Jana Gavriliu - Academia.edu (original) (raw)

Papers by Jana Gavriliu

Drafts by Jana Gavriliu

In Female Gothic and the Institutionalization of Gothic Studies, Lauren Fitzgerald considers that... more In Female Gothic and the Institutionalization of Gothic Studies, Lauren Fitzgerald considers that feminist criticism of the 1970s and 1980s is marked by a series of proprietary metaphors including ‘maps’, ‘territories’, ‘breaking ground’, ‘space’ and ‘landmarks’. In her view, Elaine Showalter’s A Literature of Their Own. British Women Novelists from Brontë to Lessing and The New Feminist Criticism: Essays on Women, Literature and Theory and Sara M. Gilbert and Susan Gubar’s The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination are what Showalter describe, in proprietary terms, moments of feminine criticism set out to map the ‘territory of the female imagination’.

1.Reality, illusion, art In Reality and illusion in the work of art Lawrence Kimmel notes that on... more 1.Reality, illusion, art In Reality and illusion in the work of art Lawrence Kimmel notes that one of the virtues of art is to show truth in and trough illusion, by constructing a specific modality for understanding the complex character of reality as it is disclosed in human experience. In his view, against classical philosophy, that since Aristotle, has been concerned to defend art against changes of irrationality, reality is not a stable structure and the coherence of truth is always a work in progress and fixable only by diminishing both life and world.Kimmel considers that as creative energy, art suggest that at least some aspects of truth are accessible through illusion. In his view, magic, fantasy, mystery and romance represent the multiple and insubstantial stuff of illusion of which both art and life are made.To describe someconnectios between art, illusion and reality, Kimmel discusses some relevant points about the illusion related to life and life itself related to the illusion of reality, about what really separates reality and illusion and about the disjunction between life and art with respect to this distinction. Starting from these ideas wenote some aspects of Bruegel's pictorial worlds to demonstrate that his work isinfused with varying degrees of aesthetic illusion andwith varying degrees ofhuman valuesand humanexperiences.Specifically, we discuss Bruegel's pictorial possible and impossible worlds and their effects on the viewer's aesthetic experiences. We also discuss Peter Bruegel'spainting as "medial constellation" in which intermediality functions as pictorial complex reality and as invitation at looking, listerning, appreciating, relating, dissociating and interpreting the evanescences of painting, music, dance and life as impermanent pictorial states. We also stress that in this joint interart activity, painter and viewer engage in a complex process of imagination, conception, performance and construction of so called pictorial possible and impossible realities.

In Female Gothic and the Institutionalization of Gothic Studies, Lauren Fitzgerald considers that... more In Female Gothic and the Institutionalization of Gothic Studies, Lauren Fitzgerald considers that feminist criticism of the 1970s and 1980s is marked by a series of proprietary metaphors including ‘maps’, ‘territories’, ‘breaking ground’, ‘space’ and ‘landmarks’. In her view, Elaine Showalter’s A Literature of Their Own. British Women Novelists from Brontë to Lessing and The New Feminist Criticism: Essays on Women, Literature and Theory and Sara M. Gilbert and Susan Gubar’s The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination are what Showalter describe, in proprietary terms, moments of feminine criticism set out to map the ‘territory of the female imagination’.

1.Reality, illusion, art In Reality and illusion in the work of art Lawrence Kimmel notes that on... more 1.Reality, illusion, art In Reality and illusion in the work of art Lawrence Kimmel notes that one of the virtues of art is to show truth in and trough illusion, by constructing a specific modality for understanding the complex character of reality as it is disclosed in human experience. In his view, against classical philosophy, that since Aristotle, has been concerned to defend art against changes of irrationality, reality is not a stable structure and the coherence of truth is always a work in progress and fixable only by diminishing both life and world.Kimmel considers that as creative energy, art suggest that at least some aspects of truth are accessible through illusion. In his view, magic, fantasy, mystery and romance represent the multiple and insubstantial stuff of illusion of which both art and life are made.To describe someconnectios between art, illusion and reality, Kimmel discusses some relevant points about the illusion related to life and life itself related to the illusion of reality, about what really separates reality and illusion and about the disjunction between life and art with respect to this distinction. Starting from these ideas wenote some aspects of Bruegel's pictorial worlds to demonstrate that his work isinfused with varying degrees of aesthetic illusion andwith varying degrees ofhuman valuesand humanexperiences.Specifically, we discuss Bruegel's pictorial possible and impossible worlds and their effects on the viewer's aesthetic experiences. We also discuss Peter Bruegel'spainting as "medial constellation" in which intermediality functions as pictorial complex reality and as invitation at looking, listerning, appreciating, relating, dissociating and interpreting the evanescences of painting, music, dance and life as impermanent pictorial states. We also stress that in this joint interart activity, painter and viewer engage in a complex process of imagination, conception, performance and construction of so called pictorial possible and impossible realities.