Artistic Conventions Research Articles

英glish 影fluence: Ouyang Yu’s bilingual and self-translated poetry

How can the innovative spirit of a poet catalyse the breaking of traditional artistic conventions and engender a transformative effect within the realm of poetry? Ouyang Yu is one of the pioneers of English–Chinese bilingual poetry and self-translation in Australia. As a translingual and cross-cultural poet who has long been active in Australia and China, Yu’s linguistic and poetic experiments show a passion for innovation and a rebellious spirit. This article explores Yu’s bilingual poetry by drawing on a new classification method which distinguishes four subtypes of English–Chinese bilingual poetry according to the extent of integration of the two languages: 1. intra-word/character bilingualism; 2. intra-phrase bilingualism; 3. intra-sentence bilingualism; and 4. cross-sentence bilingualism. In this system, either language could be the carrier language and the other the inserted language. This method fills a longstanding gap in the field by comprehensively and explicitly defining the boundaries of mixing these two languages within the genre of poetry. The article also explores Yu’s poetry self-translation by focusing on his advocacy for the freedom of re-creation when translating one’s own works, which includes the retention of the hieroglyphic attributes of Chinese characters in English, as well as Yu’s innovative “direct translations”.

Gendering a Bodhisattva: Images of Avalokiteshvara in Medieval and Early Modern Korea

Avalokiteshvara images in Korea, while adhering to traditional Buddhist artistic conventions, exhibit a different approach to gender than their Chinese counterparts, where the feminization of Avalokiteshvara is more explicitly evident. However, historical records such as Samguk Yusa 三國遺事 and The Tale of Prince Anrakkuk 安樂國太子傳, attest to the wide awareness of the femininity of Avalokiteshvara, which determined the identity, visual representation, functions, and roles of Avalokiteshvara images. While the paintings of Water-moon Avalokiteshvara from Mount Potalaka during the Koryŏ period emphasize masculine features in the depiction of the body, they were at times conflated with the femininity that was characteristic of the White-robed Avalokiteshvara, a result of the popular Avalokiteshvara cult at Naksan. This dual visual representation of Water-moon Avalokiteshvara invites more careful interpretation through a gender perspective. In contrast, writings by contemporary literati portray the White-robed Avalokiteshvara as distinctly feminine and characterized by modest and serene features. Additionally, with the spread of esoteric rituals and the circulation of Thousand-hand Sutra (Ch'ŏnsugyŏng 千手經), the roles of Water-moon Avalokiteshvara and Thousand-armed Avalokiteshvara expanded, becoming symbols of motherhood that bestowed and protected children. Avalokiteshvara images of medieval and early modern Korea embodied a range of gender identities and meanings, reaflecting the complex interplay of masculinity and femininity in their religious and cultural roles.

Between North and South: Buddhist Cliff Sculpture in Northern Sichuan in the First Half of the Seventh Century CE

In the first half of the seventh century CE, clusters of Buddhist cliff sculptures were carved into cliffs and boulders in Guangyuan, Mianyang, Bazhong, and other locations nestled in the northern Sichuan Basin. They mark the start of large-scale Buddhist grotto construction in Sichuan, significantly impacting the establishment of regional grotto traditions in southwestern China. Through analysis of site forms, statue types, and devotional inscriptions, this article argues that these Buddhist cliff sculptures represent a reintegration of divergent Buddhist practices and artistic conventions that emerged during the Southern and Northern Dynasties in northern and southern China. While their niche-based site structure and collective sponsorship through the yiyi association can be traced back to northern China in the prior two centuries, the sculptural style primarily reflects a regional tradition exemplified by the free-standing statues unearthed in Chengdu, central Sichuan in the Southern Dynasties. The construction of these sites, catalyzed by the influx of northern officials and monks into Sichuan toward the end of the Sui and the early Tang, provides valuable material for exploring the social integration of northern and southern China, as well as the religious dynamics between Buddhism and Daoism in northern Sichuan.

Visual Language of Angling Dharma Relief at Jago Temple

The relief panels depicting the Angling Dharma story on the Jago Temple offer a valuable resource for researchers, similar to the Kresnayana story reliefs in Prambanan. These reliefs serve as visual narratives, conveying the Angling Dharma epic. The sculptors meticulously selected key scenes from the text, translating them into captivating visuals and arranging them within individual panels. These panels, when assembled, form a cohesive narrative of the Angling Dharma story. In a modern context, this sequence of panels resembles a movie, unfolding the story through a series of images. To encompass the entirety of the narrative within the confines of the relief's surface, the sculptors employed a distinct drawing method known as the "space-time-flat" system. This approach differs significantly from modern Western artistic conventions. The unfamiliar style can pose challenges in interpreting the depicted scenes. This research proposes a descriptive and qualitative analysis of the "space-time-flat" method used in the Angling Dharma reliefs. By delving into this unique drawing system, the study aims to glean valuable insights that can be applied in the creation of various visual media. The analysis can shed light on artistic practices that predate the arrival of Western drawing techniques with their emphasis on naturalism, perspective, and single-moment depiction.

TRANSGRESSIVE LANGUAGE OF POSTMODERNIST AUTOBIOGRAPHICAL WRITING: INTERTEXT AND METALEPSIS

Background. Intertext and metalepsis in the proposed study are considered as the phenomena of transgressive poetics, means of creating the ontological dimension of an artistic text and tools for textualization of life. Transgressive language contributes to the correction of preconceived notions about postmodernism, facilitate the disclosure of changing nature of autobiography by revealing and analyzing internal contradictions − the amphibology of meaning. Self-generated paradoxes are revealed in the pluralized text due to metalepsis that registered dissolving borders between the levels of narration − author (reality), narrator (extra-diegetic), narratee (intra-diegetic) and intertextuality that creates an ambivalent space for co-existing multilayered experiences . The pronouns «I», «he», «they», constantly alternating, refer to each other, preventing the re-creation of an unambiguous original signified, i.e. a real biographical author who created an autobiographical text − the basis of the genre of autobiography. 
 The purpose of the article is to analyze the role of intertext and metalepsis in creating an autobiographically transgressive text on the example of a novel by the postmodernist writer Stephen Dixon.
 Methods. The poststructuralist approach in the context of literary theory along with elements of intertextual, narrative, stylistic analysis was used. 
 Results. The study of the peculiarities of transgressive language in the autobiographical postmodernist writing shows that Dixon's I-texts are sustained in the parameters of a classic novel: there is neither hypertextuality nor open polemical intertextuality. However, the transformation of the artistic matter of literature and the nature of autobiography is multifaceted and noted at all levels of the text. 
 Discussion. Dixon’s innovations lie in the further transformation of the modus of the author's presence, begun by Modernists. The artistic strategy of transgression of the experience of classical autobiography, applied by Dixon, is embodied in using the reconceptualized stylistic devices. One of them is ontological metalepsis that reveals transgressive dynamics on all levels of artistic conventions and, above all, the boundaries of fiction and reality in the act of creativity. The representative texts of the American writer reveal the growing sense of the thinning line between language and reality in the autobiographical prose of recent decades. This is accompanied by the development of innovative breakthroughs to reflect one's life experience, dictated by the existential need to restore ties with the material, which runs into the ambivalence of language structures.

Difficulties in merging methodological demands and artistic conventions—"Artist's Neurophysiology in Performance" project case

Contemporary development of research methods and tools is often conducive to ambitious art studies, in which the research methodology and study protocol are the result of negotiations between creative and research strategies. The article discusses the key sources, possibilities, and threats of interdisciplinary projects often referred to as practice-as-research. The following comparison of the orders of the scientific methodology and the artistic convention allows one to show the similarities and potential points of contact between science and art, which are independent of the different values and methods of evaluation in both of these areas. The research-based practice model by Pil Hansen and Bruce Barton is also presented as a solution that takes these issues into account. It is also used to present the project of Interdisciplinary Center for New Technologies of the Nicolaus Copernicus University in Toruń and the Art & Science Research Foundation om—organisms and machines in culture (FUNom) the project "Neurophysiology of the Artist in Performance", which is a bold example of the transdisciplinary activities of scientists and researchers. Its content is analyzed through the reports of artists, researchers, and participants taking part in public presentations of the project.

Rap and Realism

Over a century and a half since his passing, scholars remember Gustave Courbet (1819–1877) as a French painter who expanded the boundaries of art through his rejection of traditionally imposed artistic conventions and cultivation of a larger-than-life persona. As a master of self-promotion and image creation, Courbet’s unique self-positioning and performance of identity are frequently explored within contemporary scholarship. However, extant literature has yet to consider the similarities between Courbet’s performance of identity and that of influential contemporary rap artists. Looking to artistic themes employed by the painter and his self-presentation, I argue that Courbet tailored his identity performance so that audiences conflated his artistic output with his public image, both of which drew upon his rural background to suggest a disadvantaged socioeconomic status—a background lauded by his supporters as providing Courbet with the authenticity required for artistic legitimacy. Furthermore, I argue that contemporary rap artists perform their identity in much of the same manner. Like Courbet, contemporary rap artists continuously enact qualities associated with a low socioeconomic status and reference this social standing in their music to fuse their personal reputation and musical output, which affords these artists the authenticity required for success.

Gusts of revulsion: Édouard Verreaux's imperial tableaux at the Exposition Universelle of 1867

AbstractUnlike the vast majority of large‐scale showpieces exhibited at nineteenth‐century universal exhibitions, Édouard Verreaux's taxidermy group, Lion Attacking a Dromedary, has defied the odds and has survived well past its initial public display in the Tunisian section of the 1867 Exposition Universelle in Paris. In the context of its original ethnographic display in a space dedicated to the promotion of French colonialism, Verreaux's ambitious taxidermy tableau would have been understood as a representation of authentic life in Tunisia. This illusion of authenticity issued from the object's expert mimicking of the period's artistic conventions for depicting the relationship between people and animals in North Africa by artists such as Horace Vernet, Eugène Delacroix, Antoine‐Louis Barye, and others. Instead of paint or plaster, Verreaux's composition took the form of an uncanny assemblage of body parts taken from a camel, two lions, and an anonymous human: in so doing, Verreaux used the tragic material of living beings to create a literal interpretation of the aesthetic tropes of French orientalism; with this world's fair showpiece, he thus violently bridged the theoretical and material divide between art and life. In this essay, I take these conjunctions between the “real” and the imaginary as a point of departure for discussing the feigned credulity of Lion Attacking a Dromedary. I contend that Verreaux's Lion Attacking a Dromedary should be considered as an imperial tableau, that is, as a didactic object that participated in training nineteenth‐century viewers to be what the historian Ariella Azoulay has called “imperial citizens” by drawing equivalences between nature and culture, and between representation and reality.

Soulpepper 2022: Decolonizing Toronto Theatre

This research project, “Decolonizing Toronto Theatre,” examines how Soulpepper, a mainstream Toronto theatre company, and their collaboration with Native Earth Performing Arts are contributing to the equity, diversity, inclusion, and decolonization of Toronto theatre through their recent Indigenous productions: Kamloopa and Where the Blood Mixes. The author watched, read, and analyzed both plays to explore how these two productions transform and redefine the intellectual, political, and artistic conventions of Anglo-Canadian theatre. Her analyses of these plays are informed by the various texts centered around Canadian Indigenous history and Indigenous theatre. She also used an ethnographic approach by talking to people involved in both productions. She conducted interviews with the playwrights, the associate artistic director at Soulpepper, and some artists involved in both plays. These conversations with the people involved allowed her to understand these plays beyond their content: the inner workings of how a production comes to fruition. The conversations also allowed for a reflection on the similarities and differences between the creative approaches the artists involved took as well as the positive impacts these productions have had on Toronto theatre. Finally, by applying ethnographic findings and analyses of the plays, this piece compiles the analyses and research conducted over the course of the internship.

Miguel and Paula Azguime and the New Op-Era

ABSTRACT Miguel and Paula Azguime are prominent figures in the contemporary art realm with a significant track record of interconnecting sound, text, poetry, movement, video, and live electronics. Together, they founded a new concept/project entitled New Op-Era that introduced a multimedia and creative collaboration in which the music and text of Miguel Azguime coexist with the staging and video composition of Paula Azguime in a truly symbiotic and innovative format. This paper examines whether the New Op-Era concept constitutes a new form of music theatre by reflecting upon the multimedia and electroacoustic opera Salt Itinerary created by Miguel and Paula Azguime between 1999 and 2006. This one-hour-long piece combines live audio and video processing along with an artistic, vocal, and theatrical performance by the composer himself to produce an extraordinary visual and sound experience that transcends traditional artistic conventions and crosses the boundaries prevailing between music, theatre, opera, performance, new media art, and sound poetry.

Laboratories for Organizing People: Selected Essays on Art and Byt

Laboratories for Organizing People: Selected Essays on Art and <i>Byt</i>

Negotiating Gender, Representing Landscape: Teaching Lady Anne Lindsay Barnard’s Letters, Journals and Watercolours from the Cape Colony (1797–1801)

The article focuses on Lady Anne Lindsay Barnard’s letters, journals and watercolours that she produced during her stay at the Cape Colony (1797–1801). Combining a series of tasks focused on close reading of Barnard’s work and a critical discussion of the historical context, the article provides a teaching strategy to examine her work with respect to the gendered discourse of the eighteenth century, and her approach to the Cape landscape and its inhabitants which both employs and, significantly, subverts contemporaneous conventions. More specifically, the tasks draw attention to Barnard’s use of ‘the modesty topos’ and the way she uses rhetorical self-deprecation in her writing to prevent violating the gender norms of her time. Furthermore, they facilitate a discussion of her subject position, particularly with respect to the period’s media landscape and manuscript culture, as well as some of the contemporaneous artistic conventions. While Barnard’s views and approaches to the Cape and its inhabitants are shown to occasionally echo officialdom, she needs to be read as a rather sophisticated observer who sometimes subtly breaks these conventions.

Prosecuting rap: what does the case law tell us?

AbstractThis article explores the admissibility and use of rap music as evidence in English criminal trials. It presents findings from an analysis of over 30 appeal cases. As well as unpacking the link between rap, race and gangs that is prevalent in these cases, the article challenges the categorisation of rap as ‘bad character evidence’, and critiques the way in which questions of relevance and prejudicial effect have been addressed by the courts. In particular, when making admissibility decisions, the courts appear to give little consideration to the cultural context, artistic conventions or social influences within the rap music genre, or the racialised nature of rap evidence. It is argued that, if rap is to be admissible evidence, a much more rigorous and informed approach is required.

The Art of Imperial Maternity: Pierre-Paul Prud'hon, Empress Marie-Louise, and The King of Rome Sleeping

In 1811, Pierre-Paul Prud'hon painted an allegorical portrait of the infant Napoleon II for Empress Marie-Louise, Napoleon's second wife and the child's mother, that was exhibited publicly at the Paris Salon the following year. Prud'hon's painting is distinctive because it lacks conventional imperial attributes that characterized Napoleonic imagery at the time. On one level, the portrait can be understood according to Christian iconography or as an allegory of the new French order according to ancient Roman mythology. I argue, however, that Prud'hon subscribed to early nineteenth-century Romantic ideals, freely interpreting traditional artistic conventions to show the unity between childhood innocence, women, and nature. This pictorial approach appealed to Marie-Louise, who faced an increasingly unfavorable reputation in the wake of Napoleon's 1809 divorce and mounting public suspicion of the emperor's character. The empress utilized Prud'hon's romanticized image of her son to cast herself as the ideal Napoleonic woman and mother, thereby demonstrating her inherent virtue, reassuring the public of the empire's stability, and legitimizing her place at court on her own terms. Importantly, Prud'hon centralizes Marie-Louise's position as the heir's protector to imply her imperial significance—a dynamic role for the consort in this painting that has remained unexplored until now.

Visual Hakawatis: Drawing Resistance in Leila Abdelrazaq's Baddawi and Malaka Gharib's I Was Their American Dream

In this paper, I explore how Leila Abdelrazaq’s Baddawi (2015) and Malaka Ghraib’s I Was Their American Dream (2019) work to forge a new space for the graphic novel in Arab American self-representation in twenty-first-century media, becoming emblematic of what I call ‘visual hakawatis.’ Visual hakawatis, I argue, use individualized acts of storytelling to transform fragments of their histories and memories into hybridizations of art and written word that reflect their increasingly hybridized existences, while interconnecting their personal, cultural, and historical experiences. In these convergences, stories of resistance and refusal emerge, intervening in notions of history- and nation-making, national belonging and national memory, resisting the marginalization or erasure of multiplicities of Arab American histories and identities within and beyond a U.S. landscape. Some key questions informing my analysis include: How do Abdelrazaq’s and Gharib’s graphic novels reconceptualize historical as well as artistic conventions of storytelling in underscoring radical forms of witnessing, memory, and resistance to U.S. hegemonic discourses and understandings of Arab Americans? In what ways does the visual medium of the graphic novel help Abdelrazaq and Gharib forge memories of and bear witness to inherited pasts and cultures, as well as underscore the complexity of Arab American positionalities and multiplicities today?

Intermedial Turn in Goethe’s Novel “The Sorrows of Young Werther”: from Sentimental Literary Centrism to the Musicalization of Literature

The relevance of the study The publication in 1774 of the epistolary novel by Johann Wolfgang von Goethe became not only an outstanding fact in the biography of a still very young German genius at that time. The echoes of this event can be felt over the next several years, when this work literally turned the worldview of contemporaries, as well as in the following centuries in numerous artistic paraphrases. Obviously, the meaning of The Sorrows of Young Werther goes far beyond the purely literary sphere; therefore, its research should be approached with the appropriate tools. This key can be intermediality, which explores the processes of interspecific interaction of arts as mediums that do not compete with each other, do not strive for mutual intervention, but, on the contrary, reinforce each other’s action. The study of the mechanisms of intermediality makes it possible to go beyond the narrow professional field and determine the general cultural context of the era, which is an urgent task of modern humanitarian science.&#x0D; The purpose of the study is to characterize the mechanisms of interaction between literature and music in Goethe’s epistolary novel The Sorrows of Young Werther and the basic role of these mechanisms in the formation of a sentimentalist worldview.&#x0D; The results and conclusions. Consideration of the Goethe’s epistolary novel The Sorrows of Young Werther in the aspect of intermedial connections prompts several thoughts at the same time. First, in this novel, at the declarative level, literature retains its position as an already fully formed social institution. Literature, like art history and philosophy, is not anonymous here, but personified. In this approach, one senses an attempt at an aesthetic discussion with immediate contemporaries, the penetration of a publicistic component into a work of art, which became a powerful part of Herder’s essay sermons in the late 1760s. At the same time, music and painting appear as forms of realizing the ‘true,’ extremely sensual human nature, not reduced by various secular conventions. Werther draws, Charlotte plays the piano and sings, the ball scene is permeated with music. The newfangled hobby for folklore has determined the anonymity of musical toposes in the novel: these are ancient songs that sound accompanied by a piano, as well as popular dances—in this one can also see the influence of J. G. Herder.&#x0D; The entire fabric of the novel permeates and defines music as a super-idea: the music of the language and the music of novel drama with its discontinuous fragmentation and temporal fluidity. The presence of music within the story legitimizes its emotional exaltation, unpredictable syntax. The mention of singing or playing music influences the development of the storyline, the music becomes that invisible director who constructs the form of a whole literary work. The intermedial interaction of the two by nature temporal arts serves as an intensified catalyst for the ‘feelings biography’ of the protagonist, which also unfolds in time and directs the reader’s attention to the irrational sphere. The interpenetration of literature and music becomes a tool for overcoming outdated artistic conventions and the formation of a new type of European literature, in which attention to the sensual sphere becomes a way of reflecting the life of the New Age as fluid, subject to constant changes.&#x0D; The main conclusion of the study is that The Sorrows of Young Werther marks a turn from the typical for sentimentalist style music ‘literaturezation’ to counter processes, which will be fully revealed already in the era of romanticism.

The role of English literature in re-constructing society

Literature is the mirror of society and a form of art. The study of English literature allows people to develop new ideas and new ways of thinking about the world. It can help individual to present themselves as educated members of society, it involves the contemplation of the essence of society and how individuals work within the confines of society’s structure. Understanding how literature motivates the individual and how it is reflexive of the individual’s society is something that ought to be given more attention and consideration. It is capable of bringing about different emotions and a general sense of “Spiritual” well-being. Literature is also crucial to learn stylistic and artistic conventions for communication and writing. Studying literature is an enriching, eye-opening experience and helps in construction of valuable society.

Organization of Artistic World of Fantastic Work: Categorical Concepts (dilogy of O. Gromyko “Year of Rat”)

The features of the organization of the artistic world of a fantastic work are considered. The material was the works of O. Gromyko, written in the genre of fantasy. The main parameters of the organization of the artistic world are analyzed: artistic space, artistic time and the picture of the heroes’ world, understood as a system of their value attitudes and rules. The relevance of the study is due not only to the wide popularity of works of science fiction, but also to the ability to analyze the linguistic means of creating a “secondary world” using this material. The scientific novelty of this work is seen in the fact that linguistic nominative means of forming the main categories of the artistic world: space, time and the picture of the world are investigated. It is shown that the understanding of a fantastic work as a special “otherness of reality” is associated in literary science with the problem of artistic convention. Attention is paid to the description of the main scientific approaches to understanding the primary and secondary artistic conventions. It is noted that the idea of creating a special artistic world in fiction correlates with secondary conventions and fiction, which are interpreted as essential features of any work of art. The author concludes that the exceptional plausibility of the universe under consideration is due to the conceptuality, associativity and duality of the created narrative.

Art, Aesthetics and the Dynamics of Visuality in Ezekiel 23

This essay explores Ezekiel 23 as a text about art and aesthetics. As an aesthetic response to an artistic endeavour, it argues that the description of Oholibah’s act of viewing must be placed within the context of strategies for verbalizing visual phenomenon in biblical literature. And as a work of art, the carved Chaldean officers must be understood within larger ancient Near Eastern artistic conventions. The convergence of these distinct but related focuses allows us to reassess Oholibah’s act of viewing art and its role in Ezekiel 23.

CHARIOT KRATERS AND HORSE–HUMAN RELATIONS IN LATE BRONZE AGE GREECE AND CYPRUS

This paper offers a new comprehensive catalogue and discussion of Late Helladic III chariot kraters, and explores what they reveal about horse–human relations in Greece and Cyprus in the Late Bronze Age. The nearly 400 known examples of chariot kraters were produced in mainland Greece and exported to Cyprus and the Levant. Although the vessels were surely adapted to local contexts, the motif of horses and chariot was part of the ‘international’ spirit of the Late Bronze Age and was meaningful throughout the eastern Mediterranean. Following a discussion of the chronological and geographical distribution of the kraters, alongside notes regarding changes in shape, we examine each of the elements of the characteristic horses-and-chariot motif in depth. This close analysis, supplemented by evidence from faunal remains, Linear B and other visual media, and combined with modern equine knowledge, allows us to understand some of the complexities of horse–human relations in ancient Greece and Cyprus. Through this, we see a co-becoming and mutual training of horse and human in the endeavour to become a successful chariot team; we can also recognise elements of ancient acknowledgement of equine agency and personhood. Horses and humans acted and reacted to each other, thereby living and learning together. The images on the chariot kraters reflect both ancient observation and knowledge of horses and caballine behaviour and artistic conventions and developments. Finally, horses were expensive animals to breed, keep and train (with accompanying expensive gear), and direct physical contact would have been for the fortunate few. The chariot kraters allowed a broader segment of the population to engage with horses and chariots, albeit indirectly.