scholarly journals Identity, construction and memory in Joanne Leonard’s Being in pictures: An intimate photo memoir (2008)

Literator ◽  
2015 ◽  
Vol 36 (1) ◽  
Author(s):  
Heilna Du Plooy
Keyword(s):  
Identity Construction ◽  
Visual Images ◽  
Autobiographical Narratives ◽  
Written Text ◽  
Art Works ◽  
History Of Art ◽  
Public Debates ◽  
History Of ◽  
The Relationship ◽  
Selection Of

When Joanne Leonard’s photo collage Romanticism is ultimately fatal (1972) appeared in H.W. Janson’s History of art, the image brought her recognition as an artist. It gave her the confidence to further develop her technique of making photo collages, and the collages became a means of giving expression to her personal emotions as well as her reactions to historical events and public debates. In 2008, Leonard published an autobiographical text, ‘an intimate memoir’, in which she presents a selection of photographs and photo collages narrating her development as an artist and as a person. Written text is added to the visual images, providing information about the content and technical aspects of the photographs and collages as well as about the stages of her life as a person and an artist. This article discusses Joanne Leonard’s photo memoir by focussing on the relationship between identity and narrativity, on the constructed nature of all representions and especially represented autobiographical narratives and, finally, on the understanding and functioning of memory. The theoretical and philosophical aspects of identity, narrative identity, construction and memory are explored, and selected art works are analysed and discussed. The conclusion of the article suggests that autobiography, in all its variety, remains one of the most fascinating genres to study and that this photo memoir is an exceptional example.

ARTIFICIAL LIGHT SOURCE AS A COMPONENT CONSTITUTING THE SCULPTURE

2021 ◽  
Vol 6 (15) ◽  
pp. 235-245
Author(s):  
Soner ÖZDEMİR
Keyword(s):  
Light Source ◽  
Artificial Light ◽  
New Materials ◽  
Plastic Arts ◽  
Modern Period ◽  
Artificial Light Source ◽  
Art Works ◽  
History Of Art ◽  
History Of ◽  
Material Forming

Light, which is the main source in which plastic arts produce meaning by processing it, indirectly takes place in all works of art with its different colors and tones throughout the history of art. With the use of new materials and techniques in art with the modern period, it is seen that the light itself, that is, the light source, is also included in art works as a medium. This situation allowed the artists to create brand new perceptions and effects. With the second half of the 20th century, the use of artificial light source in sculpture as an element belonging to the sculpture is encountered. Some of the artists selected as examples in this study were chosen in terms of being the first example in terms of the material they used, the way they used the light source and the diversity of the content they produced with these materials. Light, which is one of the primary conditions for perception in sculpture; In this study, the material forming the sculpture, such as transparency and reflection, is not based on its interaction with its structure, but as an element that forms a part or whole of the sculpture. It is aimed to show the effect of using artificial light source in sculpture on expression and perception through selected examples.

scholarly journals L’imaginaire d’images: une réflexion sur la photographie chez Barthes, Duras et Guibert

Çédille ◽  
2020 ◽  
pp. 565-591
Author(s):  
Antonella Lipscomb
Keyword(s):  
20Th Century ◽  
Marguerite Duras ◽  
Roland Barthes ◽  
The Self ◽  
Visual Images ◽  
Complex Relationship ◽  
Fine Line ◽  
The Relationship ◽  
Selection Of ◽  
Herve Guibert

The aim of this paper is to analyse the relationship between autobiography, pho-tography and autofiction in a selection of 20th century French autobiographies, such as Roland Barthes par Roland Barthes by Roland Barthes, L’Amant by Marguerite Duras, L´Image fantôme by Hervé Guibert. I will examine the complex relationship these auto-biographers maintain with the photographic portraits they choose to integrate or simply allude to in their autobiographies and show how the conflict between textual and visual images of the self reinforce the fine line between autobiography and autofiction.

scholarly journals RNF213 c.14576G>A Is Associated with Intracranial Internal Carotid Artery Saccular Aneurysms

Genes ◽  
2021 ◽  
Vol 12 (10) ◽  
pp. 1468
Author(s):  
Yasuo Murai ◽  
Eitaro Ishisaka ◽  
Atsushi Watanabe ◽  
Tetsuro Sekine ◽  
Kazutaka Shirokane ◽  
...  
Keyword(s):  
Carotid Artery ◽  
Internal Carotid Artery ◽  
Moyamoya Disease ◽  
Internal Carotid ◽  
Cerebral Aneurysms ◽  
Vascular Diseases ◽  
History Of ◽  
Ica Stenosis ◽  
The Relationship ◽  
Selection Of

A mutation in RNF213 (c.14576G>A), a gene associated with moyamoya disease (>80%), plays a role in terminal internal carotid artery (ICA) stenosis (>15%) (ICS). Studies on RNF213 and cerebral aneurysms (AN), which did not focus on the site of origin or morphology, could not elucidate the relationship between the two. However, a report suggested a relationship between RNF213 and AN in French-Canadians. Here, we investigated the relationship between ICA saccular aneurysm (ICA-AN) and RNF213. We analyzed RNF213 expression in subjects with ICA-AN and atherosclerotic ICS. Cases with a family history of moyamoya disease were excluded. AN smaller than 4 mm were confirmed as AN only by surgical or angiographic findings. RNF213 was detected in 12.2% of patients with ICA-AN and 13.6% of patients with ICS; patients with ICA-AN and ICS had a similar risk of RNF213 mutation expression (odds ratio, 0.884; 95% confidence interval, 0.199–3.91; p = 0.871). The relationship between ICA-AN and RNF213 (c.14576G>A) was not correlated with the location of the ICA and bifurcation, presence of rupture, or multiplicity. When the etiology and location of AN were more restricted, the incidence of RNF213 mutations in ICA-AN was higher than that reported in previous studies. Our results suggest that strict maternal vessel selection and pathological selection of AN morphology may reveal an association between genetic mutations and ICA-AN development. The results of this study may form a basis for further research on systemic vascular diseases, in which the RNF213 (c.14576G>A) mutation has been implicated.

From the Archaeology of Childhood to Modern Children Visiting Archaeological Museums

2018 ◽  
Author(s):  
Claudia Lambrugo
Keyword(s):  
Case Studies ◽  
General Public ◽  
Ancient History ◽  
Interesting Point ◽  
The Past ◽  
History Of Art ◽  
Long Time ◽  
History Of ◽  
Children And Childhood ◽  
The Relationship

This chapter addresses three interconnected topics, beginning with a short overview of the archaeology of children and childhood in Italy, explaining how and why the Italian contribution to the topic has been very recent. The chapter then moves on to explore the relationship between modern children, Italian scholars of ancient history of art and archaeology, and museums; it notes that for a very long time Italian universities and museums have not been interested in developing didactic archaeology at all, especially when the spectators were children, whether of pre-school or older age. Finally, returning to children in the past, two noteworthy case studies of the presentation of ancient children at exhibitions are illustrated as an interesting point of convergence between current archaeological studies in Italy on childhood in the ancient world, and the newly generated need to communicate to the general public the result of research works.

The ‘Bibliography of the History of Art’ and the Nordic Countries

1991 ◽  
Vol 16 (2) ◽  
pp. 14-16
Author(s):  
Emma Sailing
Keyword(s):  
Nordic Countries ◽  
Trial Period ◽  
Cd Rom ◽  
Bibliographic Records ◽  
History Of Art ◽  
History Of ◽  
Online Access ◽  
International Role ◽  
Crucial Test ◽  
Selection Of

Building on the precedent established by the Kunstakademiets Bibliotek and RILA, Nordic countries are for a trial period of three years contributing bibliographic records to the BHA, via the latter’s Scandinavian editor in the U.S.A. Several institutions are involved; the selection and preparation of records for the BHA can usually be done in conjunction with work already undertaken by the institutions concerned, in some cases for national bibliographies. Records include abstracts, which should ideally be provided or approved by the authors. Only a selection of material can be cited in the BHA; it is important that its international role should be complemented by national bibliographies. Although Nordic libraries can subscribe to the BHA in its printed form, online access is inhibited by financial considerations; a CD-ROM version would be most welcome. It is hoped that this three year experiment in co-operation will be judged a success, and that funding to enable it to continue will be forthcoming; a crucial test of any form of international co-operation is whether respect for national traditions outweighs any desire for excessive standardisation.

Religious Themes in Contemporary Art

2016 ◽  
pp. 188-218
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

Formalism and Phenomenology in Vasily Sesemann’s Aesthetics

2021 ◽  
pp. 45-62
Author(s):  
Dalius Jonkus
Keyword(s):  
Structural Analysis ◽  
Phenomenological Analysis ◽  
Aesthetic Value ◽  
Poetic Image ◽  
History Of Art ◽  
The World ◽  
Art And Culture ◽  
History Of ◽  
Aesthetic Structure ◽  
The Relationship

The purpose of this article is to analyze the connection between formalism and phenomenology in Vasily Sesemann’s aesthetics. In the articles “Aesthetic valuation in the history of art” (1922), “The nature of poetic image” (1925), “Art and culture” (1927), Seseman discusses the formalist concept of art. However, the most complete critique of the formalist idea of art is revealed in his Aesthetics (1970). In this book, he presented the most comprehensive conception of aesthetic structure. In this paper, I set out first to analyze the most important features of the formalist history of art, and then to explore how Sesemann transforms the concept of artistic form into a conception of aesthetic structure. I argue that formalistic analysis of art transforms the concept of artistic form into a style. This style is nothing less than the experience of being in the world. Sesemann abandons the dualistic separation of sensory material and intelligible form, and instead offers the concept of aesthetic structure. He reveals the relationship between the sensory structure of an aesthetic object and the perceiving subject. Aesthetic value can be revealed as meaningful only with the participation of a subject and with the necessary contemplative attitude. Analysis of art must cover not only individual structures of the object, but also a phenomenological analysis of perception. The combination of formalism and phenomenology is a peculiar characteristic of Sesemann’s aesthetics. The structural analysis reveals a systematic coherence among the artistic creator, work of art, and its perceiver.

VISUAL COMMUNICATION OF THE TRADITIONAL HOUSE IN NEGERI SEMBILAN

2018 ◽  
Vol 5 (2) ◽  
pp. 112-123
Author(s):  
Mohd Haizra Hashim ◽  
Abdul Mu’ati Zamri Ahmad ◽  
Muhammad Pauzi Abdul Latif ◽  
Mohd Yazid Mohd Yunos
Keyword(s):  
Visual Communication ◽  
Islamic Law ◽  
Early History ◽  
Islamic Art ◽  
Structural Elements ◽  
History Of ◽  
Surrounding Space ◽  
The Relationship ◽  
Selection Of

Visual communication in architecture is a genuine aspiration in realizing the relationship between the Malays and other communities. The composition of the models in this communication is very well organized and will remain relevant to be developed from time to time. It is an observation on the symbols, types of motifs and design aspects of the carvings, also the structural elements in the Malay architecture of Negeri Sembilan. This also comprises the study of the chronology of the early history of the Malay architecture of Negeri Sembilan which has its linkages with the Islamic art. Emphasis is given to the diversity in the carving characteristics as a comparison regarding historical, cultural and environmental backgrounds. The delicacy of the craftsmanship among Malay carvers in Negeri Sembilan is reflected in their maturity and ability to fuse traditional elements and Islam. Symbols that have motifs in the carvings result from the carvers' observation and experience. The selection of these motifs is carefully made to ensure that they are the Islamic teachings and not deviating with the Islamic law. Carvings in the Malay architecture of Negeri Sembilan are also crafted with an aim to beautify a piece of architecture made of various motifs. Those carved parts are always assured to maintain the balance with the surrounding space. Floral motifs are often combined with cosmic or geometrical motifs. In many cases, plant-based motifs are also prevalence translated into carvings. This is a tribute from the Malay carvers to beauty, perfection, and harmony of nature.

The London Library

2006 ◽  
Vol 31 (1) ◽  
pp. 5-10
Author(s):  
Christopher Phipps
Keyword(s):  
New Members ◽  
European Languages ◽  
Applied Art ◽  
History Of Art ◽  
History Of ◽  
Lending Library ◽  
Selection Of

The London Library, an independent subscription lending library and registered educational charity, has been providing a wide selection of books for loan to members in all aspects of the humanities since 1841. Books and periodicals on applied art and the history of art, in all the major European languages, form an increasingly important part of its collections. The Library is embarking on a period of extension and development, and welcomes new members.

scholarly journals A LÍNGUA DAS ONÇAS E DAS LONTRAS / The language of jaguars and otters

2020 ◽  
Vol 26 (40) ◽  
pp. 361-373
Author(s):  
Renata Marquez
Keyword(s):  
Political Philosophy ◽  
Turning Point ◽  
Aesthetics And Politics ◽  
Art And Politics ◽  
History Of Art ◽  
History Of ◽  
Isabelle Stengers ◽  
The Relationship

O artigo reflete sobre a relação entre estética e política tendo como ponto de inflexão a proposição cosmopolítica apresentada por Isabelle Stengers em 1997. A partir do diálogo com obras de Denilson Baniwa e de Isael Maxakali, este ensaio discute o encontro de conceitos da filosofia política com conceitos antropológicos, no intuito de vislumbrar outra história da arte, em presença da epistemologia estética indígenas.Palavras-chave: Arte e política; Cosmopolítica; Isael Maxakali; Denilson Baniwa.AbstractThe article reflects on the relationship between aesthetics and politics with the cosmopolitical proposition presented by Isabelle Stengers in 1997 as a turning point. Based on the dialogue with works by Denilson Baniwa and Isael Maxakali, this essay discusses the meeting of concepts of political philosophy with anthropological concepts, in order to glimpse another history of art, in the presence of indigenous aesthetic epistemology.Keywords: Art and politics; Cosmopolitics; Isael Maxakali; Denilson Baniwa.

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