...When first approaching the painting the most evident object seen is a tall cross in the top right corner of the canvas. Upon further study, there are many elements that draw the eye to the cross. I believe the artist has intended to make the cross the focal point of the piece. It is not by the name of the painting, which has lead to this conclusion, but all the design decisions displayed in the artwork. The painting is a narrative, representational artwork that illustrates a town or village nestled down in a snowy valley. The overall texture of the paint is smooth with a few rises in small places on the canvas. In the areas with the most common tonal range, the oil paint is smooth and blended. Where there are the most detail and contrast, the paint strokes are thicker and more defined. While there a few interesting objects in the piece, such as a sleigh with logs and a couple of people, its most intriguing quality is the way the artist has forced us to see primarily the cross, and hold our attention to it. The painting generates an inquisitive searching in the viewer. What is the cross? What does it mean? Why is it so important? A large open area behind the cross offers the eye a resting point, from the more detailed and busy areas of the painting. The cross is dark and creates tonal contrast against a bright backdrop of trees on a mountain. The trees are harmonious in colour. The use of subtle tints of orange, pink, and yellow make the trees on the mountain look like they are...
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...Description: The title of my work is “Monster Insides”. This artwork is an example of surrealism, which is art inspired by the unconscious mind. It is made up of different images put together into one work. It includes images like a photo of me in the middle staring at a mirror which reflects back a monster/demon like creature. It also includes the stormy sky at the window, a noose hanging from the ceiling, a person looking through one of the cupboards and a slightly visible demon like creature in the bottom left corner. Analysis: Non-traditional principles like editing were used in this artwork. Editing was clearly used to add, change, resize, etc. images into this artwork to create the piece. Other elements that were used were colour, space and value. Firstly, colour was demonstrated by primary colours like red and secondary colours like purple in this work. It was also demonstrated due to the different hues different objects had, for example images/objects that were more in the light had a lighter hue compared to images/objects that were in darker areas of the image. Secondly, space was shown by the contrast of negative and positive space of each object/image in...
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...The painting Marguerite (c.1909) by Guy Rose is currently on exhibition at the Bowers Museum. The painting displays the attractively detailed figure of Marguerite reading a book on what appears to be a living room. According to the Bowers Museum, “Marguerite was a model he [Guy Rose] frequently employed in France.”1 Marguerite's face stands out in contrast to the colors used for the kimono that she is wearing. Perhaps, the kimono is meant to give the sensation of calmness, relaxation or even to make notion of Marguerite’s wealth2. Additionally, her smooth face reflects tranquility as her delicate features displays beauty and elegancy. Marguerite contemplates down towards the book that rest on her legs, as her right arm supports her head. The book is highlighted by a white light. On the upper left corner, before Marguerite’s right hand, one can appreciate part a fragmented art piece. The semi-oval figure portraits a body, that appears to have feminine characteristics, which seems to overlap over the shaded blue background. Also, presented to the left side of the painting, a flower pot with a smooth surface is filled with vivid colored white, orange and pink flowers. As the title implies, Marguerite is the main focus on this paint, and to assure that the viewer attention is on Marguerite, Guy made the painting so that the sunlight (on a diagonal line), flowers (horizontal line) and imaginary lines seem to point into Marguerite’s direction. The loose brushwork employed by Rose...
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...(1) Creating visuals of recognizable objects, distorted to create a certain sense or feeling. In the case of this painting it is to create the visual and feeling of war, things being blown up and pieces coming apart, but yet they’re all still connected enough to know their shape. The effects of the colorations within the mural create a dreary and dark feeling. (1) It gives me the sense of nothing being positive within this painting. But at the same time, the photo isn’t black and white. It’s not an obvious or apparent picture of something specific that everyone would mutually understand. It’s a mixture of feelings and views, which is also evident in the use of colors. Different shade of black and white, creating different tones of grey, to represent the “grey area” within the...
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...Final Critical Essay What is love? Love knows no reasons. Love knows no lies. Love defies all reasons. Love has no eyes. Love is not blind; it sees but it doesn't mind. Love knows not its own depth until the hour of separation. Love is so easy to feel, so hard to explain; easy to get, so hard to let go; easy to spell, so hard to define. Love is an emotion that consists of three components; intimacy, passion and commitment, it is an emotional and physical feeling which takes over your whole state of mind and how you feel. There are many definitions and views of love, and the Merriam-Webster dictionary has ten definitions for love in it but it seems as though it doesn’t have any good definitions of love. However I carefully searched for an adequate definition and it was found in the most surprising place, a place that should have been the most obvious but not wanting to start controversy, I refused to see what was sitting right in front of me, a poem. One might say that a poem couldn’t possibly demonstrate the meaning of love. Conversely, many disagree; a poem could in fact demonstrate the meaning and feeling of love. A poem are the words that come from a person’s heart, mind, or soul, meaning it is personal and no one can know the true definition and meaning of something unless one has experienced it. With that being said, a poem, specifically, a poem by Elizabeth Barrett Browning, “How Do I Love Thee?” demonstrated the preeminent meaning of love, compared to all other...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...[pic][pic] [pic]Copyright © 2005 West Chester University. All rights reserved. College Literature 32.2 (2005) 103-126 [pic] | |[pic][pic][pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | | | | | | | | | | | | | | | | | |Access provided by Northwestern University Library ...
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...nd Ontology aa e ysics of Ide etaph as M rn de o Id An Ess M Marc A. Hight ay i nE ar ly Idea and Ontology Idea and Ontology an essay in early modern metaphysics of ideas marc a. hight t h e p e n n s y l va n i a s t at e u n i v e r s i t y p r e s s u n i v e r s i t y p a r k , p e n n s y l va n i a Library of Congress Cataloging-in-Publication Data Hight, Marc A., 1969– Idea and ontology : an essay in early modern metaphysics of ideas / Marc A. Hight. p. cm. Summary: ‘‘Provides an interpretation of the development of the ontology of ideas from Descartes to Hume that reaffirms the vital role metaphysical concerns played in early modern thinking’’—Provided by publisher. Includes bibliographical references and index. isbn 978–0-271–03383–9 (cloth : alk. paper) 1. Ontology. 2. Idea (Philosophy). 3. Metaphysics. I. Title. BD301.H54 2008 110.9—dc22 2008002466 2008 The Pennsylvania State University All rights reserved Printed in the United States of America Published by The Pennsylvania State University Press, University Park, PA 16802–1003 Copyright The Pennsylvania State University Press is a member of the Association of American University Presses. It is the policy of The Pennsylvania State University Press to use acid-free paper. This book is printed on Natures Natural, containing 50% post-consumer waste, and meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Material...
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...reading’, the meaning of a work of art could be deduced, it was presumed, from a close critical analysis of the autonomous object. This approach is not without appeal: in giving prominence to beauty and aesthetic experience, one assumes some degree of congruence between the aesthetic intent of the artist and the affective response of the intended viewer, both of which are vested in the work itself. In other words, situating the import of an aesthetic work within the object itself, rather than, let’s say, in its cultural context, enables one to circumvent the complex issues of production and reception, not to mention the apparent gap that separates the two. The art-historical counterpart of New Criticism, perhaps best exemplified in the formalism of Heinrich Wölfflin, Roger Fry and Clement Greenberg, found itself on the defensive during the last quarter of the twentieth century.1 Following the historicist and postmodernist currents of the day, art historians were increasingly critical of approaches predicated on the presumed autonomy of the object. Moving away from the self-contained object, scholars placed increased emphasis on the object’s Sitz im Leben – the social, political, and institutional context from which the work emerged. Historians of Buddhist art were not immune to these developments. Where their predecessors engaged in formal and stylistic analysis, iconography, connoisseurship and other methodologies that foreground...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...Management 04 03. Management Accounting Business Strategy 21 04. Q & ANS : Business Environment 39 05. Q & ANS : Business Policy & Strategic Management 48 06. Q & ANS : Strategic Analysis 57 07. Q & ANS : Strategic Planning 65 08. Q & ANS : Formulation of Functional Strategy 71 09. Q & ANS : Strategy Implementation & Control 79 10. Q & ANS : Reaching Strategic Edge 85 11. Case Studies 93 12. Short Questions 99 Paper 6: Information Technology and Strategic Management (One paper – Three hours – 100 Marks) Level of Knowledge: Working knowledge Section A: Information Technology (50 Marks) Section B: Strategic Management (50 Marks) Objectives: (a) To develop an understanding of the general and competitive business environment, (b) To develop an understanding of strategic management concepts and techniques, (c) To be able to solve simple cases. Contents 1. Business Environment General Environment–Demographic, Socio-cultural, Macro-economic, Legal/political, Technological, and Global; Competitive Environment. 2. Business Policies and Strategic Management Meaning and nature; Strategic management imperative; Vision, Mission and Objectives; Strategic levels in organisations. 3. Strategic Analyses Situational Analysis – SWOT Analysis, TOWS Matrix, Portfolio Analysis – BCG Matrix. 4. Strategic Planning Meaning, stages, alternatives, strategy formulation. 5. Formulation of Functional Strategy Marketing strategy, Financial strategy, Production...
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...Management 04 03. Management Accounting Business Strategy 21 04. Q & ANS : Business Environment 39 05. Q & ANS : Business Policy & Strategic Management 48 06. Q & ANS : Strategic Analysis 57 07. Q & ANS : Strategic Planning 65 08. Q & ANS : Formulation of Functional Strategy 71 09. Q & ANS : Strategy Implementation & Control 79 10. Q & ANS : Reaching Strategic Edge 85 11. Case Studies 93 12. Short Questions 99 Paper 6: Information Technology and Strategic Management (One paper – Three hours – 100 Marks) Level of Knowledge: Working knowledge Section A: Information Technology (50 Marks) Section B: Strategic Management (50 Marks) Objectives: (a) To develop an understanding of the general and competitive business environment, (b) To develop an understanding of strategic management concepts and techniques, (c) To be able to solve simple cases. Contents 1. Business Environment General Environment–Demographic, Socio-cultural, Macro-economic, Legal/political, Technological, and Global; Competitive Environment. 2. Business Policies and Strategic Management Meaning and nature; Strategic management imperative; Vision, Mission and Objectives; Strategic levels in organisations. 3. Strategic Analyses Situational Analysis – SWOT Analysis, TOWS Matrix, Portfolio Analysis – BCG Matrix. 4. Strategic Planning Meaning, stages, alternatives, strategy formulation. 5. Formulation of Functional Strategy Marketing strategy, Financial strategy, Production...
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