scholarly journals A consideration of the change of the usefulness of language in coaching situations: Focusing on the relationship between words and images

2020 ◽  
Vol 42 (2) ◽  
pp. 97-107
Author(s):  
Kenichi HIROSE
Keyword(s):  
Words And Images ◽  
The Relationship

Suffering in Art

2017 ◽  
Author(s):  
Ritchie Robertson
Keyword(s):  
Nineteenth Century ◽  
Early Nineteenth Century ◽  
Late Eighteenth ◽  
Words And Images ◽  
The Relationship

Ritchie Robertson situates Lessing’s text within debates over the proper depiction of extreme suffering in art, focusing on Goethe’s essay on the Laocoon group (1798), as well as other late eighteenth- and early nineteenth-century works on the representation of pain. The issue of suffering in art was of utmost significance to Goethe’s ideology of the classical, Robertson explains; more than that, the themes introduced in Lessing’s essay—above all, its concerns with how suffering can be depicted in words and images—proved pivotal within Goethe’s prescriptions about the relationship between idealism and individuality (or ‘the characteristic’) in art. As part of a larger campaign against what he called ‘naturalism’ in art, Goethe argued that the ancients did not share the false notion that art must imitate nature. For Goethe, responding to Lessing, the power of the Laocoon group lay precisely in its depiction of bodily suffering as something not just beautiful, but also anmutig (‘sensuously pleasing’).

Conclusion

2020 ◽  
pp. 281-286
Author(s):  
Rebecca Maloy
Keyword(s):  
Future Research ◽  
Biblical Exegesis ◽  
Words And Images ◽  
Relationship Of ◽  
The Relationship ◽  
Musical Literacy

This chapter provides a summary and conclusion for the book and explores some potential areas for future research. Through the education of clergy and laity, the bishops strove to create a Visigothic kingdom unified in the Nicene faith. The chant texts and melodies were carefully constructed to serve these ends. Liturgy and chant were a practical way of instilling doctrine and modeling biblical exegesis, as part of a cultural program that was at once theological and ideological. By the time of the surviving manuscripts with notation, the Iberian cantors had developed a distinctive culture of musical literacy, in which particular neumes and neume patterns signaled specific melodic functions. Through analysis of these neume shapes, I have posited a sophisticated melodic grammar that is closely tied to textual syntax and aural aspects of the text such as word accent and assonance. Strategic placement of melismas, cadences, and melodic repetition underlined words and images that were central to the text’s typological meaning or liturgical use. Finally, I have considered the relationship of the sacrificia to offertories in other liturgical traditions. Further reportorial, textual, and melodies parallels between Western chant repertories remain to be discovered and explored through similar methodologies.

V. Film and Poetry

2003 ◽  
Vol 33 ◽  
pp. 71-97
Keyword(s):  
Reception Studies ◽  
Public And Private ◽  
Avant Garde ◽  
Art Form ◽  
Production Techniques ◽  
Acute Form ◽  
Words And Images ◽  
The Relationship ◽  
Contexts Of Reception ◽  
Ancient Texts

The growth of film criticism in modern reception studies presents in a particularly acute form many of the issues of method with which other areas of reception are also grappling. In addition, it brings together under the umbrella of one art form the sometimes uneasy relationship between ‘high’ cultures and popular forms of entertainment. ‘Spectacle’ has to be analysed alongside that of the most nuanced ‘avant-garde’ production techniques. Film has been closely related to drama in terms of analytic approaches, not just because of its links with the subject matter of ancient texts but because it is, like theatre, a performative medium – although unlike a staged performance the conditions in which it is created both assume and facilitate its preservation. Yet some aspects of film also move close to poetry. Furthermore, film poems based on ancient texts and paradigms have encouraged a more self-referential approach, reflecting on the relationship between words and images in both public and private contexts of reception. It will become clear from the discussion which follows that film receptions have some significant overlaps with those in drama and poetry.

Verbal-Visual Style and Words Visualised

2018 ◽  
pp. 25-48
Author(s):  
Jennifer O'Meara
Keyword(s):  
Layered Structure ◽  
Verbal Information ◽  
Mise En Scene ◽  
Visual Style ◽  
Words And Images ◽  
The Relationship

This chapter examines the relationship between dialogue and what is simultaneously shown on screen, in order to develop an understanding of verbal-visual style in contemporary indie cinema. In considering what makes certain combinations of words and images jarring or pleasurable for audiences, the chapter includes analysis of: textual speech; voice-over as a double-layered structure; and textual signposts. The chapter also examines words that are visualised, as with intertitles and text that is embedded in the mise-en-scene. It finds that the six writer-directors considered ‘cinematic verbalists’ can substitute verbal interest for visual interest, or for visual interest that depends on the verbal for its impact. The chapter charts the relationships between visual and verbal synchronicity, as well as between observational styles of viewing and audiences being positioned as eavesdroppers: when they must piece together verbal information.

Making Progress: Disaster Narratives and the Art of Optimism in Modern America

2005 ◽  
Author(s):  
Kevin Rozario
Keyword(s):  
Cultural Landscape ◽  
Building Materials ◽  
Narrative Imagination ◽  
The Face ◽  
History Of ◽  
New Material ◽  
Words And Images ◽  
The Relationship

As the philosopher Martin Heidegger once revealed, there are etymological affinities linking the words building, dwelling, and thinking. The history of language, in this instance, teaches a profound lesson: that building is never simply a technical exercise, never solely a question of shelter, but also inevitably a forum for dwelling on life; it is nothing less, in many respects, than a form of thinking. Louis Sullivan famously described the architect as “a poet who uses not words but building materials as a medium of expression.”Certainly, when we build we are telling stories about the world, sculpting the cultural landscape even as we remold the physical one. But if buildings tell stories, it is also true that stories make buildings. When offices, stores, and homes are suddenly and unexpectedly annihilated, it is necessary not only to manufacture new material structures but also to repair torn cultural fabrics and damaged psyches. With this in mind, I propose to explore the relationship between the rebuilding of cities with mortar and bricks and the rebuilding of cultural environments with words and images in the aftermath of great urban disasters—a double process neatly caught in the twin meanings of the word reconstruction as “remaking” and as “retelling.” The reconstruction of events in our minds, the stories we hear and tell about disasters, the way we see and imagine destruction—all of these things have a decisive bearing on how we reconstruct damaged buildings, neighborhoods, or cities. Construction, in this sense, is always cultural. We cannot build what we cannot imagine. We create worlds with words. We build stories with stories. Certainly we cannot build with any confidence or ambition without some faith in the future. So when we consider the extraordinary endurance of American cities over the past couple of centuries when confronting fires, floods, earthquakes, and wars, one of our tasks must be to ask how people have perceived and described the disasters that have befallen them. In this chapter, I will examine the role of disaster writings and what I amcalling a “narrative imagination” in helping Americans to conceive of disasters as instruments of progress, and I will argue that this expectation has contributed greatly to this nation’s renowned resilience in the face of natural disasters.

scholarly journals Writing/Drawing:

IDEA JOURNAL ◽  
2012 ◽  
pp. 2-9
Author(s):  
Sarah Treadwell
Keyword(s):  
19Th Century ◽  
General Condition ◽  
Daily Life ◽  
Three Dimensional ◽  
Cultural Groups ◽  
Words And Images ◽  
The Moment ◽  
The Relationship ◽  
Traditional Representation ◽  
Spatial Condition

Words and pictures are ubiquitous, inhaled with morning coffee and exhaled in conversations, skype encounters and daily life. It might be argued that navigating between the visual and the written always involves an oscillation, a turning between variably activated modes that both depend upon and deny each other. On the relationship between words, the visual and their manoeuvres, an impressive array of scholarly analysis has been undertaken, with careful shifts, Manichean separations and precise nuances. But words and images do not occupy a general condition and instead can be understood to operate in cartels, organizations and cultures; relations between words and pictures are played out in bureaucratic structures and strictures, constrained in informational science and institutional habits particular to social and cultural groups.1 Within building and design cultures writing is often treated in an instrumental fashion (albeit subject to specific disciplinary codes), and is frequently attached to a picturing of a spatial condition, the image illustrating the import of the text. At times design writing is abbreviated, caption, notation or signature, and picturing can also be as abstract as code, measurement or diagram; each mode produces conditions of design predisposed by their discipline. Unlike other disciplines, interiority is uneasily placed in relationship to its traditional representation; perspectives attached to a drawing set, the flythrough running past the client, might be described as superfluous, excessive or unnecessary. Historical anxiety around three-dimensional interior imagery, the so- called meretriciousness of 19th century perspectives, continues with contemporary accusations alleging the triteness of rendered digital images. Perhaps, however, it is the references that such interior representations make to life beyond the drawing set, beyond the instructional documents, that is disturbing. Interiority is attached to socially and culturally selected manifestations of power, gender, labour and materiality and when these conditions emerge in images of interiority, drawn or written, there is the potential to amplify or undermine usual disciplinary concerns. The moment of impropriety, the sore point, that seems to collect around images of interiority (written and drawn), might be, in part, because conventional representational systems tend to fail the full circumstances of interiority, collecting instead picturesque or conventional forms and resisting the complexity of the condition.

The Bible and Graphic Novels and Comic Books

2017 ◽  
Author(s):  
Andrew T. Coates
Keyword(s):  
Twentieth Century ◽  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
Sequential Art ◽  
The Bible ◽  
American Protestantism ◽  
History Of ◽  
Words And Images ◽  
The Relationship

“The Bible and Graphic Novels and Comic Books” argues that Protestants used images for a surprising range of religious purposes in their twentieth-century comic book Bibles. The chapter provides a brief theoretical overview of the medium of sequential art and the relationship between words and images in Protestant comic book Bibles. It also examines the history of Protestant comic book Bible production from the 1930s to the 2010s. The chapter argues that changing artistic styles in comic books reveal changing religious and cultural sensibilities in twentieth-century American Protestantism. The chapter offers close examinations of significant examples from the history of comic book Bibles, discussing the religious work these images performed in Protestant communities.

scholarly journals ANALISIS KONTEKS DAN WUJUD EKOLOGI DINDANG ANAK UNGGAT-UNGGAT APUNG ETNIK BANJAR KALIMANTAN SELATAN

Sirok Bastra ◽  
2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Norvia Norvia
Keyword(s):  
Ethnic Group ◽  
Human Life ◽  
Oral Literature ◽  
Literary Ecology ◽  
Close Relationship ◽  
Qualitative Descriptive ◽  
Words And Images ◽  
Cultural Ecological ◽  
The Relationship ◽  
Descriptive Method

Dindang (nyanyian atau lagu) Unggat-Unggat Apung etnik Banjar adalah dindang yang mengiringi sebuah permainan tradisional anak-anak yang berfungsi sebagai hiburan di waktu berkumpul orang tua dengan anak-anaknya di rumah. Sastra lisan khususnya dindang anak Unggat-Unggat Apung etnik Banjar merupakan dindang yang mulai kehilangan penuturnya. Hal ini disebabkan minimnya pelestarian dindang ini dalam bentuk dokumentasi tertulis, serta sudah tidak dikenalnya dindang ini di kalangan anak-anak etnik Banjar. Dindang sebagai salah satu bagian dari representasi kehidupan manusia seringkali memuat unsur budaya dan lingkungan manusia. Adanya penuangan unsur ekologi dalam sastra lisan khususnya dindang anak Unggat-Unggat Apung etnik Banjar semakin memperkuat adanya hubungan yang erat antara etnik Banjar dengan alam. Metode deskriptif kualitatif yang digunakan dalam penelitian ini akan memberikan gambaran dalam bentuk kata-kata dan gambar yang mengacu pada tujuan penelitian. Hasil penelitian menunjukkan bahwa dari 33 larik dindang anak Unggat-Unggat Apung etnik Banjar ditemukan unsur ekologi flora 3 kata, unsur ekologi fauna 4 kata, dan unsur ekologi budaya yang tergolong peralatan dan perlengkapan hidup etnik Banjar terdiri atas 4 kata. Kajian ekologi sastra dalam penelitian ini diterapkan sebagai upaya menggali hubungan antara sastra dan ekologi etnik Banjar sebagaimana tertuang dalam dindang anak Unggat-Unggat Apung etnik Banjar.Dindang (song) Unggat-Unggat Apung of the Banjar ethnic group is a song that accompany a traditional children's game that functions as entertainment when parents gather with their children at home. Oral literature, especially the Dindang children of Banjar ethnics, Banjar ethnic is a song that has lost its speakers, this is due to the lack of preservation of this song in the form of written documentation, and this song is unknown among the Banjar ethnic children. Dindang as one part of the representation of human life often includes elements of human culture and environment. The existence of the pouring of ecological elements in oral literature, especially the existence of a close relationship between ethnic Banjar with its nature which is reflected in the song. The qualitative descriptive method used in this study will provide an overview in the form of words and images that refer to the purpose of the study. The results of the study found that from 33 lines of Dindang Unggat-Unggit Apung, found three ecological elements of flora, four ecological elements of fauna, and cultural ecological elements belonging to Banjar ethnic equipment and life equipment consisting of 4 words. The study of literary ecology in this study was applied as an effort to explore the relationship between literature and ecology of the Banjar ethnicity as set in the song of Dindang Unggat-Unggit Apung.

scholarly journals Estranging Objects and Complicating Form: Viktor Shklovsky and the Labour of Perception

2017 ◽  
Vol 13 (2) ◽  
pp. 160-176
Author(s):  
Asiya Bulatova
Keyword(s):  
Russian Revolution ◽  
Real Object ◽  
Surrounding World ◽  
The Arts ◽  
The Creation ◽  
The Senses ◽  
Words And Images ◽  
Viktor Shklovsky ◽  
The Relationship ◽  
As If

In Viktor Shklovsky’s essay “Art as Device” habitual perception is described as a dangerous practice, which renders one insensitive to the experiences of modernity. Importantly, the subjects’ automatized relationship with the surrounding world disrupts their ability to engage with objects. Rather than being experienced through the senses, the object is recognized through an epistemological (preconceived) framework. As a result, Shklovsky argues, “we do not see things, we merely recognize them by their primary characteristics. The object passes before us, as if it were prepackaged.” By making the usual strange Shklovsky’s technique of estrangement promises a relief from an alienating, consumerist experience of modernity, which “automatizes the object” instead of enabling perception: “in order to return sensation to our limbs, in order to make us feel objects, to make a stone feel stony, man has been given the tool of art.” In this article I trace the development of Shklovsky’s views on literature and the arts as an alternative way of experiencing objects in his writings during and after the Russian Revolution. I will pay particular attention to the relationship between things and words in Shklovsky’s writings produced during his exile in Berlin in 1923. The publication of the Berlin-based magazine Veshch/ Objet /Gegenstand in 1922, shortly before Shklovsky’s arrival, signals a rejection of both recognition and observation as passive consumerist practices. Instead, the manifesto published in the first issue of the magazine invites its readers to create new objects, which here is inseparable from the creation of new social formations. I will argue that Shklovsky’s 1923 writings provide a rethinking of the word “object” in society, literature and the arts. The function of art is not to “express what lies beyond words and images,” in other words, not to point to a referent that exists as a ‘real’ object, but rather to create a world “of independently existing things.”

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