WORD & IMAGE最新文献_第8页

The text inside us: text on screen and the intertexual self in Bakemonogatari 我们内心的文本:《Bakemonogatari》中屏幕上的文本和互文的自我

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1988481

Christopher Smith

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引用次数: 0

Lydgate and the Lanterne: discourse, heresy and the ethics of architecture in early fifteenth-century England 《利德盖特和灯笼:15世纪早期英国建筑的话语、异端和伦理》

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.2006525

G. Byng

{"title":"Lydgate and the Lanterne: discourse, heresy and the ethics of architecture in early fifteenth-century England","authors":"G. Byng","doi":"10.1080/02666286.2021.2006525","DOIUrl":"https://doi.org/10.1080/02666286.2021.2006525","url":null,"abstract":"Abstract At the turn of the fifteenth century, architectural ethics acquired renewed prominence in England. A long-established discourse that had been developed by major figures in Europe’s intellectual history, and that threatened to reject all but the most utilitarian church-building projects, was given new energy, as well as a new English vocabulary and a newly extensive application, in heretical tracts and poems. At the same time, the poet most associated with the Lancastrian court, John Lydgate, was translating a lavish paean to ingenious and luxurious craftsmanship, while his patron’s circle was engaged in a wave of lavish building projects in cathedrals, universities, and parish churches—and, indeed, was prosecuting Lollards for their criticism of the same. Most remarkable, however, is that, having been scrupulously suppressed in the 1410s, a concern for restrained architecture would re-emerge twenty years later as a widely shared architectural ideology among England’s elite, including the king, Henry VI. For thirty years, it would come to shape a series of significant building projects. This article argues that this change must be understood as representing the reconstitution of a number of ideas and claims, necessitated by the dissolution of the interdependent antagonisms of the 1410s, in the context of newly influential spiritual, ethical, and sensory discourses.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"68 1 1","pages":"296 - 311"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87293501","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

A New Sun Emerges: the Aztec New Fire Ceremony in word and image 一个新的太阳出现:阿兹特克人的新火仪式的文字和图像

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1958289

Catherine R. Dicesare

引用次数: 0

Catherine of Siena’s chest stigma: ambiguities between the textual and visual traditions 锡耶纳的凯瑟琳的胸部耻辱:文本和视觉传统之间的歧义

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.2007706

Diana Hiller

{"title":"Catherine of Siena’s chest stigma: ambiguities between the textual and visual traditions","authors":"Diana Hiller","doi":"10.1080/02666286.2021.2007706","DOIUrl":"https://doi.org/10.1080/02666286.2021.2007706","url":null,"abstract":"Abstract After the Early Christian period, the practice of depicting Christ’s chest stigma on the right-hand side of his upper torso was an established component of stigmata iconography. Thereafter, this tradition was consistently followed in painted images of stigmatic saints—most notably in representations of St Francis of Assisi. St Catherine of Siena (1357–80) also bore the stigmata, and when her chest stigma was included in her portraits the conventional pictorial tradition continued and artists placed the wound on the right side of her chest. Plautilla Nelli (1524–88), a Dominican prioress and painter in Florence, however, introduced a new iconography. Contrary to all visual precedents, she painted several small works depicting Catherine with a bloody chest stigma on her left-hand side. The suggestion offered here is that Nelli’s unorthodox and original iconography was indebted not to the visual tradition but to two near-contemporary textual sources for Catherine’s stigmatization. Raymond of Capua’s Legenda maior and Thommaso Caffarini’s Libellus de supplemento report Catherine’s own account of her imprinting in which she testifies that the ray to her chest came to her left side, the side of her heart.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"100 1","pages":"312 - 325"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74144392","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

Médium du portrait, portrait du médium: Les spécificités du pastel dans les discours sur l’art au XVIIIe siècle 肖像的媒介，媒介的肖像:18世纪艺术话语中蜡笔的特殊性

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1990730

I. Massé

引用次数: 0

On the (un)seeable in Wassily Kandinsky’s Klänge 论瓦西里·康定斯基的(不)可见Klänge

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.2002128

Elissa Watters

{"title":"On the (un)seeable in Wassily Kandinsky’s Klänge","authors":"Elissa Watters","doi":"10.1080/02666286.2021.2002128","DOIUrl":"https://doi.org/10.1080/02666286.2021.2002128","url":null,"abstract":"Abstract In 1912, Wassily Kandinsky (Russian, 1866–1944) published a limited edition of Sounds (Klänge), an illustrated book of poems that applied many of the theories discussed in his publication On the Spiritual in Art (Über das Geistige in der Kunst, 1911). In Sounds, Kandinsky strove to train readers to sensorially perceive images hidden in visual and verbal abstraction. In both word and image, the artist explored various realizations of boundedness, repetition, and concealment with the aim of evoking various effects in readers. Ultimately, according to Kandinsky’s theories, the fluidity between the “seeable” and “unseeable” allowed the “inner sounds” of the book’s words and woodcuts to resonate with readers in moments of perceptual clarity. Published on the brink of World War I, Sounds was released into a world that was about to change drastically. Although it influenced numerous avant-garde artists in the inter- and postwar periods, a newfound pessimism overshadowed Kandinsky’s idealistic aspiration. His utopian belief that abstraction would facilitate the arrival of a “Great Spiritual Epoch” ceded to a view of abstract art as a means of expressing the irrationality and brokenness of things. Today, Sounds is significant because of its influential form and content, its novel multisensorial aims, and its liminal sociohistorical context.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"13 1","pages":"278 - 295"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86965826","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

Chronicles of light and sound: the film-poems of Alfonsina Storni 光与声的编年史:Alfonsina Storni的电影诗歌

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1983712

Aleksander Sedzielarz

{"title":"Chronicles of light and sound: the film-poems of Alfonsina Storni","authors":"Aleksander Sedzielarz","doi":"10.1080/02666286.2021.1983712","DOIUrl":"https://doi.org/10.1080/02666286.2021.1983712","url":null,"abstract":"Abstract One of South America’s most popular poets, Alfonsina Storni is primarily known for verses of love and passion. During her lifetime, Storni also wrote as a newspaper columnist under the pseudonym Tao Lao. Storni’s association with film has primarily been discussed as part of her friendship with author and cinephile Horacio Quiroga but translations and analyses of Storni’s film-poems, mainly composed in the last decade of her life, show that she was experimenting in a fusion of verse and cinema. Drawing on the proliferation of consumer products bringing film and photography into everyday life in Argentina in the 1920s and 1930s, Storni’s film-poems blend word and image through the photochemical properties of the film medium and the spatial and temporal techniques of motion pictures. While Storni’s biographers have classified some film-poems as falling within the reportage genre of the chronicle (crónica), these multimedia experiments work problems of subjectivity and objectivity intrinsic to the time-based approach of the chronicle through filmic technologies, while also interrogating constructs of gender and colonial power that were deeply embedded in the visual culture of South America in the 1920s and 1930s.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"70 1","pages":"237 - 253"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90658144","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

Flavius Josephus and the frieze of the Spoils from the Temple in Jerusalem on the Arch of Titus 弗拉维乌斯·约瑟夫斯和耶路撒冷圣殿在提图斯拱门上的战利品

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1980352

Steven H. Wander

{"title":"Flavius Josephus and the frieze of the Spoils from the Temple in Jerusalem on the Arch of Titus","authors":"Steven H. Wander","doi":"10.1080/02666286.2021.1980352","DOIUrl":"https://doi.org/10.1080/02666286.2021.1980352","url":null,"abstract":"Abstract The participation of the Jewish historian Flavius Josephus in the imperial triumph of 71 CE at Rome, following the subjugation of Judaea, is a matter of debate; but his account in the Bellum Judaicum along with the relief on the interior south wall of the Arch of Titus document the event for posterity. While Josephus wrote immediately following the Flavian triumph, the completion of the monument only postdates the death of Titus on 13 September 81. After the passing of a decade, it remains uncertain what sources of information were available to the sculptors of the panel of the Spoils from the Temple in Jerusalem. There are striking similarities between features of this relief and passages from the writings of Josephus. As has been remarked in the past, craftsmen at the Arch of Titus may have had access to a copy of the Jewish War with its description of the Flavian Triumph, which Josephus delivered to Titus and Vespasian before the latter’s death in 79. Moreover, there is close agreement between objects depicted on the sculpted frieze and the text of the Jewish Antiquities, which was only to reach the public many years later in 93–94. The appearance of these items in the sculpture would seem to depend on an early version of the Antiquities and for this reason should be attributed to the intervention—in one form or another—of Flavius Josephus himself.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"37 1","pages":"207 - 222"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79759922","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

Rendering visible through language: writing drawings and the literary portrait in Anne Carson’s Men in the Off Hours 通过语言呈现可见:安妮·卡森的《下班时的男人》中的绘画和文学肖像

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1980712

Arturo Cisneros Poireth

{"title":"Rendering visible through language: writing drawings and the literary portrait in Anne Carson’s Men in the Off Hours","authors":"Arturo Cisneros Poireth","doi":"10.1080/02666286.2021.1980712","DOIUrl":"https://doi.org/10.1080/02666286.2021.1980712","url":null,"abstract":"Abstract In 1992, Anne Carson published Short Talks, her first book of poetry. According to her, the book was initially conceived as a collection of drawings. In the process of its being creafted, however, the titles for these drawings gradually expanded until they became forty-five prose poems that ended up displacing the drawings from the final publication. Such displacement not only marked the beginning of a fruitful career, but also foreshadowed an enigmatic relationship which would be constantly addressed in her later work: that between drawing and writing. Even when Carson’s meditations on verbal and visual media are not constrained to the relationship between drawing and poetry, this connection is crucial to understanding her poetics, since, as she has stated many times, she considers her poems more as drawings than as texts. In this article, I embrace this interartistic provocation and, by analyzing poems from her work Men in the Off Hours (2000), I examine in which sense she considers her poems as drawings. The poems are read in the light of her theoretical proposals, especially the ones set out in her academic study, Economy of the Unlost (1999), in which she explores the relationship between visual arts and poetry.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"4 1","pages":"223 - 236"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74415791","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

Intermedia poetics in and out of Detroit’s Alternative Press 底特律另类出版社内外的媒介诗学

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-04-03 DOI: 10.1080/02666286.2021.1925039

Rebecca Kosick

{"title":"Intermedia poetics in and out of Detroit’s Alternative Press","authors":"Rebecca Kosick","doi":"10.1080/02666286.2021.1925039","DOIUrl":"https://doi.org/10.1080/02666286.2021.1925039","url":null,"abstract":"Abstract This article addresses the experimental Detroit-based publisher known as the Alternative Press, which published eccentric works of art and poetry—in the form of bumper stickers and postcards, among other useful objects—between 1969 and 1999. While the Alternative Press is largely unknown to scholars, this article traces its influences on poets, including Victor Hernández Cruz, Robert Creeley, Diane di Prima, Ted Berrigan, and Alice Notley. It suggests that although these poets (and additional Press contributors) are generally grouped according to other geographical or formal tendencies, involvement with the Alternative Press produced an aesthetics of intermedia experimentation that traversed poetic schools, eras, and allegiances in the late twentieth-century United States. It situates the Alternative Press in the context of better-known art-world movements, such as Mail Art and Fluxus, and links the Press’s founders—Ann and Ken Mikolowski—with other influential publishers and artists of the time, notably Dick Higgins. This article introduces substantial new archival research conducted at the University of Michigan Special Collections, and prompts scholars to consider how a Detroit-based publisher can remap the geographical and generic contours of late-twentieth-century US poetry.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"10 1","pages":"88 - 103"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79474773","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