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the lifelikeness of the quasi-tragic treatment of the narrative leaves a
The combination is so shrewdly executed that the spectator would be shocked by the sudden confrontation (normally the painting is covered), but at the same time is moved by the lifelikeness and beauty with which the grim subject is rendered.
Yet what they convince of is fundamentally different: arguments convince one of their truth, stories of their lifelikeness.
Unlike quantitative inquiries, qualitative approaches are thus not focused on statistical likelihood but on lifelikeness, or verisimilitude, that allows for a deepened understanding of a given phenomenon.
Chekhov wrote The Steppe, appropriately the first tale in this volume, when he was 28, and it is a kind of manifesto of Chekhovian lifelikeness.
9) The oral storytelling features of the novel are so pronounced that, at times, the parallels with the folk-tale seem obvious: its continual repetitions at all sorts at different levels, the lack of motivation in the plot, the contradictions, the information gaps, the break-neck pace of the different episodes, the psychological superficiality of its characters (divided into good and bad) who appear in droves and are all given names--however fleeting their appearance--in a kind of horror vacui which aims at both realism and lifelikeness, all help to distinguish the novel and to give Xenophon the appeal of the "conteur populaire", as Dalmeyda remarked in his edition of 1926.
Pablo's description of the portrait refers to the richness of the colors and the lifelikeness of the depiction of himself and Gracia:
Researchers developing these characters discovered, sometimes to their surprise, that the best way to produce believability and lifelikeness may not be through the modeling of life.
This lifelikeness was, of course, often enhanced by polychromy.
1) The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art.
This is a notion that Gombrich explored to great effect in his lecture 'Raphael's "Madonna della Sedia"', reprinted in Norm and Form (London, 1966); he argued the painting was a solution to the problem of reconciling two 'mutually limiting demands that of lifelikeness and that of arrangement' (p.
At stake here, then, is not a question of the putative lifelikeness or verisimilitude of the realistic novel.