Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 208 Seiten: 223-236.

Abstract:This essay addresses the largely unrecognized art of a former comfort woman, Duk-kyung Kang (1929–1997). Comfort women were forced sexual slaves for the Imperial Japanese Army during the Second World War. By analyzing how both postcolonial and decolonial aesthetics are embodied in her paintings, the potential of her art to challenge colonialism becomes pronounced.

This article gives an overview of Buddhist-oriented meditation techniques that were integrated with art projects for four and five year old kindergarten children at Dong Guk Kindergarten, Gyeongju City, South Korea. The article assesses the effect of this program on the creatvitiy levels of the children.

Cultural factors are operating in the aesthetic experience of pictorial realism, occurring in a transcultural manner, and their effects are salient in beholder’s affective reaction correlated with perceptual-cognitive operation. This paper aims to demonstrate this hypothesis, by developing two analytical tools that might explain the anti-hedonic valence of Hong Taeyong, an eighteenth-century Korean literatus’ aesthetic experience of a Western religious fresco depicting the Lamentation of Christ in a Jesuit Catholic church in Beijing. First, a complex multifold conflict between «actual (...) affect» and culturally modeled «ideal affect», operating simultaneously in his visual experience, might be translated into a highly negative valence of his global affective state. Second, the variance of processing fluencies at different levels would have made his global processing operation less fluid, and it might play a role in his negative affective valence, since the affect is inherent in processing fluency signal. (shrink)

Korean art and music have a long history, but aesthetic research on them has only been around for a little over a hundred years. Critiques and discourses on traditional arts such as poetry, calligraphy, and painting can be traced back to the Joseon or even Goryeo dynasties, but the modern discussion on the common features of Korean aesthetics was conducted much later than that in Western Europe, where the field of aesthetics was established in the mid to late (...) eighteenth century. Early aestheticists who tried to explain aesthetic consciousness in Korean culture and art converged on the concept of Jayeon, which can be translated provisionally as “nature,” seemingly diverging from western aesthetics’ focus on the concept of “beauty.” Jayeon shares the same Chinese characters as ziran, an early Daoist concept, but jayeon in a Korean aesthetic context does not appear to be limited to the connotation of its Chinese origin. This article unpacks the different ways in which jayeon captures the key characteristics of Korean art and aesthetics. (shrink)

Analyzing Montaigne's triptych painting, “Of the Education of Children,” reveals a series of ever-morphing, Dorian Gray–like canvases that depict metaphor mutations through which Montaigne defined education by distinguishing between schooling a child into a learned man and educating him into an able, active, and gentle person. Montaigne used metaphor and metaphor clusters to image key points in his educational philosophy, advanced his argument by intertwining, transmuting, and inverting metaphors, and thereby drew and vividly painted his philosophy of how to educate (...) a person from cradle to coffin. Because the etymology and pronunciation of “essay” (from the French essai) support Montaigne's imaging and exploiting of this genre's creative potential, Virginia Worley begins by considering the term's etymology before positioning her analysis of Montaigne's work within metaphor research. She then examines the metaphors Montaigne used to paint the triptych word painting that embodies his philosophy of education: the meaning and value of educating in and for the art of living well. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:AngloModern: Painting and Modernity in Britain and the United StatesJane DuranAngloModern: Painting and Modernity in Britain and the United States, by Janet Wolff. Ithaca: Cornell University Press, 2003, 172 pp.AngloModern, Janet Wolff's scintillating attempt to limn the construction of modernity in the visual arts, is more than worth reading for a number of reasons. In this work, she details how modernity positioned itself against a number of strands (...) of development, and then, by a process of exclusion, formulated its own stance. As poststructuralist theory has taught us, the procedures of building an excluded body against a center, when closely examined, frequently tell us more about a rubric or label than we could otherwise have imagined.Wolff is primarily concerned with three areas of exclusion/construction for the turn in the visual arts, painting in particular, that began at the opening of the twentieth century. Toward the beginning of the work, she notes that there was always a continuous realist and figurative genre at work even in modernist circles, but it seldom achieved anything like the recognition that the more typically abstract works we associate with the rise of modernism gained. She associates this area of nonrecognition with the work of women in particular, and these two areas alone — the realist/figurative and any work done by a woman artist — constitute two of her most important foci in AngloModern. In addition, and with some difficulty, since it adds a layer of complication, she is concerned about the exclusion and marginalization of Jewish artists during thisperiod — both in galleries and in thecommentary generated by the art world — although it is clear that many of the major "abstract" works associated with modernism were, in fact, produced by Jewish artists.Wolff is at her best in laying out in precise detail how it is that the culture of the art world throws up nearly insurmountable barriers against those deemed unworthy at a fairly early point in the construction of any new movement. The single strongest chapter in the work may well be the second, "Questions of Discovery: the Art of Kathleen McEnery," in which Wolff shows how various processes of categorization kept the work of this extremely talented woman from receiving anything like the recognition it deserved for a long period of time. Wolff sums up her overall project, and how it will relate to an artist such as McEnery, in her Introduction, when she writes:The story of modern art that is challenged [in her book] is the narrative tracing the development of Western painting from France to the United States, in a lineage more or less running from Manet and Post-Impressionism, by way of Cubism and Surrealism, to Abstract Expressionism. It is a story produced and reinforced by critics, academics, curators, and museum directors.(p. 3)Women artists, for example, were frequently excluded not only becausethey were women, but because they may have tended to engage in painting that was more realist, which itself [End Page 118] became coded as "feminine," and so forth. McEnery's intriguing portraits of the early two decades of the twentieth century were "discovered," as Wolff notes for the l987 inaugural exhibition of the National Museum of Women in the Arts, despite the fact that McEnery had at one point been fairly well-known (pp. 41-42). A woman at work in a figurative tradition, and working in suburban circles far away from the geographical centers of the art world, she was quickly at the mercy of the canonical forces of art historical construction.As we attempt to educate our students about rubrics, social movements, and the relationship of the arts to the political events of an era, we can do little better than to cite, for illustrative purposes, a number of interesting cases, and Wolff does just that. In sharp and incisive prose, she not only investigates McEnery's disappearance from the approved version of the early American modernist scene, but she also examines the construction of the early group displayed at the Whitney, the notion of the "feminine" in the work of Simmel and Benjamin, and, finally, the notion of the "Jewish artist." As her exemplar for the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. Roman meta-pictures, this book (...) reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is (...) related to the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

ABSTRACT I begin by considering the nature of philosophy understood as a genre of writing. I claim that genres are impure, porous, changing sites of inclusion and exclusion that are anything but natural kinds. Furthermore, I suggest that works of poetry, drama, painting, dance, and other arts may profitably be understood as works of philosophy and that philosophy itself may profitably be understood as an art, as performance work. I support this claim by an analysis of philosophy's canon as (...) historicist, expressivist, and self-consciously hybrid. I explicate the notion of hybridity in terms of crossings understood as encounters, resistance and opposition, and passing borders. I conclude by drawing parallels between philosophical notions of hybridity and political issues of identity, community, and outsiders. Throughout this article, I am concerned to do philosophy in a way or style consistent with the expressivist view of philosophy I present. (shrink)

Korean Naturalism focuses on inner discipline by taking nature as a criterion. In this context, at the core of Korean aesthetic consciousness are inner virtues beyond superficial beauty. It may be too radical to apply Korean Naturalism to the current practice of new-media art. Nevertheless, some contemporary artists who attempt to bring back Korean tradition from a new perspective experiment with Korean Naturalism. In this study, I consider the method and concept those artists pursue as (...) evolved Naturalism with new media and a new zeitgeist. When a classic Korean painting transforms into a moving image, it is possible to experience an inward immersion and contemplation through the calm instilled in dynamism. In addition, through the installation art that intentionally composes a blank space, visitors can viscerally experience the space and unconsciously fill it with their narratives. The present-day artist's task is to correctly interpret the message contained in the tradition, rather than imitate the appearance of traditional art without the spirit. The artist should inculcate this attitude to accomplish historical continuity, which is an essential element for experimenting with conventional Korean artworks and aesthetic consciousness. (shrink)

Korean Naturalism focuses on inner discipline by taking nature as a criterion. In this context, at the core of Korean aesthetic consciousness are inner virtues beyond superficial beauty. It may be too radical to apply Korean Naturalism to the current practice of new-media art. Nevertheless, some contemporary artists who attempt to bring back Korean tradition from a new perspective experiment with Korean Naturalism. In this study, I consider the method and concept those artists pursue as (...) evolved Naturalism with new media and a new zeitgeist. When a classic Korean painting transforms into a moving image, it is possible to experience an inward immersion and contemplation through the calm instilled in dynamism. In addition, through the installation art that intentionally composes a blank space, visitors can viscerally experience the space and unconsciously fill it with their narratives. The present-day artist's task is to correctly interpret the message contained in the tradition, rather than imitate the appearance of traditional art without the spirit. The artist should inculcate this attitude to accomplish historical continuity, which is an essential element for experimenting with conventional Korean artworks and aesthetic consciousness. (shrink)

Michel Foucault’s understanding of painting oriented him and his readers to an alternative history of art through a means or an approach well known to philosophers and literary critics, that of irony. A close reading of the first chapter of The Order of Things shows that Foucault rejected the traditional interpretations of art history generated by a focus on the intentions of the individual artist, the identification of the subjects portrayed, and the expectations of a genre, relying instead on (...) a synthesis of the approaches to painting given by Merleau-Ponty and Jacques Lacan, which converged with his ironic approach. (shrink)

Lucas van Valckenborch’s Winter Landscape hangs in the Kinsthistorisches Museum in Vienna. It was painted four hundred years ago as one of a set of the four seasons. Measured by sales of reproductions, it is one of the most popular paintings in the museum, though it is by no means the most distinguished example of the genre to which it belongs. The picture is a snow scene. In the long series of represented planed that recede from foreground to horizon, (...) fallen snow covers fields and roves. Across the surface of the canvas and scarcely diminishing in scale from bottom to top, touches of white paint represent falling snow. It is not a small painting, and these are not mere feathery indications, but palpable dabs from a loaded brush. To a taste fed on Modernist painting—or, for the pedantic, to a prejudice fuelled by Modernist accounts of painting—it is by virtue of this surprising frankness that the painting achieves more than mere anecdotal charm. It is not the illusion of depth in the picture that holds our sophisticated attention, nor the atmospheric re-creation of a leaden sky, nor do we admit to being engaged by the over-rehearsed animation of the peasants. What gives us pleasurable pause is the strange and distinctive form of skepticism about appearances that is set in play when the allure of imaginative depth meets resistance from the vividness of decorated surface.5 5. Wollheim uses the term ‘twofoldness’ for ‘this strange duality—of seeing the marked surface, and of seeing something in the surface.’ In his account this experience leads to a thematizing of the image, which ‘ushers in representation.’ Translated into his terminology, my suggestion would be that the Winter Landscape can be seen as catering to a Modernistic taste for the thematizing of ‘twofoldness’ itself. Charles Harrison is staff tutor and reader in the history of art at the Open University. He is the author of English Art and Modernism 1900-1939 , and he is now completing a second volume, English Art and Modernism 1940-1985. He is co-author of A Provisional History of Art & Language , and his most recent book—Essays on Art and Language—is due out in 1989. He has been associated with the Art & Language group since 1971 and is editor of the journal Art-Language. (shrink)

It would be pretty to think that Descartes’ Meditations is itself a structured transformation of the meditational mode, starting with the dominance of an intellectual, ascensional mode, moving through the penitential form, and ending with the analytic-architectonic mode. Unfortunately the text does not sustain such an easy resolution to our problems. Instead, we see that different modes seem dominant at different stages; their subterranean connections and relations remain unclear.We could try to construct a nesting of mask, face, and skeleton in (...) Descartes’ use of these distinct traditions. He might have unselfconsciously inherited a Stoic skeletal structure, fleshed it with the weight of his analytic-architectonic meditation, and masked it with a penitential meditation for the sake of safety in orthodoxy. But the penitential mode provides essential structural support—it cannot be unmasked. And, as we have seen, the analytic-architectonic flesh does not always conform to the Stoic skeletal structure.The problem is that the various readings subtly undermine one another. It is as if the Meditations were composed like a Francis Bacon painting. There are plenty of good solid clues for how to read the composition of the work—in fact there are too many. The work we see when using some of those clues is quite different from the work we see when following others.Did Descartes do this deliberately? An extremely chartable reading would turn him into a new sort of Socrates, constructing puzzles to force us to examine the truth of his arguments dialectically. But whatever Descartes may be, he is not Socrates, any more than he is Hume. He is defensive as well as devious, proud as well as prickly; and he is not funny. (shrink)

The genre of fable tends to be overlooked in the study of Korean literary history on the ground that the genre seems too archaic to reflect the aesthetic standards established in the modern European novel, in which the focus lies in the realistic representation of the individual or contemporary society. However, the genre was not completely abandoned by modern Korean writers. Few critics have noted the continuing role played by the rich Korean fable tradition, (...) which eventually made the reinvention of the genre in the mass media possible. In particular, it is worth noting that there was the emergence of a new subgenre of fable in the late nineteenth century: that is, fabulous court case fiction, which is quite distinct from the Chinese literary tradition that had underprivileged imaginative narrative texts under the absolute domination of Confucian historiography. The genre of fabulous court case fiction makes us reconsider the plurality of narrative forms and various narrative functions. In this study, I examine how imaginative narrative texts such as fables simultaneously pursue the pleasure of storytelling and the purposes of both moral and specialized education. (shrink)

To Korean people by the end of the 19th century who had previously enjoyed only traditional music genres, the music introduced by the hands of the missionaries must have been very new and unfamiliar. One hundred and a few decades since the meagre beginning of the meeting between the two has now passed, Korea has transformed into a modernized society where all kinds of music are performed and enjoyed, among which Western classical and popular music exist with considerable weight. (...) In the course of the development, there were constant exchanges between Korean traditional music and Western music. Korean traditional music has been subject at one end to defensive modification under the motto of transmission and at another end to aggressive destruction of some core aspects of the tradition under the motto of re-creation. This phenomenon creates important aesthetic issues in this study deals with the spectrum between the two ends drawn up by the traditional vocal genre, gagok. (shrink)

본 연구는 데 키리코의 ‘형이상학적 회화(Pittura Metafisica)’에 나타난 니체의 철학적 인간상에 관한 고찰이다. 초현실주의의 선구자인 데 키리코는 니체의 철학을 기반으로 현실과 비현실이 뒤섞인 ‘형이상학적 회화’를 창조한다. 니체의 디오니소스적 정신과 영원회귀, 위버멘쉬는 은유의 방식을 통해 데 키리코 특유의 회화적 형식으로 재탄생한다.BR 데 키리코의 형이상학적 회화의 방식이란 눈에 보이는 표면적 세계 이면에 존재하는 수수께끼와 미스터리를 품은 세계의 발견이자 재현이다. 데 키리코에게 회화의 진리란 이성과 관습을 통한 기억으로부터 멀어지는 방식을 통해 성취될 수 있다. 이것은 원근법의 파괴, 데페이즈망 기법, 마네킹의 형상, 건축적 주제의 반복 (...) 등의 형식을 통해 달성된다. 이는 바로 니체의 철학적 인간상, 즉 영원회귀와 디오니소스적 인간인 위버멘쉬를 함의한 회화적 외침이다. 하나의 진리는 존재하지 않으며 모순적이고 비합리적 상황에 대한 긍정과 자기극복을 형이상학적 회화 속에 함축하고자한 데 키리코의 의지는 바로 힘에의 의지를 포함한다. 니체와 데 키리코의 방식은 논리적 인식에 맞서 진실로 ‘인간이란 무엇인가?’ 진정 ‘삶이란 무엇인가?’라는 인간학적, 존재론적 물음에 대한 성찰이다. (shrink)

The ?pictures of collections? genre was a special type of cabinet painting, and was invented, refined and popularized within the artistic community of early seventeenth?century Antwerp. Depicting a sumptuous array of luxury goods, natural curiosities, connoisseurs and nobles in elegant interiors, the paintings that make up this genre were purposefully seductive, designed to parade the consummate skill of the Southern Netherlands? finest artists at a time when the market for works of art was growing and highly competitive. Yet (...) there is a heavy lacing of symbolism and allegory apparent in many of the images, and they were also intended to speak to the intellectual preoccupations of the age, from the cultivation of personal virtue to the honing of the critical faculties necessary for philosophy. The genre is explored by tracing stages in its evolution in the seventeenth century, and four types of collection making up the genre are distinguished. Finally, the historiography of the genre is investigated. (shrink)

Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic (...) and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century. (shrink)

Many of the figures in Thurnauer’s paintings who fix us with their gaze have been borrowed from the work of Manet, the artist who organized so many of his paintings around a face-to-face confrontation of viewer and work. The painting returns the viewer’s gaze with total impartiality, making us see our own motives and investments more than the illusion that the figure in the painting will accommodate them. Issues of language often surface literally in paintings by Thurnauer; written language appears (...) sometimes as part of the material fabric in which human figures move or recline. The textual elements are not superimposed on the figures but appear to exist in the world they inhabit, requiring the painter to relate figure to ground in a process of interlacing. When the viewer’s eye traverses the painting it falls under the magnetic influence of the text to the extent that viewing must succumb in some degree to the operations of reading with its specific rhythms and expectations. In these paintings, visual and verbal languages provide us with different maps of the same territory; and Thurnauer’s hybridized representations argue that the world can only be rendered through a dialogue, an interlocution of different forms, genres, media. We approach her work, not as viewers whose function is predicated through a gaze regulated according to the distorting demands of consumption or control, but as readers engaged in a critical activity seeing around the edges of historically produced versions of the self. (shrink)

BackgroundUnderstanding representations of disease in various art genres provides insights into how patients and health care providers view the diseases. It can also be used to enhance patient care and stimulate patient self-management.MethodsThis paper reviews how cardiovascular diseases are represented in novels, films, and paintings: myocardial infarction, aneurysm, hypertension, stroke, heart transplantation, Marfan’s disease, congestive heart failure. Various search systems and definitions were used to help identify sources of representations of different cardiovascular diseases. The representations of the different diseases were (...) considered separately. The Common Sense Model was used a theoretical model to outline illness perceptions and self-management in the various identified novels, films, and paintings.ResultsMyocardial infarction followed by stroke were the most frequently detailed diseases in all three art genres. This reflects their higher prevalence. Representations ranged from biomedical details through to social and psychological consequences of the diseases.ConclusionsArtistic representations of cardiovascular diseases reflect cognitions, emotions, and images of prevalent disease. These representations shape views and behaviour of ill and healthy persons regarding heart diseases. As these representations are amenable to change, they deserve further research, which may be instrumental in improving the quality of life of persons struck by cardiovascular diseases. Changing illness perceptions appears to be a method to improve self-management and thereby quality of life in patients with various cardiovascular diseases. (shrink)

The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images (...) of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art. (shrink)

Abstract:This article is contextualised by the ideological implications surrounding the notion of landscape, including the relationship between its genre in painting and the development of European capitalism. It proposes the idea of the landscape fragment derived from the background scenery of early Italian painting, which stands in counterpoint to assumptions about the genre. These early landscape spaces are pertinent because they are not considered ‘landscape’ as such and are not constructed by entrenched Cartesian dualisms. I argue it is (...) possible to re-evaluate restrictive assumptions about perspective and landscape, in order to raise questions of translatability and difference so as to replace the dominating norms habitually associated with these terms. (shrink)

While a lucid and understandable interpretation can be given for most pictures, “typically Dutch” paintings (i.e. seventeenth-century genre and still-life pictures) seem to allow for or even demand some measure of freedom for the beholder. The cause of this ambiguity lies in the typically Protestant disregard for works of art and in a concomitant characteristic of these works: they address the viewer in an “ethical” manner.

개념미술이란 관람자가 아름다움에 대해 깊이 생각하게 하기 위해 미술가가 (무엇인가를) ‘선택’하는 예술이다. 그래서 개념예술은 예술이라는 자기 근본에 대해 다시.

This paper explores and highlights the value given to craftsmanship or technê in the community of liefhebbers and artists associated with the pictures of collections genre. Taking as its case study a group of gallery interiors by the probable inventor and leading light of the genre, Frans II Francken, it places pictures of collections within the reform of attitudes towards manual dexterity and the mechanical arts that took place in the Early Modern period. Antwerp gallery interiors exemplify the (...) intellectual metamorphosis of the hand, urging us to see in them an appeal both to the senses and to the intellect, which are fused together by the skilled artist?s technical facility. (shrink)

By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. (...) A Chinese painter-poet within the ‘mountain-water’ genre would consider mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music. (shrink)

This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art (...) was self-consciously presented as an art film. Focusing on La Leggenda di Sant’Orsola by Luciano Emmer and Le Monde de Paul Delvaux by Henri Storck, this article also investigates how the animation of the static image by the film medium relates to Surrealist practices. (shrink)

Using 129 natural conversations and 185 episodes of television drama conversations as well as the theoretical frameworks of usage-based theory and grammaticalization, I investigate two forms of ‘or’ in Korean, tunci and kena. Generally believed to be largely interchangeable, these two forms’ actual usages have never been compared. I demonstrate that the two are selectively used in conversation, and propose that three types of factor influence the selection. The first factors are genre and setting. In formal settings and (...) formal descriptive writing, kena is preferred. The second factor is the presence of negative markers: while 43% of kena tokens were used in negative sentences, only one token of tunci was. The third factor is the distinction between ‘propositive’ tunci and ‘descriptive’ kena. In conversation, tunci occurs mainly in making suggestions and presenting plans, and hence is oriented toward the future tense and the irrealis domain. Kena occurs mainly in describing present and past situations, facts, or premises, and hence is oriented toward the present and past tense and the realis domain. This study confirms the usage-based theory’s argument that speakers possess extensive procedural knowledge of language: Korean speakers may not be conscious of it, but they differentiate tunci and kena with high regularity. Lastly, I explain their differences based on their history. The older form, kena, dates back to the 8th century, whereas tunci became widespread only in the 19th century. Because tunci retains its original semantics of probability, tunci tends to occur in presenting suggestions and plans and not in factual descriptions. (shrink)

The particle internal clock conjectured by de Broglie in 1924 was investigated in a channeling experiment using a beam of ∼80 MeV electrons aligned along the 〈110〉 direction of a 1 μm thick silicon crystal. Some of the electrons undergo a rosette motion, in which they interact with a single atomic row. When the electron energy is finely varied, the rate of electron transmission at 0° shows a 8% dip within 0.5% of the resonance energy, 80.874 MeV, for which the (...) frequency of atomic collisions matches the electron’s internal clock frequency. A model is presented to show the compatibility of our data with the de Broglie hypothesis. (shrink)