of human figures Persuasive human figures Performing human figures

The architectural image: space, movement and myth

Oil on Canvas

Echo and Narcissus

Sound and silence

Van Gogh, Vincent

The Big Combo

/pdf/understanding-comics-the-invisible-art-2ccckrka3m.pdf

Understanding Comics: The Invisible Art

The standard for over thirty years, A Glossary of Literary Terms, Seventh Edition, defines and discusses terms, critical theories, and points of view that are commonly applied to the classification, analysis, interpretation, and history of works of literature. Entries are arranged alphabetically. The glossary is oriented toward undergraduate students of English, American, and other literatures. Over the decades, the book has proved to be the clearest and most useful literary reference ever. Features: * All entries revised * References and supplementary readings updated * 20 new entries, including author and authorship, black arts movement, theories of metaphor, queer theory, postcolonial studies, and Harlem Renaissance * New arrangement of all entries--both Literary Terms and Modern Theories--into one alphabetical list to reflect the acceptance of modern literary and critical terminology into general usage * New index of authors and titles * Revised index of terms emphasised by adding colour to the outside margin

http://amin-77.persiangig.com/Arshad/glossary.pdf

A glossary of literary terms

Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond.

Film Art: An Introduction

In his story Sarrasine Balzac, describing a castrato disguised as a woman, writes the following sentence: ‘This was woman herself, with her sudden fears, her irrational whims, her instinctive worries, her impetuous boldness, her fussings, and her delicious sensibility.’ Who is speaking thus? Is it the hero of the story bent on remaining ignorant of the castrato hidden beneath the woman? Is it Balzac the individual, furnished by his personal experience with a philosophy of Woman? Is it Balzac the author professing ‘literary’ ideas on femininity? Is it universal wisdom? Romantic psychology? We shall never know, for the good reason that writing is the destruction of every voice, of every point of origin. Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing. No doubt it has always been that way. As soon as a fact is narrated no longer with a view to acting directly on reality but intransitively, that is to say, Vnally outside of any function other than that of the very practice of the symbol itself, this disconnection occurs, the voice loses its origin, the author enters into his own death, writing begins. The sense of this phenomenon, however, has varied; in ethnographic societies the responsibility for a narrative is never assumed by a person but by a mediator, shaman or relator whose ‘performance’—the mastery of the narrative code—may possibly be admired but never his ‘genius’. The author is a modern Vgure, a product of our society insofar as, emerging from the Middle Ages with English empiricism, French rationalism and the personal faith of the Reformation, it discovered the prestige of the individual, of, as it is more nobly put, the ‘human person’. It is thus logical that in literature it should be this positivism, the epitome and culmination of capitalist ideology, which has attached the greatest importance to the ‘person’ of the author. The author still reigns in histories of literature, biographies of writers, interviews, magazines, as in the very consciousness of men of letters anxious to unite their person and their work through diaries and memoirs. The image of literature to be found in ordinary culture is tyrannically centred on the author, his person, his life, his tastes, his passions, while criticism still consists for the most part in saying that Baudelaire’s work is the failure of Baudelaire the man, Van Gogh’s

/pdf/the-death-of-the-author-1hu0wvelcn.pdf

The Death of the Author

How suitable is the rationalistic paradigm for research focusing on human behavior? Proposing that naturalistic inquiry better serves the social/ behavioral sciences, the authors define the differences between the two paradigms and suggest criteria for ensuring the trustworthiness of naturalistic inquiry.

The architectural image: space, movement and myth

Citations

Oil on Canvas

Echo and Narcissus

Sound and silence

Van Gogh, Vincent

The Big Combo

References

Understanding Comics: The Invisible Art

A glossary of literary terms

Film Art: An Introduction

The Death of the Author

Epistemological and methodological bases of naturalistic inquiry.

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