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1

Méthode et pratique du portrait: sur les traces des traducteurs

100%
Whitfield A.
Romanica Wratislaviensia
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2012
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vol. 59
175-184
EN
This article describes the method and practice of the portrait as a means of acquiring a more profound appreciation for the complex values, goals and work process of literary translators. Based on empirical research, the portrait method brings together biographical material on the translator, bibliographical data on his/her translations, writings, and other texts or interviews on translation, information on his/her professional implication and activities, and details concerning his/her work process and relations with writers and publishers. However, the over-arching goal of the portrait is not simply to provide a compilation of the translator’s achievements, but to make inferences, through a holistic approach to the data, about his/her underlying motivations and aspirations, and by so doing, to better understand the meaning he/she attributes to his/her work. Portraits of Émilie du Châtelet, Hannah Josephson and Patricia Claxton illustrate how the open-ended portrait methodology can enlarge our understanding of the translation process.
2
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Przyczynek do identyfikacji portretu niejakiej Kalinowskiej ze zbiorów Winnickiego Obwodowego Muzeum Sztuk Pięknych

100%
Nestorowycz O.
Krakowskie Pismo Kresowe
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2009
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vol. 1
147-149
EN
The topic of this paper is the female portrait from 18th century belonging to collection of the Regional Art Museum in Vinnitsa (Ukraine). The author of the portrait is unknown. The researcher of this theme proves that Anna Lubomirska-Rzwuska is represented on this portrait. Princess Anna Lubomirska-Rzewuska (1717-1763) was a member of Polish nobility. Her parents are Jozef Rzewuski and Teresa Mniszek. She was Stanislaw Lubomirski’s sister. She married Waclaw Rzewuski in 1732.
3

Personibas skatijuma pretmeti realitate un portrettelnieciba padomju perioda: Oficiala retorika un sleptas pretestibas intonacijas

88%
Caupova R.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
178-185
EN
Totalitarian regimes of the past century reveal a spectrum of perplexing social and psychological anomalies and contrasts in their attitudes towards the personality, meaning not just the individual acquiring his/her identity through the experience of socialisation but human life as such. The fine arts, being an obvious tool of propaganda, were certainly important as an ideological instrument. The portrait genre was particularly emphasised; special attention was paid to commissions of traditional portraits. Making portraits of high-ranking persons was a mark of respect that often crowned their promotion and the awarding of orders and honorary titles. Expressions of heightened optimism and sunny elation encoded in facial features was not derived from the typical traits of that personality but demonstrated superficial assumptions of what a Soviet man’s image should be like. This treatment can be considered social masquerading in order to comply with the ideological tenets. Taking advantage of the benefits related to commissioned portraits, many sculptors created rather superficial portraits of both historical persons and their contemporaries, disregarding the deeper layers of personality and character. Nevertheless, one has to admit that truly remarkable and up to date works were also created, thanks to the options of portrait commissions during that period in Latvia. Some of them, like the portrait images by Lea Davidova-Medene, manifested innovative sculptural solutions. Intonations of independence and resistance showed in sculptural portraits that focused on the spiritual power and stance of the personality. Here one should note that full-fledged portrait images embodying the individual’s personality and partly also the self in a convincing whole, is hard to render in verbal formulations. If the artist has managed to describe the model aptly and convincingly, such an image cannot be completely ideological. It may be covered with various ideological explanations, but the portrait image remains unaffected in its immanent being. Sculptors created portraits of different people, sometimes also portraying their relatives or acquaintances along with official works. However, overtones of resistance are most visible in the portraits of renowned and popular representatives of the creative professions.
4
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FACES WITHOUT INTERIORITY: MUSIC VIDEO’S REINVENTION OF THE PORTRAIT

88%
Jirsa T.
World Literature Studies
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2019
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vol. 11
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issue 4
55 – 68
EN
No matter how contemporary music videos differ across genres, aesthetic styles, and production background, they usually focus on the performer’s face. Exploring its opacity and agency, this essay argues that contemporary music video production replaces the face as an expression of the subject’s interiority and identity with a media-affective interface whose main function is to amplify the video’s work of audio-visual forms, performative mechanisms, and atmosphere. Through a close reading of the hip-hop video Chum by Earl Sweatshirt (dir. Hiro Murai, 2012), I demonstrate how it generates the face as an audio-visual screen that absorbs, intensifies, and gives rhythm to both the moving images and sounds. Such desubjectification opens a way to rethink portraiture within the music video genre as a media operation undermining the traditional notions of representation, interiority, and identity in favour of unfolding its technological and affective links between sounds, moving images, and lyrics.
5

К вопросу об изображении руки в портрете преподобного иоанна дамаскина

88%
Anchimiuk O., Заика В.
Białostockie Archiwum Językowe
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2014
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issue 14
11-24
EN
Analysis of descriptions of the Saints and characteristics of their appearance includes a number of problem areas: a linguistic portrait, linguistic and nonlinguistic ways of describing the Saint and a problem of the body in culture. The paper concentrates on the means of describing the hand- a part of the body of Saint John of Damascus, which was a source of suffering and divine healing. A linguistic comparison of Saint John of Damascus` history in Четьи Минеи св. Димитрия Ростовского (1689-1705) and Lives of the Saints of Old and New Order by priest P. Skarga shows that short description as the main feature of religious literature, explicit and implicit mentioning about the hand, both direct and descriptive one, take on significant meaning. A detailed analysis of the words used in both texts shows an important extension of the semantic field, relevant for the expression of religious meanings.
6

Tela individualizacijas un formalas strukturas attiecibas portreta: Latvijas makslas vestures piemeri

75%
Klavins E.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
73-84
EN
The article deals solely with the representation of a personality in an artwork. In order to avoid excessively sophisticated concepts of personality, the discourse is focused on the notion of the image of an individual in the portrait in concord with its common definition. The so-called likeness could not be a useful criterion for identification because in almost all cases, it is impossible to compare the sitter and his/her image; the category of fictional portraits cancels the problem of likeness altogether. The perception of an individual, the process of identification in a portrait is rather subjective and depends on the amount of information about the depicted person and the artist. The level of abstraction in Niklavs Strunke’s ‘Self-Portrait with a Doll’ (1921) is so high that only those who know his photos and biography can identify this extravagant personality in the schematic image. Another example in this respect is the cubistic ‘Portrait of Karlis Straubergs’ (1920) by Oto Skulme. The subjective construction of an individual within the given image is also problematic because individual features are almost always dialectically combined with idealisation, social representation, the artist’s expression, and autonomous formal devices. Sometimes it is difficult to differentiate ‘organic’ self-idealisation of the sitter from idealised features implemented by the artist (the case of Janis Rozentals’ ‘Portrait of Charlotte von Lieven’, 1899). The same can be said about the representative portraits of provincial farmers produced by the ‘naïve’ 19th century painter Carl Seebode. A quite different example of idealisation is Valija Jansevska’s ‘Portrait of Milkmaid M. Lazdina’ (1950) where the optimistic poster-like image was in accord with the dogma of Socialist Realism. The influence of the pictorial space on the possible reading of a portrait can be discussed by analysing Jazeps Grosvalds’ ‘Portrait of the Artists Tone, Ubans and Drevins’ (1915). Half-figures are placed close together around a small table, and, therefore, the composition can be interpreted as a sign of mental intimacy between the young painters from the ‘Green Flower’ group.
7

NIKLAVS STRUNKE (Niklavs Strunke)

75%
Silins J.
Materiali Latvijas makslas vesturei
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2001
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vol. 2
142-171
EN
Both the subject of this article, the artist Niklavs Strunke (1894-1966), and the author of the piece, art historian Janis Silins (1896-1991), are of importance in the history of Latvian art. Silins was one of the most active authors in the field of art criticism in the 1920s and 1930s. After World War II he lived in the United States and wrote a several volume treatise, 'Latvian Art', which was published in Stockholm in the 1980s. This previously unpublished article about Niklavs Strunke was written by Silins in 1942 on the basis of a commission from artist Ludolfs Liberts, who at that time was working as the director of the National Securities Printing Bureau. Because of the war, the paper was never published. In this version Silins' text has been preserved exactly as written, although, judging from the handwriting on the manuscript, his wife Elza Silina did some corrections on the work. In the first part of the article the author reviews Niklavs Strunke's biography, looking at the lives of his parents, his childhood and his education. The story ends at the time when the article was written - the early 1 940s. Silins reports various humorous incidents from Strunke's career, as well as facts about the artist's life which had not been known publicly before then. Silins has said that he had planned to end the article with just this first part, but Liberts insisted that a second part be written so that Silins could review Strunke as an artist. In the second section, which is subtitled 'The Shapes of Art', Silins points to Strunke's special, 'non-academic' place in Latvian art, discussing the artist's emphasis on stylization, symbolism and archaic elements. The author points out Strunke's 'motor-like perception' and 'rhythmic, mimicking composition' as peculiar features of the artist's work The article also discusses Strunke's great love for Italian art, but because it does not, of course, cover the artist's life after the war, readers of this piece alone will not know that Strunke emigrated to Sweden, but continued to consider Italy as his 'second motherland'. After his death in 1966, he was buried in Rome.
8

HABSBURGOVCI V PRVEJ POLOVICI 19. STOROČIA. PANOVNÍCKY PORTRÉT V SLOVENSKÝCH ZBIERKACH

63%
Beňová K.
ARS
|
2009
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vol. 42
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issue 2
291-309
EN
A portrait of a ruler as a personification of the state had been one of the most common commissions from artists, and it was not different also during the 19th century. The first half of the 19th century witnessed a shift in the way of portraying an emperor - from the absolutist feature to a closer relation to citizens of the state. The article exemplifies this line of development by a number of representative portraits of Habsburg monarchs - namely Francis I, Ferdinand V and Francis Joseph I - by painters like Jacob Cimbal, Carl Steinacker or Friedrich Lieder, deposited in Slovak Galleries and Museums Collections.
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