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French literature --- Painting --- anno 1800-1899 --- France --- LITTERATURE ET PEINTURE --- 19E SIECLE
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Comparative literature --- Thematology --- Painting --- Love stories --- Ut pictura poesis (Aesthetics) --- Art and literature --- Littérature /et Peinture --- Esthétique --- --History and criticism --- 1149 --- Art and literature. --- History and criticism. --- Ut pictura poesis (Aesthetics). --- --Littérature --- --Peinture --- Love stories - History and criticism --- Littérature --- Peinture
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Literary semiotics --- Painting --- Art and literature --- Littérature /et Peinture --- 1149 --- 82:7 --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Aesthetics --- Literature --- Literatuur en kunst --- Art and literature. --- 82:7 Literatuur en kunst --- Littérature --- --Peinture --- --Art and literature. --- --Painting --- Peinture
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Art genres --- Arts, Polish --- Realism in art --- Genre (Art) --- -Realism in art --- -Arts, Polish --- -Polish arts --- Art --- Idealism in art --- Naturalism in art --- Romanticism in art --- -Genre (Art) --- Realism (Art) --- Polish arts --- Genre art --- Genres, Art --- Litterature et peinture --- 19e siecle
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Chroniqueur pour des revues spécialisées et poète, G. Limbour a publié près de 400 écrits sur la peinture. L'étude de ces textes permet de découvrir une facette méconnue de ce critique, défenseur de l'art moderne. ©Electre 2015
Surrealism (Literature) --- Literature and painting --- Surréalisme (Littérature) --- Littérature et peinture --- Limbour, Georges, --- kunstkritiek --- poëzie --- Limbour, Georges --- Apollinaire, Guillaume --- Reverdy, Pierre --- Kahnweiler, Daniel-Henry --- Masson, André --- Criticism and interpretation --- Art and literature. --- Surréalisme (Littérature) --- Littérature et peinture --- Limbour, Georges, - 1902-1970 --- Limbour, Georges, - 1902-1970 - Criticism and interpretation --- kunstkritiek. --- poëzie. --- Limbour, Georges. --- Apollinaire, Guillaume. --- Reverdy, Pierre. --- Kahnweiler, Daniel-Henry. --- Masson, André.
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Spanish literature --- Self in literature --- Autoportraits --- Self-portraits, Spanish --- History and criticism --- Congresses. --- -Self-portraits, Spanish --- -Spanish literature --- -Spanish self-portraits --- Congresses --- -Congresses --- Spanish self-portraits --- History and criticism&delete& --- Spanish literature - History and criticism - Congresses --- Self in literature - Congresses. --- Autoportraits - Espagne. --- Self-portraits, Spanish - Congresses. --- AUTOPORTRAITS --- LITTERATURE ET PEINTURE --- AUTOPORTRAIT --- ESPAGNE
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Les trois rubriques introduites dans ce recueil tentent de refléter les divers champs d'investigation qui s'entrelacent. Sans doute l'interaction entre "les mots et la peinture" (il y a bien discours sur le tableau et/ou tableau dans le discours) donne lieu à un ensemble de communications très homogène tout en faisant appel à un corpus d'œuvres très large. La section "l'image-récit" touche, en fait, à plusieurs types de discours : le discours photographique y est certainement privilégié, puis apparaissent le discours filmique et enfin le discours figuratif de la bande dessinée. Il a paru important de regrouper dans la dernière partie ce que nous avons appelé "l'image-métaphore". Peinture et écriture, image et parole (que la peinture soit enrichissement du langage ou que le texte soit illusion féconde) posent le problème de la représentation de l'indicible ou de l'invisible et visent à transcender le réel. Tous ces textes s'interrogent en fin de compte sur la présentation de deux modes d'expression différents qui semblent impuissants séparément à rendre la perception du réel dans sa complétude et sa totalité mais dont le croisement permet d'atteindre le but impossible, la limite toujours repoussée qui, désormais, n'échappent plus au créateur.
Art and literature --- Arts, Canadian --- Ut pictura poesis (Aesthetics) --- History --- Aesthetics --- Humanism in art --- Canadian arts --- Automatistes (Group of artists) --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Literature --- Canada --- indicible --- littérature et peinture --- image et texte
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Fiction --- Literary semiotics --- Literature and painting --- European literature --- French literature --- Aesthetics --- Picture frames and framing in literature --- Littérature et peinture --- Littérature européenne --- Littérature française --- Esthétique --- Encadrement dans la littérature --- History and criticism --- Histoire et critique --- Art et littérature. --- Peinture dans la littérature --- Illustration des livres. --- Art and literature --- Art in literature --- Ut pictura poesis (Aesthetics) --- 82.0 --- Humanism in art --- Literature and art --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Literature --- Literatuurtheorie --- Art in literature. --- 82.0 Literatuurtheorie --- Art and literature. --- Ut pictura poesis (Aesthetics). --- Littérature et peinture --- Littérature européenne --- Littérature française --- Esthétique --- Encadrement dans la littérature
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Art and music --- Art et musique --- Kunst en muziek --- Music and art --- Music and literature --- Musique et art --- Musique et littérature --- Muziek en kunst --- Muziek en literatuur --- Art and literature --- Comparative literature --- Art et littérature --- Littérature comparée --- Literature, Comparative --- 82:7 --- Philology --- Literature and music --- Literature --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Aesthetics --- Literatuur en kunst --- History and criticism --- 82:7 Literatuur en kunst --- Art et littérature --- Littérature comparée --- Musique et littérature --- Art and literature. --- Music and literature. --- Comparative literature. --- Art et litterature --- Litterature et peinture --- Musique et litterature
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Paulson retrieves an aesthetics that had strong support during the eighteenth century but has been obscured both by the more dominant academic discourse of Shaftesbury (and later Sir Joshua Reynolds) and by current trends in art and literary history. Arguing that the two traditions comprised not only painterly but also literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers. In The Beautiful, Novel, and Strange Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beauty - worship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's "disinterestedness," replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange.
Litterature et societe --- Art et litterature --- Roman anglais --- Litterature anglaise --- Esthetique --- Esthetica. --- Letterkunde. --- Engels. --- Literature and society. --- Fiction --- English fiction. --- Art and literature. --- Aesthetics, British. --- Literature and society --- Aesthetics, British --- Art and literature --- English fiction --- Histoire et critique. --- Technique. --- History --- History and criticism. --- 1700-1799 --- Great Britain. --- Visual arts --- Aesthetics --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Literature --- Fiction writing --- Metafiction --- Writing, Fiction --- Authorship --- Aesthetics, English --- British aesthetics --- English aesthetics --- English literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- Social aspects --- Art, Théorie de l' --- Art --- Arts --- Contribution à l'esthétique --- Et l'esthétique --- Philosophie des arts --- Théorie artistique --- Théorie de l'art --- Théories artistiques --- Critique et interprétation --- Culture visuelle --- Esthétique --- Esthétique et droit --- Esthétique et morale --- Académisme --- Allusion --- Apollinien et dionysiaque --- Architecture --- Art pour l'art --- Auteur (esthétique) --- Authenticité (art) --- Avant-garde (esthétique) --- Beau (esthétique) --- Beauté féminine (esthétique) --- Camp (style) --- Catharsis --- Cinéma --- Comique --- Contemporanéité (esthétique) --- Création (esthétique) --- Déformation (esthétique) --- Dernières oeuvres --- Détails (philosophie) --- Dilettantisme (esthétique) --- Dimension (esthétique) --- Double (esthétique) --- Douceur --- Échelle (ordre de grandeur) --- Éclectisme (esthétique) --- Élégance --- Ellipse (esthétique) --- Empathie (esthétique) --- Entre-deux (esthétique) --- Épique (esthétique) --- Esthétique anarchiste --- Esthétique communiste --- Esthétique comparée --- Esthétique environnementale --- Esthétique fasciste --- Esthétique marxiste --- Esthétique national-socialiste --- Fantastique --- Fin de siècle (esthétique) --- Flou (esthétique) --- Force (esthétique) --- Forme (esthétique) --- Goût (esthétique) --- Grâce (esthétique) --- Grandiose (esthétique) --- Grotesque --- Harmonie (esthétique) --- Humour --- Imaginaire (philosophie) --- Imagination (philosophie) --- Immobilité (esthétique) --- Improvisation (esthétique) --- Informe (esthétique) --- Insignifiance (esthétique) --- Inspiration --- Ironie --- Jeu (philosophie) --- Jugement esthétique --- Kitsch --- Laideur --- Légèreté --- Littérature --- Médiévisme (esthétique) --- Modernisme (esthétique) --- Montage (esthétique) --- Mouvement (esthétique) --- Musique --- Nature (esthétique) --- Nouveauté --- Objet (esthétique) --- Orientalisme --- Originalité (esthétique) --- Peinture --- Pittoresque --- Poïétique --- Post-postmodernisme --- Postmodernisme --- Premières oeuvres --- Provocation (esthétique) --- Répétition (esthétique) --- Représentation (esthétique) --- Reste (esthétique) --- Ruines (esthétique) --- Rythme --- Silence (philosophie) --- Simultanéité (esthétique) --- Spectaculaire --- Stimmung --- Style --- Sublime --- Théâtre --- Tradition (philosophie) --- Transgression --- Valeurs (philosophie) --- Vulgarité --- Wabi-sabi --- Philosophie --- Littérature et art --- Littérature et arts plastiques --- Littérature et beaux-arts --- Littérature et peinture --- Littérature et sculpture --- Peinture et littérature --- Poésie et art --- Poésie et peinture --- Poésie et sculpture --- Sculpture et littérature --- Critique d'art --- Architecture et littérature --- Cubisme et littérature --- Ekphrasis --- Littérature et photographie --- Ut pictura poesis (esthétique) --- Arts et littérature --- Société et littérature --- Femmes et littérature --- Littérature et géographie --- Littérature postcoloniale --- Sociologie de la littérature --- Vie littéraire --- Féminisme et littérature --- Institution littéraire --- Psychologie sociale et littérature --- Histoire --- Aspect religieux --- Philosophie et esthétique --- Aspect social --- Esthétique et religion
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