Jerome's Epistula Prima Kaja Osobik
Classica Cracoviensia,
12/2022, Letnik:
25
Journal Article
Recenzirano
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Jerome wrote Epistula prima probably during the decade of 366–376. Little is known about this stage in his life, but it was apparently then that as a young man he became interested in asceticism and ...at the end of this period of time finally decided to become a monk. However, the ascetic ideas are not the main theme of Ep. 1. The letter tells the story of a falsely accused woman who was subjected to torture and survived seven strokes of the executioner’s sword. The way in which Jerome interprets and presents these events reflects his spiritual profile and aesthetic preferences. The text can be interpreted both as a letter (a ‘real’ or a ‘fictional’ one) with an embedded narrative and as a non-epistolary work with a dedicatory preface. This affects the way in which the reader responds to the introduction (where Jerome’s anxiety concerning the imperfection of his style is expressed) as well as his or her right to assess the subsequent narrative. None of these approaches eliminates the duality in the text’s structure. Therefore, it should be interpreted on the two following levels: as an epistolary speculum animi, which shows Jerome in the situation of undertaking the task of writing the narrative, and as another, literary speculum, which reflects the author’s soul by means of artistic expression.
Jan Sawka's Screen Play Schwenger, Peter
Art journal (New York. 1960),
20/4/3/, Letnik:
81, Številka:
2
Journal Article
Recenzirano
In 1982 the Polish American artist Jan Sawka executed an extraordinary painting, 15 Strange Things on the Clean Morning Sky. Contradicting the title, the sky depicted is covered with sketches and ...cryptic writing. This suggests a common hallucinatory experience had by pilots navigating an empty sky, the ganzfeld effect. When vision encounters any undifferentiated field, such as total darkness, it will create something to see, in the form of hallucinations. Maurice Merleau-Ponty has asserted that hallucination is an integral part of visual perception: it is a kind of preseeing, which Jacques Lacan calls the screen. For Lacan, the screen is a "locus of mediation" between actual perceptions and the expectations or models that shape our seeing; it works without any conscious awareness on our part. This is not so with the "15 strange things" of Sawka's title: small, framed images in a dusky cluster near the top of the painting. Their subjects reflect three modes in which conscious thought is conceived out of the torrent of visual impressions: diagrams, words, and clouds. Sawka plays with the screen in various ways, making it visible in other works of his. His preoccupation with the nature of seeing is not confined to images from the material world but has implications as well for memory, fiction, and painting itself-since a canvas is also a screen.
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Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the ...connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term
, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object 'into themselves'. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind-a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent-in gestures and facial expressions-the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy.
The substance of the spiritual and cultural life is the syncretism of the arts from the performer-spectator division, that was made concurrently with the “dance” segmentation into work and pleasure. ...Words were held in formulas, gestures and dance in rhythm. Today, dance is mostly seen as the art of gesture. However, it is remarkable to reflect at to what extent the dance, as an organic necessity, it could further develop into hermetic structures that would still require analyses and studies from researchers in the field. In today‟s theatrical landscape, this formula of artistic expression which was called theatre dance evolved so much so that gesticulations and body exploration became its core components.
Many Mansions Weiss, Amber Lee
Dialogue (Salt Lake City, Utah),
07/2022, Letnik:
55, Številka:
2
Journal Article
Recenzirano
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
47.
Portraits of an activist Cappock, Margarita; Baker, Hannah
Irish arts review (2002),
07/2022, Letnik:
39, Številka:
2
Journal Article
Recenzirano
Cappock and Baker review works from the oeuvre of artist Sarah Cecilia Harrison. Harrison's early painting Prodigal Son as Swineherd is an example of a draped nude, which Harrison represents as a ...biblical narrative. Female Nude is another example of Harrison's skilled depiction of the figure. After Harrison graduated from the Slade, she continued to use a technique based on a meticulous and exacting contour in all creative media she undertook. In order to cultivate this technique, Harrison looked to the Old Master Hans Holbein the Younger. Her infrequent use of her painting to illustrate social injustice may be reflective of a tendency, on her part, to compartmentalize the diverse causes to which she was committed. Harrison also painted a great many portraits of her family members throughout her lifetime. In 1926, she extended this theme with a posthumous portrait of her great-granduncle, United Irishman Henry Joy McCracken, who was executed for his cause.
Temple Body: Moroni Head Weiss, Amber Lee
Dialogue (Salt Lake City, Utah),
07/2022, Letnik:
55, Številka:
2
Journal Article
Recenzirano
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Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
49.
Off the wall Marshall, Catherine
Irish arts review (2002),
07/2022, Letnik:
39, Številka:
2
Journal Article
Recenzirano
An interview with artist Marie Hanlon is presented. Among other things, Hanlon talks about her abstract painting, her recent show 'Water - More or Less', and the scale and space in her largest work ...to date, When Water Becomes Explosive.
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