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Since the relational turn, scholars have combated methodological universalism, nationalism, and individualism in researching social-spatial transformations. Yet, when leaving the gaps between the traveling and local epistemic assumptions unattended, engaging relational spatial theories in empirical research may still reproduce established theoretical claims. Following the sociology of knowledge tradition and taking Critical Realism as a meta-theoretical framework, Xiaoxue Gao takes relational spatial theories as traveling conceptual knowledge and develops meaningful and context-sensitive ways of engaging them in studying the complex urban phenomenon in China. She offers conceptual elucidations and methodological roadmaps, which leap productively from employing plural causal hypotheses to generating effect-based explanations for locally observable events. They are exemplified by manifold interrogations of Beijing's Artworld as a conjuncture of particular events.
Social sciences. --- SOCIAL SCIENCE / Sociology / General. --- Art. --- Artworld. --- China. --- Critical Realism. --- Science. --- Sociology of Art. --- Sociology of Knowledge. --- Sociology. --- Space. --- Behavioral sciences --- Human sciences --- Sciences, Social --- Social science --- Social studies --- Civilization --- Relational Space; Critical Realism; Artworld; China; Space; Art; Science; Sociology of Knowledge; Sociology of Art; Sociology
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The purpose and subject of this dissertation is an analysis in space-representation and perspective drawing of Roman and Campanian landscape painting to develop and reconstruct the modes of landscape recognition and spatial perception structures in the late Republic and early Empire. This aim is realized with the help of interdisciplinary methods, as the possibilities, limits and developments of perspective representation are studied on the basis of descriptive geometry, its terminology and theoretical background. Zielsetzung der Dissertationsarbeit ist es, eine erstmalige und genaue Analyse der räumlichen Darstellungsmodi und Perspektiveformen in römischen Landschaftsbildern zu erarbeiten, um ausgehend davon die Strukturen der landschaftlichen Raumerfassung und bildlichen Wiedergabe landschaftlicher Raumzusammenhänge in römischer Zeit zu rekonstruieren. Römische Landschaftsfresken aus drei Motivgruppen vom 1. Jh. v. Chr. bis ins 1. Jh. n. Chr. werden in einer chronologischen und ikonographischen Ordnung systematisiert und auf ihre perspektivischen Darstellungsmodi hin befragt. Aufgabe der Denkmäleranalyse ist es, vorherrschende Strukturen in den Formen perspektivischer Landschaftsdarstellung aufzufinden, um diese in den weiteren Kontext ihres mentalitätsgeschichtlichen Hintergrundes und die römische Darstellungstradition einzubetten.
Mural painting and decoration, Roman --- Mural painting and decoration, Ancient --- Landscape painting --- Perspective --- History --- Technique --- History. --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Optics --- Space (Art) --- Space perception --- Projection --- Proportion (Art) --- Shades and shadows --- Painting --- Roman mural painting and decoration --- Italy --- Europe --- Pompei (Extinct city) --- Pompeii --- ancient perspective drawing --- spatial representation in ancient wallpainting --- central-perspective --- mixed perspective --- synthetic perspective --- Roman landscape painting --- sacro-idyllic painting --- villa-landscape --- Topographia --- Chorographia --- Perspektive in der Antike --- räumliche Darstellungsweise in antiken Fresken --- Zentralperspektive --- Mischperspektive --- Römisch-kampanische Wandmalerei --- römische Landschaftsmalerei --- sakral-idyllische Landschaftsmalerei --- Villenbilder --- Heilig --- Portikus
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