Savedoff, Frames, and Parergonality

Kiilerich, Bente

doi:10.1111/1540-6245.00032

Cited by 4 publications

(3 citation statements)

References 3 publications

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“…The frame often became an essential part of the artwork, not only physically, but also conceptually, in that it carried texts. And these texts helped the viewer in 'reading' the image, so much so that text, frame, and picture were equally structural parts of the artwork (Kiilerich, 2001). Ever since antiquity, aesthetics and critical theory have employed the multifaceted term parergon (para, 'beside', and ergon, 'work') to indicate the metalinguistic affordances of non-propositional devices such as van Eyck's frame inscriptions, which extend far beyond the role of accessory by-work, subordinate embellishments or filling supplements to an artwork's main subject.…”

Section: Prologue: Of Parerga and Other Marital Factsmentioning

confidence: 99%

A tale of three waves

D'Angelo¹,

Consonni²

2020

iberica

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In this paper we provide an overview of past and current research on metadiscourse and highlight new research discourses emerging from the field. We trace the category back to its critical and theoretical origins, examining the three ‘waves’ that have configured it over the last four decades. We investigate how metadiscourse has evolved and the reasons why it continues fascinating researchers in professional and academic fields in a variety of disciplines and domains. We then focus on the fact that, as communication moves online and a variety of genres become digitalised, researchers active in metadiscourse are increasingly concerned with digital communication and are accordingly questioning (or adapting) well-established methodologies, but also proposing new and much-needed perspectives on reflexivity. The field is undoubtedly in a flux and new and interesting approaches and eclectic frameworks are emerging, which merit consideration

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Section: Prologue: Of Parerga and Other Marital Factsmentioning

confidence: 99%

A tale of three waves

D'Angelo¹,

Consonni²

2020

iberica

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“…16 See the references in note 1. On frames and framing, see Derrida 1978, 19-168;Lebensztejn 1988;Kiilerich 2001;Platt & Squire (eds) 2017. referent is generally treated in one of two ways. First as a concept, in the sense that through digital means a recreated version references and serves as a (distinguishable) substitute for an original.…”

Section: Introductionmentioning

confidence: 99%

‘Contemporary Classicism’ Copy of a Copy: Appropriating Classical Statues as Conceptual Readymades

Meredith

Barnett

2021

Classical Art and Archaeology

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Conceptual readymades – a contemporary artist’s use of a classical work selected as a key point of reference taken out of time – have developed in recent years as part of contemporary art’s appropriation of Greco-Roman statuary. This investigation argues that a contemporary artist’s use of the classical does not represent ‘copies’ but cultural readymades. Contemporary digital and sculptural work foregrounding the classical sheds light on the parallel phenomenon whereby Roman re-interpretations of Greek sculpture may have been equivalent to contemporary classicism. Contemporary case studies featuring digital media, generative art, and sculpture are approached both from the perspective of what they can reveal about contemporary art’s use of the classical and what contemporary art’s use of classical sculpture can suggest about Roman reinterpretations as cultural readymades. Remade as part of contemporary art, classical sculpture is uniquely positioned as an accessible point of reference with which to comment on our own time by concurrently reframing the past.

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“…membranom koja je poput tapiserije ili zastora unutar hrama te 'odijeva' crkvu. 29 Brojni se ornamenti izvedeni u opeci, poput svastike, također ponavljaju u enterijeru te se cjelokupan hram 'odijeva' jednakim motivom duž zidova, ali pritom se materijalnost motiva drugačije doživljava. Tako je i na kordonskim vijencima u crkvi Svetoga Ivana Krstitelja gdje je ktitorica carica Teodora Paleolog(1240.…”

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Materijalnost i opeka: ornament na fasadama carigradskih crkava bizantske obitelji Paleolog

Ciric¹

2021

Materijalnost Umjetničkog Djela: Zbornik Radova Znanstvenog Skupa „Dani Cvita Fiskovića“ Održanog 2018. Godine

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Savedoff, Frames, and Parergonality

Cited by 4 publications

References 3 publications

A tale of three waves

A tale of three waves

‘Contemporary Classicism’ Copy of a Copy: Appropriating Classical Statues as Conceptual Readymades

Materijalnost i opeka: ornament na fasadama carigradskih crkava bizantske obitelji Paleolog

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