On gazers’ encounters with visual art: ekphrasis, readers, ‘iconotexts’1

2019 ◽  
pp. 237-256
Keyword(s):  
Visual Art ◽  
Visual Image ◽  
Literary Texts ◽  
Visual Medium ◽  
General Sense ◽  
Verbal Representation ◽  
Informed Reader ◽  
Role Of The Reader ◽  
Concise Definition

This chapter defines ekphrasis concisely as ‘the verbal representation of real or fictive configurations composed in a non-kinetic visual medium’. It rejects narrower definitions that exclude texts on non-representational visual configurations, including architecture, or restrict the discourse to literary texts representing works of art. But with its emphasis on the text the concise definition unduly reinforces the consideration of ekphrasis as a form of ‘intermedial transposition’ in contemporary discourse on intermedial relations. An ekphrastic text should be primarily approached as the record of a viewer’s interpretive encounter with a non-kinetic visual configuration, which may not actually contain anything that has been ‘transposed’ from the image. This viewer may be the persona of a poem, a figure in a prose narrative, or an art critic. It is the reader’s task to construct these viewers in the interpretation of any ekphrastic text. But the role of the reader has not received much attention. This includes the question of the immediate mental reception of ekphrastic texts. The critical construct of ‘iconotexts’, suggesting that such verbal texts spontaneously trigger a mental visual image for the informed reader, is problematic, and even in a more general sense the term may be of limited critical use.

scholarly journals PSIKOLOGIS DALAM SENI: KATARSIS SEBAGAI REPRESENTASI DALAM KARYA SENI RUPA

2020 ◽  
Vol 2 (2) ◽  
pp. 105
Author(s):  
Ernawati Ernawati
Keyword(s):  
Visual Arts ◽  
Personal Experience ◽  
Visual Art ◽  
Qualitative Method ◽  
Multidisciplinary Approach ◽  
Visual Image ◽  
Psychological Aspects ◽  
Visual Elements ◽  
The Arts

Tujuan penelitian ini adalah mengungkap peran aspek psikologis katarsis dalam karya seni rupa. Prinsip seputar psikis dapat dipraktikan dalam karya seni, salahsatunya gerakan seni rupa kontemporer. Kajian karya berdasarkan aspek psikologis, salah satunya katarsis termasuk hal yang krusial untuk dilakukan.  Metode pada penelitian ini menerapkan metode kualitatif dengan pendekatan multidisiplin (psikologi seni dan semiotika). Hasil penelitian menunjukkan bahwa Perspektif lebih obyektif karena seniman sebagai kreator berbanding lurus dengan karya yang disajikan. Elemen visual yang dipilih dan disajikan seniman tersusun berdasarkan kemampuan kreatif menyusun citra visual yang berangkat dari aspek pengalaman yaitu berupa rasa khawatir/kegelisahan atau ketakutan yang mendasarinya dalam berkarya. Karya seni yang terwujud representasi dari dunia psikis seniman sebagai kreator. Pendekatan psikologis dalam berkarya dengan dipadukan kemampuan akademik dari aspek keilmuan seni rupa setidaknya mampu memperkaya keilmuan dalam keberagaman seni rupa. Dalam konstelasi seni rupa Indonesia kontemporer, kajian dari perspektif psikologis, khususnya katarsis pada karya seni berelasi dengan psikobiografi atau pengalaman pribadi seniman. This research aims to explore the role of catharsis psychological aspects in visual artwork. The principle surrounding the psychic can be practiced in the artwork. One of them is contemporary art movements. A study of works based on psychological aspects, one of which is cathartic includes the crucial thing to do.  The method in this study implements a qualitative method with a multidisciplinary approach (the psychology of Art and semiotics). The results show that perspective is more objective because the artist as a creator is directly proportional to the work showed.The selected and presented visual elements by the artist are arranged based on a creative ability to compose a visual image that influences the experience aspect of worry/anxiety or fear underlying it in the works. The artwork embodied is a representation of the part of a psychic artist as creator. The psychological approach of working combined with the academic ability of the science aspect of the arts is at least, capable of enriching science in the diversity of visual arts. In the constellation of contemporary Indonesian visual art, a study from a psychological perspective, especially catharsis on artwork relates to a psychobiography or an artist's personal experience.

scholarly journals Fragmente sloer in ons ore: die reaktivering van ouer literere tekste in die oeuvre van T.T. Cloete

Literator ◽  
1995 ◽  
Vol 16 (3) ◽  
pp. 145-162
Author(s):  
L. Venter
Keyword(s):  
Literary Texts ◽  
Critical Approach ◽  
Medieval Text ◽  
Comprehensive Curriculum ◽  
Role Of The Reader

Fragments linger in our ears: the re-activation of older literary texts in the oeuvre of T.T. CloeteRobert Scholes defines the vocation of the lecturer of literature as a commitment “to help our students unlock textual powers”, stressing the relation of the text to other texts. Scholes and N.P. van Wyk Louw use different metaphors for the concept of the entwinement o f literary texts. I identify (using Louw's metaphor) possible deviations implied by the text(s) of T.T. Cloete: reflection regarding the poet and the origin of the poem; the poet/Cloete functioning as "just another collection of (inter)-texts”, by virtue of his erudition and inclusive procéde; an implied personal and extended, international canon; the critical approach to the Afrikaans literature and the focus on the role of the reader via a Medieval text. My aim is to stress the efficacy of the poetry of Cloete to form a comprehensive curriculum.

Ekphrasis and Adaptation

2017 ◽  
Author(s):  
Claus Clüver
Keyword(s):  
Three Dimensional ◽  
Comic Book ◽  
Mixed Media ◽  
Literary Texts ◽  
Visual Images ◽  
Visual Medium ◽  
Verbal Representation ◽  
Word And Image ◽  
Three Dimensional Images

In discussing word-and-image interactions, ekphrasis and adaptation are frequently cited as major instances of intermedial transposition. Ekphrasis, redefined as “the verbal representation of real or fictive configurations composed in a non-kinetic visual medium,” can occur in literary and non-literary texts and represent two- and three-dimensional images. Some ekphrastic texts can be read as fully developed intermedial translations; others may render readers’ encounters with visual images that the text does not actually transpose at all. Ekphrasis is a descriptive monomedial mode of intermedial reference. In contrast, adaptations incorporate transmedial elements of the source texts transposed into a new medium. Verbal texts are most frequently adapted to plurimedial media, but also to such mixed-media forms as the comic book. Novelizations of films or videogames exemplify adaptation to the verbal medium. More common is the adaptation to literary texts of structural devices employed in other media, as in the musicalization of fiction.

Gender, Technology and the New Woman

2017 ◽  
Author(s):  
Lena Wånggren
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
New Technologies ◽  
Gender And Sexuality ◽  
Literary Texts ◽  
Late Nineteenth Century ◽  
Gender And Technology ◽  
The New Woman ◽  
Grant Allen

This book examines late nineteenth-century feminism in relation to technologies of the time, marking the crucial role of technology in social and literary struggles for equality. The New Woman, the fin de siècle cultural archetype of early feminism, became the focal figure for key nineteenth-century debates concerning issues such as gender and sexuality, evolution and degeneration, science, empire and modernity. While the New Woman is located in the debates concerning the ‘crisis in gender’ or ‘sexual anarchy’ of the time, the period also saw an upsurge of new technologies of communication, transport and medicine. This book explores the interlinking of gender and technology in writings by overlooked authors such as Grant Allen, Tom Gallon, H. G. Wells, Margaret Todd and Mathias McDonnell Bodkin. As the book demonstrates, literature of the time is inevitably caught up in a technological modernity: technologies such as the typewriter, the bicycle, and medical technologies, through literary texts come to work as freedom machines, as harbingers of female emancipation.

Writing and Ritual in Deuteronomy 28

2017 ◽  
Author(s):  
Laura Quick
Keyword(s):  
Ad Hoc ◽  
Comparative Method ◽  
Literary Texts ◽  
History Of ◽  
Important Means ◽  
Written Word ◽  
Ritual Process ◽  
Different Cultures ◽  
Ritual Context

This chapter argue that ritual behaviours might be just as good a source as literary texts for the diffusion of traditional cursing and treaty material across different cultures in the ancient Near East. In particular, the role of ad hoc oral Targum in the ritual process could have been an important means by which traditions were shared between different language communities. Recognition of the ritual context of this material also provides insights for the comparative method, the dating and authorship of Deuteronomy 28, and the subversive impetus thought to have stood behind its composition. Ultimately, the function of the written word in a largely oral world is shown to be fundamental to understanding the composition, function and the early history of the curses in the book of Deuteronomy.

Creating with Constraints

2020 ◽  
Author(s):  
Robert Hasegawa
Keyword(s):  
Visual Art ◽  
Creative Activity ◽  
Georges Perec ◽  
Gyorgy Ligeti ◽  
Raymond Queneau ◽  
Art Forms ◽  
Musical Creativity ◽  
Process Constraints

Musicians have long framed their creative activity within constraints, whether imposed externally or consciously chosen. As noted by Leonard Meyer, any style can be viewed as an ensemble of constraints, requiring the features of the artwork to conform with accepted norms. Such received stylistic constraints may be complemented by additional, voluntary limitations: for example, using only a limited palette of pitches or sounds, setting rules to govern repetition or transformation, controlling the formal layout and proportions of the work, or limiting the variety of operations involved in its creation. This chapter proposes a fourfold classification of the limits most often encountered in music creation into material (absolute and relative), formal, style/genre, and process constraints. The role of constraints as a spur and guide to musical creativity is explored in the domains of composition, improvisation, performance, and even listening, with examples drawn from contemporary composers including György Ligeti, George Aperghis, and James Tenney. Such musical constraints are comparable to self-imposed limitations in other art forms, from film (the Dogme 95 Manifesto) and visual art (Robert Morris’s Blind Time Drawings) to the writings of authors associated with the Oulipo (Ouvroir de littérature potentielle) such as Georges Perec and Raymond Queneau.

THE ROLE OF THE READER IN THE HEPTAMÉRON

1989 ◽  
Vol XLIII (3) ◽  
pp. 271-278
Author(s):  
MARY J. BAKER
Keyword(s):  
Role Of The Reader

“Satisfied with the Ruins of Berlin”: The German Capital’s Image in Soviet Graphics of 1945

2021 ◽  
Vol 17 (6) ◽  
pp. 564-575
Author(s):  
Irina I. Rutsinskaya
Keyword(s):  
Visual Art ◽  
Visual Image ◽  
Point Of View ◽  
The Public ◽  
Historical Justice ◽  
Public Consciousness ◽  
Post War ◽  
The One ◽  
First Time ◽  
The City

An artist who finds themselves in the last days of a war in the enemy’s defeated capital may not just fix its objects dispassionately. Many factors influence the selection and depicturing manner of the objects. One of the factors is satisfaction from the accomplished retribution, awareness of the historical justice triumph. Researchers think such reactions are inevitable. The article offers to consider from this point of view the drawings created by Soviet artists in Berlin in the spring and summer of 1945. Such an analysis of the German capital’s visual image is conducted for the first time. It shows that the above reactions were not the only ones. The graphics of the first post-war days no less clearly and consistently express other feelings and intentions of their authors: the desire to accurately document and fix the image of the city and some of its structures in history, the happiness from the silence of peace, and the simple interest in the monuments of European art.The article examines Berlin scenes as evidences of the transition from front-line graphics focused on the visual recording of the war traces to peacetime graphics; from documentary — to artistry; from the worldview of a person at war — to the one of a person who lived to victory. In this approach, it has been important to consider the graphic images of Berlin in unity with the diary and memoir texts belonging to both artists and ordinary soldiers who participated in the storming of Berlin. The combination of verbal and visual sources helps to present the German capital’s image that existed in the public consciousness, as well as the specificity of its representation by means of visual art.

Bread in the Festive and Ceremonial Food of Russians of the Arkhangelsk North in the Early 20th Century

2020 ◽  
pp. 149-157
Author(s):  
Александра Викторовна Фролова
Keyword(s):  
World View ◽  
Visual Image ◽  
Population Based ◽  
Early 20Th Century ◽  
Folk Culture ◽  
Significant Phenomenon ◽  
Large Round ◽  
Northern Russia ◽  
Peasant Family

В данной статье на основе архивных, публицистических и полевых материалов, собранных автором в деревнях Архангельского Севера в 1992-2011 гг., рассматриваются традиции употребления хлеба в праздничной и обрядовой пище севернорусского населения. Севернорусская, как и вся русская, традиционная кухня отражает преимущественно земледельческий характер народного хозяйства. Ведущее место в ней занимали хлебные, мучные и крупяные блюда в многочисленных вариантах. В статье рассмотрена роль хлеба и в центральном семейном торжестве крестьянина - свадебном обряде. Свадебные застолья - сложное, значительное и интересное явление народной культуры, вобравшее в себя разные стороны крестьянского мировоззрения и быта. Хлеб и другие изделия из муки располагались на столах особым образом и становились атрибутами этого действия. Так, ковриги хлеба, символизирующие жениха и невесту, способствовали их соединению и сами имитировали его. С хлебом связаны и обрядовые кормления скота на праздники, в частности, егорьевская обрядность. Как показало исследование, подобные традиции достаточно устойчивы и обладают локальной спецификой. This article considers the traditions of bread consumption in the festive and ritual food of the northern Russian population based on archival, journalistic and field materials collected by the author in villages of the Archangel North in 1992-2011. Like all Russian traditional cuisine, that of northern Russia reflects the character of the national economy, based on grain. The leading place in it was occupied by bread, flour and cereal dishes with many variations. The article considers the role of bread in the main celebration of the peasant family - the wedding rite. The wedding gathering is a complex, significant phenomenon of folk culture, which has reflected different sides of peasant life and its world view. Bread and other flour products were placed on tables in a special way and became attributes of this occasion. Thus the kovrigi (large round loaves) symbolized the groom and bride and contributed to their connection by offering a visual image of it. Bread is also used in the ritual feeding of livestock on holidays and in the Yegorievskaya rite. The study indicates that such traditions are quite stable and manifest local particularities.

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