tag:blogger.com,1999:blog-48352417442799074192024-03-28T19:40:13.052+02:00English for ArtThis blog is mainly conceived for art students who need to improve their use of the English language in order to communicate inside and outside the art world. The posted materials are meant to support the academic course for the second year students of UAD and apply the method of Genre Analysis to the specific purposes of using English for art.Anda Crețiuhttp://www.blogger.com/profile/15807475994682475824noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-4835241744279907419.post-17966072933634978562024-03-14T15:55:00.000+02:002024-03-14T15:55:21.358+02:006. The Compare and Contrast Essay<div dir="ltr" style="text-align: left;" trbidi="on">
general term -<i><b> comparison</b></i><br />
<br />
more specific meanings <i>- </i>showing similarities = <i>comparing</i><br />
<br />
- showing differences = <i>contrasting</i><br />
<br />
<b><span style="color: red;">communicative purpose(s</span><span style="color: red;">)</span>:</b> depending on the specific intention of the writer, we can speak about:<br />
<br />
<ul>
<li>descriptive comparison - to show similarities and differences between two artworks</li>
<li>expository comparison - to show similarities and differences between two issues in order to support a personal thesis</li>
<li>argumentative comparison - to show similarities and differences between two issues in order to support a personal thesis that is expected to encounter considerable opposition</li>
</ul>
<br />
standard move-pattern(s): two patterns: the "block" pattern and the "point<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEldckY7DpmBhcJAMSQgFWVXIsVztzIhPs3izQdPsGuwiR5rR00IYLvqAOVmQ9xhGc4jEEe9qVKTNFhjQWF-NHDsPLmCXVH6fIIS7iQvseCilpD3B3LvIURSwuNYoPpKCpFUcvmEvrdY_B/s1600-h/goya_sleep1.jpg"></a> by point" pattern<br />
<br />
<b><i><span style="color: red;">the "block" pattern</span></i></b><br />
<b><i><span style="color: #a64d79;"><br /></span></i></b> <i><span style="color: #990000;"><b>Move I: Introducing the theme and the compared artists</b></span></i><br />
Step 1: Setting the stage (the general context in which the two terms intended for comparison belong)<br />
Step 2: Introducing the artists + works + theme(s)<br />
Step 3: Stating the thesis and points of proof (if they exist in the writer's intention)<br />
<i><span style="color: #990000;"><b>Move II: Transition: announcing intended organization (the block pattern)</b></span></i><br />
<i><span style="color: #990000;"><b>Move III: Developing description/analysis/points of proof/constructive arguments</b></span></i><br />
Step 1: artist/artwork A: elements 1,2,3 / points of proof 1,2,3 / constructive arguments 1,2,3<br />
Step 2: artist/artwork B: elements 1,2,3 / points of proof 1,2,3 / constructive arguments 1,2,3<br />
<span style="color: #990000;"><b><i>Move IV: Concluding upon the basic differences and/or similarities</i> </b></span>(by showing to what extent these have served the intended communicative purpose of the essay)<br />
<i><span style="color: #990000;">Move V (optional) Works cited</span></i><br />
<br />
<br />
<b><span style="color: red;">the "point by point" pattern</span></b><br />
<br />
<span style="color: #c27ba0;"><b><br /></b></span> <i><span style="color: #990000;"><b>Move I: Introducing the theme and compared artists (see above)</b></span></i><br />
<i><span style="color: #990000;"><b>Move II: Transition (announces the "point by point" pattern)</b></span></i><br />
<i><span style="color: #741b47;"><b>Move III: Developing description/analysis/points of proof/constructiv</b><span style="background-color: white;"><b>e argumen</b></span><span style="background-color: white;"><b>ts</b></span></span></i><br />
<br />
<br />
Step 1: Describing/analyzing element 1 / elaborating on point of proof 1 / offering constructive argument 1 for work/artist A<br />
<br />
Step 2: Describing/analyzing element 1 / elaborating on point of proof 1 / offering constructive argument 1 for work B<br />
<br />
Step 3: element 2 / point of proof 2 / constructive argument 2 for work A<br />
<br />
Step 4: element 2 / point of proof 2 / constructive argument 2 for work B<br />
<br />
<i><span style="color: #990000;"><b>Move IV: Concluding</b></span></i><br />
<span style="color: #990000;"><span style="color: #c27ba0;"><b><i></i></b></span><br /></span> <i><span style="color: #990000;"><b>Move V (optional) Works cited</b></span></i><br />
<br />
<i><span style="color: #990000;"></span></i><br />
<i><b><span style="color: black;">Task 1:</span></b></i><br />
<br />
Read the text<i> Two Edges of the Subconscious Reality in the Twentieth-Century Art</i> by Olga Bersan.<br />
<i><br /></i> What pattern is there used? Which are the elements being compared? What discourse strategies are employed by the writer?<br />
<br />
<b><i>Task 2:</i></b><br />
<br />
Read the essay<br />
<i>Uniform Pigment and Abstract Paintings, by Laura Oprea. </i>What move pattern is here employed and how exactly does it work? Which are the compared elements?<br />
<br /><br />
<br />
<span style="color: red;"></span><br />
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<span style="color: red;"><span style="color: red;"> Deadline: March 28</span></span></div>
<span style="color: red;">
</span><i><br /></i>
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Anda Crețiuhttp://www.blogger.com/profile/15807475994682475824noreply@blogger.com2tag:blogger.com,1999:blog-4835241744279907419.post-15742558896478594012024-02-26T14:25:00.000+02:002024-02-26T14:25:37.297+02:005. The Argumentative Essay<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: large;"><span style="color: orange;"><b>keywords</b>:</span></span><br />
<br />
"to argue"= to present reasons for or against a thing; to dispute; to debate.<br />
<br />
"to persuade" = to convince; to induce somebody to believe.<br /><br />
<br />
<span style="font-size: large;"><span style="color: orange;"><b>communicative purpose</b>:</span></span><br />
<br />
<span style="font-size: large;">- to present, explain, clarify, and illustrate a viewpoint (the author's) (so far, the goals are identical with those of the expository essay) + <b><i>to persuade</i></b> the reader that personal views are more valid than another person's viewpoints</span><br />
<br />
<span style="font-size: large;"><span style="color: orange;"><b>move pattern</b>:</span></span><br />
<br />
<b><span style="font-size: x-large;">Move I: Introducing the issue in contention.</span></b><br />
<br />
<span style="font-size: large;"><b><i>Step 1</i>:</b> introductory remarks to identify work + artist + issue in contention</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 2</b></i>: acknowledging counterthesis and counterpoints (the other person's viewpoints)</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><b>S<i>tep </i><i>3</i></b>: providing specific details (who, what, when, where)</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 4</b>:</i> stating the thesis (personal viewpoints - in one complete, unified statement about the issue in contention, precise enough to limit the issue, but general enough to ask for support, not too obvious, <b>and showing the changes</b> proposed to the counterthesis)</span><br />
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<br />
<br />
<b><span style="font-size: x-large;">Move II: Presenting counterthesis and counterpoints</span></b><br />
<br />
<span style="font-size: large;"><i><b>Step 1</b></i>: Restating the counterthesis and enlarging upon it (in the introductory move, we have just formulated it; now we have to show the reader that we bothered to understand what the other person's thesis really claims; therefore, we use our own words to explain what we understood and to convince our reader that we know exactly what the other opinion is)</span><br />
<span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><b>Step 2</b>: Presenting/restating counterpoint 1 (using our own words to show what the first point of proof used by the other person was)</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 3</b></i>: Presenting/restating counterpoint 2</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 4</b></i>: Presenting/restating counterpoint 3</span><br />
<br />
<br />
<br />
<b><span style="font-size: x-large;">Move III: Arguing thesis and providing evidence/proof</span></b><br />
<br />
<span style="font-size: large;"><i><b>Step 1</b></i>: Restating our own thesis and enlarging upon it (we have to make sure the reader fully understands what we claim)</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 2</b></i>: Providing constructive argument 1 and evidence/proof to support it (the weakest) to fight against counterpoint 1</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 3</b></i>: Providing constructive argument 2 and evidence to support it (stronger) to fight against counterpoint 2</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 4</b></i>: Providing constructive argument 3 and evidence to support it (the strongest) to fight against counterpoint 3</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 5</b></i>: Disagreeing with counterpoint 1 (refutation 1)</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 6</b>:</i> Disagreeing with counterpoint 2 (refutation2)</span><span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><i><b>Step 7</b></i>: Disagreeing with counterpoint 3 (refutation 3)</span><br />
<br />
<br />
<br />
<b>Note</b>: We can place side by side (mirror) our constructive argument and our disagreement with the other person's counterpoint in the same step by convincing the reader that our argument and evidence to support it are correct and are better than the other's.<br />
<br />
<div>
<b><span style="font-size: x-large;">Move IV: Concluding by enhancing the validity of the thesis </span></b></div>
<br />
<div>
<span style="font-size: large;">We conclude by reminding our reader<b> </b>(in other words) what we claimed and by suggesting that our arguments were (far) more convincing than the other person's. We must always remember to be polite! We must always remember that our simple claim of truth (our truth) is not convincing without providing proper arguments and evidence. After all, it is the reader who decides who is more effective!</span></div>
<br />
<div>
</div>
<br />
<div>
<b><span style="font-size: x-large;">Move V: (optional) Works cited.</span></b></div>
<div>
<b><span style="font-size: 130%;"></span></b></div>
<br />
<div>
<b><span style="font-size: 130%;"></span></b></div>
<span style="font-size: large;"><b>Tasks:</b></span><br />
<div>
<b></b></div>
<br />
<div>
<b>Task 1: R</b>ead the text <i>Fashion Art: To BE or Not to Be</i>, by Maria Hritcu. Pay attention to the thesis, to the counterpoints and constructive arguments; which of them convinces you most? Which side do you tend to take? Why? Express your own viewpoints on these matters (provide your own thesis, arguments, and evidence). </div>
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<div>
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DEADLINE March 17 </div>
</div>
Anda Crețiuhttp://www.blogger.com/profile/15807475994682475824noreply@blogger.com4tag:blogger.com,1999:blog-4835241744279907419.post-33680509997195507742023-11-09T15:17:00.001+02:002023-11-09T15:17:00.127+02:004. Course 3: The Expository Essay<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #009900; font-size: 130%;"></span><u><span style="color: #0066cc;"></span></u><br />
<span style="color: #009900; font-size: 130%;"></span><br />
<span style="color: #741b47; font-size: 130%;">COMMUNICATIVE PURPOSE</span>: to theorize/speculate about:<br />
<br />
<span style="font-size: 0px;"></span><span style="font-size: 0px;"></span><span style="font-size: 0px;"></span><span style="font-size: 0px;"></span>-causes + /- effects<br />
-particular meanings<br />
-artist's choices<br />
-possible developments, etc<br />
<br />
<b></b><br />
<b>Theorizing </b>= performing an inferential type of mental activity (moving from particular items to general ideas), whose result is a thesis that must be supported by several points of proof<br />
<br />
<span style="color: #009900;"><span style="font-size: 130%;"></span></span><br />
<span class="Apple-style-span" style="color: #741b47;"><span style="font-size: 130%;">DISCOURSE STRATEGIES</span> (that can be used when developing points of proof):</span><br />
<br />
<ul>
<li>explaining viewer's reactions</li>
<li>formal analysis</li>
<li>comparing works/artists/features</li>
<li>historical/anecdotal narratives</li>
<li>exemplification</li>
<li>quoting/paraphrasing</li>
<li>paradox, etc</li>
</ul>
<br />
<span style="color: #741b47; font-size: 130%;">STANDARD MOVE-STRUCTURE:</span><br />
<br />
<span style="font-size: 130%;"><b><i>MOVE I</i></b>: introducing the subject, thesis, list of points of proof<b><i> </i></b></span><br />
<br />
<b><i><span style="font-size: 130%;"></span></i></b><br />
<br />
Step 1: Introducing the subject (title of work, artist, context of creation)<br />
<br />
Step 2: stating the <span style="font-size: 180%;"><b>thesis</b></span>: one complete, unified statement, limited to one aspect only, general enough to ask for support, defensible, not too obvious<br />
<br />
Step 3: stating the points of proof (2-3) intended to be used in order to support the thesis<br />
<span style="font-size: 130%;"><b><i></i></b></span><br />
<br />
<span style="font-size: 130%;"><b><i></i></b></span><br />
<span style="font-size: 130%;"><b><i>MOVE II:</i></b> developing the points of proof</span><br />
<span style="font-size: 130%;"></span><br />
<span style="font-size: 130%;"></span><br />
Step 1: developing the first point of proof<br />
<br />
Step 2: developing the 2<span style="font-size: 85%;">nd</span> point of proof<br />
<br />
Step 3: developing the 3<span style="font-size: 85%;">rd</span> point of proof<br />
<br />
<span style="font-size: 130%;"><i><b>MOVE III:</b></i> concluding</span> by evaluating the measure in which the points of proof have demonstrated the thesis<br />
<br />
<b><i><span style="font-size: 130%;">MOVE IV</span></i></b>: Works cited (whenever one uses bibliography)<br />
<br />
<b><span style="font-size: large;">Task 1. </span></b> Comment on the way the theses and the points of proof were formulated and developed in the two texts we have read in class (1. <i>The African Influences in Brancusi's</i> <i>Work </i>by Paul Stoie and 2. <i>Idea for Sale </i>by Oana Boca). Which of them appears to you more convincing and why?<br />
<b><span style="font-size: large;">Task 2</span></b>. Try to formulate a thesis and a list of points of proof on a subject of your choice.<br />
<br />
<b><span style="color: red; font-size: large;">Deadline: December 20</span></b></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://www.youtube.com/watch?v=4emOkN-fwdI">Creature Design, Feng Zhu Tutorial</a></div>
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<a href="https://www.youtube.com/watch?v=rjagaQo42Rc">Feng Zhu, part 2</a></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/rjagaQo42Rc/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/rjagaQo42Rc?feature=player_embedded" width="320"></iframe><br />
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<b><span style="font-size: large;">BRANCUSI</span></b></div>
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<a href="https://distortedarts.com/wp-content/uploads/2013/04/brancusi-the-beginning.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><b><i>The Beginning of the World</i></b><br />
<b><i><br /></i></b> <b><i></i></b><br />
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<b><i><a href="https://dmaeducatorblog.files.wordpress.com/2011/05/brancusi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://dmaeducatorblog.files.wordpress.com/2011/05/brancusi.jpg" width="294" /></a></i></b></div>
<b><i> </i></b></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigdRyjYdgAsjcT68QCaT_ac-QjH9nC0oRrc0sbpDOa4nzAcFjzauunWBKeLsLTgYb_IWuPu-W6sQhbaQp6B4OoRnmS-iJ8kxZE5gamnzLSQlx1m5rUAghxB9gj2D3W4iT9kFt3M2oewbs/s1600/Brancusi+The+Newborn,+1920+%28bronze%29.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigdRyjYdgAsjcT68QCaT_ac-QjH9nC0oRrc0sbpDOa4nzAcFjzauunWBKeLsLTgYb_IWuPu-W6sQhbaQp6B4OoRnmS-iJ8kxZE5gamnzLSQlx1m5rUAghxB9gj2D3W4iT9kFt3M2oewbs/s200/Brancusi+The+Newborn,+1920+(bronze).jpg" width="200" /></a><br /><b><i><br />Newborn</i></b><br />
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<b><i>The First Cry </i></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9g0bVvCZPXC4r9GaYQyFcrkbZZC29zYLx0ZLePxTURY_TYByQ9NM0EJxvj5oC-Va_5q-noojnpvBtzRyAhxY25ldifOCddYN2Dtzj4X5HYzMhpRF5w-A-ekpzc73xLFS9iHM91Gr97UXF/s1600/the-first-cry-1917.jpg%2521Large.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9g0bVvCZPXC4r9GaYQyFcrkbZZC29zYLx0ZLePxTURY_TYByQ9NM0EJxvj5oC-Va_5q-noojnpvBtzRyAhxY25ldifOCddYN2Dtzj4X5HYzMhpRF5w-A-ekpzc73xLFS9iHM91Gr97UXF/s320/the-first-cry-1917.jpg%2521Large.jpg" width="205" /></a></div>
<b><i><br /></i></b> <b><span style="color: red; font-size: large;"><br /></span></b><br />
<b><i>The First Step</i></b><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://i.pinimg.com/originals/6c/8e/96/6c8e96404bbc9bf5739a9f76238f5f19.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="650" data-original-width="500" height="320" src="https://i.pinimg.com/originals/6c/8e/96/6c8e96404bbc9bf5739a9f76238f5f19.jpg" width="246" /></a></div><br /><br /></div>
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Anda Crețiuhttp://www.blogger.com/profile/15807475994682475824noreply@blogger.com15tag:blogger.com,1999:blog-4835241744279907419.post-19841173894451660282023-11-06T13:09:00.001+02:002023-11-06T13:09:13.831+02:003. Course no. 2: The Critical Essay. The Formal Analysis<div dir="ltr" style="text-align: left;" trbidi="on">
<b><span style="color: #ff6666;">The artistic discourse community:</span></b><br />
<br />
- a socio-rhetorical group of people who share <i>common goals</i> directly related to art; certain <i>mechanisms of communication (</i>eg. art magazines<i>)</i>; specific vocabulary, grammar, semantics, rhetoric; specific <b><i>GENRES</i></b><br />
<br />
<i>-<b> genre:</b> type of texts that share the same <b>communicative purpose</b></i><br />
<br />
<b></b><br />
<br />
<b><span style="color: #ff9966;">The Critical Essay</span> =</b> a genre whose communicative purpose is to offer a personal opinion on a specific subject. Therefore we can consider it subjective writing. Nontheless, subjective does not mean total lack of evidence for what we claim.<br />
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<br />
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<span style="color: #ff6600;"><span style="font-size: 130%;"><span style="color: #ff6666;"><b>The </b><b>Formal Analysis</b></span></span></span><br />
-<b> </b>a type of critical essay<br />
<br />
- to analyse = to take a thing apart; to decompose it in order to see what its components are and how they work together as a whole => to analyse a work of art = to deconstruct it into smaller elements such as : subject-matter; formal elements; principles of design; style; purpose, etc.<br />
- purpose: to describe, interpret and/or evaluate a work of art, that is, to analyse a work of art<br />
- prerequisite: direct access to the real work or to a good reproduction<br />
- each such important element is then analysed in order to see what role it plays in the whole<br />
<br />
<b>- <span style="font-size: 130%;">the standard move-structure</span></b> of a text belonging to the subgenre of formal analysis:<br />
<br />
<b>MOVE I: Introducing the work and the artist</b><br />
<br />
<br />
<ul>
<li>step 1: identifying the work (some details about the title, author, theme, subject-matter, medium, dimensions, period of creation, current location, purposes of creation)</li>
<li>step 2: identifying the artist: only that biographical information considered relevant for the work analysed</li>
</ul>
<br />
<br />
<b>MOVE II: Transition:</b><br />
<br />
<br />
- usually offers a personal first response to the work<br />
<br />
<br />
<b>MOVE III: Analysing de-constructed elements:</b><br />
<br />
<br />
<ul>
<li>step 1: analysing first element : describing the first element + interpreting the first element + /- evaluating the first element (e.g. a character in the work)</li>
<li>step 2: analysing element 2 (e.g. the principle of the perfect symmetry)</li>
<li>step 3: analysing element 3 (e.g. the dominating colour)</li>
</ul>
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<b>MOVE IV: Concluding:</b><br />
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- offering a final interpretation +/- evaluation of the whole work, based on the previous analyses<br />
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<span style="color: red;"><b>TASKS</b>:</span><br />
<br />
- study the texts:<br />
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1. <i>The Marriage of Giovanni Arnolfini and Jeanne Cenami by Jan </i><i>van Eyck</i>, written by Erwin Panofsky<br />
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<span style="background-color: #fff0ee; color: #222222; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 15.4px;">The text you are supposed to read is really Panofsky's text (which can be found in the book Anda-Elena Cretiu: </span><i style="background-color: #fff0ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;">Discourse and Communication in Visual Arts</i><span style="background-color: #fff0ee; color: #222222; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 15.4px;">, Casa Cartii de Stiinta, 2014, or in <div class="separator" style="clear: both; text-align: center;"><br /></div></span><i style="background-color: #fff0ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px;">Genre-Structured Discourse in Art Texts, </i><span style="background-color: #fff0ee; color: #222222; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 15.4px;">Presa Univ. Clujeana, 2003) (in our library). The links below are only commentaries on the text and may help you better understand it. </span><br />
<span style="background-color: #fff0ee; color: #222222; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 15.4px;"><br /></span> <a href="https://en.wikipedia.org/wiki/Erwin_Panofsky">Erwin Panofsky and his interpretation of art wok</a>s<br />
<a href="http://monoskop.org/images/1/1d/Jan_van_Eycs_Arnolfini_Portrait.pdf">another version of the text</a><br /><a href="http://en.wikipedia.org/wiki/Arnolfini_Portrait">http://en.wikipedia.org/wiki/Arnolfini_Portrait</a><br />
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2. <i>Ten Lizes by Andy Warhol </i>by Anca Teodora Pora<br />
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- comment on the analyses made by the authors, that is, on the descriptions and interpretations and/or evaluations offered; did they convince you?; can you find other possible interpretations to those elements?; are there other elements you would have chosen instead? which? why?</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">3. Access the video material below. What elements are there analyzed? Although no interpretations are assigned to the formal elements analyzed here, can you think of 2-3 partial interpretations and an on-the-whole one? </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sM2MOyonDsY" width="320" youtube-src-id="sM2MOyonDsY"></iframe></div><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://www.youtube.com/watch?v=sM2MOyonDsY">https://www.youtube.com/watch?v=sM2MOyonDsY</a><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: large; font-weight: bold;">DEADLINE: </span><span class="Apple-style-span"><b><span class="Apple-style-span" style="font-size: large;">November 13</span></b></span><br />
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<b><span style="font-size: large;"></span></b><br />
<span class="Apple-style-span"><br /></span></div>
Anda Crețiuhttp://www.blogger.com/profile/15807475994682475824noreply@blogger.com3tag:blogger.com,1999:blog-4835241744279907419.post-17695676450146877792023-10-05T16:00:00.003+03:002023-10-05T16:00:00.137+03:002. BASIC TAXONOMY (course one continued)<div dir="ltr" style="text-align: left;" trbidi="on">
Here are the most important terms we will be using <span style="background-color: white;">throughout</span> this year's study; please be sure you get well acquainted with all of them:<br />
<br />
<ul>
<li><span style="color: orange;"><span style="color: black;"><b>THEME:</b></span> </span>the general content of the artwork (general aspect/subject) (e.g. the landscape)</li>
<li><span style="background-color: white; color: black;"><b>SUBJECT-MATTER</b></span>: the sum of identifiable objects, persons, places, references in the artwork (e.g. the rosegarden)</li>
<li><span style="color: black;"><b>MEANING (or, CONTENT):</b></span> is revealed through interpretation; sometimes the title may be of help, but most often than not, it is revealed through careful iconographic and/or iconological interpretation</li>
<li><span style="color: black;"><b>ICONOGRAPHY</b></span>: the overt or hidden symbolism in the artwork, rendered through images (signs, symbols)</li></ul><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Rv2_UcSA8bY" width="320" youtube-src-id="Rv2_UcSA8bY"></iframe></div><br /><div><br /></div><ul>
<li><b><span style="color: black;">ICONOLOGY</span></b>: the meaning revealed through the study of the cultural, social, historical background of the artwork (through literary, historical, etc., texts)</li>
<li><b><span style="color: black;">DESCRIBING ART</span></b>: the verbal pointing to the features; a means of gathering the support for interpretations; it concerns the subject matter, the most expressive formal elements; the principles of design, etc.</li>
<li><b><span style="color: black;">ANALYSING ART</span></b>: explaining how the described elements get their meanings, the artist's choices; inferring meaning; evaluating technique</li>
<li><b><span style="color: black;">INTERPRETING ART</span></b>: a most important and complex activity; the arriving at the meaning of the artwork by employing different strategies of interpreting based on the information gathered through iconographical and iconological insights</li>
<li><b><span style="color: black;">EVALUATING ART</span></b>: determining how good the artwork is, according to some criteria, either clearly stated, or implied, while providing reasons and evidence for judgments</li>
</ul><div>Task: Watch the video. What is the role of iconography, and how does it work?</div><div><br /></div><div><b><span style="color: #ffa400;">Deadline: Oct 23</span></b></div>
</div>
Anda Crețiuhttp://www.blogger.com/profile/15807475994682475824noreply@blogger.com9tag:blogger.com,1999:blog-4835241744279907419.post-13405680084286627552023-10-05T16:00:00.001+03:002023-10-05T16:00:00.137+03:001. Course one: Art and Communication. An overview on the peculiarities of the discourse about art<div dir="ltr" style="text-align: left;" trbidi="on">
The members of the (artistic)<b><span style="font-size: large;"> discourse community</span></b> share several features:<br />
<ul>
<li>a set of common public goals</li>
<li>mechanisms of intercommunication</li>
<li>mechanisms to provide information and feedback</li>
<li>GENRES - which are specific to the common goals</li>
<li>specific lexis</li>
<li>discourse expertise in the specific field</li>
</ul>
<div>
<span style="color: red;"><b>TASK 1</b></span>: Can you exemplify these common features: e.g. What common goals do artists have? Which are the mechanisms through which they communicate among themselves?</div>
<div>
Art and communication: visual + verbal/linguistic</div>
<div>
<br /></div>
<div>
<b><span style="font-size: large;">Visual communication:</span></b> facilitated by such features as theme, subject matter, elements of design, principles of design/composition, iconography (signs, symbols).</div>
<div>
<br /></div>
<div><br /></div>
<div>
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<b><span style="font-size: large;">Linguistic/verbal communication: </span></b><br />
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The artistic discourse community employs its own discourse, characterized by certain features:<br />
<ul>
<li><div align="left">
<span style="font-size: 0px;">specific</span><span style="color: white; font-size: 100%;"> </span><b>voc<span style="font-size: 0px;"></span>abulary (the specific lexis)</b></div>
</li>
</ul>
- everyday words placed in a new, art-specific context (e.g. <i>brush, installation, ground, glazing</i>, etc)<br />
- words from science and technology (e.g. <i>de-gas; alkyd resin</i>)<br />
-word-formation (e.g. <i>water-colour, aqua-tint, body-color, aquamarine,</i> etc)<br />
- borrowings (from French: e.g.<i>frottage, sanguine, gouache</i>, and Italian: e.g. <i>sfumato, chiaroscuro</i>, <i>sgraffitto, </i>etc )<br />
- specific phrases (e.g. <i>still life, life-size, color field, nonobjective art, found object, ready-made</i>, etc)<br />
- trademarks/tradenames (e.g. <i>a Picasso, a Chanel, an Impressionist</i>, etc)<br />
- NOMENCLATURES<br />
<ul>
<li> <b>specific morphology, syntax, semnatics, rhetoric</b> (not extremely different from the general use, yet presenting some peculiarities; see Artspeak and IAE = International Art English) </li>
<li> <b>specific GENRES</b></li>
</ul>
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<span style="color: red;">NOMENCLATURES </span>= hierarchical arrangement of the terminology of an area of study; they are probably the most important characteristic of any specific vocabulary. <br />
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<i><span style="color: #999900;">subject-matter</span> </i>identifiable objects, stories, events; "what is depicted?"<br />
<ul>
<li>representational/abstract/non-representational=nonobjective art</li>
<li>meaning=content</li>
<li>title</li>
<li>iconography + iconology</li>
</ul>
<i><span style="color: #999900;">formal elements</span></i>: <br />
<ul>
<li>line (e.g. dominant/subordinate, smooth/jerky/brusque/jagged)</li>
<li>shape (e.g. geometric/biomorphic)</li>
<li>light/dark (value,key)</li>
<li>mass</li>
<li>volume</li>
<li>colour, hue, value, intensity/saturation/purity; primary/secondary/intermediate/analogous/monochromes/warm/cool</li>
<li>space (overlapped shapes, foreshortening, size, linear=geometric perspective + vanishing point/atmospheric=aerial perspective/realistic space/analogical,abstract space; three/bi-dimensional space</li>
<li>texture</li>
<li>time and motion</li>
<li>sound and smell</li>
</ul>
<i><span style="color: #999900;">principles of design</span></i>:<br />
<ul>
<li>balance (symmetrical/approximately symmetrical/asymmetrical balance)</li>
<li>focal point</li>
<li>dominance</li>
<li>economy</li>
<li>rhythm</li>
<li>scale, proportion ("the golden section")</li>
<li>unity/variety</li>
<li>open/closed composition</li>
</ul>
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<i><span style="color: #666600;">purposes of art</span></i> (functions that artworks may fulfill - in religious rituals, commemorating, the assertion of power, honoring a person, recording an event, etc)<br />
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<span style="color: #999900;"><i>processes and materials/media</i></span><br />
<ul>
<li>drawing (e.g. in silverpoint, in pastels, etc)</li>
<li>painting (e.g. in acrylics, oil paint, etc)</li>
<li>printmaking (relief/intaglio processes/engraving/drypoint/aquatint, etc)</li>
<li>sculpture (additive/subtractive; modelling, casting, assemblages, etc)</li>
</ul>
<span style="color: #999900;"><i>styles</i></span><br />
<ul>
<li>conceptual, representational, illusionistic, naturalistic, realistic, idealistic, abstract, non-representational; </li>
<li>Classical/Romantic/Baroque/Impressionistic/Expressionistic, etc</li>
</ul>
<div style="text-align: left;">
In addition, click the link below:</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<a href="https://www.artsy.net/article/artsy-editorial-8-english-art-terms?utm_medium=email&utm_source=13952295-newsletter-editorial-daily-07-23-18&utm_campaign=editorial&utm_content=st-">8 English Art Terms You Should Know</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: left;">
<span style="color: red; font-size: large;">Task 2</span>: give some examples of how the artist may communicate a specific thing through one or more of the above features of the plastic discourse.</div>
<div style="text-align: left;">
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<b><i><span style="color: red;">GENRES </span></i></b> = classes of communicative events (spoken, or written) that share the same <b>communicative purposes</b><br />
<br />
<b>The genres that we will be studying are:</b><br />
<ul>
<li>the critical essay (the formal analysis, the expository essay, the compare and contrast essay, the argumentative essay);</li>
<li>the essay examination;</li>
<li>the research paper</li>
<li>the art review</li>
<li>the art news</li>
<li>the artist's statement</li>
<li>the artist's blog</li>
<li>the artist's home page/website</li>
<li>the exhibition catalog</li>
</ul>
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<span style="color: red;">NOTE</span>: for more detailed information and deeper insight, please consult the following books (in the UAD library) by Anda-Elena Cretiu: <i>An ESP</i> <i>Perspective on Art-Related Discourse</i>, EZway Books, LLC, Las Vegas, NV, 2004, chapter3- An overview of the peculiarities of the discourse about art, pp.71-100; the 1000 terms dictionary at the end may also be of some help + <i>Art Terms - English-Romanian/ Romanian-English Dictionary,</i> CCS, 2015. You may as well consider <i>Discourse and Communication in Visual Arts</i>, CCS, 2014 (pp. 9-68) and 249-259</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /><br />
<span style="color: red;">TASKS:</span> DEADLINE: October 18, 24 hrs.<br />
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Anda Crețiuhttp://www.blogger.com/profile/15807475994682475824noreply@blogger.com9