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Political scientists are wary of engaging with 'the public' on mainstream and social media because they fear those mediums fail to get across the deep and nuanced argument they develop in their own research. This article suggests a way of justifying public engagement that begins not with debates about the ethical and political concerns of doing this in practice (of which there are many), but how we as political scientists justify public media engagement to ourselves on the basis of the ethical and political process of 'doing' political science. As such, this article identifies the disciplinary basis upon which we may justify media-driven public engagement as an integral part of political science as an academic enterprise. Drawing on current epistemological debates in political science, the article characterises moments of political research as impressionistic exercises, which require public engagement. This means making the public aware of the deep and valuable insights of political science, in a way that sketches out how the discipline can shed light on important social and political phenomena, thereby informing our own scholarly thinking, and that of those we engage with. [ABSTRACT FROM AUTHOR]

The aim of this article is to test whether the comparative cultural analysis of a critical text can provide a greater understanding of why Nyugat's editor, Miksa Fenyo?, chose impressionistic criticism's highly aesthetic, yet seemingly quixotic approach to promote modern literature in Hungary, as opposed to selecting more conventional means. [ABSTRACT FROM AUTHOR]

The article is focused on the analysis of the aspects of intermediality in the novels "The Waves" and "To the Lighthouse" by Virginia Woolf within the context of the aesthetics of Impressionism. The interaction between two arts -- literature and painting -- is seen at micro- and macro levels of the texts that is the aim of the current scientific research. Macro-level expresses worldviews, paradigms, and philosophical approaches and concepts in the interpretation of the phenomena of the surrounding reality both of the characters and the author as the artists in narrow and wide meanings of this word. Micro-level is revealed by the using of painting techniques and pictorial markers while designing visual images, as well as the using of allusions of art movements. The author pays attention to the meaning of colors, light and shadow effects which create an additional semantic layer in the novel and have a symbolic meaning. Thus, the microsemantics connections are realized in the creation of the literary texts in accordance to the semantic dominant of the impressionistic aesthetics (painting themes and forms expressed with words, moreover with poetical tools). At the same time the interaction can be seen at the level of genre (landscapes and portrait made in the style of impressionists in the novel "The Waves" or cubists in the novel "To the Lighthouse"). The writer uses a lot of pictorial markers (canvas, touches, brushstrokes, names of colors etc.) that helps the reader to recognize the world of another art and is the material for thoroughly studying of literature criticism. [ABSTRACT FROM AUTHOR]

Situating itself in line with Max Saunders' thesis in Self Impression (2010), this paper is a literary-critical reconnaissance of the creative techniques Lytton Strachey employs in Queen Victoria (1921). My essay attempts to elicit the ways in which Strachey executes his modernist argument, intended to debunk Victorian perspectives, via a canny mix of traditional and modernist techniques of narration, usually associated with fiction. Showing how – in the way of an impressionist historian – he both inhabits the frame of his narrative as well as directs its very framing, I discuss his use of free indirect style and cognate methods of characterisation. I also discuss his novelistic 'rhythm', as he negotiates between personal and particular histories and wider more universal history; his psychological and psychoanalytic resources for biographical insight; and formal features of his narrative that make use of choric and stage-like structuring, as well as meta-historical tropes of fate and destiny. Literary critical methods deployed by Strachey, precociously, in the arsenal of his method, at a time before such literary critical methods had been overtly established are also discussed in brief as signifying features of his innovation. This paper hopes to offer a concrete interpretation of Strachey's well-known candidacy as the father, or one of them, of the 'new biography'. Being a concrete analysis of only one of Strachey's works, less examined than others, the paper claims only to put traditional notions of the new biography and of modernism under the lens of this one particular but signal work. [ABSTRACT FROM AUTHOR]

The Present study entitled "Henry James's Art of Employing Imagery: A Study" is to explore Henry James' use of art objects and art imaginary in the delineation of characters. This research also examines how Henry James finds analogy between the art of the Painter and the art of the novelist in his attempt to represent life. The purpose of this study is to delineate how James' use of images and his art of technique is presented in his works. James uses art imagery and art objects to underline his themes. In his works the sight of art and its insight merge as an organic unity of his works. This paper also elucidates how James establishes a balance between real and "romantic". [ABSTRACT FROM AUTHOR]

The purpose of this paper is to understand whether we may or not talk about a conflict between Modernism and Postmodernism. These trends are not always seen as opposed; they may even be seen as a continuation of each other. Hassan (1987:25-33) offers his views on Modernism and Postmodernism as not clearly delimited from one another. Modernism may be a continuation of Postmodernism. They may also be seen as coexisting. The ideal postmodern author should not totally move away from previous fiction, according to John Barth. Postmodernism is not viewed as a continuation or as an opposition of Modernism, according to Barth, but as a synthesis: "Barth thinks that postmodernism is neither extension of modernism, nor on the contrary the wholesale subversion of either modernism or postmodernism, or traditional bourgeois realism. Only combining the ideas together can help to get the whole story. This is where his idea of synthesis is from". (Liang) Peter Brooker states that Modernism and Postmodernism represent in fact several trends, not just one unitary trend. The paper will examine common features between the two trends found in Virginia Woolf's and Graham Swift's novel and discuss how the cultural context influences their novels. [ABSTRACT FROM AUTHOR]

This study attempts a reading of Ford Madox Ford's 1915 novel, The Good Soldier, as sample of the much-neglected modernist interest in the ethics of narration. Starting from a definition of the ethics of narration as an investigation by means of fictional representation of the essentially intersubjective and relational character of the act of telling, it examines the effects that Ford's choice of narrative voice (which constructs point of view exclusively through the discourse of a radically unreliable narrator, whose moral and intellectual authority are highly questionable) has on the emergence of an "impressionistic" worldview that exploits what Dorothy Hale has termed fiction's "inherent capacity for otherness.". [ABSTRACT FROM AUTHOR]

This article considers drawings and paintings made by the American artists Edmund Tarbell and John Sloan in relation to the art of the seventeenth-century Dutch Republic. Claims about, interpretations of, and enthusiasm for 'Dutch Pictures' were prominent features of the transatlantic artworld in the years around 1900. Art critics, including George Moore, Charles Caffin, James Gibbons Huneker and Frank Jewett Mather, discussed the relationship between historical Dutch painting and contemporary art, while American collectors and museums purchased and displayed large numbers of paintings by Rembrandt, Hals, Vermeer and their contemporaries. The article connects specific seventeenth-century Dutch ideas and objects to such paintings as Tarbell's New England Interior (1906) and Sloan's Scrubwomen, Astor Library (1910-11) and thinks more broadly about modern art's relationship to nationalism and to the past. [ABSTRACT FROM AUTHOR]

Ian McEwan's use of Fordian elements and techniques in his novella On Chesil Beach- specifically allusions to The Good Soldier; impressionism as an epistemological and narrative strategy; and elements of narrative discourse such as perspective, time, and order - direct our attention to the narrativization of intimacy, what is sayable and unsayable in the representation of intimacy, and to what kinds of knowledge narrative provides access. These moves teach us a form of ethical reading generated by the thinking of Emmanuel Levinas: how to navigate McEwan's representation of desire, intimacy, and alterity in order to recognize the epistemological and ethical commitments and problems engendered by narrative. [ABSTRACT FROM AUTHOR]

For its most prominent proponents, interpretive research is emphatically a ‘systematic’ craft; though iterative and creative, if practiced expertly it enables the researcher to progress towards a more coherent, comprehensive and convincing interpretation of both the political phenomenon under investigation and its scholarly significance. We argue that this process is neither as systematic in nature nor as satisfying in execution as such a characterization implies. Instead, drawing on our own experiences of conducting this sort of research, we argue that the craft is inherently an ‘impressionistic’ one; it entails the deliberate and at times painful creation of a stylized and simplified account. By necessity, doing interpretation means glossing over complexity or presenting a partial representation in order to say something meaningful to academic and practitioner audiences. We argue that instead of shying away from the impressionistic nature of their work, interpretive researchers like us should embrace it, and that doing so will buttress this type of research from criticism, enhance its connection to the policy world, and strengthen its appeal from within. [ABSTRACT FROM PUBLISHER]

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This article examines Katherine Mansfield's aesthetics and attitude to the relation between what she called ''life'' and work, the visual and the intellectual. It emphasises doubleness both in Mansfield's selves and in her aesthetics, a doubleness which led her to experiment with the literary impression. ''The Meaning of Rhythm'', that manifesto for the privileging of ''life'' in art, is read as a manifesto for the primary impression. Mansfield's letters, particularly to the painter Dorothy Brett, are analysed for what they reveal about Mansfield's ideas about ''life'' and the purely perceptual in art, and one can see her begin to formulate views on what painting should encompass, and what fiction can take from painting. Her review of Dorothy Richardson's Pilgrimage in the Athenaeum is set against the letters in an attempt to delineate her attitude toward the visual and the primary impression in fiction. Jesse Matz's theory of the ''double impression'' is used as a key to understanding the dichotomy between perception and definition, life and writing, glimpses and recording in Mansfield's fiction and journals, but ultimately I will argue that through her use of the symbol, Mansfield progresses beyond the bounds of literary impressionism and creates her own unity. [ABSTRACT FROM AUTHOR]

Despite the constant recourse to different stylistic tendencies throughout her mature fiction, one of the most striking features of Katherine Mansfield's writing is its pictorial quality, which demonstrates a heightened aestheticism and a desire to realise painterly effects within a verbal or written medium -- a concept which her diaries and letters reinforce. Her stories point towards a congruent knowledge of developments and trends in the visual arts, particularly Impressionism. While leading scholars have linked Mansfield to Impressionism, her work has been neither explored nor substantiated from an art-historical perspective. This essay draws on research into the concept of literary impressionism, alongside Mansfield's early exposure to painterly Impressionism in New Zealand and abroad. It aims to elucidate possible painterly sources for her highly pictorial prose and to consider the painterly quality of her work, shaped by that exposure, in several of her earliest stories. These demonstrate how early the influence of Impressionism can be seen in her fiction, and go some way towards explaining why her writing developed as it did. [ABSTRACT FROM AUTHOR]

Mansfield has often been noted for a visually perceptive or ''painterly'' style of writing. If the form and content of her oeuvre are informed by the fine arts, the rhetoric involved in her text can be best termed as ''impressionist''. Not only is her writing vibrant with light, colour and perceptual sensations, but it also established the short story, her hallmark genre, as the most appropriate mode for the impressionist record of transience, speed and mutability -- the defining qualities of urban modernity. This article, accordingly, considers affinities between Mansfield and the Impressionists in terms of aesthetics, technical innovation and thematic concerns. Both based their art upon the same epistemological grounds that human knowledge and perception, conditioned by individual sensory experience at a specific time and space, are essentially subjective. They thus found conventional modes of representation inadequate to accommodate shifting awareness, seeking to forge a new aesthetic through a series of formal experiments. Common ground is also found in their thematic concerns. Mansfield, like the Impressionists, developed a predilection for urban subject matter, tapping into the ambivalent aspects of modern city life. An exploration of Mansfield and Impressionism thus sheds new light on her art, suggesting the fascinating interplay between text and image within a modernist framework. [ABSTRACT FROM AUTHOR]

The study of Decadence recently has attempted to counteract the perceived apoliticism of the movement by examining the spread of Decadent communities in opposition to larger ones of the nation state. This article seeks to both complicate and extend that discussion by turning to the ways in which the novelist George Moore and the poet and critic Arthur Symons transformed London through the importation of Parisian impressionism. Examining naturalism and impressionism, this article argues that London 'disappears' as a symbol of the nation state and is transformed into the abstracted space of modern urbanity. [ABSTRACT FROM AUTHOR]

The present study focuses on the introduction of a new mythology of poetic modernism by means of colors and words. If desacralization, as a symptom of the eighteenth and nineteenth centuries, led to what Jean- Luc Nancy defines as "the interrupted myth", Mallarmé and the Impressionists, and then Sensationism (Fernando Pessoa), the English Imagists (Ezra Pound), Futurism, Abstractionism, Expressionism, Suprematism, regained and imposed new artistic codes, new myths in which colour became the support, the instrument and the universal Cratylean language. [ABSTRACT FROM AUTHOR]

In the post-Commune period, visual representations of bourgeois leisure on the Seine exemplified an historical forgetfulness that Renan believed was inherent to nation-building. This article explores the relationship between riverine leisure as depicted in Impressionist painting and the construction of national and cultural identities in the early Third Republic. Idealised views of pleasure-boating on the Seine, symbolic heart of the capital, celebrated the affluent middle classes on whom the new Republic depended and located them in an iconic national riverscape. Such painting was also perceived to embody the modern Republican values of secularism and science, and it was consequently invoked in support of the developing Republican nation. [ABSTRACT FROM AUTHOR]

An important problem in the area of computer graphics is the visualization of large, complex information spaces. Datasets of this type have grown rapidly in recent years, both in number and in size. Images of the data stored in these collections must support rapid and accurate exploration and analysis. This article presents a method for constructing visualizations that are both effective and aesthetic. Our approach uses techniques from master paintings and human perception to visualize a multidimensional dataset. Individual data elements are drawn with one or more brush strokes that vary their appearance to represent the element's attribute values. The result is a nonphotorealistic visualization of information stored in the dataset. Our research extends existing glyph-based and nonphotorealistic techniques by applying perceptual guidelines to build an effective representation of the underlying data. The nonphotorealistic properties the strokes employ are selected from studies of the history and theory of Impressionist art. We show that these properties are similar to visual features that are detected by the low- level human visual system. This correspondence allows us to manage the strokes to produce perceptually salient visualizations. Psychophysical experiments confirm a strong relationship between the expressive power of our nonphotorealistic properties and previous findings on the use of perceptual color and texture patterns for data display. Results from these studies ate used to produce effective nonphotorealistic visualizations. We conclude by applying our techniques to a large, multidimensional weather dataset to demonstrate their viability in a practical, real-world setting. [ABSTRACT FROM AUTHOR]