Real Paintings Research Articles

LA PAIDEIA A TRAVÉS DE LA LITERATURA GRIEGA: DEL TRIUNFO INDIVIDUAL AL BIENESTAR SOCIAL

This work proposes a reflection on the integral formation of the human being, a problem in force to this day, in Greek civilization, since in it literature had to fulfill a privileged place. The success of a good education translates into personal and social achievement and recognition. The tragic contests, whose spectators did not have any economic impediment that prevented them from attending thanks to the the o rikón (public money destined to the payment of tickets to the theater), are proof of the presence of the dramatic genre in the representation of characters whose events had precipitated them to misfortune in the tragic genre but also success in comedy. The famous passage from Aristophanes Frogs 1053-6 places the teacher of children on a level of equality with the poet for adults. Lyric poetry is also a teaching tool for Theognis who advises his young lover Cyrnus how to adapt his behavior in order to achieve success in his life. Solon, a politician, anguished by the dangers that could loom over Athens, exhorts his fellow citizens to live according to criteria based on justice. Xenophon recreates an image of Cyrus as the ideal sovereign who has managed to forge a vast empire, thanks to his personal qualities, lineage and education. Ischomachus, main character of the story in the mouth of Socrates in the Oeconomicus also by Xenophon, owes much of his prosperity to the teachings that he has transmitted to his young wife. Ultimately, Herodas's Mime III " The Teacher " offers a real painting of education in antiquity in which blows were part of it.

Airborne acoustic characterisation of cultural heritage paintings: A preliminary study

In order to assess the health of cultural heritage paintings, for example prior to their restoration, visual inspections as well as techniques such as X-ray imaging are commonly used. Non-contact acoustic methods could become another exploration modality thanks to their non-destructive character and the fact that they are expected to be more sensitive to certain defects, such as a delamination, than other techniques. A setup has been designed for such applications, based on airborne ultrasonic transducers operating in the several hundred kHz to over 1 MHz range, specific transmit/receive electronics and automated scanning stages allowing 2D through-transmission scans to be performed on areas up to 80 × 80 square centimeters. Measurements on well-known thin plates made of plastic, wood and gesso on wood were first performed to evaluate the possibilities of the technique, then simple paintings on canvas were tested and finally a real ancient painting was scanned. A method where the transmission amplitude is plotted versus the angle between the propagation axis and the normal to the painting surface is developed for local characterization of the elastic constants of the sample under test, thanks to comparison with simulated Lamb wave dispersion curves using a fitting procedure. These promising results open the way towards comparison between acoustic, radiological and other imaging results on paintings with severe defects that require restoration.

A Study on the Painting of Kwon Ok-youn, the Blue Master of Surrealism in Korean Art History Traces of Language Penetrating not only Consciousness and Unconsciousness, but also Realistic Painting and Abstract Painting

권옥연은 한국 현대미술사의 비주류 분야인 초현실주의 경향을 통해 한국미술계에 독보적인 자취를 남긴 작가이다. 차분한 청회색 기조에 신비한 형상들과 몽환적인 상상이 가득한 권옥연의 회화세계는 인간의 의식 속에 자리한 꿈과 환상, 그리움에 대한 근원적인 염원을 담고 있다. 그는 1940년대에 일본 유학을 통해 모더니즘 미술의 여러 경향을 체험하면서 자신만의 회화적 개성이 드러나는 구상회화를 구사했다. 1957년부터 1960년까지 파리 유학 시기에는 상형문자에 향토성을 반영한 초현실주의 혹은 추상으로 전환하여 동양적 초현실주의라는 찬사를 받으며 국제무대에서 명성을 쌓았다. 1960년대에는 푸른색 기조에 고분벽화, 토기 등의 전통적 기물을 모티프로 환상적 시정을 선보이며 자신의 독자적인 회화양식을 각인시켰다. 1970년대 이후부터는 구상회화로 돌아가 인물, 정물, 풍경 등을 다루면서 문학적 서사의 상징성과 환상적인 초현실주의 미학을 펼쳐내는 다변화를 보여주었다. 특히, 모델 없이 그린 관념적 여성인물화를 통해 그리움과 이상향에 대한 끝없는 동경을 추구했다.권옥연은 단체나 운동이 아닌 개별적인 여정 속에서 내면의 서사와 근원에 대한 탐구를 밀고 나간 이례적인 선택을 통해, 동서 미학의 융합, 구상과 추상을 관통하는 한국적 초현실주의 및 초현실적 비사실회화 세계를 정립해 나간 거장이다.

TARI NITI NAIK MAHLIGAI DALAM KARYA SENI LUKIS

The purpose of the creation of this work is to visualize the procession of the Niti Naik Mahigai dance in a realist painting. The method of creating works uses five stages, namely preparation, elaboration, synthesis, concept realization, and completion. In the attainment of form through a combination of color, lines, form, and balance so as to produce interesting paintings. In the paintings that the author creates, tells the procession or stages of the Niti Naik Mahligai dance, totaling 10 works with titles; 1) Digendun, 2) Lah Jadi, 3) Niti Gunong Kaco, 4) Niti Telo, 5) Niti Gunong Paku, 6) Niti Gunong Buluh, 7) Niti Laun, 8) Niti Gunong Sword, 9) Ditumbak, and 10) Niti Laut Api.Keywords: Procession, Niti Naik Mahligai Dance, Painting.

PERILAKU ANAK ANAK DALAM KARYA LUKIS REALIS KONTEMPORER

Nowadays children's deviant behavior has a negative impact on them and also those around them in a contemporary realist painting. The purpose of this final work is to visualize the expression related to the behavior of children in the city of Padang in Ampang Village, Kuranji District.The method in creating this work uses contemporary realist techniques, namely using mixed techniques, namely a combination of wet and dry techniques, the coloring process using a brush and acrylic cas. In the creation of this painting, it goes through several stages: (1) preparation, (2) Elaboration, (3) Synthesis, (4) Concept Realization, (5) The results of visualizing children's behavior in the city of Padang in this artwork are 10 works with the titles: (1) monopoly 1, (2) monopoly 2, (3) syndrome, (4) affected, (5) addiction, (6) tainted, (7) ego, (8) pensive, (9) sulking , (10) lament.Kata kunci: anak, seni lukis, realis kontemporer.

Important Properties and Principles of Using Color in Monumental Paintings

This article discusses the important features and principles of the use of color in monumental paintings. There is also talk about the importance of colors, the level of vitality, the creation of colors. In order to properly guide the work of young artists, the future teacher must master the basics of painting and know the theory of color. At the same time, as a result of mastering the knowledge of the theoretical foundations of real painting and practical exercises, it is possible to teach literate ways of painting. To achieve this, it is necessary to study the science of color in depth and to address these issues repeatedly in the process of practical work.

Artistic features of portrait works of people’s artist Huseyngulu Aliev

Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect.

Impact and features of Chinese realism in painting with focus on tradition and modernity

The relevance of the research topic lies in the fact that Western trends dominate in contemporary the Chinese realistic art, while interest in traditional painting techniques in a realistic direction has practically disappeared. To preserve the national cultural heritage, it is necessary to study more carefully the possibilities of applying traditional ideas in modern realistic painting. The purpose of the study is to identify the features of the traditional foundations of Chinese painting and their applied value for teaching students of modern painting. The objectives of the research are to analyze the scientific literature on the topic, conduct a survey among students to assess the traditions of Chinese re-artistic painting, as well as summarize the results of empirical research. The research methodology includes the methods of the general scientific group (analysis, synthesis, induction, deduction), as well as methods of art history analysis: historical and logical; analogy method; method of formal comparison. In an empirical study, the method of statistical analysis was used, applied using the program Neural Designer, a tool for advanced statistical analysis. The research materials were the results of a survey of 3rd year students (bachelor’s degree). Three groups of students were interviewed, each of which included 25 people: two experimental groups and one control group. The author of the study came to the conclusion that the combination of traditional and modern techniques in realistic painting in the classroom can increase the motivation for learning, develop new technical skills among students studying in the specialty «painting and graphics».

Realistic Painting of the 20th Century China in the Context of Cultural Visualization

This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.

Perception of material appearance: A comparison between painted and rendered images.

Painters are masters in replicating the visual appearance of materials. While the perception of material appearance is not yet fully understood, painters seem to have acquired an implicit understanding of the key visual cues that we need to accurately perceive material properties. In this study, we directly compare the perception of material properties in paintings and in renderings by collecting professional realistic paintings of rendered materials. From both type of images, we collect human judgments of material properties and compute a variety of image features that are known to reflect material properties. Our study reveals that, despite important visual differences between the two types of depiction, material properties in paintings and renderings are perceived very similarly and are linked to the same image features. This suggests that we use similar visual cues independently of the medium and that the presence of such cues is sufficient to provide a good appearance perception of the materials.

Portrait Drawings of Karpo Trokhymenko for the Painting “Meeting of the Presidium of the Academy of Sciences of the USSR in Ufa” (1941–1944)

The purpose of the article is to introduce into scientific turnover the little-known drawings of the outstanding Ukrainian realist painter of the mid-20th century, professor of the Kyiv State Art Institute, Karpo Demianovych Trokhymenko, made during the evacuation to Ufa in the period of the Great Patriotic War. The methodology of the work is based on the principles of art history, figurative and stylistic, systematic and comparative analysis, as well as historical and contextual methods. The scientific novelty of the work lies in the definition of the role of drawing in the creative heritage of Karpo Trokhymenko of the period 1941-1944. In the portrait sketches made by Karpo Trokhymenko for the picture “Meeting of the Presidium of the Academy of Sciences of the USSR in Ufa”, the difference in relation to the expressive means of art destroyed at the time of the avant-garde and finally formed social realism are clearly traced. The point, line, and plane as the leading artistic elements of the avant-garde are losing their significance, remaining to a certain extent only in the arsenal of graphic artists. Tone, light and shade gradations and energy of light acquire a special significance in the drawing of the easel painters. Conclusions. By analyzing the figurative and stylistic structure and technique of the portrait works, the peculiarities of drawing in the artist’s asset, in particular, the attention to creating an air environment, are revealed. In the drawings of Karpo Trokhymenko, the line has no intrinsic value and is perceived only as of the part of light and shadow, dissolving in the overall tone spot. The color plays an important role in the drawings of Karpo Trokhymenko. The works made within the complex warmth and coolness of colored paper, silver graphite pencil, colored pencils and chalk and acquire the significance of independent works. A set of portraits of outstanding Ukrainian scientists - academicians, artists, writers created by Karpo Trokhymenko, has not only documentary, historical and cultural value, but is a significant monument of Ukrainian easel drawing of the Great Patriotic War period.

Different methods applied to remove pollutants from real epoxy paint wastewater: modeling using the response surface method

ABSTRACT Comparing between classical and advanced methods for the treatment of industrial wastewater is extremely important to optimize factory operations and cost, and reduce the effects on environment. In the present study, some classical and advanced processes were assessed for chemical oxygen demand (COD) removal, the biggest problem in the wastewater from a factory producing epoxy paints. The response surface methodology was used for optimization. While the chemical coagulation (CC) and classical Fenton (CF) processes were used as the traditional methods, the electrocoagulation (EC) and electro-Fenton (EF) processes were used as the advanced methods to treat wastewater. As a result, the highest COD removal efficiencies were obtained in EF (97.8%) and CF (88.6%), respectively. Low COD removal efficiencies (43.5% and 47.5% respectively) were achieved in coagulation-based processes (CC and EC). Operating cost for CF calculated as 2.15 €/m3. Considering in terms of treatment efficiency, sludge volume and operating cost, CF is the most suitable option for the management of epoxy paint wastewater (EPW). These results also show that Fenton-based methods provide higher removal yields for the treatment of EPW. In other words, it is stable wastewater and the presence of hydroxyl radicals is required for its successful management.

Chinese and Western Art History Based on Big Data

After entering the era of big data, artificial intelligence has developed rapidly, and the contradiction between technology and humanities has become increasingly prominent. World culture, technology, and art are all facing new conflicts and challenges. This article mainly studies the development and experience of Chinese and Western art history based on big data. This experiment uses an ordinary computer to build a Spark cluster environment by setting up 6 virtual hosts. Chinese artists are always more inclined to subjective creation, while the traditional Western realistic painting in the Renaissance period paid more attention to the three-dimensional painting color while achieving the harmony of the picture. Then sample the fingerprint at the reference point of the sparse density distribution to cluster the indoor area into a specific number of sub-regions, and use the sampling data of each sub-region to predict the fingerprints at other unmeasured reference points to reconstruct the complete Fingerprint database. The data shows that in the experimental cluster environment, when the processing data size is 50MB or far greater than 50MB, choosing parallel algorithms can save data processing time and improve data processing efficiency. The results show that both Chinese painting and Western modernist painting pursue the spontaneity, randomness and contingency of painting in terms of aesthetic effects. This is the common ground of the pursuit of expressiveness in Chinese and Western paintings.

Recognizing the Style of Artistic Painting via Information Entropy for Smart City Construction

Digitalization is conducive to the protection and inheritance of culture and civilization. The artistic painting recognition is an essential part in digitalization and plays an important role in smart city construction. This paper proposes a novel framework to recognize Chinese painting style by using information entropy. First, the authors choose the ink painting, pyrography, mural, and splash ink painting as the known artistic styles. Then, this article uses the information entropy to represent the paintings. The information entropy includes color entropy, block entropy, and contour entropy. The color entropy is obtained by a weighted function of Channel A and B in the lab color space. The block entropy is the average information entropy of blocks which are a small part of the image. The contour entropy is obtained from the contour information which is obtained by contourlet transform. The information entropy is input into an oracle to determine the style. The oracle includes a one-class classifier and a classical classifier. The effectiveness is verified on the real painting set.

Restoration method of sootiness mural images based on dark channel prior and Retinex by bilateral filter

Environmental changes and human activities can cause serious degradation of murals, where sootiness is one of the most common problems of ancient Chinese indoor murals. In order to improve the visual quality of the murals, a restoration method is proposed for sootiness murals based on dark channel prior and Retinex by bilateral filter using hyperspectral imaging technology. First, radiometric correction and denoising through band clipping and minimum noise fraction rotation forward and inverse transform were applied to the hyperspectral data of the sootiness mural to produce its denoised reflectance image. Second, a near-infrared band was selected from the reflectance image and combined with the green and blue visible bands to produce a pseudo color image for the subsequent sootiness removal processing. The near-infrared band is selected because it is better penetrating the sootiness layer to a certain extent comparing to other bands. Third, the sootiness covered on the pseudo color image was preliminarily removed by using the method of dark channel prior and by adjusting the brightness of the image. Finally, the Retinex by bilateral filter was performed on the image to get the final restored image, where the sootiness was removed. The results show that the images restored by the proposed method are superior in variance, average gradient, information entropy and gray scale contrast comparing to the results from the traditional methods of homomorphic filtering and Gaussian stretching. The results also show the highest score in comprehensive evaluation of edges, hue and structure; thus, the method proposed can support more potential studies or sootiness removal in real mural paintings with more detailed information. The method proposed shows strong evidence that it can effectively reduce the influence of sootiness on the moral images with more details that can reveal the original appearance of the mural and improve its visual quality.

Computational identification of significant actors in paintings through symbols and attributes

The automatic analysis of fine art paintings presents a number of novel technical challenges to artificial intelligence, computer vision, machine learning, and knowledge representation quite distinct from those arising in the analysis of traditional photographs. The most important difference is that many realist paintings depict stories or episodes in order to convey a lesson, moral, or meaning. One early step in automatic interpretation and extraction of meaning in artworks is the identifications of figures (“actors”). In Christian art, specifically, one must identify the actors in order to identify the Biblical episode or story depicted, an important step in “understanding” the artwork. We designed an auto-matic system based on deep convolutional neural net-works and simple knowledge database to identify saints throughout six centuries of Christian art based in large part upon saints’ symbols or attributes. Our work rep-resents initial steps in the broad task of automatic se- mantic interpretation of messages and meaning in fine art.

Structure of the Scientific Theories

A scientific theory consists of a symbolic framework containing laws and concepts that are derived by deductive reasoning from fundamental laws and primitive concepts, and complemented by the correspondence or the relation between the symbolic concepts and the real objects. The symbolic framework is understood as a representation of the real, constructed by our minds like a realistic painting. In accordance with this point of view, scientific laws are not discovered but conceived or created by our minds. We show how this approach is organized by rational thinking, which is understood as an innate ability of the mind that emerges between childhood and adolescence. We also examine with some detail the structure of the past scientific theories, pointing out their postulates, or fundamental laws, and the primitive concepts. We will restrict ourselves to some of the physical theories, starting with those that emerged in the Hellenistic period, and then proceed to examine other theories until the end of the seventeenth century.

РОССИЙСКО-КИТАЙСКИЙ КУЛЬТУРНЫЙ ДИАЛОГ: РУССКОЕ ПЕРЕДВИЖНИЧЕСТВО И КИТАЙСКАЯ ЖИВОПИСЬ ХХ ВЕКА

The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.

ИЗОБРАЖЕНИЕ ПОЛЕВОГО СТАНА В СОВЕТСКОЙ ЖИВОПИСИ 1960–1970-х гг

The article addresses the pictorial representation of the so-called “field camp” in Soviet realist painting. A field camp is a temporary site equipped for providing meals and recreation to agrarian workers and situated as close to the place of their labor activity as it possible, i.e. directly in a field. Pictures representing the field camp portray Soviet people, workers, in the process of their creative labor for the sake of socialism, which allows us to treat this type of painting as an example of Socialist realism. Amongst the multiple subjects concerning the labor activity of Soviet people, the pictorial representation of the field camp as a space of work and recreation is of interest, because it reflects the specific to Soviet culture views on the role and value of agrarian labor. Our study has pursued two main purposes: - to demonstrate the symbolical value of the field camp pictorial representation and its influence on the development of Socialist realist painting in general; - to reveal a semiotic system (a system of visual images – the signifiers) which enables pictures representing the field camp to function efficiently in Soviet painting. In the course of the study we have also accomplished several additional tasks: - to outline the history of the subject under consideration in Soviet painting; - to interpret shifts in the representation of the subject in order to reveal their connection with the transformation of artistic strategies and ideological discourse. The study addresses some new issues. Soviet painting representing agrarian labor has never been considered in cultural studies. From such a perspective, Socialist realist painting is significant as a historical source for studying Soviet culture and ideology. The analysis of a range of images representing the field camp demonstrates that having emerged in the 1930-s the pictorial representation of agrarian labor became one of the most popular subjects in the 1960s – 1970s. Such pictures make evident the essential difference between the socialist agrarian labor and the traditional farming. The field camp represents the meal of a working team, thereby manifesting the new form of social and labor relationships. The representation of the field camp acquired the following significant features: - the agrarian worker is portrayed in a new manner; - agrarian labor reflects the harmony of people and nature; - agrarian labor is depicted as the space of social harmony. We have also identified a variety of semiotic structures, which serve to express these specific features. These are the groups of signifiers representing gender relationships, opposition of “natural” and “technical”, dialectics of “individual” and “collective”, continuity of labor and domestic activities.

Resistance and Representation: The Making of Chinese Identity in the Art of The Yiyanhui and the Equator Art Society in 1950s Singapore

This paper examines the social realist paintings of the art groups Yiyanhui and the Equator Art Society which emerged during the 1950s in Malaya and Singapore. Their works centred on the social functions of art and its subject matters featured the working class, the Japanese occupation and anti-British colonial sentiment. Their artworks are viewed here as cultural productions shaped by the negotiation between dominant-subordinate relationships within a postcolonial framework. It is argued that the artistic productions examined here may be viewed not only for its overarching “social realist” endeavours but, also as a struggle to rewrite the narrative of the Chinese in Malaya against of the prevailing static representations forwarded by the colonial campaign. The first part of the paper illustrates how colonial discourse in the local press propagated an image of the Chinese as inherently susceptible to communism, untrustworthy, and opportunistic. The second part of the paper shows how the artists resisted this essentialist image of Chinese identity and offered a more complex picture of a Chinese-Malayan identity. Through a combination of interviews, written artist’s statements, formal and contextual considerations of the artworks, as well as a cultural studies framework, I demonstrate how a different narrative is being offered by these artists through two related processes in identity construction: qualifications for authenticity and belonging, the articulation of ambivalence. Resistance thus, is explored as encompassing a network of strategies employed by these artists as a way to reject colonialist representations of otherness and gain authorial agency against the intellectual and ideological dominance of colonial discourse.