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Year: 1975 Publisher: Paris: Vrin,
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ISBN: 9782711601653 271160165X Year: 2007 Publisher: Paris: Vrin,
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ISBN: 9783110438475 311043847X Year: 2016 Publisher: Berlin De Gruyter
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Der Prozess der Formung beginnt in der Auseinandersetzung mit dem Chaos, einer immer wieder aktualisierten Anspielung auf die Schöpfung. Wenn den Dingen ihre Form entzogen wird, so scheint die Gegenhandlung im Spiel zu sein. Im vorliegenden Band wird hingegen versucht, Formwerdung und Formentzug als Vorgänge zu verstehen, die gleichermaßen am Zuge sind, sobald Kunstwerke ihre Wirkmächtigkeit entfalten.
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ISBN: 3110429446 311042942X Year: 2016 Publisher: Berlin ; Boston : De Gruyter,
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Der Prozess der Formung beginnt mit der Auseinandersetzung mit dem Chaos, einer immer wieder aktualisierten Anspielung auf die göttliche Schöpfung. Dieser Topos des Anfangs - das weiße Blatt Papier, der Farbfleck, die kalte Tonmasse oder die klaffende Baulücke - war seit Plinius ein zentrales Element des Sprechens über Bilder, und er fand in der Kunsttheorie seine Fortsetzung. Wenn den Dingen allerdings ihre Form entzogen wird, so scheint die Gegenhandlung im Spiel zu sein. Die materialästhetische Debatte des Formlosen steht von Beginn an unter der Bedingung dessen, dass Materie an sich formlos ist. Der vorliegende Band mit Beiträgen international renommierter Wissenschaftler versucht Formwerdung und Formentzug als Vorgänge zu verstehen, die gleichermaßen am Zuge sind, sobald Kunstwerke ihre Wirkmächtigkeit entfalten. The process of formation begins with the study of chaos, a constantly renewed allusion to divine creation. This topos of the beginning - the white paper, the stain of paint, the cold clay, or the open gap between buildings - has been a core element of discussing art since Pliny, and it found its continuation in art theory. Yet, if form is removed from a thing, the opposite comes into play. The material aesthetic debate regarding formlessness has always been subject to the condition that matter is formless in itself. This volume contains contributions by internationally renowned scholars and attempts to understand the creation and deduction of form, which both play an equally important role when a work of art unfolds its potency.
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ISBN: 8845290662 9788845290664 Year: 2000 Volume: 17 Publisher: Milano : Bompiani,
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ISBN: 9780198128571 0198128576 Year: 1985 Publisher: Oxford : Clarendon Press,
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Year: 2021 Publisher: Berlin ; Boston : De Gruyter,
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Open Access The fourth volume of the collected papers of the ICLA congress "The Many Languages of Comparative Literature" includes articles that study thematic and formal elements of literary texts. Although the question of prioritizing either the level of content or that of form has often provoked controversies, most contributions here treat them as internally connected. While theoretical considerations inform many of the readings, the main interest of most articles can be described as rhetorical (in the widest sense) - given that the ancient discipline of rhetoric did not only include the study of rhetorical figures and tropes such as metaphor, irony, or satire, but also that of topoi, which were originally viewed as the 'places' where certain arguments could be found, but later came to represent the arguments or intellectual themes themselves. Another feature shared by most of the articles is the tendency of 'undeclared thematology', which not only reflects the persistence of the charge of positivism, but also shows that most scholars prefer to locate themselves within more specific, often interdisciplinary fields of literary study. In this sense, this volume does not only prove the ongoing relevance of traditional fields such as rhetoric and thematology, but provides contributions to currently flourishing research areas, among them literary multilingualism, literature and emotions, and ecocriticism.
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ISBN: 9781501356018 Year: 2020 Publisher: London : Bloomsbury Academic,
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What is form in modern art? How could a work of art achieve its organic life in a world increasingly dominated by mechanism, by new technology? In this new book, Brandon Taylor proposes that biology and the life sciences themselves supplied many of the analogies and metaphors by which modern artists were guided. For the creative giants of the period - Picasso, Miró, Kandinsky, Strzeminski, Dalí, Arp, Motherwell and Pollock, as well as less-known figures such as Taeuber, Erni and Kobro - questions of 'living' form loomed large in studio conversation, in the press, and in the writings of the artists themselves.In a book rich in new research and fresh thinking, a well-known art historian proposes six modalities of organic and vital life that pervade the radical experiments of modern art: the organic, the biomorphic, the ambiguous, the monstrous, the dialectical, and the liquid.
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