Tom, volume e arranjo no chiaroscuro da memória: Sinfonia em branco, de Adriana Lisboa by Regina R. Félix

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La ville à l’écran : esthétique du spectaculaire et du tentaculaire dans Metropolis de Fritz Lang et Brazil de Terry Gilliam by Raphaëlle Costa de Beauregard

“…This paper addresses the city as a cultural construct in Metropolis (Fritz Lang, 1928) and Brazil (Terry Gilliam, 1985): first as a dream space for the development of futurist architecture, then as a privileged screen-space for chiaroscuro and the German expressionist context, and its transposition in Technicolor, and third as the locus for an irretrievable metamorphosis of the human species, particularly in the depiction of Woman as a "femme fatale".…”
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Du presque-rien au presque-tout : le dévoilement de l’invisible dans Trifles (1916) de Susan Glaspell by Emeline JOUVE

“…In this detective play, the chiaroscuro effect appears as a principle which structures this work in which the playwright literalizes the metaphor of social invisibility to denounce patriarchal oppression and encourage the audience to reflect upon the mechanisms underpinning the norms on which the society of the beginning of the 20th century was based.…”
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Transparency, Translucency, and Obscurity in the Victorian Monologue by Jean-Charles Perquin

“…The Victorian dramatic monologue is not only a first person poetic speech with a silent audience suggested in the very poem; it is also a complex poetic chiaroscuro in which the speech itself is translucent, but always on the verge of obscurity, since what is at stake in the poem is the question of understanding. …”
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Du tableau à la scène : la couleur dans le jardin paysager en France by Ilona Woronow

“…Finally, in other contexts, the couleur being marginalized, the visual qualities are perceived in terms of light nuances. Exploration with chiaroscuro relates the art of gardens to theater.…”
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Art-technologies for creating an artistic image: issues of imitation and the transitivity of the creative process by Tetiana Sovhyra

“…It has been established that in order to create a realistic embodiment of virtual models in a real environment and to make these objects three-dimensional, it is important to take into account the peculiarities of chiaroscuro. Technologically, this can be done by installing a light source in the virtual scene that will illuminate objects at a certain angle. …”
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Keats et de Kooning : Pour un romantisme expressionniste abstrait ou la mise en image de l’épitaphe by Caroline Bertonèche

“…Close in many other ways, despite chronological and geographical differences, the two inspired artists meet around their creative intermingling of the picturesque and the poetic: the rhythmic liquidity, the verse schemes, the chiaroscuros, the ‘dripping’ technique, the ‘erasures’, the fading colours… Keats’s strangely melancholic but also deeply ironic and contrasted lyricism meets de Kooning’s mixed style of painting, torn as it is between the realms of tradition and novelty, of figurative and abstract art. …”
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