scholarly journals The Visual Polemic in Tolstoy's War and Peace: Icons and Oil Paintings

2020 ◽  
Author(s):  
Marcus Levitt
Keyword(s):  
Visual Arts ◽  
Visual Images ◽  
War And Peace ◽  
Oil Paintings

The phenomenon of Napoleon and Napoleonism that Tolstoy attacks in War and Peace is not only—arguably, not even primarily—a textual phenomenon. The cult of Napoleon was to a great extent a phenomenon created by the visual arts; portraits of Napoleon and of key moments in his career played a central role in promoting him as a “Great Man.” War and Peace contains numerous direct and indirect references to these images, and Tolstoy uses them to build his narrative. This paper analyzes two key pairs of scenes in which Tolstoy explicitly invokes Napoleonic visual images and undercuts them by juxtaposing them to Russian icons.

Flat Style: Things Fall Apart and Its Illustrations

PMLA ◽  
2016 ◽  
Vol 131 (1) ◽  
pp. 20-37 ◽  
Author(s):  
Emily Hyde
Keyword(s):  
Visual Arts ◽  
Visual Image ◽  
Visual Images ◽  
Early Publication ◽  
Literary Representation ◽  
Realist Novel ◽  
Anglophone Literature ◽  
Publication History ◽  
Things Fall Apart

In the early 1960s two editions of Chinua Achebe's Things Fall Apart were published with competing sets of illustrations. The first, by Dennis Carabine, illustrates a realist novel, the second, by Uche Okeke, a modernist one. Reading Achebe's iconic novel through its early publication history and for its visual images shows how the famous ending of Things Fall Apart turns, stylistically, to the impenetrable flatness of the modernist surface. At mid-century, modernist style could be made to serve realist imperatives, and Achebe's flat style challenges colonial modes of literary representation and the myth of modernist primitivism in the visual arts. This essay stresses the importance of the visual image to mid-century anglophone literature and the importance of modernist style to the poetics of decolonization.

Using the Visual Arts to Form an Intervention Design Concept for Resettlement Support Among Refugee Women

2018 ◽  
Vol 99 (2) ◽  
pp. 146-159 ◽  
Author(s):  
Chie Noyori Corbett ◽  
David P. Moxley
Keyword(s):  
Visual Arts ◽  
Small Groups ◽  
Group Discussion ◽  
Visual Images ◽  
Community Center ◽  
Intervention Design ◽  
Refugee Women ◽  
Refugee Community ◽  
The Arts ◽  
American Society

This article offers findings from workshops researchers undertook with 60 Myanmar refugee women who convened in small groups of 10 to envision the properties and functioning of a resettlement community center in Dallas, Texas. The intent of the center is the preservation of Myanmar culture while it enables members to accommodate the demands of social integration in American society. In each workshop, a Myanmar artist captured group discussion through storyboarding. The artist then visually portrayed in painting or pencil a principal metaphor informing the resettlement supports participants wanted for themselves and their families. The authors consider the applicability of the arts as a tool for visually representing intervention concepts. Those visual images can inform the design of a support system that participants would find culturally acceptable, practical, and inclusive of the multiple ethnicities that form the Myanmar refugee community.

scholarly journals La fotografía como estandarte de la verdad y el progreso: estudio sobre la iconografía fotográfica en la medallística (1880-1920)

2013 ◽  
pp. 123-142
Author(s):  
Jorge L. Crespo Armáiz
Keyword(s):  
Nineteenth Century ◽  
Developmental Stage ◽  
Visual Arts ◽  
European Society ◽  
Visual Images ◽  
Profound Change ◽  
Absolute Truth ◽  
Cultural Expressions ◽  
Siglo Xix

Resumen:Desde el momento de su creación a mediados del siglo XIX, la invención fotográfica representó un cambio profundo en la mentalidad de la sociedad decimonónica en lo relativo a su impacto en la reproducción y diseminación de las imágenes visuales. Durante las primeras décadas siguientes a su invención, los entusiastas de la fotografía propulsaron un discurso de superioridad mimética de la misma por sobre las artes visuales tradicionales, sobre la base de la supuesta objetividad absoluta de su registro óptico-químico. La fuerza de esta mentalidad discursiva del nuevo paradigma visual se reflejó en la literatura y demás expresiones culturales, incluyendo las propias artes plásticas. A través de un análisis iconográfico de un conjunto de medallas del período se pueden identificar los signos, códigos y discursos relativos a la fotografía como reflejo de las mentalidades positivistas imperantes de la época.Abstract:Since its invention in the first half of the nineteenth century, photography represented a profound change in the mentality of European society regarding its impact in the reproduction and dissemination of visual images. During its initial developmental stage, fanatics of the new medium gave impulse to a discourse of mimetic superiority of photography over traditional visual arts, based upon the alleged absolute objectivity of its optical-chemical registry. This discursive mentality reflected its influence in literature, as well as in other cultural expressions, including the visual arts. Through the implementation of an iconographic analysis of a sample of award and commemorative medals of this period, this article looks to identify those signs, codes and discourses related to photography as symbol of progress and absolute truth within the positivism paradigm.Keywords: Photography; iconography; medallic art; visual images; mentalities

Painting for Fools

2021 ◽  
pp. 026327642110133
Author(s):  
Catherine M. Soussloff
Keyword(s):  
Michel Foucault ◽  
Visual Arts ◽  
Primary Sources ◽  
Oil Paintings ◽  
History Of ◽  
Old Masters

Manuscripts and notes by Michel Foucault on the visual arts recently deposited at the Bibliothèque Nationale reveal a reliance on canonical oil paintings by the ‘old masters’; a respect for the primary sources in the history of European art; an understanding of the necessity of research in both literary and visual sources, particularly self-portraits; and a sense of the value that a certain philosophical milieu – beginning with Sade and Nietzsche and expanding to his near contemporaries, Bataille, Blanchot, and Klossowski – could offer to an understanding of paintings. The essay argues that Pierre Klossowski’s monumental drawing La Nef des fous (1990) provides an essential key for understanding the place of Hieronymus Bosch’s painting of the same title in History of Madness and the centrality of theories of similitude to Foucault’s thinking about visuality ca. 1960–74. The later significance of the figure of the artist for Foucault can be traced to these earlier writings on painting and madness.

Learning From (Test) Experience

2020 ◽  
Vol 228 (4) ◽  
pp. 264-277 ◽  
Author(s):  
Evan E. Mitton ◽  
Chris M. Fiacconi
Keyword(s):  
Recognition Memory ◽  
Test Performance ◽  
Memory Performance ◽  
Judgments Of Learning ◽  
Visual Images ◽  
Memory Tests ◽  
Recognition Memory Performance ◽  
Study Test ◽  
Explicit Feedback

Abstract. To date there has been relatively little research within the domain of metamemory that examines how individuals monitor their performance during memory tests, and whether the outcome of such monitoring informs subsequent memory predictions for novel items. In the current study, we sought to determine whether spontaneous monitoring of test performance can in fact help individuals better appreciate their memory abilities, and in turn shape future judgments of learning (JOLs). Specifically, in two experiments we examined recognition memory for visual images across three study-test cycles, each of which contained novel images. We found that across cycles, participants’ JOLs did in fact increase, reflecting metacognitive sensitivity to near-perfect levels of recognition memory performance. This finding suggests that individuals can and do monitor their test performance in the absence of explicit feedback, and further underscores the important role that test experience can play in shaping metacognitive evaluations of learning and remembering.

Time Window from Visual Images to Visual Short-Term Memory: Consolidation or Integration?

2004 ◽  
Vol 51 (1) ◽  
pp. 45-51 ◽  
Author(s):  
Yuhong Jiang
Keyword(s):  
Short Term Memory ◽  
Time Window ◽  
Short Interval ◽  
Visual Images ◽  
Short Term ◽  
Temporal Window ◽  
Term Memory ◽  
Visual Short Term Memory ◽  
Probe Task ◽  
Long Time

Abstract. When two dot arrays are briefly presented, separated by a short interval of time, visual short-term memory of the first array is disrupted if the interval between arrays is shorter than 1300-1500 ms ( Brockmole, Wang, & Irwin, 2002 ). Here we investigated whether such a time window was triggered by the necessity to integrate arrays. Using a probe task we removed the need for integration but retained the requirement to represent the images. We found that a long time window was needed for performance to reach asymptote even when integration across images was not required. Furthermore, such window was lengthened if subjects had to remember the locations of the second array, but not if they only conducted a visual search among it. We suggest that a temporal window is required for consolidation of the first array, which is vulnerable to disruption by subsequent images that also need to be memorized.

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