scholarly journals Vzaimosviaz' illiustrirovaniia literaturnykh proizvedenii i metodov ikh izucheniia

2020 ◽  
pp. 269-278
Author(s):  
Nadezhda Mikhailovna Chaika ◽  
Tat'iana Pavlovna Pavliuk
Keyword(s):  
Visual Perception ◽  
Visual Arts ◽  
Literary Work ◽  
Appropriate Technology ◽  
Book Design ◽  
Depth Study

The main aspects of the interrelation of illustrating the text and methods of their perception are revealed in the article. For a more convincing and full-fledged visualization of a literary work, a comprehensive and in-depth study of episodes of the text is necessary. The purpose of the article is to identify the interrelation between the visual arts and philology – the methods and form of studying a literary work for its further illustration. In connection with this the following tasks were set out: 1) to identify the main methods and ways of a literary work perception; 2) to analyze and compare specific ways of illustration; 3) identify the features of book design creation. The following features of illustration were revealed during the study: its interrelation with the text, functions of replenishment and explanations, the influence of visual perception, integrity and semantic logic of creating drawings for text, taking into account the purpose of illustration (age, scientific character, visibility, etc.), the use of appropriate technology of illustration.

scholarly journals Towards the Visual

Politeja ◽  
2019 ◽  
Vol 16 (2(59)) ◽  
pp. 149-160
Author(s):  
Kamila Junik-Łuniewska
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Graphic Novels ◽  
Literary Work ◽  
Hindi Literature ◽  
Sequential Images

This paper examines the new forms and genres of storytelling in India with an emphasis on the visual aspect of the literary narration. It begins with a remark on the literary and performing tradition of India, where stories were told with an accompaniment of visuals: single or sequential images, scroll paintings, acting etc. With time, storytellers and poets started including modern-day, contemporary themes and problems into their narratives, which not only brought changes in the repertoire of stories, but also, quite naturally, caused development in terms of genres and ways of expression. The present study is based on graphic novels by Sarnath Banerjee and Vishwajyoti Ghosh, with reference to contemporary Hindi literature and some examples from visual art. The author seeks to answer the following questions: 1) what is the “new language” of a literary work in relation to the visual, 2) how – and by which means – does the literature reflect the reality of the new generations, 3) how is a story narrated through images. In conclusion, some observations are made on mutual influences between literature and audio-visual arts.

scholarly journals Artysta — neurobiolog? Malarskie manipulacje procesami widzenia

2020 ◽  
Vol 29 ◽  
pp. 57-70
Author(s):  
Maria Łynnik
Keyword(s):  
Visual Perception ◽  
Human Brain ◽  
Visual Arts ◽  
Human Beings ◽  
The Impact

Art and the notion of beauty related thereto are both disciplines and states which are quite unobvious and thereby requiring us to ask the question: Why is it that human beings have in their minds an inherent need to witness the beauty along with — resultant — need to create and receive art? The author of the text — by devising some neurobiological tools — attempts to elicit relative laws of beauty reception, and simultaneously she utilises the instruments of neuroaesthetics, which is a field of science that investigates the impact of art on processes taking place in the human brain. She explores, among other things, mechanisms put to use, consciously or otherwise, by artists in order to make their works a peculiar stimulus. The author describes a series of “tricks” used by visual arts creators who model the particular ways the visual perception processes function.

scholarly journals The Confluence in the Contemporary Art World of Literature and Postmodern Visual Arts in Jeff Vande Zande’s Landscape with Fragmented Figures

2020 ◽  
Vol 12 (5) ◽  
Author(s):  
Smriti Thakur ◽  
◽  
Dinesh Babu P ◽  
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Aesthetic Experience ◽  
Interdisciplinary Approach ◽  
Literary Work ◽  
Academic Disciplines ◽  
Art World ◽  
The Novel ◽  
Contemporary World ◽  
Art Forms

The American poet, novelist and editor, Jeff Vande Zande’s Landscape with Fragmented Figures (2009) is a novel that deals with the contemporary world of art, which brings forth the intricacies of the art forms such as collage, action paintings, and drop cloths that have established a crucial distance between the present and the past world of pre-modern art. As the novel revolves around the world of postmodern visual arts and brings this subject into the literary world, it necessitates an interdisciplinary approach, which not only brings the two different academic disciplines of arts together for a critical appreciation, but also creates a new aesthetic experience in the reader, wherein visual arts is seen through the lens of literature, which helps foreground the hidden patterns and motives behind the art work, and the literary work is appreciated with a greater knowledge and understanding of the practices in and theories of the modern and postmodern art. By looking at the symbiotic relationship between visual art and literature through the novel, this study makes an attempt to contribute to the aesthetic appreciation of the engaging confluence of postmodern visual arts and literature in the contemporary world of art. By analysing the text, the study explores the phenomena that have reduced the difference between the original and copy in the contemporary art-world wherein the artist’s aesthetic sensibility seems to derive from other sources, and thus brings into critical discourse those factors that have determined the use of parody, pastiche, irony, and collage in contemporary art forms.

The Russian Literature as Reflected in Illustrators’ Oeuvre

10.12737/5570 ◽  
2014 ◽  
Vol 2 (4) ◽  
pp. 45-52
Author(s):  
Обернихина ◽  
Galina Obyernikhina
Keyword(s):  
Publishing Industry ◽  
Book Publishing ◽  
Russian Literature ◽  
Literary Work ◽  
Book Publishing Industry ◽  
Book Design ◽  
Genetic Link ◽  
Elective Course

The proposed outline for the elective course “The Russian Literature As Reflected In Illustrators’ Oeuvre” is designed for the 9th–10th classes students (meant for 36 academic hours). At the lessons the students will get acquainted with features and dynamics of book publishing industry in Russia and traditions of book design and will trace the history and developments of the genre of illustrations as a specific genre of the pictorial art, which has a genetic link to the literary work concerned and by contrast with a picture helps to reveal the author’s underlying idea and theme of the literary work.

scholarly journals Religiusitas Bhima dalam Teks Dewa Ruci

2020 ◽  
Vol 2 (1) ◽  
pp. 44
Author(s):  
I Komang Widiana
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Self Control ◽  
Depth Study ◽  
Text Study

<p><em>The text of Dewa Ruci tells about the journey of the character Bhima in carrying out his swadarma as a student of Guru Drona to fulfill the task of finding tirtha amerta pawitra. From the story contained in Dewa Ruci’s text, it has a different or contradictory phenomenon between Bhima-Drona and tirtha amerta pawitra. Thus a more in-depth study is needed of the religiosity of Bhima’s figure on his journey in the literary work of Dewa Ruci from the point of view of Hindu Theology. Based on this description, in this study Bhima’s character in the Dewa Ruci Text as the object of research, entitled “Religiosity Bhima in Dewa Ruci Text (Study of Hindu Theology). The results of the study obtained in this study, that the religiosity of Bhima’s figure is reflected in Bhima’s journey which is a process of self-control and surrender. In addition, the journey of Bhima’s figure also reflects the holy journey which purifies him so that he is able to meet Hyang Dewa Ruci, in other words Bhima’s journey is a form of thirtayatra. As well as other theological teachings found in Dewa Ruci’s Textis the concept of pramana as a concept that supports living beings. By knowing this knowledge, it is hoped that Bhima as a depiction of humans can reach moxartham Jagadhitaya.</em><em></em></p><p><strong><em><br /></em></strong><em></em><em></em></p>

scholarly journals Particularity and Proliferation of Stroboscopic Elements in the Visual, Performing and Cinematographic Arts

2020 ◽  
Vol 10 (1) ◽  
pp. 135-146
Author(s):  
Răzvan-Constantin Caratănase ◽  
Răzvan-Petrişor Dragoş
Keyword(s):  
Visual Perception ◽  
Visual Arts ◽  
Short Circuit ◽  
Video Camera ◽  
Gestalt Psychology ◽  
Visual Identity ◽  
Single Moment ◽  
Sufficient Distance ◽  
The Spectator ◽  
Creative Vision

AbstractIn the work “Art and Visual Perception. A Psychology of the Author’s Creative Vision” by Rudolf Arnheim, following some researches/studies of Gestalt psychology applied in the field of visual arts and/or cinematography, the author states: “It is unlikely that any stroboscopic “short-circuit” will occur as long as objects appear on the screen at a sufficient distance from each other.” An observer-spectator only pays attention to what he/she receives. A speedy stream indicates unity. It is precisely for that reason that the vehement and effective ways are indispensable in order to render indisputably the intermittency-discontinuity. The stroboscopic dynamics overlooks the physical source of the visual tangible material. In that case, the visual identity does not start to be problematic as long as an element-object keeps staying in the same place without any inversion or transposition of its appearance - for example: the video camera that does not change its position but registers the building. For the same reason, we have the actor/actress who crosses the screen keeping his/her con-similarity (just walking down the path) without substantially changing his/her size or shape. The nature of the issues only appears under visual circumstances when they invoke/guide where it does not exist or vice versa. Alexander Archipenko (1887-1964): “In order to perform the movement, static painting must resort to symbols and conventions. It did not go beyond fixing a single “moment” in the sequence of moments that make up a movement; all other “moments” before and beyond the fixed movement are left to the imagination and fantasy of the spectator.”

scholarly journals Kognition og narrativitet

2006 ◽  
Vol 34 (101) ◽  
pp. 108-121
Author(s):  
Peer F. Bundgård
Keyword(s):  
Visual Perception ◽  
Literary Work ◽  
Human Beings ◽  
Work Of Art ◽  
Literary Work Of Art

Det narrative skema som grundlæggende kognitivt skema Cognition and narrativityThis paper aims at establishing the origin of the narrative schema in the perception of intentional movements. The distinction between mechanical and intentional movements is vital for human beings, and the narrative schema, which is underpinned by this distinction, is therefore claimed to be a basic cognitive principle of intelligibility. This is the reason why the narrative schema is by no means confined to the domain of the literary work of art or telling in general. It is rather a major principle for the combination of partial significations in many other domains. The paper explores the role traditionally assigned to the narrative schema within continental semiotics, and through an interpretation of Heider & Simmel’s study on apparent behavior it establishes the cognitive import of the narrative schema and its origin in visual perception; finally it gives examples of the meaning-organizing import of the narrative schema.

scholarly journals Study of Deconstruction Characterization of Rahwana in Ramayana Novel by Sunardi DM Related to Character Education and Cultural Value

2021 ◽  
Vol 1 (2) ◽  
pp. 71-85
Author(s):  
Hendry Sugara
Keyword(s):  
Character Education ◽  
Cultural Values ◽  
Role Models ◽  
Teaching And Learning ◽  
Literary Work ◽  
Cultural Character ◽  
Depth Study ◽  
The Government ◽  
Religious Systems

At present character education is being intensively carried out by the government to restore the cultural character of Indonesia which is considered to be experiencing a crisis. The improvement was carried out through an education curriculum that emphasized the character values in teaching and learning activities. Classical literary work is one of the treasures of Indonesian culture which includes  exemplary character values. Epic Ramayana is one of the classical literary works that has exemplary character education values. One of the figures in the Ramayana Epic, namely Rahwana, in the story is the king of the powerful and invincible Kingdom of Alengka. Rahwana has an evil characterization but behind it all, there are things that we can also make as role models. The purpose of this study is to reveal the characterization of Rahwana's character which is then associated with character education and cultural values. This study uses a deconstruction method by conducting an in-depth study of Rahwana figures through texts on the Ramayana novel by Sunardi DM. The results of this study that behind his evil character, Rahwana has six character values, namely religious, hard work, democratic, love of the homeland, caring for the environment, and responsibility. The character value is part of the character education values formulated in the current curriculum. In addition to character values, there are four cultural values contained in Rahwana's figures, namely religious systems, languages, systems of equipment and technology, and the arts system. These cultural values are values that are densely applied in everyday life. 

Arthur Schnitzler und die bildende Kunst

2021 ◽  
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Graphic Novels ◽  
Book Design ◽  
Arthur Schnitzler ◽  
Modern Age ◽  
Art Objects ◽  
Special Studies ◽  
First Time ◽  
Bildende Kunst

Arthur Schnitzler’s relationships to the visual arts are examined for the first time systematically and in source-based special studies in the fourteen articles in this volume. Schnitzler’s staging of authorship in portrait art and photography, his aesthetic preferences in the acquisition of art objects as well as on trips and during visits to museums, references to art and quotations in Schnitzler’s stories and dramas, and his significant participation in the art of book design of the modern age are discussed. It ranges from productive collaborations with well-known contemporary book and cover artists to posthumous visual art adaptations of his work in current graphic novels. With contributions by Achim Aurnhammer, Judith Becher, Judith Beniston, Barbara Beßlich, Eva Höfflin-Grether, Julia Ilgner, Nikolas Immer, Dieter Martin, Martin Anton Müller, Susanne Neubrand, Günther Schnitzler, Roland Stark, Reinhard Urbach, Ralf von den Hoff and Evi Zemanek.

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