Portrait of a Marriage: John and Amelia Opie and the Sister Arts

2011 ◽  
Vol 40 (1) ◽  
pp. 27-62 ◽  
Author(s):  
Shelley King
Keyword(s):  
Sister Arts ◽  
Amelia Opie

Sound et sense: les "Sister Arts" menacées par l'opéra italien?

XVII-XVIII ◽  
1995 ◽  
Vol 40 (1) ◽  
pp. 101-113
Author(s):  
Xavier Cervantes
Keyword(s):  
Sister Arts

scholarly journals Subtitling Calligraphy

2021 ◽  
Vol 1 (1) ◽  
pp. 115-133
Author(s):  
Markus Nornes
Keyword(s):  
East Asia ◽  
Human Body ◽  
Chinese Character ◽  
Intimate Relationship ◽  
Global Dimension ◽  
Written Language ◽  
Chinese Cinema ◽  
Specific Difference ◽  
Art Forms ◽  
Sister Arts

Abstract This essay examines a regional, not global, dimension of Chinese cinema: the Chinese character in its brushed form. Calligraphy and cinema have an intimate relationship in East Asia. Indeed, the ubiquity of the brushed word in cinema is one element that actually ties works in Korean, Japanese and Sinophone Asia together as a regional cinema. At the same time, I will explore the very specific difference of Chinese filmmakers’ use of written language. On first glance, cinema and calligraphy would appear as radically different art forms. On second glance, they present themselves as sister arts. Both are art forms built from records of the human body moving in (an absent) time and space. The essay ends with a consideration of subtitling, upon which Chinese cinema’s global dimension is predicated. How does investigating this very problem lead us to rethinking the nature of the cinematic subtitle, which is very much alive―a truly movable type?

scholarly journals Beyond Darwinian Distance: Situating Distant Reading in a Feminist Ut Pictura Poesis Tradition

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 659-667 ◽  
Author(s):  
Lisa Marie Rhody
Keyword(s):  
The United States ◽  
National Endowment ◽  
Distant Reading ◽  
Western Tradition ◽  
Parts Of Speech ◽  
Reading Methods ◽  
The Arts ◽  
Sister Arts ◽  
The Devil ◽  
Ut Pictura Poesis

The challenge facing “distant reading” has less to do with Franco Moretti's assertion that we must learn “how not to read” than with his implication that looking should take the place of reading. Not reading is the dirty open secret of all literary critics-there will always be that book (or those books) that you should have read, have not read, and probably won't read. Moretti is not endorsing a disinterest in reading either, like that reported in the 2004 National Endowment for the Arts' Reading at Risk, which notes that less than half the adult public in the United States read a work of literature in 2002 (3). In his “little pact with the devil” that substitutes patterns of devices, themes, tropes, styles, and parts of speech for thousands or millions of texts at a time, the devil is the image: trees, networks, and maps-spatial rather than verbal forms representing a textual corpus that disappears from view. In what follows, I consider Distant Reading as participating in the ut pictura poesis tradition-that is, the Western tradition of viewing poetry and painting as sister arts-to explain how ingrained our resistances are to Moretti's formalist approach. I turn to more recent interart examples to suggest interpretive alternatives to formalism for distant-reading methods.

Sidney's Verse Adaptations to Two Sixteenth-Century Italian Art Songs

1970 ◽  
Vol 23 (3) ◽  
pp. 237-255 ◽  
Author(s):  
Frank J . Fabry
Keyword(s):  
Sixteenth Century ◽  
Art Song ◽  
Art Songs ◽  
Sir Philip Sidney ◽  
National Anthem ◽  
Italian Art ◽  
Sister Arts

It is well known that Sir Philip Sidney modeled eight of his thirty-two 'Certaine Sonnets’ upon existing ‘tunes,’ as he called them. To date, only one, relatively unimportant, musical model is known—the current Dutch National Anthem, to which Sidney wrote CS 23, ‘Who hath his fancy pleased.’ The result of this association of the sister arts is a simple, metrically precise, stylistically dull lyric whose numbers are directly proportioned to the regularity of its musical model. Of his other models, one, ‘The Smokes of Melancholy,’ appears to have been an English consort song; the others (five Italian, one Spanish) are probably variant forms of the villanella, a type of sixteenth-century art-song written for three or four voices and distinguished by its rhythmic lightness, its homophonic (chordal) structure, and its mildly satirical or openly vulgar text.

scholarly journals “Come brother Opie!”

2021 ◽  
Vol 76 (2) ◽  
pp. 137-162
Author(s):  
Joe Bray
Keyword(s):  
Nineteenth Century ◽  
Emotional Engagement ◽  
Early Nineteenth Century ◽  
Affective Dimension ◽  
Nineteenth Century Literature ◽  
The Law ◽  
The Relationship ◽  
Century Literature ◽  
Amelia Opie

Joe Bray, “‘Come brother Opie!’: Amelia Opie and the Courtroom” (pp. 137–162) This essay examines how Amelia Opie’s lifelong fascination with the human drama of the courtroom is reflected in her fiction, specifically in her tales that revolve around trial scenes. Focusing on three examples in particular, “Henry Woodville” (1818), “The Robber” (1806), and “The Mysterious Stranger” (1813), it argues that Opie’s fictional courtrooms encourage an emotional engagement on the part of both characters and narrators, which in turn can be extended to that of the reader. In the case of “The Mysterious Stranger,” a character is on figurative trial throughout, with both narrator and reader frequently in the dark as to her motives. As a result, judgment is both hazardous and uncertain. Through a sympathetic representation of the passions and vicissitudes experienced by all those in the courtroom context, whether real or metaphorical, Opie’s fiction develops a model of readerly participation that adds a new, affective dimension to traditional accounts of the relationship between early-nineteenth-century literature and the law.

The Philosophical Enquiry, theories of the sublime and the sister arts tradition

2018 ◽  
Author(s):  
Hélène Ibata
Keyword(s):  
Point Of View ◽  
Visual Artists ◽  
Verbal Representation ◽  
The Sublime ◽  
The Arts ◽  
Sister Arts ◽  
Isolated Point

This first chapter emphasises what Burke’s Enquiry owes to the existing discourse on the sublime (to Longinus and Addison in particular), in order to highlight its innovations, more specifically its aesthetically stimulating irrationalism and sensualism. It then focuses on Burke’s unique distinction between visual and verbal representation, his rejection of their common mimetic basis, and his argument that only the non-mimetic, suggestive medium of the verbal arts, language, may impart the sublime. At a time when parallels between the arts prevailed, this was an isolated point of view, which introduced a new paragone situation, and a challenge to visual artists. The end of the chapter examines a number of competing theories of the sublime that were compatible with painting, which makes it possible to enhance the specificity of the Enquiry and the paradox of its appeal to visual artists.

Introduction

2021 ◽  
pp. 1-3
Author(s):  
Alastair Fowler
Keyword(s):  
Literary Criticism ◽  
Literary Theory ◽  
Visual Art ◽  
New Criticism ◽  
Family Resemblances ◽  
Modern Novels ◽  
Sister Arts

This introductory chapter provides a brief background of three schools of literary criticism: New Criticism, structuralism, and deconstruction. These three schools exposed serious concerns, emphasizing neglected aspects of literature. The chapters in this book focus on genre, realism, and relations with visual art. Concepts of genre figure in any sound literary theory. Meanwhile, chapters on realism demonstrate how the development of representation, far from being one of steadily improving verisimilitude, has gone through several distinct sorts of realism. They distinguish medieval and Renaissance realisms from the realism of pre-modern novels. Finally, chapters on visual art consider how conventions of visual art offer essential parallels with those of literature. The ‘sister arts’ display many family resemblances—obviously so in imagery, less obviously in their strategies of realism. The essays also look at emblems and emblematic poems.

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