«PORTRAIT OF A LADY» OF THE BOICHUCK SCHOOL FROM THE NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE FUNDS. COMPREHENSIVE EXAMINATION RESULTS

The article features the results of the comprehensive examination of an outstanding piece from the Mykhailo Boуchuk school, «Portrait of a Lady» from the NAFAA funds. The research was done by the Associate Professor of the Department of the Technique and Restoration of Artwork of NAFAA, Tetiana Tymchenko, Ph.D, and the Leading Researcher of the Bureau of scientific and technical expertise «ART-LAB» Svitlana Biskulova, Ph.D, in connection with the planned restoration of the artwork. Since 2018, «Portrait of a Lady» has been attributed to Mykola Kasperovych (1885–1938), an outstanding painter, restorer and researcher. The reasoning is provided in the expert conclusion of the Head of the Ukrainian Art Department of the end of 19th — beginning of the 20th century of the National Art Museum of Ukraine Olena Kashuba-Volvach. The article lists the peculiarities of the techniques, technology, condition of the artwork from the NAFAA funds. In particular, it reveals the peculiarities of the preparatory drawing, imitation of the monumental art techniques by means of the easel painting, and individual techniques of working with paints. The paper specifies the time of the portrait creation, which indicates 1923 — probably, the year of the work creation, and the age of the lady from the portrait, 30 years. The technological examination of the portrait in the Bureau of scientific and technical expertise «ART-LAB» confirmed the dating of the work to the period of the 1920s – 1930s. The article clarifies important components of the portrait technology: in particular, it has been found that the ground is chalk-glue and the paints’ medium is casein-oil tempera; among the pigments the zinc white with an admixture of lead white, yellow and red ochre, Ivory black pigment (burnt bone), mixed green pigment (burnt bone and yellow ochre) were identified. The examination revealed the traces of restoration interventions of different times. The paper features a number of considerations regarding further research of Boychukists’ creativity from the point of view of technology.

A CRITICAL DISCOURSE ANALYSIS OF GENDER SUBJECTIVITY IN HENRY JAMES’ THE PORTRAIT OF A LADY

Reassessment and interpretation of gender dynamics in the current social order has been prevalent theme within gender discourses. The yoke of subordination borne by women as readers, writers or fictional characters in the patriarchal pyramid occupies a central space across the whole spectrum of debates. This study utilizes a qualitative mode of inquiry which is centered on textual analysis. The present study evaluates the instances of gender subjectivity and patterns of subjugation within the textual arena invested with hegemonic ideologies as depicted in the novel The Portrait of a Lady by Henry James. The paper employs feminist critical discourse analysis as a tool to analyze The Portrait of a Lady by Henry James in order to dissect the underlying ideologies present in the Victorian time period and investigates discourses of subjectivity. The findings of the study demonstrate that notwithstanding temporal advancements, gender power structures remain intact, and women continue to suffer under patriarchal power structures. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0874/a.php" alt="Hit counter" /></p>

3. The James brand

‘The James brand’ examines how, during the period when he was introducing his brand to an Anglo-American public, Henry James honed his signature subject: plotting the fates of Americans abroad. If James was not the inventor of the international novel, he was certainly one of its most important proponents and developers. The first of James’s international novels, The American (1877), focuses on the mind of a woman; Portrait of a Lady (1881) reveals it to be an ideal register for the deep psychological transformations that became his trademark. James also wrote a major essay on literary criticism during this period, “The Art of Fiction” (1884).

“Not Orphée.” “No, Never Him.”: Reclaiming Female Agency From Ovid’s “Orpheus and Eurydice” in Alice Munro’s “the Chidlren Stay” and Céline Sciamma’s Portrait of a Lady on Fire

[Introductory paragraph] In myth, women's boundaries are pliant, porous, mutable. Her power to control them is inadequate, her concern for them unreliable. Deformation attends her. She swells, she shrinks, she leaks, she is penetrated, she suffers metamorphoses. The women of mythology regularly lose their form in monstrosity. —Anne Carson, Men in the Off Hours Metamorphoses can be understood as “the action or process of changing in form, shape, or substance [and especially] transformation by supernatural means” (OED). Ovid’s Metamorphoses focuses on the changing of bodies to other physical forms, but Ovid’s tales of transformation have themselves been transformed into other literary and cultural forms. This paper will pull together different disciplines such as classical, literary, and film studies to examine Ovid’s “Orpheus and Eurydice” from the Metamorphoses, and the formalist and feminist adaptations of the tale by women about women: Alice Munro’s short story “The Children Stay” and Céline Sciamma’s film Portrait of a Lady on Fire. Munro and Sciamma give their female heroines the agency and voices they lacked in Ovid’s text, where there is a pattern of violence against women, who are silenced usually through some form of destructive transformations of their bodies.

“Not Orphée.” “No, Never Him.”: Reclaiming Female Agency From Ovid’s “Orpheus and Eurydice” in Alice Munro’s “the Chidlren Stay” and Céline Sciamma’s Portrait of a Lady on Fire

[Introductory paragraph] In myth, women's boundaries are pliant, porous, mutable. Her power to control them is inadequate, her concern for them unreliable. Deformation attends her. She swells, she shrinks, she leaks, she is penetrated, she suffers metamorphoses. The women of mythology regularly lose their form in monstrosity. —Anne Carson, Men in the Off Hours Metamorphoses can be understood as “the action or process of changing in form, shape, or substance [and especially] transformation by supernatural means” (OED). Ovid’s Metamorphoses focuses on the changing of bodies to other physical forms, but Ovid’s tales of transformation have themselves been transformed into other literary and cultural forms. This paper will pull together different disciplines such as classical, literary, and film studies to examine Ovid’s “Orpheus and Eurydice” from the Metamorphoses, and the formalist and feminist adaptations of the tale by women about women: Alice Munro’s short story “The Children Stay” and Céline Sciamma’s film Portrait of a Lady on Fire. Munro and Sciamma give their female heroines the agency and voices they lacked in Ovid’s text, where there is a pattern of violence against women, who are silenced usually through some form of destructive transformations of their bodies.

CORREGGIO'S SKETCH IN HENRY JAMES' NOVEL «THE PORTRAIT OF A LADY»: FUNCTIONS OF AN INTERMEDIAL REFERENCE

The article is devoted to the analysis of an intermediate reference to the sketch of the Italian artist of the XVI century Correggio in the 24th chapter of the novel "Portrait of a Woman" by the American writer Henry James. The influence of an intermediate reference on the disclosure of the image of Gilbert Osmond is investigated, which allows the reader to learn his additional characteristics and form a holistic idea of this character of the novel.