The Fall of the Idol: Negotiating Authorial Intent and Controversy in Art

2021 ◽  
Author(s):  
Juney Thomas
Keyword(s):  
Authorial Intent

Imaging Protestant Piety: The Icons of Warner Sallman

1993 ◽  
Vol 3 (1) ◽  
pp. 29-47 ◽  
Author(s):  
David Morgan
Keyword(s):  
Original Intent ◽  
Biographical Research ◽  
Authorial Intent ◽  
Art Historians ◽  
History Of ◽  
Humanist Tradition

Traditionally, art historians have relied on iconography, biography, and connoisseurship as the fundamental means of studying images. These approaches and methods stress the singularity of an image, its authenticity, and its authorship; therefore, they reflect an enduring debt to the humanist tradition of individualism. The image is understood principally as the product of the unique and privileged inspiration of an individual artist and is regarded as a measure of this individual's genius. Iconographical and biographical research secure authorial intent; connoisseurship authenticates the work. While this scholarly apparatus certainly offers the art historian indispensable tools, it is important to understand that its commitment to original intent is singularly ill-equipped to assess the reception of images, the ongoing history of response that keeps images alive within a culture from generation to generation.

scholarly journals To the question of transformation of literary texts into stage version (“Three Years” of A. P. Chekhov in theatrical interpretation of S. V. Zhenovach)

Litera ◽  
2020 ◽  
pp. 33-41
Author(s):  
Daria Savinova
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
The Novel ◽  
Action Identification ◽  
Unpublished Manuscript ◽  
Complex Process ◽  
Authorial Intent ◽  
Stage Direction ◽  
New Type ◽  
Theatre Studies

This article is dedicated to the question of text transformation from authorial intent to stage impersonation. Despite the established tradition of studying the questions of recoding of literary text into theatrical, there is yet no theoretical-literary substantiation. Recoding is considered a complex process of creating a new type of text by the theatre director for staging a play. Therefore, an attempt is made to analyze the elements of transformation of literary text into its stage version, using the example of S. V. Zhenovach’s unpublished manuscript for stage direction based on A. P. Chekhov’s novella “Three Years”. The novelty of this research consists in determination of the patterns in transformation of literary text into stage version. The tools and means of expression applied in theatre and literature are different. If in literature it is possible to set several task and solve them all within the framework of the novel, then in theatre, it must be one ultimate task that organizes the action. Identification of the key peculiarities of existence of such type of text as “stage direction” on the example of transformation of the novella “The Years” from the authorial intent to stage impersonation demonstrated its significance for not only theatre studies, but also the theory of literature.

“The Falsest Twoo”

2020 ◽  
pp. 26-49
Author(s):  
Catherine Nicholson
Keyword(s):  
Sixteenth Century ◽  
Faerie Queene ◽  
Literary Scholarship ◽  
Cultural Contexts ◽  
Authorial Intent ◽  
The Faerie Queene ◽  
Poetic Composition

This chapter discusses the question of how to represent the orthography of Edmund Spenser's The Faerie Queene in modern texts. Editions of Spenser's poem nearly always preserve the late sixteenth-century spellings: it is The Faerie Queene, not The Fairy Queen. The reproduction of old spellings communicates a set of seemingly irreproachable editorial commitments: to textual fidelity, to philological precision, to the material and cultural contexts of poetic composition, and, above all, to authorial intent. Ironically, however, the effects of old spelling on Spenser's modern readers are hard to justify in such terms. The chapter argues that although the “old-spelling” Faerie Queene encodes much less of Spenser's meaning than most modern editions of the poem imply, it retains more of what the poem has meant to readers, and to the tradition of literary scholarship.

Chronicling a Blood-spattered Isle

2021 ◽  
pp. 55-111
Author(s):  
Oren Falk
Keyword(s):  
Structural Analysis ◽  
Case Studies ◽  
General Model ◽  
Brute Force ◽  
The Past ◽  
Textual Source ◽  
Recording Process ◽  
Medieval Europe ◽  
Authorial Intent ◽  
History Of

This chapter implements the general model of violence on case studies from the history of medieval Iceland, especially the Battle of Helgastaðir (1220) and other episodes from the life of Guðmundr Arason, Bishop of Hólar (r.1203–37). It also establishes how structural analysis of sagas—using the concepts of récit, histoire, and uchronia—nuances the picture of history reconstructed from such sources, tracing the transformation of occurrences (what happened) into events (experienced manifestations of meaning). Guðmundar saga A, the main textual source consulted here, demonstrates how uchronia, the ideology of the past, enabled texts to function autonomously of authorial intent: uchronic texts may reveal truths their authors were ignorant of, let alone truths they wished to suppress. By unpacking the ways brute force inflects both the historical social contests recorded in the saga and the narrative tensions of the recording process itself, this chapter highlights the necessity of examining violence in terms of a complex negotiation of power, signification, and risk. In the course of this investigation, various details of medieval Icelandic history are filled in, deepening and qualifying the general portrayal offered in the Introduction. Readers with little background in Icelandic history are familiarized with the contours of this history, while experts find some of its truisms (such as the categorical distinction between farmers and chieftains, or the supposed uniqueness of Iceland in high medieval Europe) re-examined

Recovering Interpretative Possibilities in the Fiction of Flannery O’Connor: An Introduction

2020 ◽  
pp. 3-16
Author(s):  
Alison Arant ◽  
Jordan Cofer
Keyword(s):  
Meaning Making ◽  
Reception History ◽  
Flannery O'connor ◽  
Authorial Intent

This chapter provides an overview of the responses to Flannery O’Connor’s fiction, highlighting both the strengths and weaknesses of the reception history, and argues for the need to recover the breadth of interpretation her work invites. The writers discuss the concept of authorial intent as it relates to O’Connor and lay out their premise that author, text, and audience all play roles in the process of meaning making. The authors also provide chapter summaries for each of the essays included in the volume.

The Waves as “saturated” Novel

2021 ◽  
pp. 164-194
Author(s):  
Emily Kopley
Keyword(s):  
Figurative Language ◽  
Historical Context ◽  
Prose Poetry ◽  
Free Verse ◽  
Authorial Intent ◽  
The Waves ◽  
Jacob's Room

Since Jacob’s Room, Woolf’s fiction had incorporated three tools borrowed from poetry: the lyric “I,” figurative language, and aural recurrence. These tools find their clearest expression in The Waves (1931), which Woolf described as “prose yet poetry; a novel & a play.” This chapter analyzes The Waves with respect to these three tools, and then considers the book’s genre. Since its publication, many critics have received it—and other work by Woolf—as prose poetry and free verse. But to read Woolf as writing in these genres is to disregard authorial intent and historical context, to impose associations and conventions on work conceived without them. And lineating Woolf’s prose to “reveal” it as free verse betrays a confusion of lineation with poetry. Woolf’s vexation with the word “novel” reflects her effort to expand the meaning of the term. One way to honor this expansion is to use the term to describe the work of hers that seems least novel-like.

The Question of Intent

2021 ◽  
pp. 505-532
Author(s):  
Roger Pearson
Keyword(s):  
Political Debates ◽  
Authorial Intent ◽  
Spleen De Paris

This chapter examines how the poet employs a range of conflicting voices, opinions, and personas throughout Le Spleen de Paris. It discusses how this polyphony has been variously interpreted as a reflection of contemporary political debates, as deliberate mystification, and as a form of antagonism. The chapter argues instead for an implied ambition to wean readers from reliance on authoritative pronouncement so that they may become lawgivers themselves—and thereby enjoy the beauty of perplexity and conjecture. The question of authorial intent is discussed with reference to Baudelaire’s dedicatory letter to Arsène Houssaye, and it is proposed that the unifying voice within the polyphony of Le Spleen de Paris is that of ‘l’Étranger’. The chapter closes with a discussion of ‘Le Mauvais Vitrier’ as an example of how the poet seeks to elicit multiple readerly responses in imitation of a kaleidoscope, etymologically ‘the means of seeing beautiful forms/ideas’.

Notation by Context: Digital Scenography as Artifact of Authorial Intent

2018 ◽  
Vol 28 ◽  
pp. 72-76 ◽  
Author(s):  
Caitlin Vincent ◽  
Jordan Beth Vincent
Keyword(s):  
Causal Relationship ◽  
Digital Technology ◽  
Physical Movement ◽  
Theatrical Space ◽  
Authorial Intent

Digital technology can be used as a scenographic tool to project visual settings in the theatrical space. However, digital scenography that incorporates “faux-interactivity,” or the illusion of a causal relationship between live performers and digital elements, can also serve as a form of notation that digitally preserves the physical movement of live performers through scenographic context. This paper explores the potential for faux-interactive scenography as a method of spatial notation through which scenographic environments might contribute to understandings of authorial intent in a traditionally ephemeral space.

“I am Maasai”: Interpreting ethnic parody in Bongo Flava

2010 ◽  
Vol 39 (4) ◽  
pp. 493-520 ◽  
Author(s):  
Katrina Daly Thompson
Keyword(s):  
Ethnic Identity ◽  
Hip Hop ◽  
Language Game ◽  
Music Scene ◽  
Visual Markers ◽  
Authorial Intent ◽  
Dominant Ideologies ◽  
Language And Ethnicity ◽  
Youth Music

AbstractIn the Tanzanian Bongo Flava youth music scene, Abel Motika is a popular artist who uses both verbal and visual markers of Kisongo Maasai ethnicity to style himself as “the Maasai rapper” with the stage name “Mr. Ebbo.” Through analysis of his 2002 song “Mi Mmasai” ‘I am Maasai’, this study investigates his ethnic stylizing in playful use of Maa pronunciation and an understudied Swahili language game known as kinyume ‘backwards style’. The study finds that while Ebbo strategically disrupts the sociolinguistic order that privileges Standard Swahili, the Maasai persona he projects is humorously stylized as unable both to speak Standard Swahili and to engage with the urban lifestyle associated with Tanzania's de-ethnicized Swahili modernity, thereby leaving dominant ideologies of language and ethnicity intact. Moreover, in arguing that Motika's stylization of ethnicity has a contradictory effect, both affirming a local ethnic identity and preserving the logic of ethnolinguistic stereotyping, the study critiques approaches to hip hop that privilige authorial intent and assume linguistic subversiveness. (Swahili, Maa, Bongo Flava, parody, ethnicity, rap, kinyume)*

scholarly journals WOMEN CHANGE EVERYTHING

2015 ◽  
Vol 16 (4) ◽  
pp. 744-769 ◽  
Author(s):  
MARY A. YEAGER
Keyword(s):  
Women Professionals ◽  
Business History ◽  
Authorial Intent ◽  
Experiences Of Women ◽  
Shed Light

This address urges a more self-aware business history. It uses autobiographical details and select biographies of literary figures and women professionals to shed light on the subtle and not-so subtle inequalities associated with business and capitalism. The deliberate tease in the title—WOMEN CHANGE EVERYTHING—is intended to convey the power of word placement to change interpretive meaning and significance, and the power of history to modify understanding. Modifiers are key to an appreciation of the constraints and opportunities that have framed the lives and experiences of women in economies and societies. Even footnotes function in this address as modifiers, uncannily revealing sources of authorial intent and inspiration and throwing light on literary and historiographical hierarchies.

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