3.2 STYLES AND TRENDS IN CONCEPTUAL FINE ART PHOTOGRAPHY It is important to be able to identify all the different types of trends and styles in order to know which ones would be applicable to an assignment or brief. The following sub heading will attempt to identify and clarify the options available in contemporary fine art photography. 3.2.1 Abstract
For achieving the dramaticizing effect or creating a sense of eye-witnessing, the artworks can also encourge the spectator “to identify with a victor or a victim” which I believe this is closely relevant with the painting I am going to analyze further in the paper. At this point, I want to briefly mention about theatricality and its close relation to Orientalism as a discourse in general and to Orientalist painting in particular. Let me briefly explain first how the concept of theatricality will be integrated to the essay. Among the complex conceptualizations of theatricality, parallel with the objectives of this essay theatricality will be adapted from Elisabeth Burns. According to Burns theatricality is a “historically and culturally determined” mode of perception.” Agreeing also with Balme who reappropriated the notion, I will also conceptualize theatricality both “as a mode of Perception” and as a “discursive practice”.
As an interesting note, Gombrich reminds us that artists sometimes intend to convey particular message but because their work of art lacks the context, caption and code, are unable to convey it which might lead to what seems like a wrong interpretation. However, these “wrong” interpretations do not go against the artist work and hence it only “speaks against the equation of art with communication” (p. 64) which happens to be acceptable. I believe that this holds true because only by identifying different perceptions of an image can we completely exploit the potential of an
As a first step, in order to do so, a theory chapter provides the reader with relevant background knowledge and concepts explained that will be referred to later on in the analytical chapters. This first part focuses on the key terms ‘male’ and ‘antihero’; it gives possible definitions and further elaborates on the social history of white male American masculinity and the male body as well as on the term ‘the hero’s journey’. In terms of film analysis, a semiotic approach to mise-en-scène introduces aspects of composition and colour symbolism. Since masculinity as such and the struggles the characters are going through are closely related with identity, a separate section sets emphasis on identity formation and crisis, sexuality, desires, and the pursuit of happiness. Moreover, another subchapter discusses the meaning of the term ‘American Dream’, give a brief overview on the development of the corresponding idea(s) behind it, and investagate on American values.
The authors also examine the artistic elements in the novel and compare Fitzgerald to other authors. Focusing on style, the article reveals the formal and informal language with literary and traditional elements used to create depth in Nick’s character. Artistic elements in the novel included irony, prose, tragedy, satire, compassion, rhetorical devices, fantasy, and sharp characterizations. Fitzgerald cleverly combined all of the elements to make the story flow effortlessly. Robert and Helen Roulston’s article effectively provides a deeper understanding of The Great Gatsby by presenting background information on Fitzgerald’s personal connections with the novel and examining character development, structure, and literary devices.
CHAPTER I INTRODUCTORY MATTERS TO THE EXEGESIS 1. Introduction In this chapter and the next chapter, I am going to carry out an exegesis of Hosea 3:1-5. We shall thus treat the introductory matters of the subject. In this disposition, we shall examine the text of Hosea 3:1-5 in a bid to establish its starting point and ending point. Once the terminus a quo and the terminus ad quem of the passage have been properly established, the author will delve into the textual criticism of the text.
In one of his negative statements in which there were contentions in the translation of the word into other languages, besides, he also mentions that deconstruction is not all about analysis, methodology, and criticism. He indicates that deconstruction cannot be a method in any way because it is not a mechanical operation, this is because it carries some aspects of a procedural form of judgment that give the whole word a different meaning far from philosophy. Nietzsche and the Postmodernism Subject Postmodernism depicts the movement and application of styles and concepts in arts, and architecture that was used in the mid-20th century to late 20th century. Nietzsche lived a life that needs to be put on active record as his contribution on philosophy and life left a legacy which revives and needs recognition of our minds and
Reception theory as proposed by Jauss points at the relationship of text and reader which has two aspects: historical and aesthetics. Firstly, when a reader first encounters a text he compares its aesthetic value with other text. Secondly, the reader will impart his understanding of the text from generation to generation. Jauss focuses the formation of “a literary history based on an aesthetics of reception.” Thus what is required is the transformation of “history of reception of the individual work to the history of literature,” that is emblematic of the historical sequence of the works, capable of clarifying “the coherence of literature,” to the extent that is meaningful for us. Hans-Robert Jauss formulates seven “thesis” to indicate how literary history can be methodically written in a new
83) continues throughout ones’ life instead of it being restricted to childhood (Lu, 2012). Connor (2014) claims that the method that Jung used was not adequately systematic and that Jung placed far too great of an importance on religious convictions, studies of occult practises, mysticism and spiritualism. Some analysists are of the opinion that Jung’s theory is unempirical, unintelligible, indistinct, contradictory and inconsistent (Samues, 1985). Lu (2012) pointed out that Jung’s theory is unviable as one cannot simply prove or disprove some of Jung’s claims, as some concepts are overly ambiguous. A few analysists have gone as far as to say that many concepts of Jungian psychology are irrelevant to contemporary cultures (Connor,
Now the aligned images are stitched together using a blending algorithm. Blending can be done by projecting images onto some composition surface like cylindrical, planer, fisheye etc. This paper is organized as follows: in section 2, we present main steps required for image stitching. Furthermore, section 3 presents a detailed summary on approaches to tackle image stitching. In section 4 we present the discussion on various approaches to image mosaicing and in section 5, future of image stitching is discussed.