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Journal Article
Romanic Review (2000) 91 (4): 459–479.
Published: 01 November 2000
... in the midst of change and into the viewer's evolving mind, presenting no fixed portrait of either process. In order to reproduce the movement of 1. Paul Valery, "Ego Scriptor" Cahiers I, (Paris: Gallimard, Bibliotheque de la Pleiade, 1973) p.314. 2. Francis Scarfe, The Art of Paul Valery: A Study in Dramatic...
Journal Article
Romanic Review (2014) 105 (1-2): 69–86.
Published: 01 January 2014
.... In the wide terrain between these two extremes, one finds a small number of works that have enjoyed worldwide success even while provoking passionate critical debates: what some viewers or readers consider as an important artistic achievement, others consider as a piece of commercial marketing...
Journal Article
Romanic Review (2017) 108 (1-4): 79–82.
Published: 01 January 2017
... the spindle and skein, and baskets of yarn and textiles lining the walls of the room. At center, a seated ­woman reaches for a patch of wool on the ground, and in her other hand she holds a carder to brush out the crimps before the material is spun into yarn. Her face cast in the shadows, she gives viewers...
Journal Article
Romanic Review (2012) 103 (1-2): 255–272.
Published: 01 January 2012
... of the film on its initial release, Andre Bazin suggested that Les Diaboliques, by virtue of its dramatic construction, offers the viewer one film imposed on top of another. I want to go farther and explore the relations between Les Diaboliques and other texts to which the film alludes either explicitly...
Journal Article
Romanic Review (2006) 97 (3-4): 461–482.
Published: 01 May 2006
... to a present-day image of the train tracks reminds the viewer of the historical proximity of the Shoah: Aujourd'hui, sur la meme voie, il fait jour et soleil. On la parcourt lentement, a la recherche de quoi? De la trace de cadavres qui s'ecroulaient des l'ouverture des portes? Ou bien du pietinement des...
Journal Article
Romanic Review (2011) 102 (3-4): 465–484.
Published: 01 May 2011
... yeux sont representes par deux aplaques noires: Ie nez, les levres, sont reduits de simples lignes roses" (Berits sur rart 349). As he foregrounds color and form in Manet's painting, Zola develops a heuristic approach that draws the reader (and the viewer) into the material qualities of the artist's...
Journal Article
Romanic Review (2010) 101 (3): 467–482.
Published: 01 May 2010
... an image of time as both virtual and actual. Ruiz, by his own admission, sets out not to explain the literary work, nor to render it into images, but to evoke it as a virtual image, a memory common to all. Ruiz recalls a memory of the novel to emerge in the film viewer (through explicit quotations...
Journal Article
Romanic Review (2017) 108 (1-4): 233–252.
Published: 01 January 2017
... with the notion of the speaker inspecting Echo s reflection in a photo­graph.22 But ­there remain many reasons why the application of the myth of Narcissus to the poem is unnecessary and unhelpful. Unlike Echo, the speaker of the poem has no desire to draw the w­ oman s attention t­oward the viewer. He addresses...
Journal Article
Romanic Review (2000) 91 (4): 433–457.
Published: 01 November 2000
... reality and invite the viewer to marvel at the ingenuity with which the artist juxtaposed monuments far away from each other in reality. For this reason, we have chosen the caprice as the point of departure for this study of the ruin as a fictional structure. In painting, as in literature, the ruin often...
Journal Article
Romanic Review (2009) 100 (4): 453–472.
Published: 01 November 2009
... that the connotations of the Medusa image are purely negative is one that Freud also posits in his famous essay "Medusa's Head," where he underscores Medusa's power to induce horror in the male viewer and states that the head isolates "the horrifying effects" of the female genitalia from "their pleasure-giving ones."3...
Journal Article
Romanic Review (2014) 105 (1-2): 3–5.
Published: 01 January 2014
..., literary critic, movie viewer, historian of literature, and reader of all kinds of texts-scholarly, literary, and otherwise. All of these were activities in which he excelled and which left a lasting and powerful impact on countless students, colleagues, and readers. Phil Watts received his BA in 1982 from...
Journal Article
Romanic Review (2011) 102 (1-2): 257–276.
Published: 01 January 2011
... part on the viewer's power of imagination. Moved not so much by Hubert Robert's actual paintings than by his inner vision of how one might amend and improve them, Diderot evokes the feeling of solitude and the sensory palatability of silence, obscurity, and vastness of space that emanates from...
Journal Article
Romanic Review (2013) 104 (1-2): 177–179.
Published: 01 January 2013
..., and what's more, each aspires to make the viewer or reader see the object differently through new forms of representation. Although this is a persuasive argument in some of its broad aspects, the close readings of poems from Le Parti pris des choses (part two, chapter three) are less convincing. Having...
Journal Article
Romanic Review (2011) 102 (3-4): 449–463.
Published: 01 May 2011
... of differentiation. Most obviously, absent from Claude's picture are the background rowing boat, the discarded clothes, and any indication of a picnic. Even more fundamentally, it has only one male figure in it and, in contradistinction to the assumed prototype, he is turned away from the viewer rather than staring...
Journal Article
Romanic Review (2011) 102 (1-2): 65–89.
Published: 01 January 2011
... image is simple and elegant: we have a representation of the subject, the object, and the obstacle that will corne between them. The man in bed on the viewer's left is the dreamer, lover, and poet of the first lines of the poem. A rosebush, projected like wallpaper, rises on the wall from behind the bed...
Journal Article
Romanic Review (2006) 97 (3-4): 483–500.
Published: 01 May 2006
... no pride of place should be given a priori" (WIC, 2:37-38). More than any other category, Italian neorealist film confronts the viewer with the variety and contingency of reality by bringing to life the conditions of the encounter. Neorealism thus best exemplifies the aesthetic of an "impure" cinema. Ever...
Journal Article
Romanic Review (2013) 104 (3-4): 183–187.
Published: 01 May 2013
... purposes and the provision of a spectacle that not only repels but also excites the reader or viewer. He also notes that written and visual depictions of violence and disaster in "third world" nations, for example, the 2010 earthquake in Haiti, tend to be more graphic than those of suffering elsewhere...
Journal Article
Romanic Review (2020) 111 (2): 288–315.
Published: 01 September 2020
... the singular subject who falls prey to its demon. Theories and practices of photography expose the links of death and mourning to the photograph, not only as a reminder of the dead and the viewer’s mortality, “but also owing to the photograph’s immanent temporal nature” (Yacavone 162). The photographs...
FIGURES
Journal Article
Romanic Review (2007) 98 (1): 23–50.
Published: 01 January 2007
... is a fully dressed woman of color holding a flower[s]; like the prostitute, she is at once shocking and disjunctive in her sexuality, but here it is androgyny rather than nudity that confronts the viewer. Gauguin describes the act of painting in terms that pertain equally to sexual and national conquest...
Journal Article
Romanic Review (2012) 103 (3-4): 590–593.
Published: 01 May 2012
..., drawing viewers both to the shrines and to each other in a moment of tumultuous confusion and loss. Meanwhile, Dalbello and Li Jinjia contribute to the volume's important multiethnic dimension, illuminating sociocultural elements of Habsburg illustrated almanacs and of the graphical nature of Chinese...