Auswahl der wissenschaftlichen Literatur zum Thema „Laoccon“
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Zeitschriftenartikel zum Thema "Laoccon"
Howard, Seymour. „Laocoon Rerestored“. American Journal of Archaeology 93, Nr. 3 (Juli 1989): 417. http://dx.doi.org/10.2307/505589.
Der volle Inhalt der QuelleSchefer, Olivier. „Laocoon romantique“. Les Lettres Romanes 76, Nr. 3-4 (Juli 2022): 139–47. http://dx.doi.org/10.1484/j.llr.5.133284.
Der volle Inhalt der QuelleMeulder, Marcel. „Laocoon vu par Euphorion et Nicandre de Colophon : Poésie, histoire et politique à l’époque hellénistique“. L'antiquité classique 88, Nr. 1 (2019): 47–68. http://dx.doi.org/10.3406/antiq.2019.3948.
Der volle Inhalt der QuelleHochmann, Michel. „Laocoon à Venise“. Revue germanique internationale, Nr. 19 (15.01.2003): 91–103. http://dx.doi.org/10.4000/rgi.940.
Der volle Inhalt der QuelleSchröter, Jens. „The Laocoon Moment“. Arts 12, Nr. 4 (12.08.2023): 175. http://dx.doi.org/10.3390/arts12040175.
Der volle Inhalt der QuelleCheval, Olivier. „L'idylle tragique du Laocoon“. Nouvelle revue d’esthétique 13, Nr. 1 (2014): 21. http://dx.doi.org/10.3917/nre.013.0021.
Der volle Inhalt der QuelleQueyrel, François. „La cécité de Laocoon“. Bulletin de la Société Nationale des Antiquaires de France 1997, Nr. 1 (2001): 88–96. http://dx.doi.org/10.3406/bsnaf.2001.10169.
Der volle Inhalt der QuelleScafoglio, Giampiero. „Le Laocoon de Sophocle“. Revue des Études Grecques 119, Nr. 1 (2006): 406–20. http://dx.doi.org/10.3406/reg.2006.4654.
Der volle Inhalt der QuelleQueyrel, François. „Les couleurs du Laocoon“. Revue germanique internationale, Nr. 19 (15.01.2003): 57–70. http://dx.doi.org/10.4000/rgi.935.
Der volle Inhalt der QuelleDécultot, Élisabeth. „Les Laocoon de Winckelmann“. Revue germanique internationale, Nr. 19 (15.01.2003): 145–57. http://dx.doi.org/10.4000/rgi.948.
Der volle Inhalt der QuelleDissertationen zum Thema "Laoccon"
Hwang, HyoSil Suzy. „Uncoiling the (Laocoon) revealing the statue group's significance in Augustan Rome /“. College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7808.
Der volle Inhalt der QuelleThesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Speidel, Klaus. „Narration visuelle et récit iconique : raconter une histoire en une image“. Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040195.
Der volle Inhalt der QuelleBased on his analysis of the possibility of iconic narrative – « telling a story » with a single still picture – Klaus-Peter Speidel develops a new foundation for visual narratology based on cognitive theory and reception aesthetics. Speidel's work is at the intersection of various disciplines : art history, literary theory, semiotics, philosophy of art and picture theory. While the thesis aims at reconstructing the foundations of a theory of visual narrative, the author does not try to replace the existing approaches with a new theory created ex nihilo. The new foundations emerge from his analysis of existing theories as well as a diverse array of pictures which play an important role in the argument. Classical theories of narrative are absorbed rather than rejected. In order to solve the main problem for visual narrative, the problem of time, the author offers a new conceptualisation of the temporal structure of still images. His taxonomy takes into account both the chronology of the story being told and perception time. The final part of the work offers a reinterpretation of G. E. Lessing's Laocoon (1766) a work that has played a major role for modern scepticism concerning the possibility of telling a story with a picture. The author shows that the discussion around Lessing has been biased by a confusion between the possibilities of the picture as such and the aims of artistic pictures. According to Speidel, Lessing's theory has lost much of its value as a theory of art but is still valuable as a theory for certain kinds of pictures, namely pictures that aim at “transparency”
Tong, Ho-kin. „Liu E's (1875-1909) idea of national salvation as seen in Laocan Youji Cong "Lao can you ji" kan Liu E zhi jiu guo si xiang /“. Click to view the E-thesis via HKUTO, 1989. http://sunzi.lib.hku.hk/hkuto/record/B31949708.
Der volle Inhalt der QuelleKellett, Lucy. „"Enough! or too much" : forms of textual excess in Blake, Wordsworth, Coleridge and De Quincey“. Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:641b0fe2-3b07-46cf-94b6-7d27a2878686.
Der volle Inhalt der QuelleKemling, Michael P. „Michelangelo's Last judgment the influence of the Laocoön and his sons /“. 2003. http://purl.galileo.usg.edu/uga%5Fetd/kemling%5Fmichael%5Fp%5F200308%5Fma.
Der volle Inhalt der Quelle謝佳娟. „Lessing''s "Laocoon: an essay on the limits of painting and poetry" -- changes of "ut pictura poesis" within the eighteenth-century conception of the beaux-arts“. Thesis, 2000. http://ndltd.ncl.edu.tw/handle/62219037039216340267.
Der volle Inhalt der Quelle國立中央大學
藝術學研究所
88
Abstract For a long time the interest in Lessing''s Laocoon: an Essay on the Limits of Painting and Poetry has been focused on the claim that "successive" and "coexistent" are the distinguishing features of the media of poetry and painting respectively and thus should be characteristic of their respective objects. This critical essay has been considered putting an end to the long tradition of comparing poetry and painting (ut pictura poesis); it also has been viewed as leading the way of studying the arts from the perspective of the "signs (media)". The theme of my thesis is to analyze the criticism and underlying theory of Laocoon, and thus to observe what happened to the conceptions and relationship of poetry and painting which have been formed under the tradition of ut pictura poesis vis-a-vis the system and conception of the beaux-arts in the eighteenth century. Moreover, it''s also a task of this thesis to try to interpret and manifest the significance of Laocoon in and against the heredity of poetry-painting relationship discourses. In my opinion, it''s not enough just to look at the displayed attitude and statement as emphasizing "similarity" or "difference" between poetry and painting. My thesis proposes that within the conception of the beaux-arts of the eighteenth century could the matter (why Lessing set up rules according to the characteristics of each medium) be better explicated. The first chapter outlines "ut picture poesis": from the core of the tradition established on the basis of ancient authority to the prevalent "parallels" and comparison and distinction between poetry and painting in the late seventeenth and the first half of the eighteenth century. It''s worth noting that these distinctions are usually based on the three sets of opposite terms: artificial sign/natural sign, successive/coexistent, audible/visible. The second chapter studies the opinions of poetry and painting in Laocoon from the point of view of "picture." In this analysis, we display the way Lessing regards poetry and painting, and this is found to be relevant to his artistic ideal. Besides, we find out Lessing''s possible connection to the "ut pictura poesis" tradition, since the claim that poetry should "present images as vivid as pictures" is just the central concept of "ut pictura poesis." Taking this perspective, We go on exploring and organizing Lessing''s views on "poetic pictures" and "material pictures." The third chapter focuses on examining the important theoretical foundations supporting Lessing''s critical statements, namely, his views and reasoning on the signs (media) used by poetry and painting. In fact, Lessing''s aim is not simply picking out the differences between poetry and painting, but rather solving the problem that "what specific rules should each particular art follows in order to produce the greatest artistic effect" under the given premise of "the differences of media." In analyzing how Lessing applies "artificial signs" and "natural signs" to poetry and painting, we find that "natural signs" is the ideal Lessing holds for artistic signs (including both poetry and painting). And the meaning of the "natural signs" being the ideal forms of poetry and painting resides in the claim that signs or media become transparent and self-effacing during aesthetic perception. Therefore, the seers seem to see the things themselves directly, and have experience of illusion. On the whole, the discourses of "ut pictura poesis," in the middle of the eighteenth century when Lessing was situated, have the tendency to deal with the common ground of poetry and painting and the respective ranges of representation according to the differences of media, instead of the emulating relationship such as "as is painting, so is poetry" and vice versa. In accordance with this tendency is the change of the conception of art; the emphasis has been gradually transformed from the "art of poetry" and the "art of painting" to "the study of aesthetic perception and experience" and "the finding of the ways of construction of artistic signs which match this kind of experience." And even in the mode of discourses can we see the shift from "rhetoric" to "philosophical reasoning."
Shaw, Rayford Wesley. „A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VI“. Thesis, 2000. http://hdl.handle.net/10500/16021.
Der volle Inhalt der QuelleArt
D. Litt. et Phil.
Bücher zum Thema "Laoccon"
d'Aurevilly, J. Barley. Laocoon. Los Angeles: William & Victoria Dailey, 1985.
Den vollen Inhalt der Quelle findenEphraim, Lessing Gotthold. Laocoon. Paris: Hermann, 1990.
Den vollen Inhalt der Quelle findenPenelope, Curtis, Feeke Stephen und Henry Moore Institute (Leeds, England), Hrsg. Towards a new Laocoon. Leeds: Henry Moore Institute, 2007.
Den vollen Inhalt der Quelle findenBrilliant, Richard. My Laocoön: Alternative claims in the interpretation of artworks. Berkeley: University of California Press, 2000.
Den vollen Inhalt der Quelle findenGalleria del Laocoonte (Rome, Italy), Hrsg. Laocoon zoo: Art fauna 16th-21st century. Todi (PG): D'arte, 2021.
Den vollen Inhalt der Quelle findenEphraim, Lessing Gotthold. Laocoon: An essay upon the limits of painting and poetry. Mineola, N.Y: Dover Publications, 2005.
Den vollen Inhalt der Quelle findenZhan, Ting. Laocan you ji. 8. Aufl. Tainan Shi: Da qian wen hua chu ban shi ye gong si, 1992.
Den vollen Inhalt der Quelle findenLaocan you ji. Taibei Xian Xizhi Shi: Zhuan ye wen hua chu ban she--feng ge, 2008.
Den vollen Inhalt der Quelle findenE, Liu. Laocan you ji. 8. Aufl. Jinan: Qi lu shu she, 2002.
Den vollen Inhalt der Quelle finden1857-1909, Liu E., Hrsg. Laocan you ji. Tainan Shi: Qi ren shu ju, 1997.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Laoccon"
Most, Glenn W. „Laocoons“. In A Companion to Vergil's Aeneid and its Tradition, 325–40. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444318050.ch22.
Der volle Inhalt der QuelleRyynänen, Max. „Laocoon: Hands-On!“ In Realism, Myth, and the Vernacular in Pasolini's Film and Philosophy, 1–25. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63467-3_1.
Der volle Inhalt der QuellePrier, Raymond A. „Laocoön IV“. In Cultura Ludens, 153. Amsterdam: John Benjamins Publishing Company, 1991. http://dx.doi.org/10.1075/cl.4.10pri.
Der volle Inhalt der QuelleFlach, Sabine. „Moving is in Every Direction“. In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.
Der volle Inhalt der QuelleHolt, Robin. „Laocoön, leadership and wisdom“. In Leadership and Wisdom, 136–60. 1 Edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781315232997-9.
Der volle Inhalt der QuelleWatney, Simon. „Laocoon“. In Impulse Archaeology, herausgegeben von Eldon Garnet. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442627598-087.
Der volle Inhalt der Quelle„Laocoön“. In Sergei Eisenstein. I.B.Tauris, 2010. http://dx.doi.org/10.5040/9780755604470.ch-005.
Der volle Inhalt der Quelle„LAOCOÖN“. In Poems for the Millennium, Volume Three, 709. University of California Press, 2019. http://dx.doi.org/10.1525/9780520942202-105.
Der volle Inhalt der Quelle„Laocoön“. In Fragments, 203–4. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26x3n.63.
Der volle Inhalt der Quelle„6. Jacopo Sadoleto's Laocoon“. In Words for Pictures: Seven Papers on Renaissance Art and Criticism. Yale University Press, 2003. http://dx.doi.org/10.37862/aaeportal.00179.008.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Laoccon"
Danger, Jean-Luc, Laurent Fribourg, Ulrich Kuhne und Maha Naceur. „LAOCOÖN: A Run-Time Monitoring and Verification Approach for Hardware Trojan Detection“. In 2019 22nd Euromicro Conference on Digital System Design (DSD). IEEE, 2019. http://dx.doi.org/10.1109/dsd.2019.00047.
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