WORD & IMAGE最新文献_第6页

Suspending ekphrasis: Christopher Marlowe’s ‘Brazen World’ in Part 2 of Tamburlaine the Great and its influence 暂停短语:克里斯托弗·马洛的“厚颜无耻的世界”在坦伯兰大帝的第二部分及其影响

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-11-15 DOI: 10.1080/02666286.2023.2184129

Lucy Potter

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引用次数: 0

A speaking silence: “universal language” and multilingualism in The Shape of Water 无声无声:《水形物语》中的“通用语言”和多语言

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-11-15 DOI: 10.1080/02666286.2023.2193960

Nina Elisabeth Cook

引用次数: 0

Plas Newydd’s poetics of exchange: portraiture, poetry, and the intermediality of eighteenth-century gift culture 普拉斯·纽伊德的交换诗学:肖像、诗歌和十八世纪礼物文化的中介性

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-11-15 DOI: 10.1080/02666286.2021.1931753

Freya Gowrley

引用次数: 0

Did Bernini’s Ecstasy of St. Teresa cross a seventeenth-century line of decorum? 贝尔尼尼的《圣特蕾莎的狂喜》是否越过了17世纪的礼仪界限?

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-11-15 DOI: 10.1080/02666286.2023.2180931

Franco Mormando

引用次数: 0

The renaissance of a twelfth-century papal manuscript fragment in Medici Florence: a new reading of Fra Angelico’s David 美第奇佛罗伦萨 12 世纪教皇手稿碎片的复兴：对弗拉-安杰利科《大卫》的新解读

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-10-02 DOI: 10.1080/02666286.2023.2182585

Anna Welch

{"title":"The renaissance of a twelfth-century papal manuscript fragment in Medici Florence: a new reading of Fra Angelico’s David","authors":"Anna Welch","doi":"10.1080/02666286.2023.2182585","DOIUrl":"https://doi.org/10.1080/02666286.2023.2182585","url":null,"abstract":"Abstract Of the small corpus of works on vellum and paper attributed to the Tuscan Dominican friar and artist Fra Angelico (c.1400–55) and his circle, one drawing has been repeatedly singled out as widely accepted to be by his hand: King David Playing a Psaltery (c.1430) (now British Museum, London). The vellum leaf on which Fra Angelico drew features text on its verso that has until now been misunderstood as a fragment of a fifteenth-century breviary, leading it to be positioned simply as an example of his work as an illuminator. This article demonstrates that despite this misunderstanding, there is indeed an important relationship between the text and image on this sheet. The text is a fragment of a twelfth-century choir psalter and is significant as perhaps the oldest surviving evidence of the liturgy of the Papal Curia. Through a combination of palaeographical, liturgical, and art-historical analysis, I identify the leaf as a central Italian fragment dating to c.1150–80, which Fra Angelico encountered as a result of the presence of the Papal Curia in Florence during the papacy of Eugene IV, from 1434 to 1436 and again from 1439 to 1443. Stylistic and iconographic analysis demonstrates that Fra Angelico deliberately evoked the antique mode of the prefatory miniature in response to the age of the leaf, making the drawing an early example of the Renaissance desire to emulate classical models, received through a Carolingian filter. The close relationship between the David drawing and Fra Angelico’s work for Cosimo de’ Medici’s cell in San Marco—after the latter’s return to Florence from exile in 1434, supported by Eugene IV—is identified for the first time. The date of the drawing is refined from c.1430 to c.1435, the year Fra Angelico and his community moved from Fiesole to San Marco in Florence.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"25 1","pages":"384 - 401"},"PeriodicalIF":0.3,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ikebukuro Montparnasse: an avant-garde community in the era of Taishō democracy 池袋蒙帕纳斯：台湾民主时代的先锋社区

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-09-26 DOI: 10.1080/02666286.2023.2195960

Aida Yuen Wong

引用次数: 0

Brutal analogies: multiplying Le Corbusiers across global architecture 残酷的类比：勒·柯布西耶在全球建筑中的倍增

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-09-26 DOI: 10.1080/02666286.2023.2195820

Keith Bresnahan

引用次数: 0

Japan’s Van Gogh? Analogy and revision in the case of Shikō Munakata 日本的梵高？宗像史考的类比与修正

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-07-03 DOI: 10.1080/02666286.2023.2195839

Lana Tran

{"title":"Japan’s Van Gogh? Analogy and revision in the case of Shikō Munakata","authors":"Lana Tran","doi":"10.1080/02666286.2023.2195839","DOIUrl":"https://doi.org/10.1080/02666286.2023.2195839","url":null,"abstract":"Abstract After a fortuitous encounter with a reproduction of Vincent van Gogh’s Six Sunflowers in 1920s Japan, then teenager Shikō Munakata (1903–75) famously pledged to become “Japan’s Van Gogh.” Instead, Munakata would become a woodblock printmaker celebrated in a purposely non-analogical manner not only as “the world’s Munakata” but also, later, as “Japan’s Munakata,” amongst numerous other variations. Conveyed through successive (dis)analogies, the story of Munakata’s artistic development makes clear certain national paradigms entangled in the historization of Japanese modern art. In this case study, I trace the varied ways in which Munakata and others construct, propagate, and modify analogy in an active and, at times, unwitting process of historicization across several contexts, including Munakata’s own visual and textual legacy, the writings of his contemporaries and art historians, and the interpretive approaches of museums. This article focuses on key insights from historiographical research and a site visit to the Munakata Shiko Memorial Museum of Art in Aomori, Japan. This example is unusual and significant in that an analogy proposed by the artist himself (Japan’s Van Gogh) is adopted and modified by others in a way to which Munakata responds in different ways throughout his life. In comparing the intentions and contexts that underlie each instance, I discuss ruptures in how Munakata’s life and work are interpreted in writings about the artist. I emphasize that analogies need not be static; they are also strategically inconsistent, malleable, and thus revelatory of their underlying conventions.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"53 1","pages":"300 - 310"},"PeriodicalIF":0.3,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139363942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Chinese Millets: native soil, the party–state, and art in contemporary China 中国黍米：当代中国的乡土、党国与艺术

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-07-03 DOI: 10.1080/02666286.2023.2195888

Yi Gu

{"title":"Chinese Millets: native soil, the party–state, and art in contemporary China","authors":"Yi Gu","doi":"10.1080/02666286.2023.2195888","DOIUrl":"https://doi.org/10.1080/02666286.2023.2195888","url":null,"abstract":"Abstract Ever since Jean-François Millet (1814–75) was introduced to China in the 1920s through translations, Chinese artists’ fascination with him has resulted more from his life story than from the poor reproductions of his artworks. Millet’s focus on the imagery of the peasantry and his purported identification with the peasant made him a unique figure in the rise of a discourse on native soil, which conflates peasants, the land, the Communist revolution, and a distinctive Chineseness in art. This discourse first took form during the War of Resistance against Japan (1937–45) and continues to thrive in China today. This article examines the growing list of artists—from the well-known masters Gu Yuan (1919–96) and Luo Zhongli (1948–) to lesser-known artists whose professional work was supported by state painting academies and teaching institutions—who have been named the “Chinese Millets.” I propose that “Millet” continues to be effective as a trope in the discussion and imagination of art in China today because his life story provides multiple thrusts—the rapport with peasants, the simplicity and nobility of an artist’s character, an unflinching insistence on one’s own style in opposition to more fashionable trends—in support of a vague conviction of the vitalist force of the native soil. This simultaneously eases Chinese artists’ anxiety over their distinction in the international contemporary art world and echoes the civilizational nationalism increasingly promoted by the party state. Foregrounding the persistent phenomenon of likening to Millet in art discourse in China, this study reveals the challenges and dilemmas of an art world that simultaneously strives to rise in the global order and manages to work with an authoritarian state that both promises generous patronage and demands cooperation.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"29 1","pages":"311 - 323"},"PeriodicalIF":0.3,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Image/text/cliché/insight: analogical practices in the global art world 图像/文本/陈词滥调/洞察力：全球艺术界的类比实践

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-07-03 DOI: 10.1080/02666286.2023.2195808

M. Cheetham, Hana Nikčević

引用次数: 0