...A novel is a long prose narrative that describes fictional characters and events, usually in the form of a sequential story. The genre has historical roots in antiquity and the fields ofmedieval and early modern romance and in the tradition of the novella. The latter, an Italian word used to describe short stories, supplied the present generic English term in the 18th century. Further definition of the genre is historically difficult. The construction of the narrative, theplot, the relation to reality, the characterization, and the use of language are usually discussed to show a novel's artistic merits. Most of these requirements were introduced to literary prose in the 16th and 17th centuries, in order to give fiction a justification outside the field of factual history. ------------------------------------------------- Definition[edit] Gerard ter Borch, young man reading a book c.1680, the format is that of a French period novel. | Madame de Pompadourspending her afternoon with a book, 1756 – religious and scientific reading has a differenticonography. | The fictional narrative, the novel's distinct "literary" prose, specific media requirements (the use of paper and print), a characteristic subject matter that creates intimacy, and length can be seen as features that developed with the Western (and modern) market of fiction. The separation of the field of literary fiction from the field of historical narrative fueled the evolution of these features in the last 400 years...
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...counterpart’s narrative is necessary this is because at its best, male art is only an incomplete picture of true feminine influence in society. The picture remains incomplete. The solution for this problem is to reintroduce women into art galleries and history books and in the process, make them and their work more accessible and available. It involves teaching the world that women played an important part in the creation of art and society as a whole. The goal is that by reintegrating women in mainstream art, society as a whole...
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...Hongxin Liu Professor Name：MR. CRAIG J. PERRIER HIST 3131: World History Since 1945 March 31, 2016 Part A: Sharing Knowledge with Metropolitan Museum of Arts My name is Hongxin Liu, and I am enrolled at Northeastern University’s College of Professional Studies in Bachelors in Business Studies. I have been enrolled in some courses this semester among which World History Since 1945 is a course which relates to the historical development and transformations all over the world. The course provides an opportunity to trace the significant events in all parts of the world and identifies their individual and synergic influence on the globalization, Economy and International Relations. In the context of the course requirements, the class is expected to engage with an organization to take an informed action in the form of suggestion or editorial. I have chosen Metropolitan Museum of Arts as my organization. The Metropolitan Museum of Arts is a tremendous resource of collection and exhibits collected from all over the world and makes connections to the world history and culture. The Met Museum explores the world art and history from various perspectives as captured by transnational artists, painters and photographers. The 1945’s atomic bomb dropping on Hiroshima and Nagasaki were a changing point of history. The bombs caused a widespread destruction in both cities almost flattening them to the ground. This was the point when World War II came to the conclusion with Japan’s surrender...
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...Architects. Vasari’s art historical narrative, seemingly a record of the lives of certain Renaissance artists, is the account of how art gradually achieved perfection, by building upon the achievements of the past in order to ultimately attain that perfection at the beginning of the 16th century. A process Vasari himself confirms in The Lives when he says, Having very carefully turned all this over in my mind, I have come to the conclusion that it is inherent in the very nature of these arts to progress step by step from modest beginnings, and finally to reach the summit of perfection.” Vasari’s work was the first systematic history of art, and, as such, it represents an important milestone in the history of Renaissance art. It is important to recognize the structure he gave his book, for it is revealing about the kind of historical narrative that he wanted to create. Vasari wrote biographies of individual artists, thereby acknowledging the distinctive achievements of each. He then organized these separate lives into three distinct periods, introduced by prefaces in which he described the common characteristics of their artworks and also placed their work—as he sees it—into a larger narrative about what happens to art over time. Vasari’s method for compiling this history of artists—by writing biographies of individuals, in which he describes their personalities, their achievements, and their genius—resembled the work of his contemporaries who wrote the histories of rulers, generals...
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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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...PREFACE THE BOOK I DIDN’T WRITE I n march 2003 i was having dinner in london with Faber and Faber’s editor of film books, Walter Donohue, and several others when the conversation turned to the current state of film criticism and lack of knowledge of film history in general. I remarked on a former assistant who, when told to look up Montgomery Clift, returned some minutes later asking, “Where is that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to separate personal favorites from those movies that artistically defined film history. Compiling was the easy part—then came the first dilemma: why was I selecting these films? What were my criteria? What is a canon? It is, by definition, based on criteria that transcend taste, personal and popular. The more I pondered this, the more I realized...
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...Perhaps one of the greatest archaeological finds of the nineteenth century is the Hermes and Infant Dionysus. When I first saw this sculpture at the Louvre in Paris, France, I immediately disregarded it because the tour guide stated that it was a replica of the original located in Olympia, Greece. I thought that it was not worth observing or critiquing, but what I failed to realize is that even the original pieces are composite statues. When ancient statues are recovered, archaeologists and art historians must use their knowledge and expertise to restore the piece to its original beauty. Many times not all the parts of the art piece are located or able to be fully restored, so the artists must add on the missing parts. A typical occurrence...
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...HANDOUT 13 Internet Resources Muslim Contributions to Civilization: Past and Present I. Islam and Science A. (Article) Science and Civilization in Islam (Seyyed Hossein Nasr) http://www.fordham.edu/halsall/med/nasr.html B. Overview of Islamic Culture and the Medical Arts (National Library of Medicine Exhibit) http://www.nlm.nih.gov/exhibition/islamic_medical/islamic_00.html C. Resource page of Islam SET (Science, Environment and Technology) ( www.islamset.com) http://www.islamset.com/introd.html i. History of Islamic Science http://www.islamset.com/heritage/history.html ii. History of Muslim Pharmacology http://www.islamset.com/heritage/pharmacy/index.html D. History of Islamic Biomedicine (links to many articles on this topic, including chronology of Muslim civilization) http://www.mic.ki.se/Arab.html E. Numbers http://www.islamic-paths.org/Home/English/History/Literature/Arabic_Numerals.htm II. Environment A. Islam and the Environment, theory and practice (Dr. Mawil Izzi Dien) http://www.lampeter.ac.uk/trs/staffgallery/mawil_paper.html B. (Article) Islam and Ecology http://www.crosscurrents.org/islamecology.htm III. History and Civilization A. History of Islamic Civilization http://www.islamset.com/islam/civil/index.html - and http://www.fordham.edu/halsall/islam/islamsbook.html Pg. 1 HANDOUT 13 B. Influence of Islamic Culture on Western Civilization http://www.netiran.com/Htdocs/Clippings/Social/950300XXSO02...
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...Beginning in the mid-twentieth century, Native American artists exercised the ability to enter the contemporary art world as masters of their mediums and carriers of their dual Native and American heritage. Fritz Scholder carved his place in the art world, and the museum, achieving a balance between the desire to enter the mainstream art world and maintain traditional practices. Scholder’s role in the context of an art institution, which has driven the dissemination and selection of Native Art, entailed challenging the fields of art history, anthropology, ethnology, the museum, and history. The construction and narrative that is instilled in Native American objects involves acknowledging a past, present and future. Fallacies in interpretation were results of collecting with little regard for context that...
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...Art in history This article is an overview of the history of the visual arts worldwide. For the academic discipline of art history, see Art history. The Creation of Adam (1508-1512), byMichelangelo, in the Sistine Chapel (Vatican) | * | * | | History of art | * Prehistoric * Ancient * European * Eastern * Islamic * Painting (Western) | Art history | * v * t * e | The history of art is the history of any activity or product made by humans in a visual form for aesthetical or communicative purposes, expressing ideas, emotions or, in general, a worldview. Over time visual art has been classified in diverse ways, from the medieval distinction between liberal arts and mechanical arts, to the modern distinction between fine arts and applied arts, or to the many contemporary definitions, which define art as a manifestation of human creativity. The subsequent expansion of the list ofprincipal arts in the 20th century reached to nine: architecture, dance, sculpture, music, painting, poetry (described broadly as a form of literature with aesthetic purpose or function, which also includes the distinct genres of theatre and narrative), film,photography and graphic arts. In addition to the old forms of artistic expression such as fashion and gastronomy, new modes of expression are being considered as arts such as video, computer art, performance, advertising, animation, television andvideogames. The history of art is a multidisciplinary...
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...despise writing assignments, and I always procrastinate when I have to work at home. Now I find myself enjoying some of the writing tasks. I still think some papers are pointless, but I have started to enjoy prompts such as narrative writing. In fact, I have even started to write my own story for fun. As a writer, I’d say I use pretty good language. I can describe things well, I’m good at organization, but I can improve on all of these. I also need to work on concentrating so that I don’t have to work late. A writer always has room to grow. While one may be excellent in some parts of writing, they’re not the best at everything. For me, I’d say I’m good at descriptions,...
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...of some critics, the form of comics is a locus of the archival, a place where we can identify an archival turn. Art Spiegelman’s Maus first and perhaps most forcefully established the connection between archives and comics. His groundbreaking work documenting his father’s experience in WWII Poland, where he survived internment in Auschwitz, is a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other. Hillary Chute recounts and interprets her collaboration with Spiegelman in the process of assembling MetaMaus, a book compiling interviews and archival materials on the making of Maus. MetaMaus, argues Chute, reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of (re)building new archives that motivates Maus. Its defining feature is that it shows the materiality of Spiegelman’s archive; it is about the embodiment of archives. The subject of Maus is the retrieval of memory and ultimately, the creation of memory…. It’s about choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing. Those are the things that give real tensile strength to the work—putting the dead into little boxes. – Art Spiegelman (MetaMaus 73) Maus: A Survivor’s Tale is a book about archives. And the book about making Maus, MetaMaus...
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...Photography and Time-Base Media Another type of two-dimensional media is photography and camera art, this type of media allows the artist to explore the fourth dimension – time. Camera record the world around us, and the history of the camera is a history of technologies that record our world with ever0inceasing sophistication and expertise. Photography started in 1838 with still images, but the still images generated the though that might be possible to capture the object in motion as well. The Kinetoscope, which was invented by Thomas Edison and W.K. Laurie Dickson was the first continuous film motion-picture viewing machine. The process of silent moving images progressed into “talkie” and then added color. Photography • Photography – from the Greek phos, “light,” and graphos, “writing,” literally “writing with light” • You can photograph anything you can see • Creation is the process of asseblage • Photography is a process of asseblage, instant collage Early History • Camera – Latin world for “room” • Camera obscura – to copy nature accurately (A small hole on the side of a light-tight room admits a ray of light that projects a scene, upside down, directly across the hole onto a semitransparent white scrim. ) • Major drawback – While it could capture the image it could not preserve it. • Problem was solved in 1839, by fixing negative images on paper coated with light sensitive chemicals, a process that he called photogenic drawing. • In France a...
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...KOREAN LITERATURE Korean literature is the body of literature produced by Koreans, mostly in the Korean language and sometimes in Classical Chinese. For much of Korea's 1,500 years of literary history, it was written in Hanja. It is commonly divided into classical and modern periods, although this distinction is sometimes unclear. Korea is home to the world's first metal and copper type, world's earliest known printed document and the world's first featural script. ------------------------------------------------- General overview In general, the written arts have a tradition in epigraphic inscriptions on stones, in early tombs, and on rarely found bamboo pieces that formed early books. Repeated invasions and sacking of the east and west capitals, as well as the difficulty in preserving written texts on bamboo, make works before 1000 rare. Those works were entirely written in Chinese characters, the language of scholars, but of course incorporated Korean words and mindset. Medieval scholars in Korea learned and employed written Chinese as western schoolmen learned Latin: as a lingua franca for the region. It helped cultural exchanges extensively. Notable examples of historical records are very well documented from early times, and as well Korean books with movable type, often imperial encyclopedias or historical records, were circulated as early as the 7th century during the Three Kingdoms era from printing wood-blocks; and in the Goryeo era the world's first metal type...
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...In the age where media inhabits numerous conduits for the production of culture it is difficult to imagine culture without its mediated form, from television and comic books to fashion and postcards, culture is derived through a range of diverse vehicles. We experience our cultural life through media in various ways. Modern society is founded on universal law, enlightenment of reason and science is solution to social problems, utopia is possible (except the poor will always be poor); Western-centric humanism will save the world; mass consumption means mass employment and modern society contained in the grand narrative of history. Progressive social transformation of the post-modern turn will take us on new adventures; resituating science, technology, society & capitalism into a multi-perspective and multi-disciplinary framework. One attempt to account for the emergence of post-modern condition is the shift during the 20th century of the economic needs of capitalism from production to consumption. Reality is what we see fit by these various forms of seductive illusion. The prefix ‘post’ clearly implies a break, a relation to a period that has happened before. In the case of post-modernism the previous period is undoubtedly ‘modernism’. Thus, postmodernism refers to a breakdown of the distinction between culture and society - emergence of a social order in which the importance and power of the mass media and popular culture means that they govern and shape all forms of social relationships...
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