Results for 'Art, French'

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  1. A Model‐Theoretic Account of Representation (or, I Don't Know Much About Art…but I Know It Involves Isomorphism).Steven French - 2002 - Philosophy of Science 70 (5):1472-1483.
    Discussions of representation in science tend to draw on examples from art. However, such examples need to be handled with care given a) the differences between works of art and scientific theories and b) the accommodation of these examples within certain philosophies of art. I shall examine the claim that isomorphism is neither necessary nor sufficient for representation and I shall argue that there exist accounts of representation in both art and science involving isomorphism which accommodate the apparent counterexamples and, (...)
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  2. Thinking About Science, Reflecting on Art: Bringing Aesthetics and Philosophy of Science Together.Otávio Bueno, Steven French, George Darby & Dean Rickles (eds.) - 2017 - Routledge.
    _Thinking about Science, Reflecting on Art: Bringing Aesthetics and Philosophy of Science togethe_r is the first book to systematically examine the relationship between the philosophy of science and aesthetics. With contributions from leading figures from both fields this edited collection engages with such questions as: Does representation function in the same way in science and in art? What important characteristic do scientific models share with literary fictions? What is the difference between interpretation in the sciences and in the arts? Can (...)
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  3. Thinking About Science, Reflecting on Art.Otávio Beuno, George Darby, Steven French & Dean Rickles (eds.) - 2017 - Routledge.
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  4.  45
    Intercultural Discourse Ethics: Testing Trompenaars' and Hampden-Turner's Conclusions About Americans and the French[REVIEW]Warren French, Harald Zeiss & Andreas Georg Scherer - 2001 - Journal of Business Ethics 34 (3-4):145 - 159.
    Are culture driven ethical conflicts apparent in the discourse of the protagonists? A multi-year, multi-cultural study of managers by Trompenaars and Hampden-Turner resulted in two conclusions relevant to business ethics. The first is that intercultural business conflicts can often be traced to a finite set of cultural differences. The second is that enough similarities exist between cultures to provide the grounds for conflict resolution. The research reported here gives credence to their study when applied to an ethical conflict viewed from (...)
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  5. Cubism and its Enemies Modern Movements and Reaction in French Art, 1916-1928.Christopher Green - 1987
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  6.  2
    Cinema and Sensation: Contemporary French Film and Cinematic Corporeality1.This Article is Part of a Larger Research Project Published in 2007 by Edinburgh University Press as a Monograph Entitled Cinema and Sensation: French Film and the Art of Transgression. [REVIEW]Martine Beugnet - 2008 - Paragraph 31 (2):173-188.
    One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema (...)
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  7.  17
    The French Academies of the Sixteenth CenturyStudies in Seicento Art and Theory.Wolfgang Stechow, Frances Yates, F. Saxl & Denis Mahon - 1949 - Journal of Aesthetics and Art Criticism 8 (1):61.
  8.  10
    The Genius of the Future. Studies in French Art CriticismWallace Stevens: The Poem as Act.Linda Wagner, Anita Brookner & Merle E. Brown - 1972 - Journal of Aesthetics and Art Criticism 30 (4):567.
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  9.  20
    Orientalist Aesthetics: Art, Colonialism, and French North Africa 1880-1930.Roger Benjamin, Jill Beaulieu & Mary Roberts - 2005 - Journal of Aesthetics and Art Criticism 63 (3):289-291.
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  10.  6
    French Grand Opera. An Art and a BusinessChamber Music. The Growth and Practice of an Intimate Art.Charles W. Hughes, William L. Crosten & Homer Ulrich - 1950 - Journal of Aesthetics and Art Criticism 8 (3):204.
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  11.  12
    The Painter's Handwriting in Modern French Art.J. P. Hodin - 1949 - Journal of Aesthetics and Art Criticism 7 (3):181-199.
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  12.  14
    Monstrous Imagination: Progeny as Art in French Classicism.Marie-Hélène Huet - 1991 - Critical Inquiry 17 (4):718-737.
    The monster and the woman thus find themselves on the same side, the side of dissimilarity. “The female is as it were a deformed male,” added Aristotle . As she belongs to the category of the different, the female can only contribute more figures of dissimilarities, if not creatures even more monstrous. But the female is a necessary departure from the norm, a useful monstrosity. The monster is gratuitous and useless for future generations. Aristotle’s seminal work on the generation of (...)
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  13.  23
    Cone, Michele. French Modernisms: Perspectives on Art Before, During, and After Vichy. Cambridge: Cambridge University Press, 2001. Pp. 220. [REVIEW]P. Schulman, R. J. Golsan & R. Larson - 2003 - Substance 32 (3):168-174.
  14.  8
    Compliant Rebellion: The Vanguard in American Art: Essay ReviewThe Painted WordSocial Realism: Art as a WeaponThe New York School: A Cultural ReckoningMarxism and ArtTopics in Recent American Art Since 1945Good Old ModernFrench Painting 1774-1830: The Age of RevolutionAesthetics and the Theory of CriticismThe Academy and French Painting in the Nineteenth Century. [REVIEW]John Adkins Richardson, Tom Wolfe, David Shapiro, Dore Ashton, Berel Lang, Forrest Williams, Lawrence Alloway, Russell Lynes, Pierre Rosenberg, Frederick Cummings, Anoine Schnapper, Robert Rosenblum, Arnold Isenberg, Albert Boime, Renato Poggioli, John Jacobus, Sam Hunter & Barbara Rose - 1976 - Journal of Aesthetic Education 10 (3/4):225.
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  15.  21
    The Hunt After Jeanne-Antoinette de Pompadour: Patronage, Politics, Art, and the French Enlightenment.Edmund J. Campion - 2014 - The European Legacy 19 (4):497-497.
  16.  16
    French Modernisms: Perspectives on Art Before, During, and After Vichy.Peter Schulman & Michele Cone - 2003 - Substance 32 (3):168.
  17.  19
    A French Edition of the Art of Love Ovide: L'Art d'Aimer. Texte Établi Et Traduit Par Henri Bornecque, Professeur de l'Université de Lille. Collection Budé. Pp. Xi + 184. Paris: Société d'Édition ' Les Belles Lettres.' Fr. 9. [REVIEW]S. G. Owen - 1924 - The Classical Review 38 (7-8):180-181.
  18.  9
    La Maîtrise du Temps Comme Enjeu de lutteThe Control of Time at Stake in the Struggle. The Exemple of French Art and Entertainment workersEl Control Del Tiempo Como Eje de Lucha. El Ejemplo de Los Trabajadores de Las Artes y El Espectáculo En Francia.Marie-Christine Bureau & Antonella Corsani - 2012 - Temporalités 16.
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  19.  13
    Literature Through Art: A New Approach to French Literature. By Helmut A. Hatzfeld.John Pick - 1952 - Renascence 4 (2):225-227.
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  20.  20
    The Painted Enigma and French Seventeenth-Century Art.Jennifer Montagu - 1968 - Journal of the Warburg and Courtauld Institutes 31:307-335.
  21.  12
    Emile M'le. Religious Art in France. The Twelfth Century: A Study of the Origins of Medieval Iconography, New Edition by Harry Boder; English Translation From the French by M. Matthews, in Bollingen Series Xc: I. Pp. Xxxi + 575; 309 Illustrations. £26.90. [REVIEW]Joan Hazelden Walker - 1980 - Religious Studies 16 (3):372.
  22.  6
    American and French Culture, 1800-1900. Interchanges in Art, Science, Literature, and Society. Henry Blumenthal.Mary Jo Nye - 1977 - Isis 68 (4):653-654.
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  23.  5
    Proverbes En Rimes, Text and Illustrations of the Fifteenth Century From a French Manuscript in the Walters Art Gallery, Baltimore. Grace Frank, Dorothy Miner.Horst Janson - 1939 - Speculum 14 (3):379-381.
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  24.  4
    Mr. Roger Fry on French Art.John Pope-Hennessy - 1933 - New Blackfriars 14 (156):221-223.
  25.  5
    Concepts of Abstraction in French Art Theory From the Enlightenment to Modernism.David Morgan - 1992 - Journal of the History of Ideas 53 (4):669-685.
  26.  4
    Contemporary French Thought and the Art of Rhetoric.Irene E. Harvey - 1985 - Philosophy and Rhetoric 18 (4):199 - 215.
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  27.  6
    The Origin and the Concept of 'Classique' in French Art Criticism.J. J. L. Whiteley - 1976 - Journal of the Warburg and Courtauld Institutes 39:268-275.
  28.  2
    French Renaissance Art.W. G. Blaikie Murdoch - 1930 - New Blackfriars 11 (127):617-623.
  29. Audience, Words, and Art: Studies in Seventeenth-Century French Rhetoric.Hugh M. Davidson - 1968 - Philosophy and Rhetoric 1 (3):184-185.
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  30. "An Italian Patron of French Neo-Classic Art": Francis Haskell. [REVIEW]David Mannings - 1973 - British Journal of Aesthetics 13 (2):204.
     
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  31. The Allure of Empire: Art in the Service of French Imperialism, 1798-1836. By Todd Porterfield.K. Muller - 2004 - The European Legacy 9:404-404.
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  32. Davidson's "Audience, Words, and Art: Studies in Seventeenth-Century French Rhetoric". [REVIEW]Beatrice K. Reynolds - 1968 - Philosophy and Rhetoric 1:184.
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  33.  43
    Guilt and Shame: Essays in French Literature, Thought and Visual Culture.Jenny Chamarette & Jennifer Higgins (eds.) - 2010 - Peter Lang.
    This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...
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  34. De la Modernité Dans l'Art Lettre À M. Jean Rousseau.Arthur Stevens & Jean Rousseau - 1868 - Office de Publicité Et Chez J. Rozez.
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  35.  31
    Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space.Dee Reynolds - 1995 - Cambridge University Press.
    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, and (...)
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  36. Aspects of "Official" Painting and Philosophic Art, 1789-1799.Diane Kelder - 1976 - Garland.
     
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  37.  79
    Deconstruction and the Visual Arts: Art, Media, Architecture.Peter Brunette & David Wills (eds.) - 1993 - Cambridge University Press.
    Deconstruction and the Visual Arts brings together a series of new essays by scholars of aesthetics, art history and criticism, film, television and architecture. Working with the ideas of French philosopher Jacques Derrida, the essays explore the full range of his analyses. They are modelled on the variety of critical approaches that he has encouraged, from critiques of the foundations of our thinking and disciplinary demarcation, to creative and experimental readings of visual 'texts'. Representing some of the most innovative (...)
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  38.  73
    Twentieth Century French Philosophy Opus.Eric Matthews - 1996 - Oxford University Press.
    Philosophy plays an integral role in French society, affecting its art, drama, politics, and culture. In this accessible, chronological survey, Matthews offers some explanations for the enduring popularity of the subject and traces the developments that French philosophy has taken in the twentieth century, from its roots in the thought of Descartes to key figures such as Bergson, Sartre, Marcel, Merleau-Ponty, Foucault, Derrida, and the recent French Feminists.
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  39.  8
    The Aesthetic Experience of Kandinsky's Abstract Art: A Polemic with Henry's Phenomenological Analysis.Anna Ziółkowska-Juś - 2017 - Estetika 54 (2):212-237.
    The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite its containing many (...)
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  40. Art and Time.Derek Allan - 2013 - Cambridge Scholars Press.
    A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. (...)
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  41.  10
    French Theory in America.Sylvère Lotringer & Sande Cohen (eds.) - 2001 - Routledge.
    What does it mean to"do theory" in America? In what ways has "French Theory" changed American intellectual and artistic life? How different is it from what French intellectuals themselves conceived, and what does all this tell us about American intellectual life? Is "French Theory" still a significant force in America, raising conceptual questions not easily answered? In this volume of new work--including the French writers Julia Kristeva, Jacques Derrida, Jean Baudrillard, and Gilled Delezue, as well as (...)
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  42. Manet and the Object of Painting.Michel Foucault - 2009 - Tate.
  43. Pictorialist Poetics Poetry and the Visual Arts in Nineteenth-Century France.David H. T. Scott - 1988
     
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  44.  17
    Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought.Martin Jay - 1996 - Journal of Aesthetics and Art Criticism 54 (2):185-188.
    Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications (...)
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  45. Confronting Images: Questioning the Ends of a Certain History of Art.Georges Didi-Huberman - 2009 - Pennsylvania State University Press.
    When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and (...)
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  46. Jean Baudrillard and Art (Http://Www.Gseis.Ucla.Edu/Faculty/Kellner/).Douglas Kellner - unknown
    French theorist Jean Baudrillard is one of the foremost contemporary critics of society and culture who is often seen as the guru of French postmodern theory. A prolific author who has written over twenty books, reflections on art and aesthetics are an important, if not central, aspect of his work. Although his writings exhibit many twists, turns, and surprising developments as he moved from synthesizing Marxism and semiotics to a prototypical postmodern theory, interest in art remains a constant (...)
     
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  47. Confronting Images: Questioning the Ends of a Certain History of Art.Georges Didi-Huberman - 2005 - Pennsylvania State University Press.
    When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and (...)
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  48.  32
    'Wounded by the Arrow of Beauty': The Silent Call of Art.David Torevell - 2013 - Heythrop Journal 54 (6):932-941.
    One of the urgent tasks facing Christian educators at the present time is how they might encourage the spiritual growth of their students. This paper invites reflection on this central question by discussing the role aesthetics might play with particular focus on its relationship to the ‘spiritual senses’, a theme which has been strikingly absent from recent publications on religion and Christian education. Paying particular attention to the work of the contemporary French phenomenologist, Jean-Louis Chrétien, I shall argue that (...)
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  49.  15
    The Total Work of Art in European Modernism.David Roberts - 2011 - Cornell University Library.
    In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution.
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  50.  38
    Philosophical Hermeneutics and the Concept of Literary Art in Mexico.Mario J. Valdés - 2014 - Symposium 18 (1):42-64.
    This essay deals with two poetics of distinctly different traditions that arrived at the same concept of literary art, one in which the reader of, or listener to, a poem shares in the creative process with the poet. The first tradition I will examine is the that of the pre-Hispanic Mexican poets of the Cantares mexicanos and the 20th- century appropriation of their work by two of Mexico's most distinguished poets, Octavio Paz and ]ose Emilio Pacheco, both awarded the Premio (...)
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