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Author(s): Kees Went / Language(s): English Issue: 1/2020

In March 2019 I was invited by pianist and radio host Guy Livingstone to take part in what he referred to as ‘an architecture and law symposium’. I had met Guy not long before that after he contacted me through a mutual friend. He was interested in my views on music in relation to space, which would be the subject of his PhD at Leiden University. The interrelationship between sound, music, space and time had been a subject of my studies as a composer and a sound designer. Besides my work as a composer, I have experience as an Urban Sound Designer, which involves the sound of cities and public space. Guy had taken residence in the former American Embassy in The Hague as part of an interdisciplinary group of (international) lawyers and artists. The combination of art and law was remarkable and interesting. As a subject for the symposium, however, it kept me puzzled and I did not know what to make of it. I had trouble to see a role for myself from my experience and expertise. A further contact put things in a different perspective.

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18. YÜZYIL KÜTAHYA ÇİNİLERİNDE KULLANILAN DAMGALARIN GÖRSEL VE SEMBOLİK AÇIDAN İNCELENMESİ

18. YÜZYIL KÜTAHYA ÇİNİLERİNDE KULLANILAN DAMGALARIN GÖRSEL VE SEMBOLİK AÇIDAN İNCELENMESİ

Author(s): Eren Evin Kiliçkaya,Oya Aşan Yüksel / Language(s): Turkish Issue: 17/2020

Kütahya has been successfully carrying on the quality of being an important ceramic center with its traditional tile production, unique shape and variety of patterns since the 14th century. Kütahya has continued the production of traditional tile from the past to the present day, and in the 17th and 18th centuries it has given the most original and mature examples. It has been observed that, 18th century tiles have an important source in terms of archiving and examining these unique works in the hand-painted stamps on the tiles, in addition to the unique pattern and variety of shapes. Stamps used in Kütahya tiles respond to important technical and sociological information, such as when, by whom, and where the tile was made. For this reason, the marks on the 18th century Kütahya Tiles are thought to be an important symbol in terms of understanding the roots of our culture. When Kütahya Tiles, one of the most important symbols of local culture, are associated with the symbolic marks they possess, it is thought that this tradition, which has survived to the present day, has formed an important source in the study of social infrastructure. In this study, 18th century stamps containing shape, symbols, inscriptions and monograms in Kütahya Tiles were examined. These stamps are examined visually and symbolically and divided into four chapters; written in Ottoman, written in Armenian, monogrammed or signed, containing various shapes and symbols, and both written in Ottoman and contain symbolic shapes.

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ORYANTALİST MİMARLIĞIN SIRA DIŞI ÖRNEĞİ: KUBBESİ VE MİNARESİ İLE BUDAPEŞTE FİL AHIRI

ORYANTALİST MİMARLIĞIN SIRA DIŞI ÖRNEĞİ: KUBBESİ VE MİNARESİ İLE BUDAPEŞTE FİL AHIRI

Author(s): Oya ŞENYURT / Language(s): Turkish Issue: 8/2020

Orientalist buildings are designed with an architectural approach in which some building elements related to the architecture of Islamic countries are combined in a complex way. Both interiors and in the context of structural form associations, that brought up the imitation concerns, the western world has developed through the design approach improved for some of cliches of eastern architecture. These structures combine building elements in a variety of forms to create an associations as to the east, rather than ensuring the integrity in terms of plan schemes, functions and facade features. Especially the building of a mosque associations it has been produced for quite different and amazing functions, in the West. In this article, the reactions of Ottoman government about the building of Budapest Zoo Elephants House in the form of a mosque in 1912 was evaluated and it was aimed to construct the orientalist style of the building with its history and politics. With the effect of the industrial revolution and colonialism, it was concluded that the architecture of the eastern community, which is a cultural symbol related to their past, was transformed and became definable by the west within the cover of orientalist architecture produced.

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PİCASSO’NUN KÜBİK RESİMLERİNDEKİ KADIN İMGELERİ

PİCASSO’NUN KÜBİK RESİMLERİNDEKİ KADIN İMGELERİ

Author(s): Özlem Kireçoğlu Yavuz,Emre Şen / Language(s): Turkish Issue: 51/2020

Since the history of humanity, the image of women has always been attractive; poetry, as well as painting and sculpture, novels, stories and many other subjects have been the subject. The beauty of the woman, sometimes her ugliness, sometimes her sorrows, sorrows, tears, joys and excitement sometimes inspired a poet or a painter, sculptor, writer, composer. A woman's portrait, her naked body, her nobility, and even her identity have led to wars between very powerful civilizations. In the works of Picasso, one of the most important, different and even the most critically acclaimed artists of the 20th century, the image of woman is frequently encountered. Picasso, who has received many criticisms from some circles, has been approved and regarded as a genius by some circles, especially in his Cubic paintings, depicting women's portraits and women's bodies in different geometric shapes. Picasso stated that he was influenced by many artists and works by saying I get what I need from other artists ve and that he used what they found appropriate in his own works without hesitation. The aim of this study is to examine Picasso's works with a female image in her cubic paintings and to evaluate her perspective towards women. For his reason, this study is a qualitative research method which is a due diligence model and the data is analyzed with document analysis method. The results of the study are important in terms of analyzing the image of women in Picasso’s Works and being a source for other scientific researches.

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HOCA ALİ RIZA DESENLERİNDE ÜSLUP VE KONU ANALİZLERİ

HOCA ALİ RIZA DESENLERİNDE ÜSLUP VE KONU ANALİZLERİ

Author(s): Muteber Burunsuz / Language(s): Turkish Issue: 53/2020

Hoca Ali Rıza, who has an important place in the 19th century Turkish Painting Art, follows a realistic path in his works that include scenes from daily life, narrow streets, wooden houses and landscape views. In his more detailed oil paintings, his etudes that he created by observing the nature draw attention. In terms of subject diversity, he includes indoor works as well as outdoor works. For this reason, he pioneered the recognition of the home and cultural language of the 19th century Ottoman society. Üsküdarlı Hoca Ali Rıza, who is a military painter, trained many painters by working as an instructor in addition to his painting works. Hoca Ali Rıza, who fictionalizes his works with a solid pattern language, uses a comfortable and observant language in his sketches and drawings. He produced charcoal and watercolor works based on the observation he created with an effective language that he could capture the movement with a few lines. In the research, it is aimed to examine and evaluate the content of the subject content in the drawing and drawing studies together with the general style of Hoca Ali Rıza.

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GERÇEKLİĞİ DOĞA İLE BÜTÜNLEŞTİREN BİR SANATÇI: HAMZA İNANÇ

GERÇEKLİĞİ DOĞA İLE BÜTÜNLEŞTİREN BİR SANATÇI: HAMZA İNANÇ

Author(s): İbrahim Çoban / Language(s): Turkish Issue: 54/2020

Hamza İnanç's art can be evaluated as his paintings which he performed in Turkey in 1947-1965, which he performed in figurative understanding in Paris, which he performed in dramatic abstract understanding and his paintings which he performed after 1973. His painting style in landscape style painting, which is the interpretation of the artist's own imaginations, has not changed. Even in the abstraction period, a hidden odor of nature can be perceived. The effect of the continuous impression can be seen rather than the instantaneous impressions of a certain time period on nature and things in his paintings. The abstraction motive in his works does not greatly change the qualification of the impression. A painting that moves from nature is contented with the least of the formations that can be abstracted from nature within the framework of general approaches. However, such anxiety was enough to distinguish him decisively from the mediocre business of similar trends. Hamza İnanç has benefited neither more nor less from the impressionistic sensibility that persists in today's painting to a certain extent, as only an artist and nature observer can do. The fact that the nature impressions consist of a continuous observation provided an environment description to mix into the paintings at the same level and in the same direction with this impression. It can be said that the artist aimed to bring the hidden beauties in nature to the foreground, instead of the ugliness in nature, the motifs and subjects that give people sadness and pessimism. Hamza İnanç tried to develop the living aspects of impressionism in his landscape paintings some of which he created from Ankara and its surroundings, some of my views of the Black Sea Region, and he researched the possibilities of a contemporary impressionism. He has been become one of our artists who can combine with small halves on an impressionist line, but who do not hesitate to pursue his personal concerns.Haraza İnanç’s provided services to the art of painting and its place in Contemporary Turkish Art were examined in this study within the data obtained after literature scanning and qualitative research methods. It is thought that Hamza İnanç's works as he performed under his artist identity will contribute to the artist in the context of contemporary art in creating an original language of art and in interpreting plastic values together.

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TÜRK SANATINDA TENGRİ-TANRI DAMGASI

TÜRK SANATINDA TENGRİ-TANRI DAMGASI

Author(s): Yunus Aslan,Remzi Duran / Language(s): Turkish Issue: 54/2020

The beliefs coeval to the history of humanity and the religious practices which have developed depending upon these beliefs are related to the notion of God. In this context, even if the name or the notion of God in the minds differentiates in each belief, the God believed to be the creator has always been accepted as sacred. Human beings that leave permanent traces on the earth have wanted to state their faithfulness to God through art which is one of their vital activities. This situation has established a ground to occur the works, structures, signs or tamgas that symbolize God and the belief of the related culture. The tamga of "Tanrı" which is of a significant place also in other beliefs besides Turkish-Islamic culture emerges in this context. Tradition of sealing which has a symbolic and artistic value reveals itself also with the tamga of "Tanrı-Tengri" which is a statement of holiness besides the other tamgas of tribes in Turkish culture. Traces of this tradition have emerged on almost every kind of materials from Middle Asia to Anatolia either as directly a tamga or as a form by being turned into a motif. Some productions and signs originated in symbolism are some necessities of beliefs. It is probable that meanings of these signs have changed, been forgotten or meaningless in time. As far as we are concerned, in the beginning of its formation each symbol-tamga was meaningful to the people who composed it. In this respect, the tamga of "Tanrı" emerged on almost every kind of materials has not been placed randomly and meaninglessly. This paper is upon the notion of "Tanrı" in Turkish culture and the tamga of "Tanrı" as the reflexion of this notion in art.

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DİB YAZMA ESERLER KÜTÜPHANESİNDE BULUNAN 000598 ENVANTER NUMARALI KUR’AN-I KERİM’İN TEZHİP SANATI AÇISINDAN DEĞERLENDİRİLMESİ

DİB YAZMA ESERLER KÜTÜPHANESİNDE BULUNAN 000598 ENVANTER NUMARALI KUR’AN-I KERİM’İN TEZHİP SANATI AÇISINDAN DEĞERLENDİRİLMESİ

Author(s): Gülşen Aslan Elkiran / Language(s): Turkish Issue: 57/2021

Manuscripts are the most important parts of the cultural heritage. Manuscripts are kept in various libraries and museums in Turkey. The study aimed to evaluate the art of illumination of the Quran with inventory number 000598 in the Manuscript Library of the Directorate of Religious Affairs. The visual materials obtained as a result of the research conducted in the library. The study was conducted according to the descriptive research method. The line type used in manuscript is the Reyhani line, one of the Hüsnü Hat types. During the examination of color and motif features was determined that it reflects the characteristics of the Seljuk period. The colors used in illuminated pages generally preserve their liveliness, although a little wear on the manuscript the general condition is good.

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Obraz intelektualisty we współczesnym dyskursie fi lmowym lat 1968-1990

Obraz intelektualisty we współczesnym dyskursie fi lmowym lat 1968-1990

Author(s): Radoslaw Domke / Language(s): Polish Issue: 2/2020

In the article, I am going to present the image of Polish intellectual based on selected film motifs. The cinema of the Polish People’s Republic created a distinct type of Polish intellectual who appeared in many films. He was not, however, a homogenous type, since a noble assistant or professor was contrasted with a cynical associate professor. I will try to capture the common features and answer the question whether it is possible to talk about a specific, consistent image of an intellectual in the then Polish People’s cinema, or whether the discussed types differ from each other.

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RÖNESANS’TAN MODERN DÖNEME BATI RESİM SANATINDA OYUNCAĞIN GÖRÜNÜRLÜĞÜ

RÖNESANS’TAN MODERN DÖNEME BATI RESİM SANATINDA OYUNCAĞIN GÖRÜNÜRLÜĞÜ

Author(s): Neslihan Özgenç Erdoğdu,Figen Şerife RENDA / Language(s): Turkish Issue: 58/2021

Although children are the first thing that comes to mind when it comes to games, we encounter with games in all areas of the life in the adult world. The toy, on the other hand, is the objective dimension of the game and takes place in our lives as an imitation of a real being or as simple objects attributed with meanings. Game opens a free space for the player besides the existing world. Toys as game objects are not only personal items in this free space, they also reflect the cultural, economic, political and technological state of their eras in every aspect. When we consider art as a reflection of the culture, the image of games and toys in the art history is more associated with children. The meanings attributed to toys were parallel with the perspective towards the children in every period. The toy as an object first appears in European painting in the 15th century. Along with humanism, the developing bourgeoisie, subsequent scientific and technological advances, family life and values given to children naturally changed the point of view on toys. The rapidly changing world with the wars in the 20th century turned the toy into a mass-produced industrial product, which encouraged consumption culture. Thus, the toys detached from their original context and started serving as an intermediary in the transformation and the manipulation of societies in the hands of the cultural industry, social and political propaganda and capitalism. In this context, the toy object that is the subject of painting is a document witnessing the history. The aim of this study is to examine the visibility of the toy, which is the subject of European painting from the Renaissance to the modern period, in the history and to discuss the effect of cultural differences related to time and space on the toys through art.

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AVANGARD MANİFESTOLARIN EĞİTİM PROGRAMLARINDAKİ YERİ

AVANGARD MANİFESTOLARIN EĞİTİM PROGRAMLARINDAKİ YERİ

Author(s): Naciye Bozdoğan Akbaş,Melek Gökay / Language(s): Turkish Issue: 58/2021

Artistic and historical acts, formations and trends appeared during historical process was affected and reflected economic, political and cultural codes in the period when they were introduced and shaped. Every period in the history, art always changed and developed based on variable world conditions, and it will be influenced by the future time as much as it was influenced by its past time. 20th century was a period when there was successive mass wars, revaluations, economic crises, rapid technological developments, and individuals’ psychic trauma caused by these. In this period precisely, manifesto a political discourse which feeds especially from the depression periods emerged in the early of 20th century. The manifesto, which means the announcement of the political beliefs and aims of a social movement and the written text, shaped by the French Revolution, began to be used by art movements and artists in the 20th century. This period was the time of human being’s material and nonmaterial collapse, and artists worked for liberation, to construct a new world, to inform people, to explain their own art through publishing manifests and then art started to rise suddenly. Avantgarde manifests in this period covered all sorts of art disciplines, challenged all of the traditional art perception and made a modern breakthrough in art. Artists from many different disciplines who wanted to join movements with their avantgarde manifests published in 20th century to liberate art and life, and to promise new world, came together to start reconstructing life and art. Avantgarde manifests which were alone a text as well as an event, assisted people to resolve the code of the time when they were published and to understand modern time. In this context, this study was emphasized to examine and evaluate the place and importance of the avant-garde manifestos published in the first half of the 20th century in the education program.In this research, some questions were tried to enlight such as "What is the historical process of the avant-garde manifestos and the place of the avant-garde manifestos in the education program?"This research is conducted for art students of art cantered higher education with the objective to comprehends manifests in theory and practical courses, and to understand manifests related time, trends, artists, and their works, to produce original work in the artistic creativity process, to improve their visual literacy and writing manifest skills, to reveal the effects of writing to creativity and critical thinking and their attitudes to courses.

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The Past as a Springboard for Understanding the Present. Classical Motifs in Contemporary Art through Examples from the MENA Region and Asia

The Past as a Springboard for Understanding the Present. Classical Motifs in Contemporary Art through Examples from the MENA Region and Asia

Author(s): Zoltán Somhegyi / Language(s): English Issue: 4/2020

The re-emergence of classical forms, motifs, and media in contemporary art is an exciting field of research. In this paper, through a series of case studies, I focus on carpets, calligraphy, and photography in the oeuvre of artists working in or originating from countries with a predominantly Muslim aesthetic heritage, to see how these novel pieces can contribute to our present understanding of aesthetics and thus a better understanding of our present.

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Search for Stability: Rhythm in the Philosophies of Husserl, Deleuze & Guattari

Search for Stability: Rhythm in the Philosophies of Husserl, Deleuze & Guattari

Author(s): INETA KIVLE / Language(s): English Issue: 2/2021

During the pandemic situation while the usual order changes and the search for new elements of security become more active, rhythm studies may provide a deeper understanding of human and ongoing processes. The current study views rhythm as a force of stability in the context of Husserl’s and Deleuze & Guattari’s philosophies. It seeks common substantiation for sociality, humanity, art, and nature, showing the organic connection between a person’s internal constitution and outer environment, the rhythmic centre’s manifestations, and surroundings.

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The Gift of Emperor Michael, Papal Textiles with Chrysoclabas and Figurative Art in the Period of Iconoclasm

The Gift of Emperor Michael, Papal Textiles with Chrysoclabas and Figurative Art in the Period of Iconoclasm

Author(s): Piotr Ł. Grotowski / Language(s): English Issue: 2/2019

On Christmas of the year 811, Emperor Michael I Rangabe solemnly crowned his elder son Theophylact in the church of Hagia Sophia. On this occasion, he offered numerous precious gifts to the cathedral, which included a set of four curtains embroidered with gold and purple. Sacred images were depicted on them. These textiles have not survived to our times, and are known to us only thanks to the short record in the Theophanes’ Chronicle. However, it is possible to reconstruct their form on the basis of their preserved contemporary examples. The practice of donating silks decorated with figural religious motifs to churches is confirmed by the Book of Pontiffs. The source mentions gifts given by popes Hadrian I (772–795), Leo III (795–816), Paschal I (817–824), Gregory IV (827–844) and Leo IV (847–855) to shrines in Rome and Ravenna. The textiles mentioned by that source include both those decorated with ornamental motifs (griffins, crosses), and those adorned with evangelical scenes (Annunciation, Nativity, Entry into Jerusalem, Passion, Ascension, Descent of the Holy Spirit), as well as images of Christ and saints. The word chrisoclabum (or chrisoclavum), repeated in written sources, seems to relate to compositions placed inside medallions, and perhaps also to exceptionally precious appliqués of gold and purple fastened to the textile background. As early as 75 years ago, Wolfgang F. Volbach sought to associate two pieces of silk samite with the Annunciation and Nativity scenes (kept at the Vatican Museo Sacro; initially dated to the 6th century.) with papal gifts from the turn of the 8th and the 9th century. His hypothesis, accepted by most scholars, has recently been disputed by Anna Muthesius, who suggests a later date for both silks (after 843). Due to this fact, it seems necessary to offer a new analysis and interpretation of both textiles that will rely on the current body of knowledge about the Byzantine art of the 8th and the 9th century.

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Historical Goldsmithry in the Churches of the Archdiocese of Kraków - Remarks on the Recent Inventory

Historical Goldsmithry in the Churches of the Archdiocese of Kraków - Remarks on the Recent Inventory

Author(s): Józef Skrabski / Language(s): English Issue: 2/2019

In the years 2013–2018 a scientific project “Artisinal Handicraft in the Churches of Kraków Archdiocese,” financed by the National Humanities Development Programme (No. 11 H 120 11 681), was realized at the Institute of History of Art and Culture of The Pontifical University of John Paul II in Krakow. In its course, over 11,100 works of art in more than 160 churches were catalogued and digitalized, and over 40,000 photos were taken. The documentation was rendered available in an academic database (ram.upjp2.edu.pl). This paper is an attempt to outline the most crucial issues associated with the performed tasks, present the most interesting discoveries, such as the baroque monstrance in the Wawrzeńczyce church.

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Gatunek na usługach doktryny. Ideologia w polsko-enerdowskiej koprodukcji Milcząca gwiazda

Gatunek na usługach doktryny. Ideologia w polsko-enerdowskiej koprodukcji Milcząca gwiazda

Author(s): Maciej Peplinski / Language(s): Polish Issue: 37/2020

The East German-Polish co-production The Silent Star (1960, Kurt Maetzig) belongs to the group of early postwar Eastern European science fiction films which still remain barely examined by film and genre historians. The article summarizes the existing research on the film and investigates not only the specific formal character of Maetzig’s unprecedented project, but also the numerous ideological and political motivations which stood behind it.

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Implikacje teologiczne w twórczości motetowej na przykładzie Ave Maria (…) Virgo serena Josquina des Prés

Implikacje teologiczne w twórczości motetowej na przykładzie Ave Maria (…) Virgo serena Josquina des Prés

Author(s): Michał Olejarczyk / Language(s): Polish Issue: 19/2020

The article presents a search for certain theological implications in the work of one of the most well-known Flemish Renaissance composers, Josquin des Prés, exemplified by Ave Maria (…) Virgo Serena, one of the most perfect compositions of its times. A motet is a 4-voice musical composition to a Latin text. The source of the analysed text is probably a prayer in honour of Mary, Our Lady of Grace. The composition presents important scenes from Mary’s life. Each stanza is elaborated differently. The work contains certain motifs and theological themes that concern Mary. The analysed composition makes use of several compositional techniques. The text contains keywords that are crucial for the proper understanding of the composition. Theological content is conveyed by means of symbolic numbers and certain technical measures.

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MUZYKA BEZ GRANIC. PORTUGALSKIE FADO W PRZESTRZENI MIĘDZYKULTUROWEJ

MUZYKA BEZ GRANIC. PORTUGALSKIE FADO W PRZESTRZENI MIĘDZYKULTUROWEJ

Author(s): Karolina Golemo / Language(s): Polish Issue: 58/2019

In 2011 fado was added to the UNESCO Intangible Cultural Heritage List, but much before it started to function as a Portugal’s music trade mark. Fado lovers believe that it is a reflection of the Portuguese soul. The genre can be traced to the 19th century’s poor districts of Lisbon (Alfama, Mouraria), however some ethnomusicologists increasingly emphasize its earlier African‑Brazilian origins. For more than two hundred years of its existence, fado passed through different phases of development, reaching diverse public, first in Portugal and then abroad. In times of the dictatorship Antonio Salazar’s regime tried to influence fado by introducing censorship and specifying rigid rules of performance. The aim of this article is to show the evolution of the Portuguese fado and its modern interpretations, resulting from the fusion of this genre with other forms, such as bossa nova, jazz, folk, pop, or tango. This blurring and softening of the music boundaries is illustrated with the example of surprising connections between fado and Angolan, Capeverdean, Andalusian, Brazilian or Jewish music. The principal argument of the article is the idea that nowadays fado exceeds many borders: the limits of social groups, cultural and ethnic areas, countries and music genres.

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OSWALD SPENGLER AND HIS INTERPRETATION OF THE ANCIENT EGYPTIAN CIVILISATION

OSWALD SPENGLER AND HIS INTERPRETATION OF THE ANCIENT EGYPTIAN CIVILISATION

Author(s): David Engels / Language(s): English Issue: 72/2021

Spengler’s Decline of the West is generally read in view of Spengler’s bleak prophecies concerning the future of the West. This somewhat obscures his contribution to comparative history and his interest not only in Classical Antiquity and the West, but also in the Ancient Near East. In this paper, we will first present and critically analyze the outlines of Spengler’s interpretation of Ancient Egyptian History in the field of art history, politics and religion, before venturing some conclusions and personal remarks about the important question whether Spengler’s endeavor must be considered helplessly outdated and refuted by modern research, or whether it still has a potential to serve as the basis of a new, upto-date morphology of history.

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Wektor poetycki w biografiach artystów: Olga Boznańska, Wojciech Weiss, Jerzy Tchórzewski

Wektor poetycki w biografiach artystów: Olga Boznańska, Wojciech Weiss, Jerzy Tchórzewski

Author(s): Aneta Grodecka / Language(s): Polish Issue: 35/2019

Starting from the contemporary trends in biography and referring to findings in the field of anthropology of writing and new materialism, the author analyzes poetic forms created in painting studios. She considers the works of O. Boznańska, W. Weiss and T. Tchórzewski as poetic manifestations of the literary practice of everyday life, a type of poeticised documents. The presence of poetry in artists’ lives is multi-faceted: loose pages preserved in a scrapbook, entries in a journal and autonomous works printed in the press, hence their role in creative biography is different. The common ground is a syncretic perception of creativity; the preserved texts co-create a kind of artistic site where the boundaries between the publication, the exhibition and the project performance blur, requiring special editing operations.

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