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: 138.0
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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: 120.0
    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. Dee Reynolds (1995). Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space. Cambridge University Press.score: 88.5
    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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  4. Asit K. Haldar (1950). Symbolism in Indian Art and Religion. Journal of Aesthetics and Art Criticism 9 (2):124-127.score: 88.5
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  5. Louis Arnaud Reid (1961). Symbolism in Art. British Journal of Aesthetics 1 (3):185-191.score: 87.8
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  6. P. J. Hughesdon (1920). Phenomenal Symbolism in Art. Mind 29 (114):186-206.score: 87.8
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  7. Jane Duran (forthcoming). The Nagaraja: Symbol and Symbolism in Hindu Art and Iconography. Journal of Aesthetic Education.score: 85.5
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  8. 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: 85.5
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  9. Paul Kattukaran (1993). Earth Alive in Art and Symbolism. Journal of Dharma 18 (1):71-84.score: 85.5
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  10. Janet M. MacDonald (1923). The Uses of Symbolism in Greek Art. Journal of Hellenic Studies 43:216.score: 85.5
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  11. Frederik le Roy (ed.) (2011). Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy. Academia Press.score: 81.0
    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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  12. 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: 81.0
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  13. 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: 81.0
    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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  14. 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: 79.5
    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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  15. Mary Sanders Pollock & Catherine Rainwater (eds.) (2005). Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy, and Popular Culture. Palgrave Macmillan.score: 79.5
    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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  16. Iain Boyd Whyte (ed.) (2010). Beyond the Finite: The Sublime in Art and Science. Oxford University Press.score: 67.5
    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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  17. Mala Gitlin Betensky (1995). What Do You See?: Phenomenology of Therapeutic Art Expression. Jessica Kingsley.score: 67.5
     
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  18. Robert Greer Cohn (1975). Modes of Art. Anma Libri.score: 67.5
     
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  19. Padma Sudhi (1988). Symbols of Art, Religion, and Philosophy. Intellectual Pub. House.score: 67.5
     
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  20. James D. West (1970). Russian Symbolism. London,Methuen.score: 67.5
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  21. 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: 66.0
    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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  22. George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.score: 66.0
    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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  23. John W. Dixon (1964). Nature and Grace in Art. Chapel Hill, University of North Carolina Press.score: 64.5
     
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  24. James West (1995). Art as Cognition in Russian Neo-Kantianism. Studies in East European Thought 47 (3-4):195 - 223.score: 63.0
  25. Frances S. Connelly (2012). The Grotesque in Western Art and Culture: The Image at Play. Cambridge University Press.score: 63.0
    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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  26. Charles William Lemmi (1978). The Classic Deities in Bacon: A Study in Mythological Symbolism. Folcroft Library Editions.score: 63.0
     
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  27. Gustav Roth (ed.) (2009). Stupa: Cult and Symbolism. Aditya Prakashan.score: 63.0
     
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  28. Edward Segel & Lera Boroditsky (2011). Grammar in Art. Frontiers in Psychology 1.score: 63.0
    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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  29. Tere Vadén (2003). Rock the Boat: Localized Ethics, the Situated Self, and Particularism in Contemporary Art. Salon.score: 63.0
     
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  30. Paul Macneill & Bronaċ Ferran (2011). Art and Bioethics: Shifts in Understanding Across Genres. [REVIEW] Journal of Bioethical Inquiry 8 (1):71-85.score: 60.5
    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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  31. Gavin Keeney (2011). &Quot;else-Where&Quot;: Essays in Art, Architecture, and Cultural Production 2002-2011. Cambridge Scholars Publishing.score: 60.0
    “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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  32. Matthew Lipman (1967/1966). What Happens in Art. New York, Appleton-Century-Crofts.score: 60.0
    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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  33. Kuisma Korhonen & Pajari Räsänen (eds.) (2010). The Event of Encounter in Art and Philosophy: Continental Perspectives. Gaudeamus.score: 60.0
     
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  34. Thomas Munro (1956). Suggestion and Symbolism in the Arts. Journal of Aesthetics and Art Criticism 15 (2):152-180.score: 58.5
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  35. Annarita Angelini & Pierre Caye (eds.) (2007). Il Pensiero Simbolico Nella Prima Età Moderna. Leo S. Olschki Editore.score: 58.5
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  36. Ananda Kentish Coomaraswamy (1995). The Transformation of Nature in Art. Sterling Publishers Pvt. Ltd..score: 58.5
    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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  37. Zoltán Fejős, Zsófia Frazon & Hermann Bausinger (eds.) (2005). Jelentésteli Tárgyak. Neprajzi Múzeum.score: 58.5
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  38. Joachim Knape & Elisabeth Grüner (eds.) (2007). Bildrhetorik. Koerner.score: 58.5
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  39. Grzegorz Kubski (ed.) (2004). Słowo Do Oglądania. Oficyna Wydawnicza Uniwersytetu Zielonogórskiego.score: 58.5
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  40. Rameśa Kuntala Megha (2007). Śila Aura Saundarya: Bhārateśiyā Ke Sāmantīya Yuga Meṃ Bhakti Evaṃ Rīti Viyukta Mithuna. Ādhāra Prakāśana.score: 58.5
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  41. 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: 57.0
    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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  42. Daniel L. Tate (2012). In the Fullness of Time: Gadamer on the Temporal Dimension of the Work of Art. Research in Phenomenology 42 (1):92-113.score: 57.0
    Abstract In Gadamer's later writings on art, his investigation into the being of the work exploits the temporal resonance of the concept of performative enactment ( Vollzug ), which displaces the priority of play ( Spiel ) in his earlier account. Drawing upon Heidegger, Gadamer deploys the concepts of tarrying ( Verweilen ) and the while ( die Weile ) to elucidate the temporality of the work of art as an event of being. On the one hand, tarrying describes the (...)
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  43. Berys Nigel Gaut & Paisley Livingston (eds.) (2003). The Creation of Art: New Essays in Philosophical Aesthetics. Cambridge University Press.score: 55.5
    Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this new collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas (...)
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  44. Ernst van Alphen (2005). Art in Mind: How Contemporary Images Shape Thought. University of Chicago Press.score: 55.5
    Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. In Art in Mind , Ernst van Alphen probes this idea of art as a commanding force with the capacity to shape our intellect and intervene in our lives. Rather than interpreting art as merely a reflection of our social experience or a product of history, van Alphen here argues that art is a historical (...)
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  45. Bruce Anderson (2011). The Evident Need for Specialization in Visual Art Studies. Journal of Macrodynamic Analysis 6.score: 55.5
    This paper is an attempt to identify a functional division of labour in art studies. To that end I have adopted the strategically minimalist approach advocated by Philip McShane in Method in Theology: Revisions and Implementations (2007).
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  46. Alexander Nehamas (2007). Only a Promise of Happiness: The Place of Beauty in a World of Art. Princeton University Press.score: 55.5
    Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness , Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and (...)
     
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  47. Leonard Shlain (1991/1993). Art & Physics: Parallel Visions in Space, Time, and Light. Quill/W. Morrow.score: 55.5
    Art interprets the visible world, physics charts its unseen workings--making the two realms seem completely opposed. But in Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From teh classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, aritsts have foreshadowed the discoveries of scientists, such as when Money and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and (...)
     
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  48. Matthew Kieran (ed.) (2006). Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Pub..score: 54.0
    Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and especially commissioned (...)
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  49. Noël Carroll (2010). Art in Three Dimensions. Oxford University Press.score: 54.0
    Art in Three Dimensions is a collection of essays by one of the most eminent figures in philosophy of art.
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  50. Jerrold Levinson (2006). Contemplating Art: Essays in Aesthetics. Oxford University Press.score: 54.0
    Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.
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