Serial Works Research Articles

«Загадка» о центре V части Кантаты op. 31 Антона Веберна

The article presents an analytical commentary of Anton Webern’s elucidation of the form in Freundselig ist das Wort (the fifth movement of his Cantata opus 31): “In the centre are the words: 'Weil er am Kreuz verstummte <...>” (from a letter to Hildegard Jone dated 25 July, 1942). Although the boundaries of the phrase about the Cross are clearly marked by double barlines in the musical score, it is not easy to understand exactly what Webern meant. Kathryn Bailey, the author of an article about the Cantata Opus 31 and a book about Webern's serial works, has labeled his statement about the centre as “somewhat imprecise to say the least” and the bars encompassing it “a riddle.” Responding to these evaluations and drawing on Bailey’s research — primarily, the signs of the central symmetry in the serial canon Freundselig ist das Wort demonstrated by her — the author of this article offers her own version of the solution to the question of the centre. An analysis from the position of metrotectonicism shows that, first, the phrase about the Cross does not present the centre in a strict sense, although it is located at the centre of the five sections of Freundselig ist das Wort, and, second, that a compositional centre does, indeed, exist here. This is demonstrated by the peculiarly shaped ending to the phrase about the Cross, which corresponds to the notion of a “central cadence,” which, according to Georgy Konyus, is “a sort of knot binding the identical or similar constructions placed on either side of it,” and is situated at an equal distance from the beginning and final points of the form.

ANALISIS VISUAL POSTER KIKO PADA SERIAL ANIMASI KIKO MUSIM KE-1

In the current era, technological progress is growing rapidly. The development of this technology has had an impact on the creative animation industry, judging by the many animated series that have had better quality from time to time. One of them is the animated series made by the nation's children, namely, KIKO. The KIKO animated series is an adaptation of the children's comic series entitled Kiko's Story, which was then redeveloped into an animated series. The role of information and promotion media in making animated serial works is inseparable, namely by designing media posters. In the KIKO animated series, the poster used aims to provide information about the broadcast schedule at one of the television stations. The purpose of this research is to examine the visual elements and find out the meaning contained in the poster. This study uses Kusrianto's visual communication theory and Rustan's visual elements. The method used in this study is a qualitative-descriptive method with the semiotic approach of Kress and Leewuen to analyze the meaning contained in the posters for the KIKO season 1 animated series. This study describes the role of visual elements that provide an overview and meaning according to the content in the KIKO season 1 animated series story.

Stuart Davis’s Theory and Practice of ‘Color-Space’: Resisting the Irresistible Attraction of Line

Stuart Davis’s paintings include both lines and colour planes. Lines define these colour planes, enclose colours, and in them originates the experience produced by the work. But colour, especially in Davis’s serial works (Little Giant Still Life series, Letter and His Ecol series, Gloucester Harbour series), becomes autonomous in redefining the painting. It opposes stability and introduces movement and time in the work. Through colour, the work becomes process. Colour is difference, it is fragmentation, deviation from the original design, whereas line unifies a series, brings individual works together, creates continuity. The difference brought about by colour gives fluidity to meaning, the work escapes the fixedness of words, titles, and even the artist’s theory, while raising questions about difference, repetition, and continuity.

Serial Unreading

This article develops a theory of serial reading rethought as a theory of serial unreading, a processual form of attention directed toward virtual principles of production, whether a procedure, formula, operation, algorithm, or even an obsessive compulsion. The material specificity of the series’ parts matter but only insofar as the concrete detail suggests its own unwinding, the virtual and nonlinear path to its current state. In other words, the value or facility of serial unreading includes rediscovering the rules governing the production of the work. Thus, unreading is not necessarily an end in itself. In fact, by dispersing and expanding our attentional field, acts of unreading make us better readers of nonserial works. In drawing our attention to their governing rules, operations, or patterns of production, serial works generate a primary principle of criticism: the impulse to reverse engineer the object. To show how this works, I examine three twentieth-century items—one series of minimalist drawings and two poetic works. By choosing a small cluster of examples I aim to mimic the oscillations of serial unreading, the way audiences are required to move from one member of the series to the transtextual techne that produced it. By withholding or abjecting the single finished object (often projecting divergent endlessness), serial art projects its governing intention in terms of techne—which subsists virtually along with the actual work as its formal and efficient cause—rather than deep expression. Moving quickly among individual works, I try to show how the feeling of navigating their expanded, multidirectional fields leads us on a cognitive path (whether we take it or not) toward criticism.

Heritage Value of the Malayness Socio-Cultural Symbols in Millennium Artist Series of Arts: A Research Analysis in Semiotics

This study explains the analysis of the semiotics in the painting artworks of the Din Omar, who focuses on the forms of heritage values in his creations. This study is also important for the documentation of the Malay culture, which has customary and culturally-related elements, where the human value is given a touch of heritage elements, as portrayed in the production of the serial works Tepak Sirih Series, Tepak Sirih: Menanti Tetamu siri 5, and Ukiran Indah di Puncak Indah by Din Omar. The study looks into more details the description of the meaning of semiotic approach analysis by Ferdinand De Saussure, which is interview with the curator and analysis of three selected artworks. The researchers are also providing exposure to elements behind the cultural materials, such as the Tepak Siri Series, Tepak Sirih: Menanti Tetamu Siri 5, and Ukiran Indah di Puncak Indah. The findings of the study revealed that the Tepak Sirih series artwork possesses the value of non-verbal communication in community engagements and weddings. The legacy and Malay culture in the Tepak Sirih: Menanti Tetamu siri 5 work carries the meaning of customary wealth in official ceremonies, but not suitable for arbitrary activities. In the Ukiran Indah DiPuncak Indah artwork, Hulu Keris Patah Tiga gives the meaning of a Malay traditional weapon used to complement Raja sehari or the Malay wedding dress. Para pandai besi produced a dagger with a Malay identity and spiritual elements which will not be extinct and is always kept as national treasures. Received: 29 March 2021 / Accepted: 23 June 2021 / Published: 8 July 2021

Hilma af Klint and the Need for Historical Revision

Hilma af Klint and the Need for Historical Revision

Thirty-Six Views of X: Variations on a Theme Reveal Individual artistsʼ Approaches to Composition

How do artists position the key element of their composition? Is this choice random, or does it follow rules? I propose that a fruitful domain for studying key element framing is found in suitable serial works having a strong thematic homogeneity. What characterizes such series is that they might be regarded as variations on a theme by the same artist, allowing meaningful assessments of random variations while keeping other factors approximately constant. In this work, I report two studies on series originally inspired by 19th century Japanese prints (Hokusaiʼs Thirty-six views of Mount Fuji) and later revisited, in similar form, both in later Japanese works and at the beginnings of the 20th and then 21st centuries in Europe. I call this database of images Thirty-six views of X. Results do not support framing according to a centring bias or to ‘power’ points or lines defined by known principles of composition, suggesting that key element framing shows an overall bias for moderate asymmetry, that this bias is modulated by individual and cultural differences, and that there may be an additional effect of print aspect ratio.

Targeting virulence factors as an antimicrobial approach: Pigment inhibitors.

The fascinating and dangerous colored pathogens contain unique chemically pigmented molecules, which give varied and efficient assistance as virulence factors to the crucial reproduction and growth of microbes. Therefore, multiple novel strategies and inhibitors have been developed in recent years that target virulence factor pigments. However, despite the importance and significance of this topic, it has not yet been comprehensively reviewed. Moreover, research groups around the world have made successful progress against antibacterial infections by targeting pigment production, including our serial works on the discovery of CrtN inhibitors against staphyloxanthin production in Staphylococcus aureus. On the basis of the previous achievements and recent progress of our group in this field, this article will be the first comprehensive review of pigment inhibitors against colored pathogens, especially S. aureus infections, and this article includes design strategies, representative case studies, advantages, limitations, and perspectives to guide future research.

Serial fiction podcasting and participatory culture: Fan influence and representation inThe Adventure Zone

New media affords significant opportunities for audience feedback and participation, with the power to influence the creation and development of contemporary works of fiction, particularly when these appear in serialized instalments. With access to creators permitted via social media, and with online platforms facilitating the creation and distribution of audience paratexts, fans increasingly have the power to shape the fictional worlds and diversity of the characters found within the series they enjoy. A noteworthy and understudied example is fiction podcasting, an emerging form that draws on conventions of established media such as radio and television. Despite the recent surge in the popularity of podcasts, little scholarly attention has been given to the format, except to discuss it as either a continuation of radio programming or part of a transmedia landscape for texts which are centred in media such as television and film. This article argues that fiction podcasting offers unique affordances for creating serial works of fiction, taking The Adventure Zone as a case study which demonstrates the power of successful participatory culture. The podcast has grown from modest beginnings to acquire a considerable and passionate fan network, has diversified into other media forms, and, though available for free, is financially supporting its creators and raising substantial amounts of money for charities. Crucial in its success is the creators’ cultivation of an inclusive environment for fans, and a constant attempt to feature characters representative of a diversity of gender and sexual identities, particularly those typically excluded from other science fiction worlds. This article argues that The Adventure Zone and the format of fiction podcasting demonstrate a shift in contemporary culture, away from established mass media programming and towards a participatory, transmedia, fan-focused form of storytelling which utilizes the unique advantages of new media technologies in its creation, development, and distribution.

A rigorous model for the simulation of chemical reaction in gas-particle bubbling fluidized bed: I. Modeling and validation

A rigorous model is presented for simulating the gas-particle two phase flow and the involved chemical reaction in bubbling fluidized beds (BFB). The present model employs the recently developed c2¯−εc closures for the turbulent mass transfer equation, thus enables the prediction of species concentration distributions without relying on empirical turbulent Schmidt number. The Two-Fluid model (TMF) is used to represent the fluid mechanics and the coupled chemical reaction. In mathematical expressions, the kg−εg−kp−εp−Θ equations for the description of phases turbulence is adopted. To test the validity of the present model, simulations are conducted for reactive multiphase flow in a BFB. The model predictions show good agreement with the experimental data in literatures. Part II of these serial works will further extend the application of this model to simulating a gas combustion process with strong heat effect in BFB.

Title Change Characteristics of Academic and Nonacademic Serials: Implications for Identifying New Serial Works

The study compared the characteristics of academic and nonacademic serials with title changes, from which it was determined that the two serial subpopulations were similar in the six broad reasons found for a title change but differed in the kinds and proportions of subject and function changes that occurred when a title changed. On the basis of the findings, two alternate RDA rule revision proposals are made (labeled Ideal versus Practical), the first requiring a new access point for a title change only when a significant subject or function change has occurred, and the second requiring a new access point only when the publisher has indicated the start of a totally new serial. It is further recommended that reasons for title changes be determined from statements in the serial or directly from the editor or publisher rather than from word changes in the title.

Seriality and Susanna Rowson's <em>Sincerity</em>

Seriality and Susanna Rowson's Sincerity Karen A. Weyler What makes a work teachable? How do we prepare students to read early American authors and genres when virtually everything we will teach in such a course will be unfamiliar to them? Sheridan Blau, in The Literature Workshop, argues that one of the secrets to engaging teaching is providing enough context so that students can comprehend a work, without offering so much that we substitute lecture for student engagement and discovery. He uses the example of Randall Jarrell's "The Death of the Ball Turret Gunner." With direct knowledge of World War II receding into the distant past, this splendid poem hovers on the edge of legibility for many students; absent knowledge that men operating machine guns were confined to the claustrophobic spaces of a ball turret for the duration of an airplane flight, students produce wildly creative but ultimately frustrating misinterpretations of "wet fur" and "black flak" (qtd. in Blau 191).1 With this question of context in mind, how can we prepare students to read early serial fiction? And perhaps even more to the point, why would we want to teach serial fiction, when there are perfectly good reprint editions of early American novels that provide, in a single volume, the kind of textual infrastructure to which our students are accustomed: a unified, coherent text; footnotes; chronologies; author biographies; critical responses; and the like. In reading serial fiction, we give up these conveniences and create conditions that encourage students to teach themselves and to apply knowledge they have acquired in other contexts. Susanna Rowson's 1803–4 novel Sincerity dramatically and memorably animates the persistent inequalities faced by women and poor people in Anglo-American culture and the physical, social, and mental costs of living up to unattainable early-nineteenth-century feminine ideals. Moreover, teaching Sincerity as a text-in-parts encourages students to engage in metacognitive thinking about their reading experiences: it encourages them to think beyond the plot and reflect on reading as a process. Our class discussions thus oscillated between two central issues: interpreting how parts of Sincerity were embedded within multiple contexts, and interpreting how temporalities of reading shape interpretation. In this essay I will first explore why the novel-as-material-book has held a privileged status in American literary studies and what we might gain by moving beyond that model; then I will discuss how [End Page 162] teaching Sincerity with an emphasis on seriality facilitated student engagement in primary research and encouraged them to bring their own experiences as consumers of serial works to bear upon an early American literary text. privileging the book Scholars of British literature have historically been more attentive than scholars of American literature to the serial publication of long fiction, particularly with respect to Charles Dickens's work in magazines and standalone serials and to the triple-decker novels that were so popular among private subscription-based circulating libraries. By contrast, the serial novel receiving the greatest attention in nineteenth-century US literature is Harriet Beecher Stowe's Uncle Tom's Cabin, even though that text is more likely to be discussed as a unified novel than as a serial. Fiction in serial format formed an essential component of post-Revolutionary magazine culture. As Jared Gardner has pointed out, the two most prolific novelists of the early republic, Susanna Rowson and Charles Brockden Brown, ended their careers writing not standalone novels but periodical pieces, as did Isaiah Thomas and Judith Sargent Murray (140–41). The largely anonymous, more responsive, and more democratic form of the magazine clearly appealed to writers as well as readers. Why, then, has early US serial fiction—specifically early-nineteenth-century magazine fiction—received markedly less attention than its British counterparts? This critical lacuna has been created partly by technological factors and by the reciprocal relationship between teaching and literary scholarship in the field of American literature. For most of the twentieth century, early American sentimental fiction—and it is fair to assert that while sentimentality is not the only mode in early American fiction, it predominates—was dismissed as sub-literary. The rise of feminist criticism, reader-response criticism, New Historicism, and...

Radical Customs: Maréchal’s Critique of Religion and Politics in Serial Works on Distant Civilizations

Radical Customs: Maréchal’s Critique of Religion and Politics in Serial Works on Distant Civilizations

Before the “Comics”: On the Seriality of Graphic Narratives during the Nineteenth Century

While the connection between seriality and comics in the twentieth century has frequently been a subject of study, far less attention has been paid to the role of serialisation in the previous century, when the language of comics gradually developed in the illustrated and satirical press. This article discusses a heterogeneous group of graphic narratives published in various European countries between the 1830s and the 1880s, before a new generation of comic magazines influenced by American newspaper strips, transformed this emerging field into the autonomous medium of comics. Serial works flourished during this period and included diverse modes, such as series of “graphic novels,” the use of recurring characters, the serialisation of picture stories in humour periodicals, and the use of graphic narratives as a regular feature in the illustrated news magazines. By providing a panoramic survey of various types of serial texts, the article suggests that the hybrid nature of these graphic narratives and the publishing strategies applied to them can be better understood if considered in relation to the larger context of nineteenth-century print culture, rather than in comparison with the future of the medium.

Review of Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge University Press, 2014)

[1] The 2015 winner of the Society for Music Theory's Wallace Berry Award, Jack Boss's landmark book Schoenberg's Twelve-Tone Music, will positively impact the understanding and appreciation of Schoenberg's serial music. Although Boss focuses upon Arnold Schoenberg's well-known serial compositions, using established terminology of late twentieth-century twelve-tone theory, the holistic analyses he undertakes are imaginative, innovative, and unique within the discipline of music theory. The importance of this work does not reside in the presentation of a new set of theoretical tools for exploring serial music, but rather in providing a new conceptual framework for comprehending large-scale unity and coherence in Schoenberg's serial compositions.(1)At the start of the first chapter Boss establishes his theoretical framework by examining Schoenberg's concept of musical Idea as described in his writings and surveying some musical, philosophical, and historical antecedents, as well as modern scholars' works that have been influenced by the concept of the Idea--and in turn have influenced Boss himself. The remaining seven chapters include chronological (by opus number) in-depth analyses of complete works or movements from some of Schoenberg's most revered compositions, including Suite for Piano op. 25, Piano Piece op. 33a, Moses und Aron, and the String Trio op. 45.[2] The theoretical underpinnings of Boss's rigorous analytic survey of Schoenberg's serial works emerge from the composer's statement that "the only analysis there can be for me is one that throws the idea into relief and shows how it is presented and worked out" (1; Boss cites a letter from Schoenberg to Rudolf Kolisch, in Stein 1965, 164-65). Inspired by Schoenberg's desire for comprehensive analyses that trace the working out of a musical idea, Boss examines and adapts Schoenberg's concept of a tonally-based Idea--which contains three dialectic components (Grundgestalt, compositional problem, and solution)--and convincingly readapts it as a large-scale framework for examining long-range coherence within entire serial compositions or complete movements (7).(2) According to Boss's framework, a typical compositional problem results from a conflict between a symmetrical ideal and passages in a serial work that approximate (but do not fully realize) the ideal at the outset of a composition; as the composition unfolds the conflict is elaborated. The resolution of the conflict generally occurs near or at the end of the composition, when the differences between musical elements are finally reconciled. Boss describes a variety of ways in which the presentation of a problem and the process of its elaboration can unfold within a serial composition, including: symmetrical ideals juxtaposed against non-symmetrical elaborations that only approximate them (op. 25, op. 28, op. 33a, Moses und Aron), conflicts generated through row partitions that seemingly create incompatible elements (op. 26, op. 37), and conflicts that are generated between multiple source rows vying for supremacy (op. 45) (8-10). In general, the conflicts associated with the first two stages of the framework (a problem and its elaboration) are frequently resolved by a musical reconciliation between seemingly disparate or conflicting musical elements undergoing a restorative process; these conflicting elements can often be traced to a unifying and symmetrical musical ideal.[3] Despite the subtitle of the book, Symmetry and the Musical Idea, and the title of the first chapter, "Musical Idea and Symmetrical Ideal," there is a curious omission in the first chapter: Boss does not provide a thorough description of symmetry or the symmetrical ideal. While he asserts that imperfect non-symmetrical configurations of the ideal create conflicts in Schoenberg's serial works in multiple ways, the topic of symmetry in the first chapter is somewhat scattered and surprisingly moot. Moreover, the focal points of the solutions to conflicting musical elements in Boss's analyses do not always reside in symmetry. …

Game over? The (re)play of horror in Michael Haneke’s Funny Games U.S.

Abstract Michael Haneke’s Funny Games U.S. (2007) is a meticulously faithful American remake of his European horror film of the same name, Funny Games (1997), which depicts the plight of a bourgeois family terrorized by two young men at their lakeside property. The purpose of this paper is twofold. First, it demonstrates how the film’s aesthetics of terror produces affective responses that undermine the characteristic emphasis on cathartic violence of the horror genre. Second, it addresses how the remake’s fidelity to the original prompts us to consider the transnational properties of representational violence. Retracing the psychoanalytic underpinnings of the ‘family in peril’ sub-genre of horror cinema, I first argue that Funny Games U.S. unsettles the viewer’s expectations by simultaneously exploiting and subverting generic conventions. Rather than resorting to spectacles of blood and gore, the film utilizes the affective potentialities of duration and self-reflexivity to rattle the audience and critique the viewing pleasure associated with representational violence. Next, I examine cinematic remakes as indicators of cultural variation, arguing that the minute differences of setting and characters between the original and the remake only aim to reinforce their similarities. In thus rendering the viewing experience almost identical, as mirroring and serial works, the films recast our understanding of the cultural specificity of spectatorship.

Identifying Significant Changes in Serials with Title Changes in the Recognition of New Works

The purpose of the study was to develop a means for identifying significant subject and function changes in serials with title changes and then to recommend ways to recognize new serial works in cataloging. A sample of serials with title changes was used to classify the underlying subject and function changes found into thirty-five subcategories, which were then each assigned a level (high, medium, or low) according to the evidence provided for a new work. The FRBR (Functional Requirements for Bibliographic Records) concept of a work and other FRBR guidelines were used in assigning the levels. It was determined that three high-level subject changes and one high-level function change provided the best evidence of significant change in recognizing a new work. Tests were performed to determine whether multiple medium-level changes could also be used to identify new works. A recommendation was made to modify the RDA (Resource Description and Access) rules for major change in the title proper of a serial to require a new access point only when a significant subject or function change has occurred in one of the four high-level subcategories identified in the study.

“On the System of Stravinsky’s Harmony” by Yuri Kholopov

Yuri Kholopov is generally regarded as the foremost Russian music theorist in the latter half of the twentieth century. Though he published articles in a wide array of topics, he was happiest when discussing twentieth-century concepts; it was to this end that he devoted a large part of his life’s work. The essay by Kholopov translated in the present article is from 1997, six years before he died. There are several significant points that he makes with respect to Stravinsky’s music. First, Kholopov links a quotation from Stravinsky on harmony to Sergei Taneev’sInvertible Counterpoint in the Strict Style, thus suggesting that by borrowing ideas from Taneev, the Petersburg-based Stravinsky was influenced by the Moscow-based Taneev. This speaks to a possible Russian influence on Stravinsky aside from Rimsky-Korsakov, whose influence on Stravinsky is not in doubt. Second, Kholopov posits a new fundamental “neotonality” in Stravinsky’s music, which exhibits a “central element” (CE) to which all other tones gravitate. Third, Kholopov’s work situates octatonicism into a broader framework of Stravinsky’s compositional practices. Ultimately, it is but one aspect of this music and is not emphasized as a fundamental structural element in Stravinsky’s music, as it is in writings by Arthur Berger, Pieter van den Toorn, and Richard Taruskin, for example. Fourth, in the section on polarity, Kholopov posits that when Stravinsky uses this term in relation to his music, he may have meant to say “stability,” which was a term from the writings of Boleslav Yavorsky that most Russian musicians knew in the early twentieth century. This reinterpretation of polarity sheds new light on this most important concept in Stravinsky studies. Lastly, there is the idea that Stravinsky was, in fact, a serial composer for his entire life. Of course, Stravinsky famously claimed so himself late in life; Kholopov solidifies this claim, traces the evolution of Stravinsky’s serial works, and finds an intriguing four-note series inFirebird.

Characteristics of Serial Title Changes and Recognition of New Serial Works: Theoretical and Practical Implications

The paper reports findings from a study to identify characteristics of serials with title changes and then make recommendations for recognizing new works for these serials. Findings show title changes occur due to underlying subject, function, corporate, geographic, frequency, or format changes, with 80.8% of the changes being subject or function changes. It is recommended that reasons for title changes be determined from clear statements in text or elsewhere, and that new works be recognized based upon the requirements of a definition of a work. With the FRBR definition, a new work would be recognized only for a significant subject or function change.

Characteristics of Serial Title Changes and Recognition of New Serial Works: Theoretical and Practical Implications

The paper reports findings from a study to identify characteristics of serials with title changes and then make recommendations for recognizing new works for these serials. Findings show title changes occur due to underlying subject, function, corporate, geographic, frequency, or format changes, with 80.8% of the changes being subject or function changes. It is recommended that reasons for title changes be determined from clear statements in text or elsewhere, and that new works be recognized based upon the requirements of a definition of a work. With the FRBR definition, a new work would be recognized only for a significant subject or function change.