition, maintenance, revision, unpacking, and demetaphorization are five major strategies which are found to decrease, maintain, or increase readability of some parts in the adapted versions.

Theology and Visual Culture in Early Modern Calvinism

2021 ◽  
pp. 286-303
Author(s):  
William A. Dyrness
Keyword(s):  
Visual Culture ◽  
Holy Spirit ◽  
Oral Performance ◽  
Cultural Reconstruction ◽  
Left Behind ◽  
The Arts ◽  
The Reformation ◽  
The Holy Spirit ◽  
Vision Of God ◽  
The Aesthetic

Recent scholarship on the arts and the Reformation has come to focus more broadly on the cultural reconstruction the Reformation made necessary and the resulting material and visual culture. Calvin’s challenge in Geneva was not about what the Reformation had left behind but what would replace that medieval world. Key for Calvin was the experience of worship: the oral performance of the sermon, the singing of Psalms and partaking the sacraments, as a dramatic call enabled by the Holy Spirit summoning worshippers to a vision of God and God’s presence in the world. The regular communal worship and the preached drama of sin and salvation constituted the aesthetic-dramatic mirror (Turner) of the emerging Protestant imagination. This encouraged a mutual caring for the needy but also carried deep aesthetic implications. In the Netherlands this imagination is evident in the placement of textualized images in churches, and in landscape paintings and portraits, and, in France, it stimulated Huguenot architects to recover classical orders in the service of restoring to the earth its Edenic beauty.

Feminist Aesthetics

2021 ◽  
Author(s):  
A. W. Eaton
Keyword(s):  
Aesthetic Judgment ◽  
Male Gaze ◽  
Canon Formation ◽  
Artistic Production ◽  
The Arts ◽  
Female Nude ◽  
Inclusive Approach ◽  
The Aesthetic ◽  
Feminist Aesthetics

This chapter summarizes central issues and themes in feminist philosophical aesthetics in the analytic tradition, although some continental figures are discussed. After introducing the interdisciplinary, intersectional and trans* inclusive approach that feminist aesthetics is starting to take, this essay discusses situatedness, artistic canon formation, humanism vs. gynocentrism, rewriting the philosophical canon, overcoming artworld biases, and the role of the aesthetic in systemic oppression. Specific topics to be discussed include the male gaze, the female nude, the concept of artistic genius, women’s artistic production, the purported universality of correct aesthetic judgment, the sex/gender distinction as it pertains to aesthetics and the arts, and body aesthetics.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

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