Time and its Indeterminacy in Roman Ingarden's Concept of the Literary Work of Art (original) (raw)
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Time Perception Through Narrative and Semiotics in Artistic Creation
2006
A university thesis paper discussing time perception within space through its manifestations, mainly movement/change. A further attempt is made to utilise narrative/semiotic tools (mainly through Greima's narrative semiotics and the semiotic square) to represent the notion of time in contemporary art, with applied examples and proposed artworks.
The Main Aspects of Artistic Space and Time in Contemporary Literary Criticism
Іншомовна комунікація: інноваційні та традиційні підходи. Випуск 2
The author of the scientific research does not set the goal of exhaustively fully explain the state of the problem of artistic time and space in modern literary criticism, to give its genesis, the history of study, neither to propose its own theoretical concept. The scientific research is giving the outlook on the conceptions of time and space as investigated by the prominent literary criticism authors as well as is considering the theoretical concepts of artistic time and space in the creative work of XX century writers. The research given is about the system of conceptual concepts that have developed in modern literary criticism, which can be relied upon in the study of the uniqueness of the artistic time and space of the novels of the English writer I. Murdoch, in particular, her novels, published in 1960s.
The Medieval Discourse, 2003
The role played by temporality in the affectivity and interpretation of art has been, in general, an area long and unjustly neglected. This is an omission that I wish to begin to redress in the course of this article. I want especially to comment upon medieval and renaissance art, treating them as key periods in the history of Western art in terms of their open and frequent use of temporal potentials for the furtherance of narrative and other rhetorical, that is, persuasive, ends. Such potentials were to become hidden, employed with terms of temporal presence and belief (and not simply as the external witness of a given narrative process or sacral event). (iii) The two previous stages should permit historians and cultural anthropologists to work upon reconstructions of devotion, meditation, the mentalité of a given artwork's implied audience, and their relations of collective self-recognition or construction of identity. The issue is one of achieving a viewpoint from within a community sharing a pattern of rhetoric, a code of communication.
Reflections on Time_Delia-Maria Radu_ALLRO_2015.pdf
The present paper focuses on the idea of time as it is reflected in certain landmarks of literature along the centuries, subjectively selected. Chronological evolution of the actions in novels show that time was first perceived as linear, sequential, dependable. Gradually, literature mirrors the changes in society and the changed notions of time, accelerated or, on the contrary, frozen for a while. Many key moments in literature are linked to time, to timing and to characters’ relationship to it. Key words: time, perception, chronological, repeated, everlasting fame
The Figure in Time. On the Temporality of the Figural
Working through the Figure: Theory, Practice, Method, 2019
Comparing to figura and the figurative, the figural has a shorter history. In Discourse, Figure (1971), Jean-François Lyotard thoroughly elaborated on this notion. A decade later, Gilles Deleuze further developed it in The Logic of Sensation (1981), where the productive Diagram and the intensive Sensation are both related to the Figure. Building upon those previous works, the goal of the present essay is twofold: first, to advance the figural as a concept that allows for the understanding of representation as a disproportion between qualitatively different realms (text vs. image, conscious vs. unconscious, visible vs. invisible) – a synchronic approach dealing with the general principles of representation. Secondly, the study investigates whether a diachronic function of the figural can be traced in art history. The hypothesis here is that there is a transgressive intensity of images that unfolds throughout art history. In order to test this hypothesis, the essay addresses the temporality of the figura in Erich Auerbach’s interpretation, as well as the idea of an afterlife of Antiquity in Aby Warburg’s and Horst Bredekamp’s image-act theory. The conclusion is that representation includes and depends on an ontological difference between that which conditions its own structure (what is allowed to be represented) and a surplus of sense coming from the object of representation and its perception (as object of desire). The figural (and its conceptual siblings) shows how images determine our understanding of the world while relating it to a productive potential emerging from desire, the unconscious, sensation or God.
Aesthetic Forms through Time and in Time-based Arts
In this essay, I analyse how it is possible that aesthetic forms can survive through history and genres. In the debate about the historicity of the aesthetic experience, the two main approaches differ on a fundamental point. On one hand, the symbolic theory, based on the cultural tradition (see from Gadamer to Danto), points at the recognition of the proper conceptual contents of the aesthetic properties in order to explain the possibility of the experience of an artwork. On the other hand, there is the post-structuralist theory, for which in the perception both the senses and their means (see C. A. Jones) intervene. This theory asserts that the medium, previously any conceptual mediation, is responsible for the most significant effects in the aesthetic experience. I will argue why both theories are unsatisfying. The idea I want to defend, and which I will ground with a cognitive model based on biological and neurophysiological investigations, is that there are aesthetic mechanisms that can significantly affect our perception to make it focus upon some specific sensitive properties of the object. These properties are neither merely formal nor are sings for symbols, but are perceptively meaningful and, as such, can orientate the aesthetic experience to concrete symbols or meanings. In doing so, it will be possible to understand why some signs or properties (aesthetic forms) are used along art history in relation to some meanings or topics (like Gombrich suggested). (...)
This essay is for introductory classes. It includes discussions of the time of viewing and of narrative forms in art.