Search results for 'Kazimir Severinovich Malevich' (try it on Scholar)

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  1. Kazimir Severinovich Malevich (2003). The White Rectangle: Writings on Film. Potemkin Press.score: 870.0
     
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  2. Oksana Bulgakowa (2003). Malevich in the Movies: Rubbery Kisses and Dynamic Sensations. In Kazimir Severinovich Malevich (ed.), The White Rectangle: Writings on Film. Potemkin Press.score: 9.0
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  3. Anna Zeidler- Janiszewska (2004). Malevich Revisited. In Search of Postmodern Metaphysics. Art Inquiry. Recherches Sur les Arts 6:203-212.score: 9.0
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  4. Anna Muza (2003). Weaving Texts: A Note on Malevich's Uses of Language. In Kazimir Severinovich Malevich (ed.), The White Rectangle: Writings on Film. Potemkin Press.score: 9.0
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  5. Wessel Stoker (2008). The Rothko Chapel Paintings and the 'Urgency of the Transcendent Experience'. International Journal for Philosophy of Religion 64 (2):89 - 102.score: 3.0
    Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher’s Reden Über die Religion , painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich’s Monk by the Sea . Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition , that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to the expression to religious (...)
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  6. Robert Pippin (2007). What Was Abstract Art? (From the Point of View of Hegel). In Stephen Houlgate (ed.), Hegel and the Arts. Northwestern University Press. 1-24.score: 3.0
    The emergence of abstract art, first in the early part of the century with Kandinsky, Malevich, and Mondrian, and then in the much more celebrated case of America in the fifties (Rothko, Pollock, and others) remains puzzling. Such a great shift in aesthetic standards and taste is not only unprecedented in its radicality. The fact that nonfigurative art, without identifiable content in any traditional sense, was produced, appreciated, and, finally, eagerly bought and, even, finally, triumphantly hung in the lobbies (...)
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  7. Kazimir Drilo (2009). Offenbarung und Realität des Wissens bei Fichte. Fichte-Studien 33:189-205.score: 3.0
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  8. Kazimir Drilo (2013). Hansjürgen Verweyens Fundamentaltheologie im Anschluss an Fichte. Fichte-Studien 36:235-252.score: 3.0
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  9. Kazimir Drilo (2006). »Die Vernunft ist praktisch«. Fichte-Studien 27:207-212.score: 3.0
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  10. Kazimir Drilo (2007). Intégration de l'absolu dans la vie du peuple. La détermination de la religion de l'art par Hegel dans la Phénoménologie de l'Esprit. Synthesis Philosophica 22 (1):127-140.score: 3.0
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  11. Kazimir Drilo (2009). J. G. Fichte und die Theologie. Fichte-Studien 34:477-481.score: 3.0
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  12. Kazimir Vecerka (1991). Descartes and Modern Natural-Science. Filosoficky Casopis 39 (5):831-853.score: 3.0
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  13. Kazimir Drilo (2007). Integration des Absoluten in das Leben des Volkes. Hegels Bestimmung der Kunstreligion in der Phänomenologie des Geistes. Synthesis Philosophica 22 (1):127-140.score: 3.0
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  14. Kazimir Drilo (2007). The Integration of the Absolute in the Life of the People. Hegel's Definition of the Religion of Art in the Phenomenology of Spirit. Synthesis Philosophica 22 (1):127-140.score: 3.0
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  15. Kazimir Drilo (2009). Vladimir Milisavljevic: Identitet I Refleksija. Problem Samosvesti U Hegelovoj Filozofiji.[Identität Und Reflexion. Das Problem des Selbstbewußtseins in Hegels Philosophie.]. [REVIEW] Hegel-Studien 44:174.score: 3.0
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  16. Kazimir Drilo (2010). Wissen - nihilismus – bejahung: Fichtes transzendentalphilosophischer offenbarungsbegriff. Filozofija I Drustvo 21 (2):167-183.score: 3.0
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  17. Kazimir Drilo (2010). Znanje–Nihilizam–Potvrðivanje. Fihteov Transcendentalnofilozofski Pojam Otkrovenja. Filozofija I Društvo 2:167-183.score: 3.0
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  18. Mikhail Epstein (2010). . Common Knowledge 16 (3):367-403.score: 3.0
    In this guest column, Epstein offers “a new sign” that, he argues, resolves difficulties that have arisen in many theories and practices, including linguistics, semiotics, literary theory, poetics, aesthetics, ecology, ecophilology, eco-ethics, metaphysics, theology, psychology, and phenomenology. The new sign, a pair of quotation marks around a blank space, signfies the absence of any sign. Most generally, “ ” relates to the blank space that surrounds and underlies a text; by locating “ ” within the text, the margins are brought (...)
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