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Meta-reference
Meta-reference is a special type of self-reference that can occur in all media or media artifacts, for instance literature, film, painting, TV series, comic strips, or video games. It includes all references to, or comments on, a specific medium, medial artifact, or the media in general. These references and comments originate from a logically higher level (a "meta-level") within any given artifact, and draw attention to—or invite reflection about—media-related issues (e.g. the production, performance, or reception) of said artifact, specific other artifacts (as in parody), or to parts, or the entirety, of the medial system. It is, therefore, the recipient's awareness of an artifact's medial quality that distinguishes meta-reference from more general forms of self-reference. Thus, meta-reference triggers media-awareness within the recipient, who, in turn "becomes conscious of both the medial (or "fictional" in the sense of artificial and, sometimes in addition, "invented") statu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fourth Wall
The fourth wall is a performance convention in which an invisible, imaginary wall separates actors from the audience. While the audience can see through this ''wall'', the convention assumes the actors act as if they cannot. From the 16th century onward, the rise of illusionism in staging practices, which culminated in the realism and naturalism of the theatre of the 19th century, led to the development of the fourth wall concept. The metaphor suggests a relationship to the mise-en-scène behind a proscenium arch. When a scene is set indoors and three of the walls of its room are presented onstage, in what is known as a box set, the fourth of them would run along the line (technically called the proscenium) dividing the room from the auditorium. The ''fourth wall'', though, is a theatrical convention, rather than of set design. The actors ignore the audience, focus their attention exclusively on the dramatic world, and remain absorbed in its fiction, in a state that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metatheatre
Metatheatre, and the closely related term metadrama, describes the aspects of a play that draw attention to its nature as drama or theatre, or to the circumstances of its performance. "Breaking the Fourth Wall" is an example of a metatheatrical device. Metatheatrical devices may include: direct address to the audience (especially in soliloquies, asides, prologues, and epilogues); expression of an awareness of the presence of the audience (whether they are addressed directly or not); an acknowledgement of the fact that the people performing are actors (and not actually the characters they are playing); an element whose meaning depends on the difference between the represented time and place of the drama (the fictional world) and the time and place of its theatrical presentation (the reality of the theatre event); plays-within-plays (or masques, spectacles, or other forms of performance within the drama); references to acting, theatre, dramatic writing, spectatorship, and the fre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mise En Abyme (in Literature And Other Media)
''Mise en abyme'' (also mise-en-abîme, French "put in the abyss", iːz ɒn əˈbɪːm is a transgeneric and transmedial technique that can occur in any literary genre, in comics, film, painting or other media. It is a form of similarity and/or repetition, and hence a variant of self-reference. ''Mise en abyme'' presupposes at least two hierarchically different levels. A subordinate level 'mirrors' content or formal elements of a primary level. 'Mirroring' can mean repetition, similarity or even, to a certain extent, contrast. The elements thus ‘mirrored’ can refer to form (e.g. a painting within a painting) or content (e.g. a theme occurring on different levels). ''Mise en abyme'' can be differentiated according to its quantitative, qualitative and functional features. For instance, ‘mirroring’ can occur once, several times (on a lower and yet on a lower and so on level) or (theoretically) an infinite number of times (as in the reflection of an object between two mirro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Self-reference
Self-reference occurs in natural or formal languages when a sentence, idea or formula refers to itself. The reference may be expressed either directly—through some intermediate sentence or formula—or by means of some encoding. In philosophy, it also refers to the ability of a subject to speak of or refer to itself, that is, to have the kind of thought expressed by the first person nominative singular pronoun "I" in English. Self-reference is studied and has applications in mathematics, philosophy, computer programming, second-order cybernetics, and linguistics, as well as in humor. Self-referential statements are sometimes paradoxical, and can also be considered recursive. In logic, mathematics and computing In classical philosophy, paradoxes were created by self-referential concepts such as the omnipotence paradox of asking if it was possible for a being to exist so powerful that it could create a stone that it could not lift. The Epimenides paradox, 'All Cretans are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Drama
Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television.Elam (1980, 98). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's '' Poetics'' (c. 335 BC)—the earliest work of dramatic theory. The term "drama" comes from a Greek word meaning "deed" or " act" (Classical Greek: , ''drâma''), which is derived from "I do" (Classical Greek: , ''dráō''). The two masks associated with drama represent the traditional generic division between comedy and tragedy. In English (as was the analogous case in many other European languages), the word ''play'' or ''game'' (translating the Anglo-Saxon ''pleġan'' or Latin ''ludus'') was the standard term for dramas until William Shakespeare's time—just as its creator was a ''play-maker'' rather than a ''dramatist'' and the building was a ''play-house'' r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Massey University
Massey University ( mi, Te Kunenga ki Pūrehuroa) is a university based in Palmerston North, New Zealand, with significant campuses in Albany and Wellington. Massey University has approximately 30,883 students, 13,796 of whom are extramural or distance-learning students, making it New Zealand's second largest university when not counting international students. Research is undertaken on all three campuses, and more than 3,000 international students from over 100 countries study at the university. Massey University is the only university in New Zealand offering degrees in aviation, dispute resolution, veterinary medicine, and nanoscience. Massey's veterinary school is accredited by the American Veterinary Medical Association and is recognised in the United States, Australia, Canada, and Britain. Massey's agriculture programme is the highest-ranked in New Zealand, and 19th in Quacquarelli Symonds' (QS) world university subject rankings. Massey's Bachelor of Aviation (Air Transp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hermann Danuser
Hermann Danuser (born 3 October 1946) is a Swiss-German musicologist. Life Born in Frauenfeld, Danuser studied piano, oboe, musicology, philosophy and German language and literature at the Musikhochschule and the University of Zurich from 1965; he received his doctorate with a dissertation on musical prose. From 1973 he studied in Berlin with Carl Dahlhaus (musicology) and Gerhard Puchelt (piano). After working as a research assistant, he habilitated in 1982 at the Technical University of Berlin with a thesis on ''the music of the 20th century'' (published in 1984). From 1982 to 1988, Danuser taught as professor for musicology at the Hochschule für Musik, Theater und Medien Hannover, then from 1988 to 1993 as professor for musicology at the Albert-Ludwigs-University Freiburg. From 1993 until his retirement in 2014, he held the chair for Historical Musicology at the Institute for Musicology and Media Studies of the Humboldt University of Berlin. Danuser also coordinates resear ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Winfried Nöth
Winfried Nöth (born September 12, 1944 in Gerolzhofen) is a German linguist and semiotician. After graduating from high school in 1963 in Brunswick, from 1965 to 1969 Nöth studied English, French and Portuguese in Münster, Geneva, Lisbon and Bochum, and in 1971 acquired his doctoral degrees at the Ruhr University Bochum. In Bochum he also habilitated in 1976 and became assistant to Walter A. Koch. After teaching in Bochum and Aachen, in 1978 he was appointed full professor in English Linguistics at the University of Kassel. In 1985 Nöth was visiting professor at the University of Wisconsin–Green Bay The University of Wisconsin–Green Bay (UW-Green Bay, UWGB, or Green Bay) is a public university in Green Bay, Wisconsin, with regional campuses in Marinette, Manitowoc, and Sheboygan. Founded in 1965, it is part of the University of Wiscons ... in Green Bay, Wisconsin, United States, and in 1994 at the Pontifícia Universidade Católica de São Paulo in Brazil. Since ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Impressionism
Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open Composition (visual arts), composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, ''Impression, soleil levant'' (''Impression, Sunrise''), which provoked the critic Louis Leroy to coin the term in a Satire, satirical review published in the Parisian newspaper ''Le Charivari''. The development of Impressionism in the visual arts was soon followed by analogo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Édouard Manet
Édouard Manet (, ; ; 23 January 1832 – 30 April 1883) was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism. Born into an upper-class household with strong political connections, Manet rejected the naval career originally envisioned for him; he became engrossed in the world of painting. His early masterworks, ''The Luncheon on the Grass'' (''Le déjeuner sur l'herbe'') and '' Olympia'', both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the start of modern art. The last 20 years of Manet's life saw him form bonds with other great artists of the time; he developed his own simple and direct style that would be heralded as innovative and serve as a major influence for future painters. Early life Édouard Manet was born in Par ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Balcony (painting)
''The Balcony'' (''French: Le balcon'') is an 1868-69 oil painting by the French painter Édouard Manet. It depicts four figures on a balcony, one of whom is sitting: the painter Berthe Morisot, who married Manet's brother Eugène in 1874. In the centre is the painter Jean Baptiste Antoine Guillemet. On the right is Fanny Claus, a violinist. The fourth figure, partially obscured in the interior's background, is possibly Léon Leenhoff, Manet's son. It was exhibited at the Paris Salon of 1869, and then kept by Manet until his death in 1883. It was sold to the painter Gustave Caillebotte in 1884, who left it to the French state in 1894. It is currently held at the Musée d'Orsay, in Paris. Inspiration and description The painting, inspired by '' Majas on the Balcony'' by Francisco Goya, was created at the same time and with the same purpose as '' Luncheon in the Studio''. The three characters, who were all friends of Manet, seem to be disconnected from each other: while Berth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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