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    Wyświetlanie 1-5 z 5
    Tytuł:
    The (Playfully) Melancholic Still Life of Contemporary Painting
    Autorzy:
    Woodley, Frances
    Powiązania:
    https://bibliotekanauki.pl/articles/545470.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Gdański. Wydział Filologiczny
    Tematy:
    Memory
    melancholy
    tradition
    play
    still life painting
    contemporary painting
    Opis:
    This paper considers the ways in which contemporary painting of still life accepts the address of its tradition. Tradition is considered here as cultural memory reiterated and transformed over time. The means by which contemporary artists work with, and against, tradition are explored through ideas of reverie, play and material process. Melancholy is a characteristic of the genre of still life, one that crosses time, and is thus given particular attention in relation to traditional and contemporary still life. Whilst Part I is an exploration of the themes and issues described above, Part II (case studies) is an attempt to exemplify them through the work of three contemporary British painters: Alan Salisbury, Emma Bennett and G.L. Brierley of whom it can be said that they paint playfully melancholic paintings of still life.
    Źródło:
    Jednak Książki. Gdańskie Czasopismo Humanistyczne; 2018, 9; 173-188
    2353-4699
    Pojawia się w:
    Jednak Książki. Gdańskie Czasopismo Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    « Elle peint comme elle chante... »
    "She paints like she sings..."
    Autorzy:
    Wierzbowska, Ewa M.
    Powiązania:
    https://bibliotekanauki.pl/articles/483707.pdf
    Data publikacji:
    2015
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
    Tematy:
    pictoriality
    image en l'air
    Krysinska
    still life
    ekphrasis
    Opis:
    The large part of Marie Krysinska’s poetry is pictorial in the intrinsic way. The range of the references to painting, both explicit and implicit, is not less significant than the musical references. Being a musician, Krysinska is as well sensitive to the colours and lines, she makes one hear and see her poetic images. This ability lets her create “images en l’air” whose pictorial intensity is varying, from the impression to the ekphrasis. Through different painting references Krysinska reveals her rooting in the culture, enters into the continuum of aesthetic reflection, involves herself in a dialogue between arts – which incessantly lasts throughout the ages – on the synchronic and diachronic level. Consciousness which diffuses through the poetic-pictorial work of art is consequently complex and heterogenic, both individual and collective. Pictoriality becomes a code, cultural and emotional, which reinforces the work of imagination and lets one feel a twofold aesthetic satisfaction.
    Źródło:
    Quêtes littéraires; 2015, 5; 79-87
    2084-8099
    2657-487X
    Pojawia się w:
    Quêtes littéraires
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Je devenais une goutte d’eau, une tache d’encre. Sulla narrativa di Maurice Blanchot
    Je devenais une goutte d’eau, une tache d’encre. On the fiction of Maurice Blanchot
    Autorzy:
    Crivella, Giuseppe
    Powiązania:
    https://bibliotekanauki.pl/articles/2142103.pdf
    Data publikacji:
    2022-10-13
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Maurice Blanchot
    Philippe Hamon
    Descriptif
    phenomenology
    still life
    fenomenologia
    natura morta
    Opis:
    Partendo da una serie di analisi contenute nell’opera di Philippe Hamon Rencontres sur tables et choses qui traînent. De la nature morte en littérature, questo saggio punta a sviluppare alcune considerazioni aventi per oggetto la produzione narrativa di Maurice Blanchot. In particolare le nostre osservazioni si concentreranno su alcuni passaggi desunti da tre romanzi del pensatore francese: Aminadab, La folie du jour e Le Très-Haut. In tal modo potremo mettere a punto una prospettiva interpretativa dei récits blanchotiani in cui la nozione di natura morta gioca un ruolo di assoluta centralità. In particolare le nostre analisi si concentreranno sul modo in cui la nozione di natura morta riesce a tramutarsi in un terminale ermeneutico trasversale in seno al quale numerosi elementi specifici e ricorrenti degli universi narrativi di Blanchot trovano una precisa collocazione funzionale e una chiara delineazione concettuale. In seconda battuta, le corrispondenze enucleabili tra il narratore francese e il teorico del descrittivo ci permetteranno di portare in evidenza in sede di conclusioni un ricco plesso di temi e questioni che non solo solcano in profondità la narrativa blanchotiana, ma di fatto possono essere reperiti con una certa facilità presso numerosi autori della letteratura francese del secondo Novecento.
    Based on the analysis contained in the work of Philippe Hamon Rencontres sur tables et choses qui traînent. De la nature morte en littérature, this paper aims to develop some considerations on Maurice Blanchot’s fiction. In particular, our observations have as their field of study some passages from three works: Aminadab, La folie du jour and Le Très-Haut. In this way we can elaborate an interpretation of Blanchot’s récits in which the figure of the still life plays an absolutely essential and decisive role. Our analysis will focus on the way in which the notion of still life is transformed into a hermeneutic notion within which numerous specific and recurring elements of Blanchot’s narrative universes find a precise functional collocation and a clear conceptual delineation. Secondly, the correspondences between the French narrator and the theorist of descriptif will allow us to highlight in the conclusions a rich complex of themes and issues that not only deeply furrow the blanchotian narrative, but can also be found among numerous authors of French literature of the late twentieth century.
    Źródło:
    e-Scripta Romanica; 2022, 10; 79-95
    2392-0718
    Pojawia się w:
    e-Scripta Romanica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tobacco’s Appeal to the Senses and the Early Modern Smoker’s Still Life
    Autorzy:
    Saviello, Julia
    Powiązania:
    https://bibliotekanauki.pl/articles/1788554.pdf
    Data publikacji:
    2020-09-13
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    (history of) tobacco
    (history of) tobacco smoking
    smoker’s still life (toebakje)
    smell
    taste
    sensory interaction
    allegories of the senses
    Opis:
    Smell and taste – of the five senses these are the two most strongly stimulated by smoking tobacco. The article presents an in-depth analysis of the reflection of both these forms of sensory perception in textual and visual sources concerning the early consumption of the herb. In a first step, tobacco’s changing reception, first as medicine and then as stimulant, is traced through the years of its increasing distribution in Europe, starting in the middle of the 16th century. As this overview reveals, at that time the still little known substance gave rise to new forms of sense perception. Following recent studies on smell and gustation, which have stressed the need to take into account the interactions between these senses, the article probes the manifold stimulation of the senses by tobacco with reference to allegorical representations and genre scenes addressing the five senses. The smoking of tobacco was thematized in both of these art forms as a means of visualizing either smell or taste. Yet, these depictions show no indication of any deliberate engagement with the exchange of sense data between mouth and nose. The question posed at the end of this paper is whether this holds true also for early smoker’s still lifes. In the so-called toebakjes or rookertjes, a subgenre of stilllife painting that, like tobacco, was still a novelty at the beginning of the 17th century, various smoking paraphernalia – such as rolled or cut tobacco, pipes and tins – are arrayed with various kinds of foods and drinks. Finally, the article addresses a selection of such smoker’s still lifes, using the toebakje by Pieter Claesz., probably the first of its kind, as a starting point and the work by Georg Flegel as a comparative example. Through their selection of objects, both offer a complex image of how tobacco engages different senses.
    Źródło:
    Ikonotheka; 2019, 29; 123-150
    0860-5769
    Pojawia się w:
    Ikonotheka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Vanités : une invitation à jouir et à se réjouir ?
    Vanitas: an encouragement to enjoy and rejoice?
    Autorzy:
    Vuillemin, Jean-Claude
    Powiązania:
    https://bibliotekanauki.pl/articles/483562.pdf
    Data publikacji:
    2018
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
    Tematy:
    still life
    vanitas painting
    reception theory
    iconology
    iconography
    Baroque episteme
    Nature morte
    vanité
    théorie de la réception
    iconologie
    iconographie
    épistémè baroque
    Opis:
    Although a distinction between a Still life and a Vanitas painting could rest upon their respective mode of reception: iconographic for the former, iconological for the latter, the interpretation of Va n i t a s remains highly problematic. In direct op-position to its intended message of repudiation of earthly goods, the Va n i t a s runs always the risk to be perceived as an incitement to enjoy and rejoice. Tempus fugit? Therefore, carpe diem instead of memento mori.
    Alors que l ’histoire de l ’art ne s ’est jamais beaucoup intéressée à établir un cri-tère satisfaisant de discrimination entre Natures mortes et Va n i t é s, cet article propose une distinction basée sur le mode de réception adopté : là où une lecture iconogra-phique révèle une Nature morte, une lecture iconologique manifeste une Va n i t é. Cela dit, l ’herméneutique de celle-ci demeure éminemment problématique. Contrairement au message de renonciation aux biens terrestres qu ’elle s ’efforce en principe de diffu-ser, la Va n i t é sera toujours susceptible d ’ être perçue comme une invitation à jouir et à se réjouir. Tempus fugit ? Donc carpe diem plutôt que memento mori.
    Źródło:
    Quêtes littéraires; 2018, 8; 9-20
    2084-8099
    2657-487X
    Pojawia się w:
    Quêtes littéraires
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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