Independent Works Of Art Research Articles

예술작품으로서의 초본 연구

This study aims to analyze the artistic value and characteristics inherent in Eunho Kim's initial sketches, seeking to re-evaluate these sketches which have traditionally been regarded merely as preliminary stages in the creation of completed works. The research proposes that initial sketches are not just steps in the production process but possess intrinsic artistic qualities and philosophical dimensions, making them independent works of art in their own right. Using qualitative analysis, the study focuses on Kim's initial sketches and his finalized works to elucidate the essential differences and interactions between these two forms of art. The findings suggest that Kim's initial sketches transcend their traditional role as precursors to finished pieces, offering valuable insights into the artist's creative process and enabling a deeper understanding of his original artistic vision, thereby establishing their worth as independent artworks.

MOTYWY ARCHITEKTONICZNE W MALARSTWIE; WYBRANE ZAGADNIENIA

Both architecture and painting belong to the arts, and additionally they cross talk with each other. The architectural object itself, such as buildings or constructions, is often an independent work of art. Peter. It is worth quoting here a statement by Waldemar Januszczak "Where in these mentioned works by Bernini does architecture end and art begin? Or is it the other way around?" (Januszczak W). The research in the present work has been focused in particular on a cross-sectional view of the links between architectural motifs and paintings, combined with the creation of perspective, also with the aid of a camera obscura. The subject matter discussed in this article is extremely extensive, because almost every artist, and we are talking only about these great masters, has in his dossier works showing architectural elements, even in the background. This minireview, by necessity, includes only selected works that are an individual choice of the author.

Fluid Adaptive Revision and Twin-Track Authorship: Andrew Bovell’s Lantana Series from Stage to Screen

ABSTRACT This article examines Andrew Bovell’s Lantana series, arguing that his adaptive transformation of his own texts offers a notable exposition of auto-adaptation as an organic process. The ten-year creative and selective journey, in which the Australian playwright explores the themes of loss, trust, betrayal, entanglement, and emotional disconnection, began with the 1992 one-act play Like Whiskey on the Breath of a Drunk You Love and culminated in the 2001 award-winning film Lantana, offering an insight into fluid revision and twin-track authorship. Bovell’s screenplay retells and reimagines the events and themes of its four predecessors, crafting his ideas on the precarity of human relationships and the nature of truth into a tight, reflexive structure, through fragmentation and musical orchestration. In conclusion, the Lantana series exhibits auto-adaptation as a continuous process of growth, in which the pre-texts function as independent works of art and as resources for further reimagining and adaptive revision.

Music in cinema and problems of synthesis of arts

The article raises the issues of realization of the problems of synthesis of arts, in particular in its theoretical and practical aspects, which has been implemented in cinema from the initial stages of its development to the present. This highlights the stages of theory and practice that have become significant milestones in the formation of cinema as a synthetic art form. Throughout the period of the latter there were discussions about its nature, in particular the peculiarities of its spatio-temporal and semantic organization, the specifics and features of the ratio of certain structural components in creating the film’s drama, the basics of interaction and the ratio of its basic means of expression visual range. Due to the development of modern technologies of composition, as well as the evolution of means of recording music and the practice of further distribution of film music as an independent work of art, the problem of synthesis in film has become acute at a new, insufficiently studied level. As a result of the study, important milestones in the history of the evolution of cinema in terms of synthesis of its main structural components, including screen image and music. Based on the analysis of the specifics of the synthetic interaction of the latter in the construction of dramaturgy of films, identified and characterized their implementation in various models of the relationship between music and visual series in cinema. The nature of cinema determines its specificity as a synthetic art form, but the characteristics and foundations of the interaction of its main means of expression are discursive. The ratio of traditional, ancient artistic languages, which have independent, developed semantics and principles of structural organization, require filmmakers to solve the problem of their synthesis in the construction of artistic concept, the general drama of films.

Kiev ex-libris school as a xylography traditions keeper in printmaking of modern Ukraine

The article is dedicated to Kiev ex-libris school role (EL) in modern Ukrainian printmaking. The loss process by a bookplate of utilitarian, applied functions and its transformation into an independent work of art, collectors' object of interest with an appreciated art value is described. The ex-libris schools formed in the first quarter of the 21st century are emphasized, the main trends of the bookplate development predominant centers are defined (Kiev, Lvov, Odessa, Luhansk). Printmaking techniques, typical for a particular ex-libris school, are marked. Kiev bookplate school, as one of the leading centers for the classical xylography traditions preservation, is underlined. The most significant masters, working in these techniques, are presented, the technological process evolution is indicated and its main reasons are emphasized. The problem of opposition between the old and new in the art of printmaking is touched upon by example of classical techniques and gathering momentum computer graphics (CGA) coexistence.

Big Buddhas, pilgrims and pagodas: an examination of the social geography of Buddhist sites in Rongxian, southern Sichuan

ABSTRACTThis paper is based on the study of four late to middle to late Tang Dynasty (781–907 CE) and one Song Dynasty (907–1279 CE) Buddhist sites which are set within a kilometre of one another to the south of the ancient centre of Rongxian (荣县), Zigong, Sichuan. The question addressed is whether these five religious sites could have existed as distinct entities, or if over time they became part of a unified whole. Traditionally such sites are considered as independent works of art divorced from their landscape and social context. Since the connections demonstrated in this paper indicate a unity of purpose we suggest that a more holistic approach to the study of such monuments is worthwhile. This paper proposes that although these sites were originally distinct entities during the Tang, they came to be connected by a pilgrimage route defined by the construction of a pagoda in the Song Dynasty.

Национальное сознание переводчика и эмоции читателя (на материале Огнем и мечом Генрика Сенкевича)

Данная статья посвящена анализу романа Генрика Сенкевича Огнем и мечом и некоторых аспектов его переводов на украинский, русский и английский языки. Благодаря тому, что каждый перевод может быть рассмотрен как самостоятельное литературное произведение, мы можем наблюдать, как меняется (и меняется ли?) интерпретация оригинала в зависимости от культурных ценностей и национального самосознания переводчика. Акцент сделан на авторских и переводческих средствах художественной выразительности, влияющих на эмоции читателя. Кроме того, уделяется внимание тому, как польские исторические реалии переданы в родственных (украинская, русская) и неродственных (английская) культурах. В статье представлены размышления на тему границ компетенций переводчика.

Attractive lives on attractive pages. Polish illustrated biographical books for young readers

This paper focuses on an exceptionally interesting kind of books dedicated to young readers, quite popular recently in Poland, namely picture biography books for children and teenagers. Polish publishing houses, especially Muchomor from Warsaw, for the last few years have been coming up with a number of intriguing titles, both in the matter of words, and also in their graphic contents, especially the series “Gdansk Trilogy”. Brave ideas, young talents, novel artistic solutions, and original illustrations make the lives of famous people, not so very well-known figures and some unknown names – from both far and near, homeland and neighbourhood history – attractive reading matter. The author also looks back at the history of Polish illustrations included in biographies published in the second half of the 20th century. By combining the traditions of Polish applied graphic art with its up-to-date condition the author wants to trace the impact of the old and the novelty of contemporary books. She wants to stress the expressive power of an image turning illustrations into independent works of art. The number of illustrations and the graphic concept of an up-to-date language of visual forms make them genuine picture stories (especially in the designs by Ignerska). By means of comparative analyses of form and style, as well as a theory of image, she is going to focus on features of the visual side of the aforementioned books. The author would also like to stress the change in the way of perceiving the common history of places with such a complicated history as Gdańsk itself (in which Elisabeth and Johannes Hevelius, Fahrenheit, Schopenhauer, despite their German roots, are treated as part of the common heritage).

MIDDLEMARCH ON SCREEN: FROM THEORY TO PRACTICE

Many literary critics refer to the media adaptations of great literary works of literature, as inferior and subsidiary, lacking inborn aesthetic techniques which the original literary text enjoys. Thus, a fundamental question is posed regarding the very source and origin of a literary adaptation; why and how does an adaptation come into being, and what factors are involved in an author's canonization and in a literary media adaptation’s success or failure? In response to such central questions, one must refer to an individual’s primary fascination with a particular piece of a literary work as a film director, which in turn ends up in a pictorial representation of his/her joyful aesthetic experience, attaining an interpersonal scope through an active participation of an audience. Hence, the current article seeks to discuss how a media adaptation of a great 19 th century literary work, like George Eliot’s Middlemarch, can operate as a potential means of communication and transformation between the author and the audience, as the original text, through media culture with the help of virtual reality and narratology techniques. In turn, such goals can be achieved by a multidimensional analysis of the mentioned elements through George Eliot’s Middlemarch as the original text and its filmic adaptation as an independent work of art. Keywords: George Eliot, Middlemarch , Adaptation, Narratology, Media culture, Virtual reality

New lives for old stones

Assyrian sculptures have been treated in various ways. Neglected original records about pieces found at Nineveh can still be informative. Pieces that did not go at once to major public museums were sometimes liable to rejuvenation, detached from their original contexts but endowed with new significance as commercial assets, as independent works of art, or as integral parts of contemporary architecture. Two Nimrud sculptures, built into the walls of Newbattle Abbey near Edinburgh, represent a unique fusion of Assyrian and Scots artistry, now vulnerable to financial pressures.

Replies to Criticisms

I am grateful to Noel Carroll, David Davies, Sherri Irvin, Aaron Meskin, and Paul Thorn for stimulating discussions of The Art of Theater over the past year, culminating in these carefully crafted critical comments on various aspects of the book.1 I especially appreciate the efforts of Sherri Irvin, who edited this special issue and without whose encouragement, enthusiasm, and careful editing this would not have happened. Whenever the central proposals made in The Art of Theater were made by people during the past hundred years, they were greeted with a kind of baffled outrage by many traditionalist literature scholars who had taken it as an obvious fact that theatrical performances are nothing more than illustrations or interpretations of works of dramatic literature, at best requiring artistry for performance but not issuing in independent works of art. Quite a few contemporary literature and scholars have seen errors in the traditionalist view and proposed that theatrical performances are capable of even great artistry and, perhaps, of being works of art in their own right. It must be said, however, that they will not find my defense of that position congenial. Indeed, it will seem worse still from their point of view because my defense of the position does not require semiotic analysis, let alone any sort of poststructuralist thinking about theatrical performances that depends on seeing performance as a novel kind of text a theater text. This will disappoint because, unlike many contemporary literary theorists (and even some theorists), I do not think of theatrical performances as something to be read and, further, as something that falls within the purview of literary scholarship after all. Performances are actions and are to be understood in the ways we understand all other actions. I knew the central proposals in The Art of Theater would seem a little strange to philosophers. Some of the strangeness that they have felt about the view if not the baffled outrage felt by literary theorists can be mitigated, I believe, by considering three facts that served as motivations for making the proposal. I encountered these facts while teaching experimental techniques in a workshop format. Only gradually did I come to realize they are facts about any theatrical performance its presentation, its

D.H. Lawrence: fifty years on film

Between 1949 and 1999, the life and works of Lawrence have inspired ten feature films: nine based on works of fiction and one based on biography. In D.H. Lawrence: Fifty Years on Film, Louis K. Grieff examines these films as adaptations, as cultural or historical documents, and as independent works of art. Significantly, the films were not spread evenly throughout decades but appeared in three clusters. The first group, or the black and white, appeared between 1949 and 1960. With the exception of Marc Allegret's L'Amant de Lady Chatterley (1955), all celebrate the British common man as a mid-century hero and promote an unmistakable yet never strident postwar ethos that is Marxism in spirit. The second cluster occurred during the late 1960s and early 1970s. These films show Lawrence's values as similar to the cultural values of the time - non-conformity, neobohemianism, sexual rebellion, war protest, and the celebration of youth. The third group answers the question - why, in an un-Lawrentian decade like the 1980s, was there a revival of Lawrence's works on film? Grieff also deals with the contributions made by directors Ken Russell and Christopher Miles, both of whom directed Lawrence films of the latter two clusters. He shows how Russell and, to a lesser extent, Miles were responsible for bringing mass audiences in touch with the works of Lawrence. Grieff's final and most important goal is to interpret and evaluate the Lawrence films. He looks first at the film as a visual representation of its text, then as an original act of creation and object of art.

Picasso and photography: the dark mirror

The extent to which photography influenced the work of Pablo Picasso is now considered by scholars to be of great importance in the understanding of the artist's entire oeuvre. Linked to a major exhibition, this beautifully illustrated books present a unique view into Picasso's relationship with the photographic arts. The presence in his personal estate of several thousand photographic images, donated to the French government upon his death, prompted this study and bears powerful witness to the artist's versatility and imaginative depth. The collection featured here includes nineteenth-century portraits, postcards featuring colonial themes or ethnic groups in regional dress, as well as portraits, self-portraits and studio views taken by Picasso himself. Already at the turn of the century, they contributed to the artist's figurative expression as well as to his major cubist interpretations. The artist commanded a wealth of themes, styles, and media over his long and productive career, and he explored drawing, painting, and sculpture. His voracious appetite for experimentation led him to push the medium to unorthodox extremes, both stylistically and technically. The range of Picasso's photographic production comprises a variety of forms and techniques and resulted in independent works of art: superimposed photographs, cliche-verres, photo-based engravings, photograms and original drawings on photographs, slides, collages, and photographic cutouts. His collaborations with other artists such as Dora Maar, Brassai, Gjon Mili, and Andre Villers reveal a playful inventiveness, and demonstrate his ability to push photography in unexpected directions. The works featured in this study providenew insight into Picasso's creative world. An outstanding text by Anne Baldassari makes a major contribution to Picasso scholarship by examining what could be the last unknown area of the artist's work.

‘What, has this thing appeared again tonight?’

Performance analysis and performance theory have to deal in one way or another with the relationships between the written dramatic text and the stage performance of that text. The point of departure for most discussions of this issue is that the drama text through its staging is ‘translated’ or ‘transformed’ into a performance text but since the ontological status of the written and performed texts are fundamentally different it is virtually impossible to set up a clearly delineated hermeneutic procedure through which the new, ‘translated’ work of art, the performance text, can be analysed on the basis of the dramatic source text alone. It is quite evident, moreover, that the staging of a certain text is both a completely independent work of art, presented by live actors for an audience in the total context created especially for that performance and an ‘interpretation’ of another independent work of art, the dramatic text. The performance itself thus creates a special form of intertextuality where the words assigned to the characters on the printed page of the written text are spoken by the actors on the stage. The behaviour of a certain character on the stage is a specific realization of a potential range of meanings which that character contains in the source-text on the printed page.Since the two texts are so fundamentally different any attempt to judge the adequacy of the ‘new’ work of art, the performance text, mainly in relation to the dramatic text is doomed to run into insurmountable hermeneutic difficulties.

The Illustrated Eighteenth-Century Chaucer

No reader of Blake's illuminated books can ignore the synthetic design of every page: images and words are reciprocal. But when eighteenth-century illustrated books attract critical attention, one or another element is often minimized. Because several hands are involved, the texts are separated from their design and illustration. Thus, Marcia Pointon's study of the history of Milton and English Art passes over the evolution of Milton's text, while in the only recent discussion of the Augustan Chaucer, Alderson and Henderson make no mention at all of the thirty copperplate engravings in their principal text, the Urry edition of 1721.1 Bell's Chaucer of 1782, also fully illustrated, has never to my knowledge been taken into account by critics of Romantic medievalism.2 Like those made for new editions of Paradise Lost and Shakespeare, the forgotten illustrations of the Canterbury Tales are striking elements of the 1721 and 1782 Works, indicative of Chaucer's impact on the eighteenth-century reader and important as visual models or types, to be set against the later Romantic Chaucer pictures of Stothard and Blake at the turn of the century. Examined in context, not dismissed as a minor idiom in the history of art, such illustrations provide evidence of contemporary interpretations of Chaucer's poetry and a cumulative record of revision, in both the artistic styles and themes chosen to portray Chaucer's world. Describing the extraordinary influence of Thomson's Seasons and its pictorial analogs, Ralph Cohen observes, There exist different criteria for the illustration as interpretation and . .. as independent work of art; a 'bad' engraving may still be a valuable commentary upon artistic tradition. [But] the inspiration of one art by another must not be confused with the interpretation of one art by another. 3 Contemporary styles of illustration, typography, and format in eighteenth-century editions of Chaucer's poems reveal several kinds of historical change and afford us a view of incipient Gothic romanticism. The evidence suggests significant shifts: in attitudes toward medieval Chaucer, in the role of the reading public qua buyer-to be attracted as well as instructed-and in the historicism of literary painting, when poetic illustration was becoming increasingly independent of its text. After 1700 there was no one clearly dominant version of Chaucer in print, as had been the case with Thynne's and Speght's editions in the sixteenth and seventeenth centuries. By the end of the eighteenth century, the Romantics inherited a wealth of Chaucerian excerpts (like Dryden's) in translation,

Pushkin for Americans

T IS not uncommon to hear Russians talk, and talk well, about Pushkin to Europeans or Americans and to remark how little of the enthusiasm passes from speaker to listeners. Among people who do not easily read his language, Pushkin is likely to be regarded as a sort of Slav Byron and this does not excite them unduly. Byron, indeed, was a brilliant and individual writer who has left poems which properly decorate the anthologies, but today he is not taken as seriously as he was years ago. He was a bit of a charlatan; his eloquence, which sometimes got the better of him, is no longer to our taste and his dramas have a little the musty odor of Vathek or the Castle of Otranto. Naturally, if Pushkin is another Byron, and lesser because partly deriving from the Englishman, his reputation does not compel all educated folk to read or, even unread, to rank him among the greatest. It is unnecessary to say that his poetry, at least, is untranslatable. Whoever attempts to translate real poetry either presents a more or less literal exposition of the poet's thought or composes a new poem. This, of course, is not to deny that there are great translations but these stand on their own merits as independent works of art because of their own poetic accomplishment rather than because they reflect their originals with any startling fidelity. If one considers famous translations one encounters such examples as Omar Khayyam, a justly celebrated tour deforce in Fitzgerald's miraculous verses but far removed from the quatrains of the Persian philosopher. Perhaps the point could be better emphasized by pointing to Ronsard's rendering of the Augustan Anima Vagula into his charming and traitorous little words. Even in prose it may be said that the great translations rely as much on their own peculiar flavor as on their originals, although they can be, have been, and are much more faithful than the poetic. There are other obstacles to European or American appraisal of Pushkin. He was a creator of language. The Russian of the upper classes as he found it was artificial, pompous, and affected; it was in fact only part Russian, without pride of ancestry or hope of progeny, like the proverbial mule. So dominating had been the fashion in St. Petersburg, from the days of its founder, for German and French

Minor Arts of the Renaissance in the Museo Cristiano

The rise of conscious aestheticism characteristic of the Italian Renaissance was a dominant factor in the development of the minor arts of the period. As in mediaeval times, sculptors and goldsmiths continued to make the crosses and other objects necessary for the service of the Church, and to portray the traditional religious themes. But they also began to produce small pieces of all kinds which were valued as independent works of art regardless of their function or the content implicit in the subject matter. One of the chief manifestations of this new type of minor art was the rise of the plaquette and the statuette. In the beginning this type of Kleinplastik preserved sufficient content and interest in subject matter to balance the aesthetic interest. But this content was gradually lost and the art declined to a purely decorative level. In the objects of the minor arts of the Renaissance in the Museo Cristiano of the Vatican Library can be seen the various phases of development of the art of miniature ...