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Columbia University. Department of Art History and Archaeology,Wildenstein and Company (New York, N.Y.),Philadelphia Museum of Art
Author : Columbia University. Department of Art History and Archaeology,Wildenstein and Company (New York, N.Y.),Philadelphia Museum of Art Publisher : Unknown Page : 222 pages File Size : 50,9 Mb Release : 1971 Category : Art, Modern ISBN : UOM:39015007671814
From Realism to Symbolism: Whistler and His World by Columbia University. Department of Art History and Archaeology,Wildenstein and Company (New York, N.Y.),Philadelphia Museum of Art Pdf
First published in 1984. Signs for the Times explores imaginative and creative relationships between three major areas of mid-Victorian arts: literature, painting and architecture. Through the detailed critical analysis of particular novels, prose writings, paintings and buildings, Chris Brooks establishes a fusion of realistic and symbolic values that he sees as central to the Victorian creative imagination. He argues that the creative achievement of the mid-nineteenth century needs to be seen far more as a whole than it has previously, and that fundamental imaginative terms are common to art and architecture, to major theoretical writers such as Carlyle, Ruskin and Rugin as well as to the central literary figure of Dickens. All those interested in literature, art, or architecture will welcome this interpretation of symbolic realism within the mid-Victorian world.
The Symbolist Movement in the Literature of European Languages by Anna Balakian,Anna Elizabeth Balakian Pdf
Edited by Anna Balakian, this volume marks the first attempt to discuss Symbolism in a full range of the literatures written in the European languages. The scope of these analyses, which explore Latin America, Scandinavia, Russia, Poland, Hungary, Serbia, Czechoslovakia, and Bulgaria as well as West European literatures, continues to make the volume a valuable reference today. As René Wellek suggests in his historiographic contribution, the fifty-one contributors not only make us think afresh about individual authors who are giants, but also draw us to reassess schools and movements in their local as well as international contexts. Reviewers comment that this copious and intelligently structured anthology, divided into eight parts, traces the conceptual bases and emergence of an international Symbolist movement, showing the spread of Symbolism to other national literatures from French sources, as well as the symbiotic transformations of Symbolism through appropriation and amalgamation with local literary trends. Several chapters deal with the relationships between literature and the other arts, pointing to Symbolism at work in painting, music, and theatre. Other chapters on the psychological aspects of the Symbolist method connect in interesting ways to a vision of metaphor and myth as virtually musical notation and an experimental emphasis on the play afforded by gaps between words. The volume is a major contribution to the most significant exponents and essential themes of Symbolism. The theoretical, historical, and typological sections of the volume help explain why the impact of this important movement of the fin-de-siècle is still felt today.
Realism and Naturalism by Richard Daniel Lehan Pdf
In this intellectual and literary history of American, British, and Continental novels of realism and naturalism from 1850 to 1950, Richard Lehan argues that literary naturalism is a narrative mode that creates its own reality. Employing this strategy allows and encourages intertextuality - one novel talking or responding to another.
Between Symbolism and Realism by Bennie H. Reynolds III Pdf
Bennie H. Reynolds analyzes of the language (poetics) of ancient Jewish historical apocalypses. He investigates how the dramatis personae, i.e., deities, angels/demons, and humans are described in the Book of Daniel (chapters 2, 7, 8, and 10–12) the Animal Apocalypse (1 Enoch 85–90), 4QFourKingdoms(a-b) ar, the Book of the Words of Noah (1QapGen 5 29–18?), the Apocryphon of Jeremiah C, and 4QPseudo-Daniel(a-b) ar. The primary methodologies for this study are linguistic- and motif-historical analysis and the theoretical framework is informed by a wide range of ancient and modern thinkers including Artemidorus of Daldis, Ferdinand de Saussure, Charles Peirce, Leo Oppenheim, Claude Lévi-Strauss, and Umberto Eco. The most basic contention of this study is that the data now available from the Dead Sea Scrolls significantly alter how one should conceive of the genre apocalypse in the Hellenistic Period. This basic contention is borne out by five primary conclusions. For example, while some apocalypses employ symbolic language to describe the actors in their historical reviews, others use non-symbolic language. Some texts, especially from the Book of Daniel, are mixed cases. Among the apocalypses that use symbolic language, a limited and stable repertoire of symbols obtain across the genre and bear witness to a series of conventional associations. While several apocalypses do not use symbolic ciphers to encode their historical actors, they often use cryptic language that may have functioned as a group-specific language. The language of apocalypses indicates that these texts were not the domain of only one social group or even one type or size of social group.
A breathtaking and superbly designed volume on the influential form of the Realist to Art Nouveau art movements. It lets you trace the roots of modern art, beginning with Realist paintings such as Courbet's The Stonebreakers and Millet's The Gleaners - works that shocked mid-19th-century Paris with their unblinking depiction of the lives of the poor. From Realism to Art Nouveau beautifully captures this turbulent era with an incisive text and breathtaking reproductions of works by Manet, Rossetti, Sargent, Monet, Seurat, Cezanne, Van Gogh, Gauguin, Rodin, Klimt and others.
Although by writers better known for their verse and narrative prose, the plays of the Symbolists were not intended, like the dramatic poems of the Romantics, for the study rather than the stage. Instead, they are highly theatrical creations in a new style that demanded a new style of production. Meyerhold played a decisive role in the new Symbolist theatre and it was his production of Blok’s The Puppet Show in Komissarzhevskaya’s Theatre that launched the new direction in Russian drama. Among the works collected here are the plays The Puppet Show and The Rose and the Cross (Blok), The Triumph of Death (Sologub), The Comedy of Alexis and The Venetian Madcaps (Kuzmin), Thamyris Kitharodos (Annensky), and The Tragedy of Judas (Remizov) and essays by Briusov, Blok, Ivanov, Bely, Sologub, and Andreyev. Rounding out this essential anthology are Michael Green’s general introduction, as well as insightful prefaces for each writer, placing the plays and essays into their cultural and historical contexts.
"More than any other artist in the Impressionist group, Degas was fascinated by ideas and consciously based his work on them. "What I do is the result of reflection and study of the great masters," he once confessed, "of inspiration, spontaneity, temperament I know nothing." Yet his work has been understood very inadequately from that point of view. Publications on him, once dominated by memoirs inspired by his remarkable personality, are now concerned with cataloguing and studying limited aspects of his complex art. Its intellectual power and originality, which were evident to contemporary writers like Duranty and Valery, have not been studied sufficiently by more recent critics. It is this side of Degas's art--as seen in his ingenious pictorial strategies and technical innovations, his use of motifs like the window, the mirror, and the picture within the picture, his invention of striking, psychologically compelling compositions, and his creation of a sculptural idiom at once formal and vernacular--that is the subject of these essays. Inevitably, given the range of his intellectual interests, the essays are also concerned with his contacts with leading novelists and poets of his time and his efforts to illustrate or draw inspiration from their works. Throughout, the author makes use of an important, largely unpublished source, the material in Degas's notebooks, on which he has recently published a complete catalogue"--Publisher's description.
Alternative Paradigms of Literary Realism by D. Adams Pdf
Using the traditional genres of allegory, pastoral, and parable, this book develops alternative paradigms of literary realism with which to reexamine a group of crucial but marginalized 20th century writers who have been misread as conventional mimetic realists.
Reality and Illusion in Tennessee Williams’ “A Streetcar Named Desire" by Ilona Sontag Pdf
Seminar paper from the year 2009 in the subject Didactics for the subject English - Literature, Works, grade: 1,7, RWTH Aachen University (Institut für Anglistik I), course: Hauptseminar "American Drama", language: English, abstract: Tennessee Williams, born Thomas Lanier Williams, is not only known for being a “talented, perceptive and influential American playwright” (Day 1987, vii), but also for his frequent use of symbols. “A Streetcar Named Desire” (1947), the work which will be dealt with in this paper, is a good example for of usage, since it contains a lot of different kinds of symbolism, for example concerning colours, names, music and many more. Numerous works will be found, if anyone searches for essays about symbolism in Williams’ works. Moreover, it is common knowledge that Streetcar is a play which deals not only superficially with a woman going insane, but a play which “bring[s] into violent contrast a neurotic woman’s dream world and the animalistic realism of her brother-in-law” (back of the book in the Diesterweg edition). But since there does not seem to be any work which deals with the question of how exactly Williams drew this contrast by use of symbolism, it will be my aim in this paper to analyse this question. Consequently, I will try to point out the main symbols with which Williams underlined the contrast between realism and illusion, especially considering names, colours, clothes, light, music and certain rituals of the main characters. In the second part of this paper, I will deal with the question to what degree the main characters Stanley and Blanche are strictly opposed to each other or may have something in common. I will also deal with the meaning of the ending concerning realism and illusion. Therefore, what will be discussed are the most striking antinomies and similes in the main characters’ attitudes. A general conclusion about the topic of symbolism in Tennessee Williams’ Streetcar will be given in the end. To introduce the reader to the topic and also to justify my choice of symbols, a definition of the notion of symbolism will be given right at the beginning of this paper. This will be done by including different approaches, so that a broader definition can be given. Furthermore, for this paper is based on symbolism in Streetcar by Tennessee Williams, it may also be very interesting for the reader to have a look at Williams’ attitude towards symbols which will be done at the end of the second chapter. One last point to mention in this introduction is that due to space restrictions not all symbols concerning the topic of illusion and realism can be discussed in this paper. Nevertheless, it is my aim to present the most striking ones.
William Holman Hunt and Typological Symbolism (Routledge Revivals) by George P. Landow Pdf
In this study, first published in 1979, Landow contends that Hunt’s version of Pre-Raphaelitism concerned itself primarily with an elaborate system of painterly symbolism rather than with a photographic realism as has been usually supposed. Like Ruskin, Hunt believed that a symbolism based on scriptural typology – the method of finding anticipations of Christ in Hebrew history – could produce an ideal art that would solve the problems of Victorian painting. According to Hunt, this elaborate symbolism could simultaneously avoid the dangers of materialism inherent in a realistic style, the dead conventionalism of academic art, and the sentimentality of much contemporary painting. George Landow examines Hunt’s work in the context of this argument and, drawing on much unknown or previously inaccessible material, shows how he used texts, frames, and symbols to create a complex art of mediation that became increasingly visionary as the artist grew older. This book is ideal for students of art history.
