scholarly journals Peculiarities of the genre of wordless novel in Europe and the United States on the example of works of Frans Masereel and Lynd Ward

2020 ◽  
pp. 34-45
Author(s):  
Polina Vladimirovna Dedyukhina
Keyword(s):  
United States ◽  
The United States ◽  
Fine Art ◽  
Literary Language ◽  
Verbal Language ◽  
Visual Component ◽  
Verbal Component ◽  
Verbal Functions

The object of this research is the wordless novel – a genre at the confluence of literature and fine art that appeared in Europe in the late 1910s. Most of the time, the author of the narrative in wordless novel is the artist himself, and the compositions has no verbally foundation. Verbal function is performed by a visual component. The visual component is  illustrative, but independent and performs verbal functions. Frans Masereel – the founder of the genre and originator of the term, and Lynd Ward – the artist who contributed to proliferation of the genre in the United States, are two most prominent figures with in the genre of wordless novel. For other artists it was more of an experiment, therefore namely the works of Masereel and Ward were selected for this analysis. The main conclusions are associated with the peculiarities of literary language of wordless novels, the specificity of which is substantiated by the need to solve the tasks of the opposite in its essence verbal language, without having any suitable tools. Images in the wordless novels are narrative, and exist to the fullest only within the framework of the series. Moreover, these images are processed through experience of the text. Although the very idea of the genre consists in carrying out narrative without using words, it does not distort the verbal component. It is rather being transformed, shifting to inner layers of the image, and acquiring an implicit character. The article analyzes the key visual tools used by the artists in creation of wordless novels.

scholarly journals Pictorialism in the American West

2013 ◽  
Vol 36 ◽  
pp. 150-152
Author(s):  
Rachel Sailor
Keyword(s):  
United States ◽  
Twentieth Century ◽  
American West ◽  
The United States ◽  
Fine Art ◽  
Regional Production ◽  
Early Twentieth Century ◽  
Art Photography

Early twentieth century (1900-1945) photography of northwestern Wyoming (including the Teton and Yellowstone areas) fits into a paradigm of regional photographic production that either conforms to the documentary or pictorial aesthetics most common in the era. Pictorial photography, especially, links the region to larger trends in the nation and can be analyzed to uncover previously unexamined assumptions about the value of photographic aesthetics and regional production within the milieu of fine art photography in the United States prior to WWII.

scholarly journals In Search of Missing Collection: The Case of Artist Albert Rappaport

2021 ◽  
Vol 17 (1) ◽  
pp. 31-42
Author(s):  
Vilma Gradinskaitė
Keyword(s):  
United States ◽  
New York ◽  
Mexico City ◽  
Public Library ◽  
The United States ◽  
Fine Art ◽  
American Citizen ◽  
Private Collection ◽  
The Family ◽  
Palma De Mallorca

Summary The artist Albert Rappaport was born in Anykščiai in 1898. In 1911, the family emigrated to New York. Rappaport became an American citizen in 1925 and began to travel widely. He studied fine art in New York, Paris, Dresden and Munich. He visited South America, Africa and traveled extensively through Europe (1925–1927, 1933, 1937–1939), returning to the United States now and again. The artist participated in several dozen exhibitions. He showed his work in Paris, Rome, Florence, Barcelona, Palma de Mallorca, Copenhagen, Mexico City, Havana, New York, Calgary and Montreal, in addition to his solo exhibitions in 1937 in Warsaw and Vilnius, and in Kaunas, Riga and Tallinn in 1938. After Rappaport’s death, in March 17, 1969 in Montreal, his collection of artworks disappeared and has thus far not been found. To date, two of his painted portraits are known to exist – one belongs to the private collection of Jonathan C. Rappaport, another is on display at the Jewish Public Library in Montreal.

scholarly journals CROSS CULTURAL COMMUNICATION “Different Meaning of Gesture in Several Countries”

2019 ◽  
Author(s):  
Rizky Hidayatullah
Keyword(s):  
United States ◽  
Nonverbal Communication ◽  
Eye Contact ◽  
The United States ◽  
Body Language ◽  
Cross Cultural ◽  
Cultural Communication ◽  
Verbal Language ◽  
Cross Cultural Communication

Some of countries have differentiated language especially non verbal language or body language to tell or transfer something but is not seldom some of body language that one country with others are same that is gesture .Gestures and eye contact are two areas of nonverbal communication that are utilized differently across cultures. Companies must train employees in the correct way to handle nonverbal communication as to not offend other cultures. For example, American workers tend to wave their hand and use a finger to point when giving nonverbal direction. Extreme gesturing is considered rude in some cultures. While pointing may be considered appropriate in some contexts in the United States, Yamato would never use a finger to point towards another person because that gesture is considered rude in Japan. Instead, he might gesture with an open hand, with his palm facing up, toward the person.

scholarly journals Preservation Of A Time-Based Media Installation : A Case Study of George Eastman House 1968 and 2008 Exhibitions, Conscience The Ultimate Weapon

2021 ◽  
Author(s):  
Alice Carver-Kubik
Keyword(s):  
United States ◽  
The United States ◽  
Fine Art ◽  
Modern Technology ◽  
Political Context ◽  
Political Dissent ◽  
Photographic Print ◽  
The 1960S ◽  
Public Demonstrations

In July of 1968, George Eastman House opened Conscience the Ultimate Weapon (Conscience), an innovative audio-visual installation consisting of projected images dissolving from one to the next, accompanied by a synchronized soundtrack. Under the direction of Nathan Lyons, curator at George Eastman House from 1959 to 1969, the exhibition projected 780 photojournalistic images by Benedict J. Fernandez III, depicting protests and public demonstrations that affirmed political dissent throughout the United States during the 1960s. This provocative, political, and ultimately controversial exhibition was firmly grounded in the conflicts of the time. Further, it challenged the exhibition standards of an institution that was known primarily for the promotion of the photograph as fine art and the celebration of the photographic print. In 2008, George Eastman House created an interpretation of this historically important exhibition using modern technology within a contemporary social and political context. Through a case study comparing the 1968 George Eastman House exhibition, Conscience, with the 2008 interpretation of Conscience, this paper will provide an analysis of the preservation issues surrounding these time-based media installations.

scholarly journals The Use of Language Aspects as Rhetorical Devices in Obama’s Inaugural Addresses

2019 ◽  
Vol 2 (1) ◽  
pp. 35
Author(s):  
Widya Oktarini
Keyword(s):  
United States ◽  
Figurative Language ◽  
The United States ◽  
C Language ◽  
Verbal Language ◽  
Rhetorical Devices ◽  
Inaugural Addresses ◽  
Informal Method ◽  
Language Styles ◽  
Negative Connotation

This research analyzes language aspects as rhetorical devices in inaugural addresses of the presidents of The United States, Barack H. Obama. Specifically, this research aims at describing the use of diction and language style found in the inaugural addresses. This research is descriptive qualitative using discourse analysis approach. In collecting the data, it uses listening method and note-taking technique. In analyzing the data, it uses contextual method by using socio-pragmatics theory. In presenting the result of the analysis, it uses informal method by verbal language. The result of analysis show: the use of language aspects found in inaugural addresses of Obama includes: (a) diction which includes the positive and negative connotation, (b) reference which includes inclusive and exclusive references, (c) language styles includes inclusive and exclusive references, (d) language styles includes repetition (e) the use of figurative language includes metaphor.

scholarly journals Preservation Of A Time-Based Media Installation : A Case Study of George Eastman House 1968 and 2008 Exhibitions, Conscience The Ultimate Weapon

2021 ◽  
Author(s):  
Alice Carver-Kubik
Keyword(s):  
United States ◽  
The United States ◽  
Fine Art ◽  
Modern Technology ◽  
Political Context ◽  
Political Dissent ◽  
Photographic Print ◽  
The 1960S ◽  
Public Demonstrations

In July of 1968, George Eastman House opened Conscience the Ultimate Weapon (Conscience), an innovative audio-visual installation consisting of projected images dissolving from one to the next, accompanied by a synchronized soundtrack. Under the direction of Nathan Lyons, curator at George Eastman House from 1959 to 1969, the exhibition projected 780 photojournalistic images by Benedict J. Fernandez III, depicting protests and public demonstrations that affirmed political dissent throughout the United States during the 1960s. This provocative, political, and ultimately controversial exhibition was firmly grounded in the conflicts of the time. Further, it challenged the exhibition standards of an institution that was known primarily for the promotion of the photograph as fine art and the celebration of the photographic print. In 2008, George Eastman House created an interpretation of this historically important exhibition using modern technology within a contemporary social and political context. Through a case study comparing the 1968 George Eastman House exhibition, Conscience, with the 2008 interpretation of Conscience, this paper will provide an analysis of the preservation issues surrounding these time-based media installations.

Unintentional Cooperation

2018 ◽  
Vol 3 (2) ◽  
pp. 129-186
Author(s):  
Terry Kita
Keyword(s):  
United States ◽  
Popular Culture ◽  
Cultural Exchange ◽  
The United States ◽  
Fine Art ◽  
Japanese Children ◽  
American Popular Culture ◽  
Government Response ◽  
The Us ◽  
American Children

Abstract This study of the Friendship Doll Mission of 1926-1927 shows how, in the United States, the Japanese doll was part of the inescapable image of a kimono-clad little Japanese girl, and functioned to further existing anti-Japanese implications of that image. It further shows how an American popular-culture mission to improve relations with Japan by having American children exchange dolls with Japanese children, created an official, Japanese government response that presented the United States with Japanese dolls that were objects of Fine Art. Despite the different views of the Doll Mission in Japan and the US, an interchange resulted that, now nearly a century later, continues. The article uses Japanese dolls to demonstrate how genuine cultural exchange can occur even when the methods, approaches, and the very intent of those involved in it differ, in order to highlight the importance of considering both perspectives to understand phenomena such as Japonisme.

Using Civil Law Approaches to Hate Crimes in the United States for Illicit Antiquities and Fine Art Cases

2021 ◽  
pp. 2631309X2110209
Author(s):  
Kate Melody Burmon
Keyword(s):  
United States ◽  
Hate Crime ◽  
Burden Of Proof ◽  
The United States ◽  
Fine Art ◽  
Hate Crimes ◽  
Criminal Court ◽  
Court System ◽  
Criminal Cases ◽  
Hate Groups

The current legal system is not designed to pursue satisfying action in criminal court for hate crimes or fine art crimes. However, the civil court system in the United States might provide a more fruitful avenue in combatting these crimes. The burden of proof is lessened to preponderance of evidence. Compensatory and punitive damages awarded in civil cases against hate groups appear to create a more significant financial impact than reparations in criminal cases. Known forprofit entities engage in both of these types of crimes. Due to the limitations of criminal legal solutions in the United States, pursuing a civil legal approach might prove more effective in combatting cases involving hate crime as well as illicit antiquities and fine art.

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