style

A commonplace of African art criticism has been to identify particular styles according to supposedly tribal names—for example, Asante, Kuba, or Nuba. The concept of tribe is problematic, however, and has generally been discarded. “Tribal” names, in fact, sometimes refer…

Although folk artists had their own criteria of function and craftsmanship, design in the theoretical sense was not a part of their training; rather, it was the natural result either of continued use of established patterns or of instinctive methods of organization. In special…

…archaic), the high or sublime style of the great Greek sculptors Phidias and Polyclitus of the 5th century bc, the elegant or beautiful style of the sculptor Praxiteles and the painter Apelles (both flourishing in Greece in the 4th century bc), and the imitative period, corresponding to the Greek-tinctured Hellenistic…

…partly appraised on questions of style. In the wrestling match, however, these questions of style are not, as in ballet, central to the event but only incidental. The principle most strongly governing the fighters’ movements is the scoring of points rather than aesthetic appeal or self-expression. For this reason, even…

) Within subgenres, different styles can be distinguished, such as those of Ashton, MacMillan, and Balanchine in modern ballet and Graham and Cunningham in modern dance. Style as used here embraces many elements, including a preference for certain kinds of movement (fast, slow, simple, or intricate) or for particular…

…no universal movement, figure, form, style, or function. Neither does a specific movement, figure, form, style, or function identify a dance as a folk dance. The simplest approach to definition might be to say that folk dances are those dances identified with and performed by folk dancers. By the same…

In Augustan art a similar fusion was achieved between the prevailing Attic and Hellenistic models and Italian naturalism. The sculptured portraits on the Ara Pacis (Altar of the Augustan Peace) of 9 bc, for all their lifelike quality, are yet in harmony with the classical poise of the figures, and…

Artistic efforts are most commonly applied to decoration, whether of the human body, objects of practical or ritual use, or even houses. The most common body adornments are paint and feather ornaments. Tattooing has also been practiced, especially among the Mundurukú and many Arawak tribes.…

…for formal perfection, message for style.

A third factor is style. Every play prescribes its own style, though it will be influenced by the traditions of its theatre and the physical conditions of performance. Style is not something imposed by actors upon the text after it is written, nor is it superficial to the business…

…ambition was to achieve a style “as rhythmical as verse and as precise as the language of science” (letter of April 24, 1852). In his view “the faster the word sticks to the thought, the more beautiful is the effect.” He often repeated that there was no such thing as…

The writing of nonfictional prose should not entail the tension, the monotony, and the self-conscious craft of fiction writing. The search for le mot juste (“the precise word”) so fanatically pursued by admirers of Flaubert and Maupassant is far less important in nonfictional prose…

…used a plain but lively style, presenting stories of magicians, necromancers, prophets, chivalrous knights and ladies, great emperors—a combination bound to appeal to congregations, if not to theologians. An important offshoot of the parable and exemplary tale was the saint’s life. Here, too, massive compilations were possible; the most celebrated…

The analysis of prosodic style begins with recognizing the metrical form the poet uses. Is the poet writing syllable-stress, strong-stress, syllabic, or quantitative metre? Or a nonmetrical prosody? Again, some theorists would not allow that poetry can be written without metre; the examples of…

Efforts to define the nature of an art or craft usually are based upon the masterpieces of that field. Without that necessary reference point, vague speculations and generalizations—without proof of validity—are likely. In the visual, musical, and literary arts, this foundation exists; the work of the great masters of…

In an effort to bring new life to plays of the past and present and to advance the imaginative possibilities of theatre, there has been a rediscovery of “style” in the 20th century. Style is the attribute of any complete achievement; it…