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Journal articles on the topic 'Art theory'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Kasatkina, T. A. "Dostoevsky: Art theory and art appreciation theory." Voprosy literatury, no. 6 (December 25, 2022): 62–80. http://dx.doi.org/10.31425/0042-8795-2022-6-62-80.

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The article discusses the author problem in art and focuses on one particular aspect of Dostoevsky’s theory of creative process, namely, his view of reader/audience response, of the author’s high responsibility and their reciprocation necessary for an adequate communication. In his intricately humorous Winter Notes on Summer Impressions [Zimnie zametki o letnikh vpechatleniyakh], Dostoevsky uses comical situations of his own non-encounters with architecture, artefacts and personalities of a very closely related, ‘second home’ culture, which nevertheless remained altogether diﬀerent to that of Russia, in order to describe the core principles of interaction which drive the understanding and correct appreciation of art. These principles not only stipulate the possibility of artist-recipient interactions within an act of artistic creation and its appreciation, but also enable communication between two dissimilar cultures that is based on productive cooperation rather than antagonism. Dostoevsky stresses the responsibility of both the artist and the recipient of art for accurately transmitting and perceiving meanings, and argues the importance of a sincere eﬀort on behalf of the two in order to ensure adequate communication

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2

Lee, Nara. "Rethinking Rancière’s Film Theory: Focusing on the Concepts of Fiction and Image." Criticism and Theory Society of Korea 28, no. 3 (October 31, 2023): 81–99. http://dx.doi.org/10.19116/theory.2023.28.3.81.

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This paper aims to reconsider Rancière’s film theory by examining the meaning of image and fiction in Rancière’s aesthetic art regime. Rancière renews the traditional definitions of image and fiction. What Rancière defines as image and fiction is the action of connecting words and objects in a specific form on the basis of community, connecting individuals and groups and creating a common sense. In the aesthetic art regime since Romanticism, which reflects the equality established between thought and non-thought, consciousness and unconsciousness, active and passive, art and non-art, the image of art constitutes a unique dual system. Within a single image, meaning is produced and withdrawn, and perception, action, and emotion are simultaneously connected and dissolved. This dual system of images is manifested in cinematic art in the disfigurations and contradictory dramaturgy of classicist and romantic allegory.

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3

Zhang, Yichi. "Film as Art: From Art Theory to Film Theory." Scientific and Social Research 6, no. 2 (February 28, 2024): 173–78. http://dx.doi.org/10.26689/ssr.v6i2.6275.

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This article uses the introduction of the book Film as Art, the definition and interpretation of the concept of “film,” the connotation and extension of “film art,” the necessity and possibility of “film art” research, etc. to analyze China’s important theoretical issues in the development of film theory are sorted out and reflected on. The article believes that in the context of globalization, the development of Chinese film theory faces many theoretical issues, such as the independent character of the theory itself, the relationship between theoretical research and creative practice, and the influence of socialist literary and artistic thought with Chinese characteristics on contemporary Chinese film creation and theoretical research. In this regard, the article puts forward some corresponding countermeasures. This article believes that only by adhering to the development path of socialist literature and art with Chinese characteristics and taking film as art as a basic principle can we promote the prosperity and development of Chinese film theory in the new era and can we better play the important role of Chinese films in the world cultural field.

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4

Fudge, Robert S. "The Art Type Theory of Art." Philosophical Papers 44, no. 3 (September 2, 2015): 321–43. http://dx.doi.org/10.1080/05568641.2015.1106703.

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5

Mag Uidhir, Christopher. "Failed-Art and Failed Art-Theory." Australasian Journal of Philosophy 88, no. 3 (September 2010): 381–400. http://dx.doi.org/10.1080/00048400903194559.

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6

Draskic-Vicanovic, Iva. "Psychagogic art theory." Theoria, Beograd 55, no. 2 (2012): 107–17. http://dx.doi.org/10.2298/theo1202107d.

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The text represents a specific approach to Gorgias' Praise to Helen. Instead of considering it as a cradle of art theory of illusion (apate) or some kind of rhetoric acrobatic feat in which Gorgia praises the blameworthy, author considers Praise to Helen as first aesthetic text in European philosophy in which fine arts and poetry had been connected by means of one notion - notion of psychagogia, and looks upon it as a foundation of art theory that could be denoted as theory of psychagogia.

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7

Kang, Laewoo, and Steven Jackson. "Tech-Art-Theory." Proceedings of the ACM on Human-Computer Interaction 5, CSCW1 (April 13, 2021): 1–25. http://dx.doi.org/10.1145/3449156.

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8

Kieran, Matthew. "Against Art Theory." Cogito 9, no. 1 (1995): 41–48. http://dx.doi.org/10.5840/cogito19959144.

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9

Cavell, Marcia, and Richard Kuhns. "Psychoanalytic Theory of Art." Philosophical Review 94, no. 4 (October 1985): 596. http://dx.doi.org/10.2307/2185254.

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10

Gligo, Niksa, and Karol Berger. "A Theory of Art." International Review of the Aesthetics and Sociology of Music 31, no. 2 (December 2000): 203. http://dx.doi.org/10.2307/3108405.

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11

Rozik, Eli. "Nietzsche’s Theory of Art." European Legacy 18, no. 5 (August 2013): 640–43. http://dx.doi.org/10.1080/10848770.2013.804732.

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12

Tomar, Vandana. "Colour Theory in Art." International Journal of Humanities and Social Science 2, no. 5 (September 25, 2015): 1–4. http://dx.doi.org/10.14445/23942703/ijhss-v2i5p101.

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13

Elkins, James. "Art History without Theory." Critical Inquiry 14, no. 2 (January 1988): 354–78. http://dx.doi.org/10.1086/448442.

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14

Gogarty, Larne Abse, Angela Dimitrakaki, and Marina Vishmidt. "Anti-fascist Art Theory." Third Text 33, no. 3 (May 4, 2019): 449–65. http://dx.doi.org/10.1080/09528822.2019.1612146.

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15

Dimitrakaki, Angela, and Harry Weeks. "Anti-fascism/Art/Theory." Third Text 33, no. 3 (May 4, 2019): 271–92. http://dx.doi.org/10.1080/09528822.2019.1663679.

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16

Dussart, Francoise. "Art and Agency: An Anthropological Theory.:Art and Agency: An Anthropological Theory." American Anthropologist 102, no. 4 (December 2000): 938–39. http://dx.doi.org/10.1525/aa.2000.102.4.938.

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17

Grossberg, Stephen. "Bring ART into the ACT." Behavioral and Brain Sciences 26, no. 5 (October 2003): 610–11. http://dx.doi.org/10.1017/s0140525x03290130.

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ACT is compared with a particular type of connectionist model that cannot handle symbols and use nonbiological operations which do not learn in real time. This focus continues an unfortunate trend of straw man debates in cognitive science. Adaptive Resonance Theory, or ART-neural models of cognition can handle both symbols and subsymbolic representations, and meet the Newell criteria at least as well as connectionist models.

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18

Weigand, Edda. "The state of the art in speech act theory." Pragmatics and Cognition 4, no. 2 (January 1, 1996): 367–406. http://dx.doi.org/10.1075/pc.4.2.10wei.

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19

Klāsone, Inta. "Interactions of Art and Art Pedagogy : Theory and Practice." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 456. http://dx.doi.org/10.17770/sie2014vol2.640.

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The article raises the issue of the link between art and its variet expressions of form with pedegaogy of art. A number of important directions of scientific research in art pedagogy are highlighted on the basis of the scientific knowledge base in the world and Latvian Education Area, guidelines of National Strategic Guidance, trends in art and art education, and summary of survey data. Object of the research is the interaction process between art and art education for improvement of pedagogical work performance; the objective of the study is: to identify major research issues in the process of interaction of art and art pedagogy in today's context, providing the basis for a balanced, cognitive, emotional, aesthetic and social development of a personality.

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20

Smith, Barry. "The Substitution Theory of Art." Grazer Philosophische Studien 25 (1985): 533–57. http://dx.doi.org/10.5840/gps1985/8625/2624.

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21

Mangiri, SG. "Ijo Art Theory: An Expose'." AFRREV IJAH: An International Journal of Arts and Humanities 4, no. 1 (March 6, 2015): 232. http://dx.doi.org/10.4314/ijah.v4i1.17.

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22

Vogler, Thomas A., and Morris Eaves. "William Blake's Theory of Art." Studies in Romanticism 24, no. 2 (1985): 289. http://dx.doi.org/10.2307/25600540.

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23

Behrens, Roy R. "Art, Design and Gestalt Theory." Leonardo 31, no. 4 (1998): 299. http://dx.doi.org/10.2307/1576669.

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24

Guyer, Paul. "Kant’s Theory of Modern Art?" Kantian Review 26, no. 4 (December 2021): 619–34. http://dx.doi.org/10.1017/s1369415421000492.

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Abstract Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art.

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25

Junghaus, Tímea. "Roma art: Theory and practice." Acta Ethnographica Hungarica 59, no. 1 (June 2014): 25–42. http://dx.doi.org/10.1556/aethn.59.2014.1.3.

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26

Valentine, John. "A FORMALIST THEORY OF ART." Southwest Philosophy Review 14, no. 2 (1998): 139–50. http://dx.doi.org/10.5840/swphilreview199814234.

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27

Stecker, Robert. "Plato's Expression Theory of Art." Journal of Aesthetic Education 26, no. 1 (1992): 47. http://dx.doi.org/10.2307/3332726.

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28

Salaman, Naomi. "Art theory – handmaiden of neoliberalism?" Journal of Visual Art Practice 14, no. 2 (May 4, 2015): 162–73. http://dx.doi.org/10.1080/14702029.2015.1060067.

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29

Hanson, Steve. "Art theory – an historical introduction." Visual Studies 25, no. 2 (September 3, 2010): 192–93. http://dx.doi.org/10.1080/14725861003607199.

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30

Orešković, Krešo. "THE RAINBOW THEORY OF ART." British Journal of Aesthetics 35, no. 2 (1995): 154–59. http://dx.doi.org/10.1093/bjaesthetics/35.2.154.

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31

Holt, J. "A COMPREHENSIVIST THEORY OF ART." British Journal of Aesthetics 36, no. 4 (October 1, 1996): 424–31. http://dx.doi.org/10.1093/bjaesthetics/36.4.424.

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32

Graham, G. "THE MARXIST THEORY OF ART." British Journal of Aesthetics 37, no. 2 (April 1, 1997): 109–17. http://dx.doi.org/10.1093/bjaesthetics/37.2.109.

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33

Heywood, I. "Review: Art and Social Theory." British Journal of Aesthetics 45, no. 1 (January 1, 2005): 104–6. http://dx.doi.org/10.1093/bjaesthetics/ayi012.

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34

Smith, Barry. "The Substitution Theory of Art." Grazer Philosophische Studien 25, no. 1 (September 6, 1986): 533–57. http://dx.doi.org/10.1163/18756735-02501025.

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35

Haldane, John. "ART THEORY: AN HISTORICAL INTRODUCTION." Art Book 12, no. 3 (August 2005): 31–32. http://dx.doi.org/10.1111/j.1467-8357.2005.00565.x.

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36

Smith, Claire. "Body art and archaeological theory." Australian Archaeology 44, no. 1 (January 1997): 53–54. http://dx.doi.org/10.1080/03122417.1997.11681588.

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37

Casazza, Peter G. "THE ART OF FRAME THEORY." Taiwanese Journal of Mathematics 4, no. 2 (June 2000): 129–201. http://dx.doi.org/10.11650/twjm/1500407227.

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38

Willheim, Imanuel. "A Theory of Art (review)." Notes 58, no. 1 (2001): 110–13. http://dx.doi.org/10.1353/not.2001.0173.

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39

Davies, Stephen. "The Cluster Theory of Art." British Journal of Aesthetics 44, no. 3 (July 1, 2004): 297–300. http://dx.doi.org/10.1093/aesthj/44.3.297.

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40

Davies, D. "Collingwood'S 'Performance' Theory Of Art." British Journal of Aesthetics 48, no. 2 (April 1, 2008): 162–74. http://dx.doi.org/10.1093/aesthj/ayn003.

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41

Carney, James D. "THE STYLE THEORY OF ART." Pacific Philosophical Quarterly 72, no. 4 (December 1991): 272–89. http://dx.doi.org/10.1111/j.1468-0114.1991.tb00321.x.

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42

Kieran, M. "Review: A Theory of Art." Mind 111, no. 441 (January 1, 2002): 81–84. http://dx.doi.org/10.1093/mind/111.441.81.

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43

Gržinić, Marina. "Linking Theory, Politics and Art." Third Text 21, no. 2 (March 2007): 199–206. http://dx.doi.org/10.1080/09528820701273505.

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44

LAMMENRANTA, MARKUS. "Goodman's Semiotic Theory of Art." Canadian Journal of Philosophy 22, no. 3 (January 1992): 339–51. http://dx.doi.org/10.1080/00455091.1992.10717284.

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45

Bradford, Thomasine H., and Lynda Idleman. "Feminist Art Theory in Atlanta." Art Journal 50, no. 2 (June 1991): 14–18. http://dx.doi.org/10.1080/00043249.1991.10791438.

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46

Rosenstein, Leon. "The End of Art Theory." Humanitas 15, no. 1 (2002): 32–58. http://dx.doi.org/10.5840/humanitas20021512.

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47

Ryu, Son-Moo. "The Art of Dwelling in the “Peculiar Nook of the Earth”: Revisiting The Ruined Cottage." Criticism and Theory Society of Korea 23, no. 1 (February 21, 2018): 93–117. http://dx.doi.org/10.19116/theory.2018.23.1.93.

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48

Zhao, Ruyu. "Liminal Space Theory." Advances in Engineering Technology Research 9, no. 1 (December 22, 2023): 14. http://dx.doi.org/10.56028/aetr.9.1.14.2024.

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Liminal space art, which has spread rapidly in recent years, is a branch of the subcultural aesthetic genre and has gradually derived artistic styles such as dream core, weird core, and trauma core. Under the interweaving and collision of various artistic styles, this subcultural aesthetic genre gradually formed its own unique artistic language and expression. In today's highly industrialized and rapidly modernizing society, people's nostalgia for the past and concerns about the future are the core concerns of liminal space art. The influence of liminal space art is not limited to the art circle. It has gradually become a cultural phenomenon, affecting the aesthetic concepts and life attitudes of many young people.

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49

Prottas, Nathaniel. "Between Practice and Theory." Museum Worlds 6, no. 1 (July 1, 2018): 60–73. http://dx.doi.org/10.3167/armw.2018.060106.

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In this article, I consider the definition and use of the term dialogue in museum education, focusing on the work of Rika Burnham and Elliot Kai-Kee, whose ramifications for art itself have often been sidelined by educators. First, I examine the relationship between Burnham and Kai-Kee’s theory of education and Hans-Georg Gadamer’s and John Dewey’s writing on art, arguing that dialogical museum teaching implicitly relies on a definition of art as performative. Then, I explore the ramifications of Gadamer’s and Dewey’s definition of art as performative for the field of museum education. Finally, I argue that by understanding art as an active participant in our encounters with it—and by refocusing our attention on art’s role in museum educational practice—we create a radically new argument for museums as educational institutions that bring people and art into dialogue with each other.

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50

Lauter, Estella. "Re-enfranchising Art: Feminist Interventions in the Theory of Art." Hypatia 5, no. 2 (1990): 91–106. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00419.x.

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Feminist analyses of the roles gender has played in art lead to an alternative theory that emphasizes art's complex interactions with culture(s) rather than the autonomy within culture claimed for it by formalism. Focusing on the visual arts, 1 extrapolate the new theory from feminist research and compare it with formalist precepts. Sharing Arthur Danto's concern that art has been disenfranchised in the twentieth century by its preoccupation with theory, I claim that feminist thought re'enfranchises art by revisioning its relationship to its contexts.

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