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Depiction
Depiction is reference conveyed through pictures. A picture refers to its object through a non-linguistic two-dimensional scheme, and is distinct from writing or notation. A depictive two-dimensional scheme is called a picture plane and may be constructed according to descriptive geometry, where they are usually divided between ''projections'' (orthogonal and various oblique angles) and ''perspectives'' (according to number of vanishing points). Pictures are made with various materials and techniques, such as painting, drawing, or prints (including photography and movies) mosaics, tapestries, stained glass, and collages of unusual and disparate elements. Occasionally, picture-like features may be recognised in simple inkblots, accidental stains, peculiar clouds or a glimpse of the moon, but these are special cases, and it is controversial whether they count as genuine instances of depiction. Similarly, sculpture and theatrical performances are sometimes said to depict, but this req ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Similarity (philosophy)
In philosophy, similarity or resemblance is a relation between objects that constitutes how much these objects are alike. Similarity comes in degrees: e.g. oranges are more similar to apples than to the moon. It is traditionally seen as an internal relation and analyzed in terms of shared properties: two things are similar because they have a property in common. The more properties they share, the more similar they are. They resemble each other exactly if they share all their properties. So an orange is similar to the moon because they both share the property of being round, but it is even more similar to an apple because additionally, they both share various other properties, like the property of being a fruit. On a formal level, similarity is usually considered to be a relation that is ''reflexive'' (everything resembles itself), ''symmetric'' (if ''a'' is similar to ''b'' then ''b'' is similar to ''a'') and ''non-transitive'' (''a'' need not resemble ''c'' despite ''a'' resemblin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Realism (visual Arts)
Realism in the arts is generally the attempt to represent subject matter truthfully, without artificiality and avoiding speculative and supernatural elements. The term is often used interchangeably with naturalism, although these terms are not synonymous. Naturalism, as an idea relating to visual representation in Western art, seeks to depict objects with the least possible amount of distortion and is tied to the development of linear perspective and illusionism in Renaissance Europe. Realism, while predicated upon naturalistic representation and a departure from the idealization of earlier academic art, often refers to a specific art historical movement that originated in France in the aftermath of the French Revolution of 1848. With artists like Gustave Courbet capitalizing on the mundane, ugly or sordid, realism was motivated by the renewed interest in the common man and the rise of leftist politics. The Realist painters rejected Romanticism, which had come to dominate ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Realism (arts)
Realism in the arts is generally the attempt to represent subject matter truthfully, without artificiality and avoiding speculative and supernatural elements. The term is often used interchangeably with naturalism, although these terms are not synonymous. Naturalism, as an idea relating to visual representation in Western art, seeks to depict objects with the least possible amount of distortion and is tied to the development of linear perspective and illusionism in Renaissance Europe. Realism, while predicated upon naturalistic representation and a departure from the idealization of earlier academic art, often refers to a specific art historical movement that originated in France in the aftermath of the French Revolution of 1848. With artists like Gustave Courbet capitalizing on the mundane, ugly or sordid, realism was motivated by the renewed interest in the common man and the rise of leftist politics. The Realist painters rejected Romanticism, which had come to dominate ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Naturalism (visual Art)
Realism in the arts is generally the attempt to represent subject matter truthfully, without artificiality and avoiding speculative and supernatural elements. The term is often used interchangeably with naturalism, although these terms are not synonymous. Naturalism, as an idea relating to visual representation in Western art, seeks to depict objects with the least possible amount of distortion and is tied to the development of linear perspective and illusionism in Renaissance Europe. Realism, while predicated upon naturalistic representation and a departure from the idealization of earlier academic art, often refers to a specific art historical movement that originated in France in the aftermath of the French Revolution of 1848. With artists like Gustave Courbet capitalizing on the mundane, ugly or sordid, realism was motivated by the renewed interest in the common man and the rise of leftist politics. The Realist painters rejected Romanticism, which had come to dominate Fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Deixis
In linguistics, deixis (, ) is the use of general words and phrases to refer to a specific time, place, or person in context, e.g., the words ''tomorrow'', ''there'', and ''they''. Words are deictic if their semantic meaning is fixed but their denoted meaning varies depending on time and/or place. Words or phrases that require contextual information to be fully understood—for example, English pronouns—are deictic. Deixis is closely related to anaphora. Although this article deals primarily with deixis in spoken language, the concept is sometimes applied to written language, gestures, and communication media as well. In linguistic anthropology, deixis is treated as a particular subclass of the more general semiotic phenomenon of indexicality, a sign "pointing to" some aspect of its context of occurrence. Although this article draws examples primarily from English, deixis is believed to be a feature (to some degree) of all natural languages.Lyons, John (1977) "Deixis, space ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roland Barthes
Roland Gérard Barthes (; ; 12 November 1915 – 26 March 1980) was a French literary theorist, essayist, philosopher, critic, and semiotician. His work engaged in the analysis of a variety of sign systems, mainly derived from Western popular culture. His ideas explored a diverse range of fields and influenced the development of many schools of theory, including structuralism, anthropology, literary theory, and post-structuralism. Barthes is perhaps best known for his 1957 essay collection ''Mythologies'', which contained reflections on popular culture, and 1967 essay "The Death of the Author," which critiqued traditional approaches in literary criticism. During his academic career he was primarily associated with the École des Hautes Études en Sciences Sociales (EHESS) and the Collège de France. Biography Early life Roland Barthes was born on 12 November 1915 in the town of Cherbourg in Normandy. His father, naval officer Louis Barthes, was killed in a battle dur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Umberto Eco
Umberto Eco (5 January 1932 – 19 February 2016) was an Italian medievalist, philosopher, semiotician, novelist, cultural critic, and political and social commentator. In English, he is best known for his popular 1980 novel ''The Name of the Rose'', a historical mystery combining semiotics in fiction with biblical analysis, medieval studies and literary theory, as well as ''Foucault's Pendulum,'' his 1988 novel which touches on similar themes. Eco wrote prolifically throughout his life, with his output including children's books, translations from French and English, in addition to a twice-monthly newspaper column "La Bustina di Minerva" (Minerva's Matchbook) in the magazine ''L'Espresso'' beginning in 1985, with his last column (a critical appraisal of the Romantic paintings of Francesco Hayez) appearing 27 January 2016. At the time of his death, he was an Emeritus professor at the University of Bologna, where he taught for much of his life. In the 21st century, he has c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iconography
Iconography, as a branch of art history, studies the identification, description and interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. The word ''iconography'' comes from the Greek ("image") and ("to write" or ''to draw''). A secondary meaning (based on a non-standard translation of the Greek and Russian equivalent terms) is the production or study of the religious images, called "icons", in the Byzantine and Orthodox Christian tradition (see Icon). This usage is mostly found in works translated from languages such as Greek or Russian, with the correct term being "icon painting". In art history, "an iconography" may also mean a particular depiction of a subject in terms of the content of the image, such as the number of figures used, their placing and gestures. The term is also used in many academic fields other than art history, for example semioti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Norman Bryson
William Norman Bryson (born 1949) is an Anglo American art historian who authored several major works that were particularly influential in the 1980s and 1990s. He graduated with a Ph.D. from Cambridge University in 1977, and subsequently worked as a professor at King's College until 1988, when he moved to Rochester, NY. There, he worked for two years at the University of Rochester before moving to Harvard University in 1990. In a shift from that earlier period, he now is faculty at University of California, San Diego, and primarily writes about contemporary art, such as Sharon Lockhart. His career is characterized by a move to a more literary theory-based approach to art history, including ''Word and Image: French Painting of the Ancien Régime'' (1983), ''Vision and Painting: The Logic of the Gaze'' (1986), and ''Tradition and Desire: From David to Delacroix'' (1987). He was awarded a Guggenheim Fellowship Guggenheim Fellowships are grants that have been awarded annually ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erwin Panofsky
Erwin Panofsky (March 30, 1892 in Hannover – March 14, 1968 in Princeton, New Jersey) was a German-Jewish art historian, whose academic career was pursued mostly in the U.S. after the rise of the Nazi regime. Panofsky's work represents a high point in the modern academic study of iconography, which he used in hugely influentialShone, Richard and Stonard, John-Paul, eds. ''The Books that Shaped Art History'', chapter 7. London: Thames & Hudson, 2013. works like his "little book" ''Renaissance and Renascences in Western Art'' and his masterpiece, ''Early Netherlandish Painting''. Many of his works are still in print, including ''Studies in Iconology: Humanist Themes in the Art of the Renaissance'' (1939), ''Meaning in the Visual Arts'' (1955), and his 1943 study ''The Life and Art of Albrecht Dürer''. Panofsky's ideas were also highly influential in intellectual history in general,Chartier, Roger. ''Cultural History'', pp. 23–24 (from "Intellectual History and the History of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gaze
In critical theory, sociology, and psychoanalysis, the gaze (French ''le regard''), in the philosophical and figurative sense, is an individual's (or a group's) awareness and perception of other individuals, other groups, or oneself. The concept and the social applications of the gaze have been defined and explained by existentialist and phenomenologist philosophers. Jean-Paul Sartre described the gaze (or "the look") in ''Being and Nothingness'' (1943). Michel Foucault, in '' Discipline and Punish: The Birth of the Prison'' (1975), developed the concept of the gaze to illustrate the dynamics of socio-political power relations and the social dynamics of society's mechanisms of discipline. Jacques Derrida, in ''The Animal that Therefore I Am (More to Come)'' (1997), elaborated upon the inter-species relations that exist among human beings and other animals, which are established by way of the gaze. Psychoanalysis In Lacanian psychoanalytic theory, Lacan's view on the gaze change ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semiotic Elements And Classes Of Signs (Peirce)
Charles Sanders Peirce began writing on semiotics, which he also called semeiotics, meaning the philosophical study of signs, in the 1860s, around the time that he devised his system of three categories. During the 20th century, the term "semiotics" was adopted to cover all tendencies of sign researches, including Ferdinand de Saussure's semiology, which began in linguistics as a completely separate tradition. Peirce adopted the term ''semiosis'' (or ''semeiosis'') and defined it to mean an "action, or influence, which is, or involves, a cooperation of ''three'' subjects, such as a sign, its object, and its interpretant, this trirelative influence not being in any way resolvable into actions between pairs". This specific type of triadic relation is fundamental to Peirce's understanding of "logic as formal semiotic". By "logic" he meant philosophical logic. He eventually divided (philosophical) logic, or formal semiotics, into (1) speculative grammar, or stechiology on the elem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
