Search

This article argues that critical epistemology should aim at centering the voices and perspectives of those who have been excluded and silenced, proposing a way of doing that by combining Black feminist standpoint theory and Latina feminist theory as they converge in María del Rosario Acosta López’s philosophy of radical listening. The article also argues for the crucial significance of aesthetic interventions for creating epistemic friction that can transform our sensibilities so that we can start to listen to silences. The author offers an analysis of the subversive potential in Doris Salcedo’s public art as an illustration of how aesthetic resistance can be used in practices of epistemic activism that resist insensitivity and promote new ways of listening to silenced voices and liminal sites. [ABSTRACT FROM AUTHOR]

Amy Alznauer is the author of three picturebook biographies that explore the lives of individuals who challenge traditional ways of thinking. Her books include "The Boy Who Dreamed of Infinity," which tells the story of Srinivasa Ramanujan, a self-taught mathematician from India, "The Strange Birds of Flannery O'Connor," which focuses on the renowned American author's fascination with birds, and "Flying Paintings: The Zhou Brothers," which tells the story of two brothers from Maoist China who used art as a form of expression and resistance. Alznauer's books aim to inspire readers to view the world from different angles and embrace creative possibilities. The text also discusses the author's collaboration with illustrators, her approach to research and writing, and her upcoming biography on Marjorie Rice, an amateur mathematician who made significant contributions to the field. [Extracted from the article]

The relevance of the presented research is due to the importance of familiarizing modern children with the culture of reading, in the context of which illustrations for children's books play an especially important role. Book illustrations attract the attention of a child and create the necessary focus in the perception of the information presented in books. The purpose of this article is to analyze the creativity of illustrators of children's literature and to study the modern trends in the art of children's book illustration. During the study, the methods of theoretical and comparative analysis were used; in addition, special attention was paid to the study of the basic concepts of creating a children's book and the analysis of available research publications. The main trends in the development of the art of illustration of children's books were determined. The main vectors of illustration development were also defined. The applied value of this research work lies in identifying the main directions of the development of the art of children's book illustrations with the aim of the subsequent introduction of progressive methods for creating such illustrations that meet the requirements of the present day. In general, this study contributes to the formation of a coherent picture of the perception of the main trends in the work of modern illustrators and the formation of the art of book illustration. [ABSTRACT FROM AUTHOR]

In all three of James Cook's expeditions to the Pacific, visual artists were hired by the Royal Society and the Admiralty to communicate scientific information that relied on visual evidence, while conveying the embodied experience of travel. The present article focuses on the representational challenges raised by the encounter with the Antarctic during the polar explorations of the second voyage (1772–75), with an emphasis on Cook's textual accounts and William Hodges's sketches and illustrations, which are shown to provide an interesting angle on the contemporary debates about the respective abilities of words and images, both as paths to knowledge and as sources of aesthetic experience. After a brief discussion of the complementary epistemological function of words and images in Cook's Pacific voyages, this article argues that the specific representational issues raised by the encounter with the Antarctic not only encouraged Cook to reflect about the value of images for the publication of his discoveries, but also partook of his own aesthetic education, with significant and long-lasting implications for the subsequent construction of polar regions in the British imagination. [ABSTRACT FROM AUTHOR]

The blessed body features, creation, good morals and lifestyle of the Prophet (pbuh) have been the subject of the siyar-i Nabi literature and Turkish-Islamic literature. Hilya, one of these literary texts called shama’il, hilya, mawlid, mi'rajiye, has become famous by writing in the form of calligraphy plates since the 17th century and has survived to this day as a type of calligraphy. Hilya, which we can describe as a manifestation of the love for the Prophet and the longing to see him, have also gained an important place in Turkish and Islamic society. In Ottoman culture, it became a tradition to keep a hilya in every home, or to carry the hilya, written in a smaller form, and people believed that this would protect them from all kinds of evil, disease, trouble and disaster. In some works, It is possible to see that the rose motif representing the Prophet or illustrations such as the Kaaba, sandals of the Prophet, kadam sharif, cardigan of Prophet are used with hilya texts. In this study, an illustrated hilya with interesting design, found in the Ottoman Archives, will be described. [ABSTRACT FROM AUTHOR]

This article explores the function and significance of "extra-illustrations" by discussing the steel-engraved plates of two episodes in Barnaby Rudge by Thomas Sibson (1817–44) in relation to Hablot Knight Browne's (1815–82) wood-engravings of the same scenes. While Browne's designs are carefully integrated into the text by meticulous placement, Sibson's plates were intended to stand alone in a frame or collector's portfolio. Browne take us deeper into the story by intensifying the drama of the moment, whereas Sibson often makes allusions that take the viewer beyond the narrative. The comparison between Sibson's and Browne's methods reveals a range of issues pertaining to British illustration culture and practices of the 1840s, showing particularly how the differences in form, mode, timing of issue, the presence or absence of captions, and the circumstances of display affected reception. [ABSTRACT FROM AUTHOR]

The article presents the historical journey of an ornithological collection that includes taxidermized birds, primarily from the late 19th century, and artworks created by Manfred Reichel. It underscores the importance of these specimens and illustrations in understanding the study of birds in Switzerland.

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Building on recent specialised studies on the critique of illustration in individual authors or periods, this article develops a new methodology for a large comparative study of the critique of literary illustration. Notably, this article argues for the benefits of developing a catalogue of basic arguments levelled against the pictorial illustration of literary texts. By distinguishing between these arguments and by tracing these arguments throughout history, we stand to gain new insights into not only the history of literary illustration but also into broader trends in literary and cultural history, which inform the critique of illustration. These general remarks are further developed through exemplary analyses of three prominent criticisms of illustration from the nineteenth century as well of their varying legacies in the twentieth and twenty-first centuries: illustrations limit the reader's imagination; illustrations are merely included for commercial gain; and illustrations limit intellectual pursuits. [ABSTRACT FROM AUTHOR]

Copyright of Brazilian Journal of Law & International Relations / Relações Internacionais no Mundo is the property of Relacoes Internacionais no Mundo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Georgia Brady Barnhill's book, "Gems of Art on Paper: Illustrated American Fiction and Poetry, 1765–1885," provides a comprehensive and detailed account of the growth of illustrated American fiction and poetry. Barnhill explores the development of the illustration industry, from early experiments to technological advancements, and the evolution of illustrators and craftspeople. The book focuses on a neglected period of book illustration and offers a holistic view of mainstream literary illustration, discussing specific editions, illustration technologies, and important creators. Barnhill's work is a valuable resource for scholars and researchers interested in the history of book illustration in America. [Extracted from the article]

"Thoughtful Images: Illustrating Philosophy through Art" by Thomas E. Wartenberg explores the philosophy of illustration and its historical significance. The book discusses different types of illustrations, including text-based, concept-based, and theory-based illustrations, and examines the balance between fidelity and creativity in translating verbal descriptions into visual representations. Wartenberg also analyzes various examples of illustrations throughout history, including pre-modern illustrations, frontispieces of books, theory-based illustrations, and graphic philosophy in comics. While the book offers valuable insights, some of its categorizations and claims may be subject to debate. Overall, "Thoughtful Images" provides a thought-provoking exploration of the relationship between philosophy and art. [Extracted from the article]

Taylor McCall's book, "The Art of Anatomy in Medieval Europe," offers a comprehensive and visually engaging exploration of medieval anatomical art. The book examines the ways in which medieval people envisioned and represented the human body, focusing on the development of anatomy as a field of knowledge in monasteries, universities, and artistic workshops. McCall analyzes a range of anatomical images, including diagrams, miniatures, and prints, and argues for a division between early diagrammatic and later narrative styles. The book challenges the conventional narrative that separates Renaissance anatomical art from its medieval predecessors, highlighting the continuity and innovation of medieval anatomical imagery. Overall, the book fills a gap in scholarship and invites interdisciplinary conversations about the body and visual culture in the Middle Ages. [Extracted from the article]

This article analyses the drawings made by the French spies and envoys who visited Spain at the end of the 18th century and the beginning of the 19th century with the intention of knowing and radiography the infrastructures associated with the treatment and washing of transhumant wool. The ultimate objective of these prospections was to transmit their operation and define its architecture as a means to replicate these archetypes in their own territory once plundered and finished with the Spanish wool monopoly. Through the located documentation we expose the itineraries that were carried out, the objects analysed and the main contributions of their drawings, which respond to the spirit of representation proposed by the French illustration. Based on these documentary sources, the only visual sample of the disappeared wool industrial heritage, the graphic reconstruction of one of the spied complexes is proposed in order to recover this unique heritage and promote its value and conservation. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma: Serie II, Historia Antigua is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the exploration of a letter from Georg Grosz, expressing his desire for a peculiar book, "Eine andere Welt von Grandville," shedding light on the significance of handwritten manuscripts as tangible connections to historical figures. It delves into the enigmatic world of Grandville's illustrations, revealing their fantastical nature and reception by contemporaries like Baudelaire and Ernst Bloch, highlighting intersection of art, madness, and innovation in 19th century.

The article focuses on the Cuala Press's 1935 and 1937 Broadside series, coedited by W.B. Yeats, which exemplifies the dynamic interplay between text and image in 20th-century Irish visual culture. Topics include the collaboration between prominent literary and visual artists, the balance between traditional craft and modern printing techniques, and the unique artistic contributions to the Broadsides, particularly Maurice MacGonigal's conceptual illustrations.

The article delves into the symbiotic relationship between siblings, focusing on the artistic world of Walther and Gertrud Caspari. It explores their notable contributions to children's literature and specifically examines their lesser-known work in the realm of Exlibris, or bookplates. It reveals intricate illustrations and their deeper meanings, unveiling the fascinating artistic details in the bookplates, reflecting the flourishing art scene of the period.

The article centers on the relationship between typography and literary text, emphasizing the distinct nature of illustration versus typography. It emphasizes the role of typography in enhancing readability, touching upon the emotional and artistic facets, distancing from a purely mechanical approach. It sheds light on the significance of visual elements in books, their impact on emotions, and the subconscious associations invoked by typography choices.

The article focuses on the Pirckheimer-Kabinett, an entity that existed from 1981 to 1990 and beyond, situated in Schloß Burgk, Germany. It explains that the art historian Lothar Lang, also the editor of Marginalien, spearheaded the creation of the "own museum" known as the Neue Galerie. It mentions that this gallery became the Pirckheimer-Kabinett, exhibiting book art, bookplates, and illustrations from 1981 to 1990.

The article delves into the life and artistic journey of Sascha Wiederhold, an artist whose career transitioned to that of a bookseller during a tumultuous period for modern art in the late 1930s. It states that despite exhibiting promising talent at Herwarth Walden's influential gallery 'Der Sturm' in Berlin, Germany, and establishing friendships with Dada artist Hannah Höch, his artistic contributions faded from recognition, overshadowed by his work in book-related design and illustrations.

Tragic irony may mean the dramatic irony in scripted tragedy (tragic play). The audience can predict the regrettable outcome on the stage before the main characters do. I focus on non-scripted events and their tragic aspects. Colloquially, disaster and tragedy are synonyms, but this is misleading. Tragedy means a disaster in special circumstances, which I suggest we can read ironically. This is to say, as I argue, tragedy is necessarily ironic. I read Richard Rorty on irony and Hegel on tragic irony and cunning of reason. My aim is to redescribe real-life conflicts by using the dialectical understanding of irony and tragedy. Following Rorty and Hegel, I apply their theories of identity to real tragedies. The validation of the theory of literary criticism is a practical matter. My key illustrations come from modern wars; wars are and cause disasters, and thus I expect we can discover cases of tragic irony in factual and counterfactual contexts. Sometimes, the losses and suffering would have been meaningless regardless of the war's outcome. The winner suffers, but it would have been better not to win. The losers suffer, but it would not have been better had they won. A total defeat would have been better than a conditional one. These redescriptions show the ironic differences between disaster and tragedy in non-scripted contexts—and all these cases are controversial. [ABSTRACT FROM AUTHOR]