Results for 'Jan Art'

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  1. THE END OF ART AND PATOČKAS PHILOSOPHY OF ART.Josl Jan - 2016 - HORIZON. Studies in Phenomenology 1 (1):232-246.
    In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the (...) basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočkas conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek to show the consequences Patočkas conception has for the history of art. In the rst part, I set out to show Patockas critique of Hegels aesthetics as a system based on the correspondence theory of truth. In particular, I endeavour to explain his critique of some intrinsic problems of Hegels aesthetics, the general failure of Hegels system to achieve its goal, and, lastly, Hegels giving up on the meaning of the art in the present. I also seek to show that Dantos version runs into the same problems and conclusions as Hegels. In the second part I discuss Patočkas analysis of modern art and the aesthetic attitude, where he nds a hidden a nity between art and aletheia, which Hegel overlooked. e last part of the essay focuses on the consequences that the conception of the truth of art as aletheia have for the history of art. I conclude that art in such a conception represents an independent eld of the manifestation of being in history beside philosophy. Moreover, modern and contemporary art do not mean the end of art; rather, they have their place in art history based on aletheia, since they are more focused on the manifestation itself than on what is manifested. Unlike Hegel and Danto, therefore, Patočka retains the historical meaning of modern and contemporary art. His conception of the history of art, summed up under the idea of aletheia, has greater explanatory potential than Hegels and Dantos conceptions, and it retains the historical meaning of modern and contemporary art. (shrink)
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  2.  12
    Bibliographie de L'Histoire de BelgiqueBibliografie van de Geschiedenis van België. 1989.R. Van Eenoo, J. Bovesse, Etienne Hélin, R. Petit, Denise Van Derveeghde, Walter Prevenier, C. Triaille-Closset, U. Vermeulen, H. Gaus, C. Lis, J. M. Cauchies, N. Haesenne-Peremans, Griet Maréchal, Luc François, W. Meyers, Ν Geirnaert, Guy Vanthemsche, R. Janssen, S. Vrielinck, E. Vanhaute & Jan Art - 1991 - Revue Belge de Philologie Et D’Histoire 69 (2):342-465.
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  3. Negotiating Rapture the Power of Art to Transform Lives.Richard Francis, Homi K. Bhabha, Yve Alain Bois & Museum of Contemporary Art - 1996
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  4.  54
    Jan Mukařovský: The Semiology of Art.Ondřej Sládek - 2016 - Estetika 53 (2):184-235.
    An introduction to an English translation of Jan Mukařovský´s lecture The Semiology of Art. In this lecture Mukařovský, a Czech aesthetician, literary historian, theorist, and leading (...)proponent of Czech structuralism, develops his interpretation of the semiotics of art from a detailed explanation of the basic functions of the artistic sign. He emphasizes the role of the aesthetic function, which is dominant but latently and potentially contained in all the other functions of the linguistic and the artistic sign. He then defines the artistic sign as the dialectical negation of the communicative sign. (shrink)
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  5.  5
    The Art of Sculpture: Jan Patočkas Concept of Incarnate Being.Josef Novák - 2018 - Journal of the British Society for Phenomenology 50 (3):171-188.
    ABSTRACTJan Patočka is known as a philosophical analyst of the phenomenological concept of the live-word, which contradicts the preoccupations expressed in Sir Herbert Reads Art of (...) Sc... (shrink)
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  6.  30
    Lart et Ie temps: création et répétition chez Jan Patočka.Clélia Van Lerberghe - 2007 - Études Phénoménologiques 23 (45/48):213-249.
  7.  13
    The Ghent Altarpiece and the Art of Jan van Eyck. Lotte Brand Philip.Alison Stones - 1974 - Speculum 49 (1):140-142.
  8.  11
    Jan Mukařovský and Charles W. Morris: Two Pioneers of the Semiotics of Art.Peter Steiner - 1977 - Semiotica 19 (3-4).
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  9.  10
    Jan Mukařovský's Concept of the Work of Art as Sign.David K. Danow - 1986 - Semiotics:140-148.
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    Review of Jan Baars, Aging and the Art of Living[REVIEW]Lantz Fleming Miller - 2014 - American Journal of Bioethics 14 (4):62-63.
  11.  4
    Semiotics of a Literary Work of Art. Dedicated to the 90th Birthday of Jan Mukařovský.Květoslav Chvatík - 1981 - Semiotica 37 (3-4).
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  12. Life, Art, and Mysticism by Luitzen Egbertus Jan Brouwer.W. P. Van Stigt - 1996 - Notre Dame Journal of Formal Logic 37:391-430.
  13. On the Relationship of Art and World-View in the Work of Mukarovsky, Jan.J. Zouhar - 1992 - Filosoficky Casopis 40 (4):620-623.
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  14.  56
    On the Image of Painting.Andrew Benjamin - 2011 - Research in Phenomenology 41 (2):181-205.
    Painting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this (...)
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  15.  28
    Philosophy as an Art of Dying.Costica Bradatan - 2007 - The European Legacy 12 (5):589-605.
    This essay proposes a close look at the tradition of martyr-philosophers in the Western world and advances the claim that the death of these people has (...)a distinct philosophical significance. For various reasons, these philosophers place themselves in limit-situations where they cannot use words anymore to express themselves, but have to turn their own flesh into a radical means of expression. Their dying thus becomes an extension of their work, and the image of their violent deaths comes to be regarded as an inseparable part of their heritage. First, I discuss Socrates as the founder of the tradition ofphilosophical deathsin the West; his gradualtamingof death in Plato's Apology is discussed in some detail. I then introduce a modern case ofSocratic death,” that of Jan Patočka. Finally, I map out the cultural and social mechanisms, as well as some of the phenomenological preconditions, presupposed by the notion ofphilosophy as an art of dying.”. (shrink)
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  16. Visual Art and Education in an Era of Designer Capitalism: Deconstructing the Oral Eye.Jan Jagodzinski - 2010 - Palgrave-Macmillan.
    The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by theIof the (...)
     
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  17.  86
    "Jan van Eyck's Arnolfini Portrait": Business as Usual?Linda Seidel - 1989 - Critical Inquiry 16 (1):55-86.
    This essay had its beginnings in my desire to reexamine the Arnolfini portrait from the perspective of Giovanna Cenami, the demure young woman who stands beside the (...)
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  18.  39
    Badiou's Challenge to Art and its Education: Or, ‘Art Cannot Be TaughtIt Can However Educate!’.Jan Jagodzinski - 2010 - Educational Philosophy and Theory 42 (2):177-195.
    This essay explores Badiou's writings on art and inaesthetics. It reviews his notion of the artistic event, comments on his 15 theses on contemporary art and (...)examines his notion of inaesthetics. What follows is then applied to art and its education in terms of his search for athird positionthat would challenge the extremes of capitalist design innovation and Romantic idealism that in his summation define the contemporary landscape. (shrink)
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  19.  11
    How distinction between work and object helps us in ontology of art?Ján Hrkút - 2018 - ESPES 7 (1):2-9.
    The ontological question challanges the nature of the existence of works of art. The text presents basic questions that meaningfuly put questions about the ontological nature of (...)
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  20.  9
    The Classic Is the Baroque: On the Principle of Wölfflin's Art History.Marshall Brown - 1982 - Critical Inquiry 9 (2):379-404.
    In the chapter on multiplicity and unity, the affective or anthropological motifs are both more complex and more interesting. Wölfflins initial distinction is betweenthe articulated (...)system of forms of classic art and the flow of the baroque” . Imagery of fluidity pervades the chapter, for water, according to Wölfflin, “was the periods favourite element” . “Now, and now only,” he says, “the greatness of the sea could find its representation”, and as if to inculcate this affinity he places the reproduction of a baroque seascape by Jan van Goyen at the head of the introduction to the book and a riverscape by Peter Brueghel at the head of this chapter, even though neither painting is discussed where it is reproduced. In fact it is worth observing that Wölfflin does not discuss any water paintings in this chapter, though of course he does so elsewhere. Where fluidity becomes the meaning of his category, it is absent from the contents of the paintings. Wölfflins procedure, as I have argued, is both objectively analytical and subjectively interpretive, and in this chapter he seems careful to preserve the distance between the forms he describes and the significances he reveals. Were he to treat water paintings here, he would obscure the fact that his analyses are always the prelude to translations.Though he conceals the fact, Wölfflin has here effected a translation of the baroque into itself, of water painting into fluidity. Baroque art has declared its true meaning, which is to be an art of fluxof time and, throughout this chapter, of momentariness. Suddenly here the baroque comes into its own, with a surprising reversal in Wölfflins categories. Until now he has associated the baroque with lawlessness and confusion, and classicism with the unifying force of symmetrical organization around a center. Unity is reposethe equation had been made explicitly in the discussion in Classic Art of Michelangelos Medici Madonnaand clearly in Principles of Art History Wölfflin seems to say that the unification achieved in Leonardos Last Supper was later lost Tiepolos version.21 As Wölfflin says in the first sentence of chapter 4, “The principle of closed form of itself presumes the conception of the picture as a unity.” But as the baroque now comes into its own, it appears that the unity of classicism is an illusory, “multiple unity,” whereas the true orunified unityactually pertains to the baroque. It is the usurping baroque, rather than the deposed classic, that now hasa dominating central motive.” And So Wölfflin returns in this chapter to the two Last Suppers in order to rescind his earlier position. He still claims that Leonardos painting is unified, but he offers Tiepolos version to illustrate thepossibility of surpassing this unity” . In becoming itself, baroque art has overthrown classicism.21. “Tiepolo composed a Last Supper which, while it cannot be compared with Leonardo as a work of art, stylistically presents the absolute opposite. The figures do not unite in the plane, and that decides”. (shrink)
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  21.  9
    The Whole and the Art of Medical Dialectic: a Platonic Account[REVIEW]Jan Helge Solbakk - 2014 - Medicine, Health Care and Philosophy 17 (1):39-52.
    The aim of this paper is to investigate Platos conception of the whole in the Phaedrus and the theory of medical dialectic underlying this conception. Through (...)this analysis Platos conception of kairos will also be adressed. It will be argued that the epistemological holism developed in the dialogue and the patient-typology emerging from it provides us with a way of perceiving individual situations of medical discourse and decision-making that makes it possible to bridge the gap between observations of a professional nature, i.e. of diagnostics and therapyof whom to treat and in what magnitudeand individual patientsperceptions of their situation. Besides, it will be argued that such a patient-typology represents a conceptual framework to assess and deal normatively with patientsailments and needs that is more robust than the current standards in use, i.e. the Subjective Standard, the Reasonable Person Standard and the Professional Practice Standard. Finally, it will be argued that the possession of kairos, which according to Plato is the hallmark of a true physician, represents a normative conception of time that todays medicine is in need of revisiting. (shrink)
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  22. Art in History, History in Art Studies in Seventeenth- Century Dutch Culture.David Freedberg & Jan De Vries - 1991
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  23. L'art Et le Temps.Jan Patocka & Erika Abrams - 1992
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  24. Quotations on Contextual Art.Jan Świdziński - 1988 - New Music Distribution Service, Distributor.
     
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  25.  28
    The Word and Verbal Art: Selected EssaysStructure, Sign, and Function: Selected Essays.Donald C. Freeman, Jan Mukarovsky, John Burbank & Peter Steiner - 1979 - Journal of Aesthetics and Art Criticism 38 (1):95.
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  26.  12
    Angkor: An Essay on Art and ImperialismOn the Future of ArtA Phenomenological Analysis of Musical Experience and Other Related Essays.F. D. Martin, Jan Myrdal, Gun Kessle & Alfred Pike - 1971 - Journal of Aesthetics and Art Criticism 29 (4):569.
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  27.  1
    Publisher Correction to: O Organism, Where Art Thou? Old and New Challenges for Organism-Centered Biology.Jan Baedke - forthcoming - Journal of the History of Biology:1-1.
    Please note that this article belongs to the Special Issue onNew Styles of Thought and Practices: Biology in the Interwar Period,” guest editors Jan Baedke and (...)
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  28.  10
    William Morris's Destiny of Art.Jan B. Gordon - 1969 - Journal of Aesthetics and Art Criticism 27 (3):271-279.
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  29.  3
    Timely Images: Chinese Art and Festival Display.Jan Stuart - 2011 - In Proceedings of the British Academy Volume 167, 2009 Lectures. pp. 295.
    This chapter presents the text of a lecture on Chinese art and festival display given at the British Academy's 2009 Elsley Zeitlyn Lecture on Chinese Archaeology (...)and Culture. This text suggests that Chinese art displayed in museums seem either unrelated to the passage of time or to defy its natural course. It analyzes the bond between Chinese visual culture and its temporal conventions in order to expand the interpretive framework for understanding Chinese pictorial art. (shrink)
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    O Organism, Where Art Thou? Old and New Challenges for Organism-Centered Biology.Jan Baedke - 2019 - Journal of the History of Biology 52 (2):293-324.
    This paper addresses theoretical challenges, still relevant today, that arose in the first decades of the twentieth century related to the concept of the organism. During this (...)
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  31.  57
    Český Greenberg? Mukařovský a estetický formalismus.Tomas Hribek - 2015 - Sešit Pro Umění, Teorii a Příbuzné Zóny 19:6-26.
    [A Czech Greenberg? Mukařovský and Aesthetic Formalism] This article revisits Tomáš Pospiszyls discussion of the split between the North American and the Czechoslovak postwar modernism as (...)a difference between the views of two critics who dominated the American and the Czechoslovak art scene, respectively--Clement Greenberg and Jindřich Chalupecký. Pospiszyl convincingly traces the evolution of American art to what has been called Greenbergsformalism,” and the developments on the Czechoslovak scene to Chalupeckýs ideas about art as part of social social interactions. Though the author of the article agrees with this analysis of Czechoslovak modernism as anti-formalist, he seeks to draw attention to the writings of the Czech literary theorist Jan Mukařovský, which were contemporaneous with Chalupeckýs and Greenbergs--in particular Mukařovskýs 1944 lectureThe Essence of the Visual Arts.” The author provides a comparative analysis of Mukařovský and Greenberg, suggesting that the former was quite close to the lattersformalism.” This might seem incorrect, given that Mukařovský is considered to be a precursor of the semiotic theory of art, which is generally understood as antithetical to formalism. The solution, he argues, is to realize that Greenberg is subtler, hence not so "formalistafter all. At any rate, it turns out that in addition to Chalupeckýssocialtheory of art, Mukařovský had a moreformalistalternative whichfor well-known historical reasonshad no effect on the subsequent development of Czechoslovak modernism. (shrink)
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  32.  85
    Putting the "Pain" In Painting: A Conceptualization and Consideration of Serious Art. Napier - 2014 - Journal of Aesthetic Education 48 (1):45.
    In the year of our Lord 1862, Polish painter Jan Matejko finished his first famous work, Stańczyk, fully translated into English asStańczyk during a ball at (...)
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  33.  49
    Life, Art, and Mysticism.Luitzen Egbertus Jan Brouwer - 1996 - Notre Dame Journal of Formal Logic 37 (3):389-429.
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  34.  16
    Politics and the Political in Critical Discourse Studies: State of the Art and a Call for an Intensified Focus on the Metapolitical Dimension of Discursive Practice.Jan Zienkowski - 2018 - Critical Discourse Studies 16 (2):131-148.
    ABSTRACTBased on an overview of the ways in which politics and the political have been thought in critical discourse analysis, the author calls for a focus on (...)
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  35.  18
    Brian Boyds Evolutionary Account of Art: Fiction or Future?Jan Verpooten - 2011 - Biological Theory 6 (2):176-183.
  36.  2
    AagaardMogensen, Lars and Jan Forsey, Eds. On Taste: Aesthetic Exchanges. Newcastle Upon Tyne, Uk: Cambridge schoLars Publishing, 2019, 150 Pp., 4 B&W Illus., £58.99 Cloth[REVIEW]Michael Spicher - 2019 - Journal of Aesthetics and Art Criticism 77 (3):349-351.
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  37.  29
    Władysław Tatarkiewicz as a Historian of Art.Jan Białostocki & Maciej Łęcki - 1976 - Dialectics and Humanism 3 (2):29-36.
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  38.  20
    Heavenly Mathematics: The Forgotten Art of Spherical Trigonometry[REVIEW]Jan Hogendijk - 2014 - Isis: A Journal of the History of Science 105 (1):207-208.
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  39.  30
    On Judging Works of Art.Jan Srzednicki - 1968 - Theoria 34 (3):245-255.
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  40.  14
    The Archeology of Vision: On The Image in Dispute: Art and Cinema in the Age of Photography , Edited by Dudley Andrew.Jan-Christopher Horak - 1998 - Film-Philosophy 2 (1).
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  41.  7
    Constituents of Music and Visual-Art Related PleasureA Critical Integrative Literature Review.Marianne Tiihonen, Elvira Brattico, Johanna Maksimainen, Jan Wikgren & Suvi Saarikallio - 2017 - Frontiers in Psychology 8.
  42.  5
    Glen Van Brummelen. Heavenly Mathematics: The Forgotten Art of Spherical Trigonometry. Xvi + 192 Pp., Illus., Tables, Apps., Index. Princeton, N.J./Oxford: Princeton University Press, 2013. $35[REVIEW]Jan P. Hogendijk - 2014 - Isis 105 (1):207-208.
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  43.  7
    The Problem of Uncertainty, Elusiveness, and Absence of Meaning in Art History.Sjölin Jan-Gunnar, Hall Thomas & Rossholm Lagerlöf Margaretha - 2003 - Eidos: The Canadian Graduate Journal of Philosophy 8:45-58.
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  44.  5
    Image of Women in Male Surrealist Art The University of Calgary Press 1995 Pp 316 Paperbound No Price Given.Jan Svankmajer - 1995 - Philosophy 73 (2).
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  45.  1
    The Aesthetic Zero and Boundaries of Art.Jan Kurowicki - 2016 - Nowa Krytyka 36:181-188.
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    Theatrum Scientiarum - English Edition, Volume 2, Instruments in Art and Science: On the Architectonics of Cultural Boundaries in the 17th Century[REVIEW]Jan Lazardzig, Ludger Schwarte & Helmar Schramm - unknown
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  47. Stanisław Ignacy Witkiewicz\'s Theory of Art'.Jan Leszczyński - 1985 - Dialectics and Humanism 12 (2):61-65.
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  48. Art & Authenticity.Jan Lloyd-Jones & Julian Lamb (eds.) - 2010 - Australian Scholarly.
     
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  49. An Artist Operating in Between: The Works of Jan Berdyszak.Paulina Sztabińska - 2004 - Art Inquiry. Recherches Sur les Arts 6:213-230.
     
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  50. Refleksje nad książką Witolda Tulibackiego \"Etyka i nauki biologiczne\" (Wyd ART, Olsztyn 1994).Jan Trąbka - 1996 - Humanistyka I Przyrodoznawstwo 2.
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