Lessons in Madness

2019 ◽  
pp. 169-185
Author(s):  
Tim Carter
Keyword(s):  
Visual Arts ◽  
George Frideric Handel ◽  
Time And Space ◽  
Cultural Contexts ◽  
Orlando Furioso

Orlando Furioso had a life in the European imagination well beyond the poem itself, and ranging from the visual arts to the operatic stage. Over a hundred operas based on it were composed between 1619 and 1924, and they tell us a great deal not only about the reception of Orlando Furioso across time and space, but also as regards the contribution of a particularly ‘mad’ genre to issues that variously dominated particular political, social, and cultural contexts. The settings of Orlando, Ariodante, and Alcina by George Frideric Handel, composed for London in the early 1730s, provide good examples: they reveal the fashion in England for matters Turkish (seen also in the architecture of Vauxhall Gardens), as well as emerging notions of the nature of madness and of the ways in which it might be treated.

Introduction

2019 ◽  
pp. 1-24
Author(s):  
Jane E. Everson ◽  
Andrew Hiscock ◽  
Stefano Jossa
Keyword(s):  
Visual Arts ◽  
Ethical Issues ◽  
Cultural Contexts ◽  
Orlando Furioso ◽  
Creative Writers ◽  
The Enlightenment ◽  
English Speaking ◽  
Social And Ethical Issues ◽  
English Speaking World ◽  
Modern Era

The introduction presents the Orlando Furioso, tracing briefly its gestation and identifying its major themes and concerns – love, war, moral, social and ethical issues. It assesses the importance of the first edition, published in 1516, and discusses its continuing presence in the subsequent versions of the poem, and hence its influence on later adaptations and reactions to Ariosto’s poem. The chapter introduces the four principal sections of the volume – the Furioso in the visual arts; from the Elizabethan period to the Enlightenment; from Gothic to Romantic; and text and translation in the modern era. In presenting each of these, the introduction surveys the wider cultural contexts for the reception and influence of the Furioso in art, literature and music, the varying critical responses displayed over the centuries to Ariosto’s poem, and the myriad ways in which creative writers, artists and musicians in the English-speaking world have mined the Furioso as a never-ending source of inspiration.

scholarly journals What makes It Difficult to keep an Intimate Relationship: Evidence From Greece and China

2021 ◽  
Vol 19 (1) ◽  
pp. 147470492098780
Author(s):  
Menelaos Apostolou ◽  
Yan Wang
Keyword(s):  
Factor Structure ◽  
Intimate Relationship ◽  
Work Hours ◽  
Common Source ◽  
Time And Space ◽  
Cultural Contexts ◽  
Personal Time ◽  
Long Work Hours ◽  
The Difference ◽  
Relationship Strain

Keeping an intimate relationship is challenging, and there are many factors causing strain. In the current research, we employed a sample of 1,403 participants from China and Greece who were in an intimate relationship, and we classified 78 difficulties in keeping an intimate relationship in 13 factors. Among the most common ones were clinginess, long work hours, and lack of personal time and space. Clinginess was reported as a more common source of relationship strain by women, while bad sex was reported as a more common source of relationship strain by men. Fading away enthusiasm, bad sex, infidelity and children were reported as more important by older participants, while lack of personal time and space, and character issues were reported as more important by younger participants. The factor structure was similar in the Greek and in the Chinese cultural contexts, but there were also differences. In addition, there were significant interactions between the sample and the sex. For instance, for the non-monogamous factor, men gave higher scores than women in both samples, but the difference was much more pronounced in the Greek sample.

Youth in the Visual Arts

2021 ◽  
Author(s):  
Ann Barrott Wicks
Keyword(s):  
Visual Arts ◽  
Youth Culture ◽  
Children And Youth ◽  
Time And Space

Representations of youth are not so easily found in the visual arts. Once they are identified, however, some of their messages are remarkably consistent across time and space. The extent to which pictures of youth exist will be discussed, questioning whether depictions of children and youth show what they looked like and whether the activities portrayed were the choices of actual children. The question of whether a separate youth culture can be identified in any of the visual arts will be addressed. Using selected examples from a variety of geographical areas, beginning with China, prominent themes in depicting youth will be illustrated and reasons why they might be similar despite the differences in the societies that produced them will be discussed.

Video Games and Aesthetic Contemplation

2020 ◽  
pp. 155541202091472
Author(s):  
Paul Atkinson ◽  
Farzad Parsayi
Keyword(s):  
Video Games ◽  
Visual Arts ◽  
Video Game ◽  
Visual Environment ◽  
Visual Object ◽  
Sufficient Time ◽  
Time And Space ◽  
Aesthetic Engagement

Video games present incredibly rich visual environments that can be studied from a variety of perspectives including those germane to the visual arts. The medium has evolved to such a degree that evaluation should not rest on whether an individual game can be considered art, but what types of aesthetic engagement the medium affords. A key figure in the study of the visual arts is aesthetic contemplation, in which extended attention reveals aesthetic differences. Although the video game presents many sites and scenes worthy of such contemplation, this mode of spectatorship requires sufficient time and space to attend to a visual object. In order to open up a space for aesthetic engagement, many of the ludological and narrative demands of the game must recede. In this article, we will investigate the degree to which players have choice in how, or how long, they attend to a game’s visual environment.

Analyze Genres and Events

2018 ◽  
Author(s):  
Brian Schrag ◽  
Kathleen J. Van Buren
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Cultural Contexts ◽  
Part C ◽  
Time Performance ◽  
Symbolic Systems ◽  
Research Questions

Step 4, the bulk of the Guide, comprises three parts: Part A, “Describe the Event and Its Genre(s) as a Whole”; Part B, “Explore the Event’s Genre(s) through Artistic Domain Categories”; and Part C, “Relate the Event’s Genre(s) to Its Broader Cultural Context.” Part A teaches readers how to collect information about an event and its genres. It advises readers to explore an event by looking through seven “lenses”: space, materials, participant organization, shape of an event through time, performance features, content, and underlying symbolic systems. Part B applies the seven lenses to exposing which—if any—elements of the following five artistic domain categories occur in the event: music, dance, drama, oral verbal arts, and visual arts. These arts are addressed in turn, so that readers can jump to the sections that relate most closely to their work. Part C helps readers to connect artistry in an event with broader cultural contexts. Numerous research questions, suggested activities, and practical examples are provided throughout Step 4.

Visual arts and cultural contexts: History and prehistory

2001 ◽  
Vol 29 (3) ◽  
pp. 233-251
Author(s):  
Kelley A. Hays‐Gilpin
Keyword(s):  
Visual Arts ◽  
Cultural Contexts

Georges Perec’s Enduring Presence in the Visual Arts

2017 ◽  
Author(s):  
Mireille Ribière
Keyword(s):  
Visual Arts ◽  
Conceptual Art ◽  
Roland Barthes ◽  
Time And Space ◽  
The Real ◽  
Avant Garde ◽  
The Subject ◽  
1960S And 1970S ◽  
Formal Constraints ◽  
Contemporary Artists

A former student of Roland Barthes, Perec rejected the dogmatism of the French avant-garde and the oppressive nature of theory in the late 1960s and 1970s, while dismissing the myth of the inspired artist and upholding those aspects of modernism that enabled art to assert itself as constructed intentionality. When he reconsidered the issue of the subject in its relationship to history and society, to the real, and to time and space, he managed to steer clear of expressivity, psychology and conventional mimesis. The co-existence of autobiographical and sociological concerns with formal constraints that both challenge and integrate the notion of chance, as well as his particular brand of formal pre-composition, which does not exclude humour, playfulness and immediacy, constitute further aspects of his enduring presence in the visual arts. This chapter argues that Perec practised literature both as a craft and as a form of conceptual art, and examines how the fundamental questions he raised, the conversations he initiated and the various methodologies he proposed have made, and continue to make him relevant to contemporary artists.

Convergence of Time and Space

2013 ◽  
Author(s):  
Bret Battey ◽  
Rajmil Fischman
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Case Studies ◽  
Visual Arts ◽  
Visual Artists ◽  
World War ◽  
Time And Space ◽  
Visual Music ◽  
Original Case

This chapter considers the historical lineage and conceptual origins of visual music, addressing the turn to abstraction and absolute film in visual arts, particularly in the first half of the twentieth century, and the turn to mimesis and spatialization in music, particularly through the acousmatic tradition after World War II. The chapter proposes a convergence between visual artists and musicians that prompted the former to embrace time through a shift away from mimesis toward abstraction, and the latter to adopt greater focus on space in shifting from abstraction toward mimesis. Together, these historical shifts prefigure the development of audiovisual art, revealing underlying theoretical commonalities in the articulation of time and space that suggest fundamental dynamics of theaudiovisual contractand strategies available to the visual music creator to establish a synergy of sound and image. Some of these strategies are demonstrated in two original case studies.

scholarly journals Le Dictionnaire des femmes créatrices

1969 ◽  
Author(s):  
Béatrice Didier
Keyword(s):  
Visual Arts ◽  
Creative Activity ◽  
Time And Space ◽  
Time Periods ◽  
The Creation

Dans cet article, Béatrice Didier décrit son projet, la réalisation d’un Dictionnaire des femmes créatrices. Ce dictionnaire mettra en évidence la créativité féminine, tant en littérature qu’en arts visuels et en sciences. Il contribuera à la découverte de femmes jusqu’ici inconnues et sera, par lui-même, un réseau, établissant des liens entre les femmes de tous les temps et de tous les continents ainsi qu’entre toutes les formes de création. Par sa conception même, ce dictionnaire, dont la parution en plusieurs volumes est prévue pour 2010, constituera un réseau entre les disciplines, le temps et l’espace.AbstractIn this article, Béatrice Didier describes her project, the creation of a Dictionnaire des femmes créatrices. This dictionary will highlight female creativity in literature, visual arts and science. It will contribute to the discovery of hitherto unknown women and will form a network bringing together women from all time periods, continents, and types of creative activity. By its mere creation, this dictionary, to be published in 2010, will create links between disciplines, time, and space.

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