Search results for 'Symbolism in art Congresses' (try it on Scholar)

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  1. James A. Leith & George Whalley (eds.) (1987). Symbols in Life and Art: The Royal Society of Canada Symposium in Memory of George Whalley. Published for the Royal Society of Canada by Mcgill-Queen's University Press.score: 648.0
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  2. Meredith Tromble (2009). The Advent of Chemical Symbolism in the Art of Sonya Rapoport. Foundations of Chemistry 11 (1):51-60.score: 531.0
    This paper explores the use of chemical symbolism in works by the new media artist Sonya Rapoport, with a focus on the pivotal Cobalt series from the late 1970s. These works, drawings on computer printouts generated by research at the Lawrence Berkeley Laboratory, respond to experiments in nuclear chemistry. They mark the beginning of three productive decades in which Rapoport produced a variety of images related to chemistry in her work. She states, “I looked for authentic research projects that (...)
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  3. Louis Arnaud Reid (1961). Symbolism in Art. British Journal of Aesthetics 1 (3):185-191.score: 438.8
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  4. P. J. Hughesdon (1920). Phenomenal Symbolism in Art. Mind 29 (114):186-206.score: 438.8
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  5. Asit K. Haldar (1950). Symbolism in Indian Art and Religion. Journal of Aesthetics and Art Criticism 9 (2):124-127.score: 436.5
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  6. W. R. Halliday (1926). Life Symbols as Related to Sex Symbolism. By Elizabeth E. Goldsmith, Author of Sacred Symbols in Art, and Toby: The Story of a Dog. One Vol. Pp. Xxviii + 455 ; 46 Plates, 108 Figures in Text. New York and London : G. P. Putnam's Sons, 1924. [REVIEW] The Classical Review 40 (01):41-.score: 427.5
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  7. Jane Duran (forthcoming). The Nagaraja: Symbol and Symbolism in Hindu Art and Iconography. Journal of Aesthetic Education.score: 427.5
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  8. Paul Kattukaran (1993). Earth Alive in Art and Symbolism. Journal of Dharma 18 (1):71-84.score: 427.5
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  9. Janet M. MacDonald (1923). The Uses of Symbolism in Greek Art. Journal of Hellenic Studies 43:216.score: 427.5
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  10. C. Levi-Strauss (1954). Reviews : The Art of Deciphering Symbols (in Four Lessons, to Be Followed or Not to Be Followed): Soogwilis, a Collection of Kwakiutl Indian Designs and Legends by R. Geddes/ Large Toronto: The Ryerson Press, I95i. Pp. 87 and 33 Coloured Plates by Charlie George. /The Lost Language of Symbolism by Harold Bayley N.E., London: William and Norgate, I952. 2 Vols. Pp. IX-375 and Pp. VIII-3,888, I,4i8 Illustrations. / The Cinderella Cycle by Anna Birgitta Rooth Lund: C. W. K. Gleerup, I95i. Pp. 269 and XVI Inserted Recapitulated Pictures. The Life-Giving Myth by A. M. Hocart Edited, with Introduction by Lord Raglan. London: Methuen and Co., I952. Pp. 252. [REVIEW] Diogenes 2 (5):101-108.score: 405.0
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  11. Dee Reynolds (1995). Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space. Cambridge University Press.score: 337.5
    This book presents an innovative analysis of the role of imagination as a central concept in both literary and art criticism. Dee Reynolds brings this approach to bear on works by Rimbaud, Mallarme;, Kandinsky, and Mondrian. It allows her to redefine the relationship between Symbolism and abstract art, and to contribute new methodological perspectives to comparative studies of poetry and painting. The late nineteenth and early twentieth century was a crucial period in the emergence of new modes of representation, (...)
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  12. Thomas Munro (1956). Suggestion and Symbolism in the Arts. Journal of Aesthetics and Art Criticism 15 (2):152-180.score: 286.5
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  13. John W. Dixon (1964). Nature and Grace in Art. Chapel Hill, University of North Carolina Press.score: 274.5
     
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  14. James West (1995). Art as Cognition in Russian Neo-Kantianism. Studies in East European Thought 47 (3-4):195 - 223.score: 261.0
  15. Rodica Frentiu (2014). Religious Art and Meditative Contemplation in Japanese Calligraphy and Byzantine Iconography. Journal for the Study of Religions and Ideologies 13 (38):110-136.score: 261.0
    Far Eastern calligraphy has always been regarded by the Occident as an “esoteric” issue, laden with a peculiar “mysticism,” which presents spiritual and philosophical aspects too outlandish to truly comprehend. That is probably the reason why calligraphy was amongst the last artistic “disciplines” to gain access to the international world of the arts. This study focuses on Japanese calligraphy as a visual and verbal image, conducting a hermeneutic investigation into the nature and function of this type of image, into the (...)
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  16. James D. West (1970). Russian Symbolism. London,Methuen.score: 220.5
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  17. Mala Gitlin Betensky (1995). What Do You See?: Phenomenology of Therapeutic Art Expression. Jessica Kingsley.score: 220.5
     
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  18. Robert Greer Cohn (1975). Modes of Art. Anma Libri.score: 220.5
     
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  19. Padma Sudhi (1988). Symbols of Art, Religion, and Philosophy. Intellectual Pub. House.score: 220.5
     
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  20. C. E. Emmer (2008). Crowther and the Kantian Sublime in Art. In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols. Walter de Gruyter.score: 219.0
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  21. Frederik le Roy (ed.) (2011). Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy. Academia Press.score: 216.0
    A collection of essays that takes stock of the current impact of the image and imagination of the catastrophe in art, science and philosophy.
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  22. Eric R. Kandel (2011). The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain: From Vienna 1900 to the Present. Random House.score: 216.0
    A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...)
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  23. Charles Bernheimer (2002). Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin De Siècle in Europe. Johns Hopkins University Press.score: 213.0
    Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...)
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  24. Mary Sanders Pollock & Catherine Rainwater (eds.) (2005). Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy, and Popular Culture. Palgrave Macmillan.score: 213.0
    Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in a (...)
     
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  25. Gustav Roth (ed.) (2009). Stupa: Cult and Symbolism. Aditya Prakashan.score: 207.0
     
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  26. Paul Macneill & Bronaċ Ferran (2011). Art and Bioethics: Shifts in Understanding Across Genres. [REVIEW] Journal of Bioethical Inquiry 8 (1):71-85.score: 200.5
    This paper describes and discusses overlapping interests and concerns of art and bioethics and suggests that bioethics would benefit from opening to contributions from the arts. There is a description of recent events in bioethics that have included art, and trends in art that relate to bioethics. The paper outlines art exhibits and performances within two major international bioethics congress programs alongside a discussion of the work of leading hybrid and bio artists who experiment with material (including their own bodies) (...)
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  27. P. B. Medawar & Julian H. Shelley (eds.) (1980). Structure in Science and Art: Proceedings of the Third C. H. Boehringer Sohn Symposium Held at Kronberg, Taunus, 2nd-5th May 1979. [REVIEW] Sole Distributors for the Usa and Canada, Elsevier North-Holland.score: 198.0
  28. Iain Boyd Whyte (ed.) (2010). Beyond the Finite: The Sublime in Art and Science. Oxford University Press.score: 189.0
    Science is continually faced with describing that which is beyond. This book, through contributions from nine prominent scholars, tackles that challenge.
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  29. Edward Segel & Lera Boroditsky (2011). Grammar in Art. Frontiers in Psychology 1.score: 180.0
    Roman Jakobson (1959) reports: “The Russian painter Repin was baffled as to why Sin had been depicted as a woman by German artists: he did not realize that “sin” is feminine in German (die Sünde), but masculine in Russian (грех).” Does the grammatical gender of nouns in an artist’s native language indeed predict the gender of personifications in art? In this paper we analyzed works in the ARTstor database (a digital art library containing over a million images) to measure this (...)
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  30. George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.score: 180.0
    Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.
     
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  31. Annarita Angelini & Pierre Caye (eds.) (2007). Il Pensiero Simbolico Nella Prima Età Moderna. Leo S. Olschki Editore.score: 175.5
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  32. Zoltán Fejős, Zsófia Frazon & Hermann Bausinger (eds.) (2005). Jelentésteli Tárgyak. Neprajzi Múzeum.score: 175.5
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  33. Joachim Knape & Elisabeth Grüner (eds.) (2007). Bildrhetorik. Koerner.score: 175.5
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  34. Grzegorz Kubski (ed.) (2004). Słowo Do Oglądania. Oficyna Wydawnicza Uniwersytetu Zielonogórskiego.score: 175.5
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  35. Rameśa Kuntala Megha (2007). Śila Aura Saundarya: Bhārateśiyā Ke Sāmantīya Yuga Meṃ Bhakti Evaṃ Rīti Viyukta Mithuna. Ādhāra Prakāśana.score: 175.5
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  36. Suhhyun Park (2008). Hermeneutical Circle in the Understanding of Art. Proceedings of the Xxii World Congress of Philosophy 21:45-52.score: 174.5
    In Truth and Method, Gadamer tries to show that the understanding of art is scientific (wissenscaftlich). But even though the understanding of art is a kind of science, it is different from natural sciences. As objects of human sciences (Geisteswissenschaft), works of art should be dealt differently than in dealing with theobjects of natural sciences. But if the understanding of art is somewhat scientific, it means that in artistic understanding there is a claim to truth which is different from such (...)
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  37. Gavin Keeney (2011). &Quot;else-Where&Quot;: Essays in Art, Architecture, and Cultural Production 2002-2011. Cambridge Scholars Publishing.score: 174.0
    “Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real (denoted over the course of the studies as the “Real-Irreal” or “Else-where”). While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational (...)
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  38. Matthew Lipman (1967/1966). What Happens in Art. New York, Appleton-Century-Crofts.score: 174.0
    Subsequently presented is a more detailed consideration of the notion of process , for we cannot understand what happens in art as a process unless we are ...
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  39. Frances S. Connelly (2012). The Grotesque in Western Art and Culture: The Image at Play. Cambridge University Press.score: 174.0
    Machine generated contents note: 1. Introduction: entering the Spielraum; 2. Improvisation I: grottesche; 3. Improvisation II: arabesques; 4. Subversion: the carnivalesque body; 5. Trauma: the failure of representation; 6. Revelation: profound play.
     
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  40. Kuisma Korhonen & Pajari Räsänen (eds.) (2010). The Event of Encounter in Art and Philosophy: Continental Perspectives. Gaudeamus.score: 174.0
     
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  41. Charles William Lemmi (1978). The Classic Deities in Bacon: A Study in Mythological Symbolism. Folcroft Library Editions.score: 174.0
     
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  42. Tere Vadén (2003). Rock the Boat: Localized Ethics, the Situated Self, and Particularism in Contemporary Art. Salon.score: 174.0
     
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  43. Liliya Masgutova (2008). Philosophical-aesthetic Grounds for Overcoming Human Alienation in Georg Lukacs' Art. Proceedings of the Xxii World Congress of Philosophy 46:185-192.score: 171.0
    A well-known Hungarian philosopher, politician, literary and art theorist Georg Lukacs was a notable figure of philosophical thought in XX century. Although he was interested in many problems philosophical-aesthetical matter is the main one in all his works. The problem of human alienation from social forms is outlined in his numerous literary, philosophical, aesthetical works of pre- and post- Marxian periods. The concept of philosophical-aesthetical grounds for overcoming human alienation has been developed in his art from romantic feeling of existential (...)
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  44. Catharine Abell (2013). Expression in the Representational Arts. American Philosophical Quarterly 50 (1):23-36.score: 171.0
    Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...)
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  45. Peg Zeglin Brand (1999). Glaring Omissions in Traditional Theories of Art. The Proceedings of the Twentieth World Congress of Philosophy 1999:177-186.score: 171.0
    I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...)
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  46. John P. Anton (2007). Intelligibility in Nature, Art and Episteme. The Proceedings of the Twenty-First World Congress of Philosophy 10:3-9.score: 171.0
    The architectonic principle, as stated in Aristotle's Politics, is related to the arrangement of the arts, the technai, whereby it is argued that the leading art is the politike techne. Plato, in the Gorgias, has argued for an architectonic of crafts. Four technai provide the best, aei pros to beltiston therapeuousai, and they differ from the pseudo-crafts that offer pleasure while indifferent to the beltiston. The principle for arranging the architectonic is the pursuit of the best, whereby each practitioner of (...)
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  47. Stephanie Over (2008). Notion and Structure of Art in Hegel's Aesthetics. Proceedings of the Xxii World Congress of Philosophy 1:297-300.score: 171.0
    This study will focus on a systematic exemplification of the notion of art and artwork based on Hegels aesthetics. It opposes two forms of skepticism which (1) question the possibility and value of a definition of art and (2) reject the category of the artwork for art is regarded as a process rather than a material thing. As such it is no longer something that can be conceived by seeing, hearing or touching the end product of that process. The criticism (...)
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  48. Ananda Kentish Coomaraswamy (1995). The Transformation of Nature in Art. Sterling Publishers Pvt. Ltd..score: 171.0
    The theory of art in Asia.--Meister Eckhart's view of art.--Reactions to art in India.--Aesthetic of the Śukranītsāra.--Paroksa.--Ábhása.--Origin and use of images in India.--Notes.--Sanskrit glossary.--List of Chinese characters.--Bibliography (p. [235]-245).
     
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  49. Herman Rapaport (1997). Is There Truth in Art? Cornell University Press.score: 162.0
    'Is There Truth in Art?' includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French ...
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  50. Alison Ross (2008). 'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making. Research in Phenomenology 38 (1):18-40.score: 162.0
    For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different (...)
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