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The article offers information on the French-American artist Louise Bourgeois' use of textiles and clothing in her art to express personal anxieties and traumas. Topics discussed include her innovative approach to incorporating her own garments into her work; the symbolic significance of these textiles in representing her past and emotions; and the ongoing influence of her art on contemporary fashion and exhibitions.

The history of Mont-St-Michel provides context for the witty comparisons made between the Giant of Mont-St-Michel and Saint Michael himself in lines 841-1230 of the Alliterative Morte Arthure. Stories of anxiety over the absence of Saint Michael's bodily relics inform the episode's humor and suggest a way in which a monster's corpse might also be a relic. [ABSTRACT FROM AUTHOR]

The article discusses artist Andy Warhol's Death and Disaster series which the author argues constitutes Warhol's own, modern version of the Dance and is designed primarily to lessen fears of the Last Judgment. It notes that his series articulated the end-of-the-world anxiety that gripped the U.S. during the Cold War era specifically in the 1950s and early 1960s when the root and symbol of the doomsday dread was the atomic bomb whose images flooded the mass media.

Despite the sorely noted scarcity of China allusion in the entire body of his works, Hardy remains a favorite Western author for Chinese students and scholars alike. Hastily equipped with critical apparatuses such as ecocriticism, narratology, postcolonialism, translation studies, and comparative literature, they go on a search for intertextual resonances between Hardy and Chinese authors. The search for Hardy and China 'kinship' is driven by the anxiety to place Chinese literature, and indeed Chinese culture/civilization, back on an equal footing of significance with that of the West, and by the angst to find meaning and connectivity in a world that is, despite globalization, increasingly fractured. Although the result is sometimes a mixed bag of insight and impressionistic guesswork, the (re)search for Hardy and China 'kinship' helps shine light on translingual and transcultural convergences despite apparent and sometimes overhyped dissonances between China and the West. [ABSTRACT FROM AUTHOR]

An essay is presented on expressionism from the painting "The Scream" by painter Edvard Munch. It examines the literary use of expressionism in paintings depicting Munch's composition featuring emotions of despair and anxiety. The author also discusses the development of expressionism in artworks and the despair and anxiety in literary works.

The article discusses the four suites of prints depicting dwarfs engaged in la belle danse, the noblest style of eighteenth-century French dancing. It provides detailed discussion concerning the images of four suites of prints of dwarfs. It also adds that the images explores varied satirical messages particularly the dwarf prints which reveal the anxieties of a society that needed to perform in order to underscore their status.

The article discusses Norwegian painter Edvard Munch. It notes that he is identified with sexual fears, sorrow and depression, and by his iconic painting "The Scream," expressing for many an existential anxiety. It notes that his work encompasses much more, becoming increasingly cheerful as he aged but maintaining the existential angst, as in his 1893 painting "Starry Night." It notes that he flirted with impressionism while in Paris, but translated it into something darker.

The article offers information on the creation of collages by artist Maz Dixon. It relates on the wallpapers based from natural environment depicting the scenes of fauna, flora, and people considered to be exotic. It says that the collages are the interpretation of colonial landscapes presenting an anxiety on each layer as believed by George Alexander. Alexander notes that there are levels of anxiety reflected in the nature such as the desire in controlling the nature by replicating the nature and the feeling of alienation from the environment. Among the collages created by Dixon include "Processional Way," "Pergola," and "Landfall."

Focuses on the contemporary Asian visual art in Singapore. Attribution of hollowness by contemporary artists; Interpretations of hollowness in several works of various Singaporean artists; Acts of resensitizing a desensitized audience; Evidence of anxiety in the works of the artists.

An essay is presented which explores the artworks of Norwegian painter Edvard Munch. It examines the aspects of human sufferance, despair, inner turbulences and various types of anxiety and the concept of expressionism in Munch's artworks. It discusses that Munch's artworks depicts his feelings and memories of continuously suffering from a loss, death and grief of a dying family member. The author also mentions Munch's contribution to expressionism artworks.

The article focuses on the 1893 painting called "The Scream" by Norwegian artist Edvard Munch which became the iconic symbol of anxiety and uncertainty in the modern age. The painting was noted to be the extreme and extraordinary representation of the painter's internal grief and mental condition. It also offers information on the painter's exhibitions, rise to prominence and universal themes used in his artwork.

The article features the Norwegian expressionist painted Edvard Munch and his self-exploration of life which he represented in his artworks from 1890 to 1944. Munch visualizes his anxiety, his own death and the death of his loved ones in the paintings "The Sick Child," "The Scream," "The Night Wanderer" and "SElf-Portait Between Clock and Bed." Munch was declared a degenerate artist by the Nazis and died in his home at Ekely in Oslo on Janaury 23, 1944.

The photograph "The colours of anxiety," by Dr. Howard Gwynne is presented, which is taken using multiple exposures and created by cropping and adjusting colour and light in aperture.