Bibliografías temáticas / Laoccon

Literatura académica sobre el tema "Laoccon"

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Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Laoccon"

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Howard, Seymour. "Laocoon Rerestored". American Journal of Archaeology 93, n.º 3 (julio de 1989): 417. http://dx.doi.org/10.2307/505589.

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Schefer, Olivier. "Laocoon romantique". Les Lettres Romanes 76, n.º 3-4 (julio de 2022): 139–47. http://dx.doi.org/10.1484/j.llr.5.133284.

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Meulder, Marcel. "Laocoon vu par Euphorion et Nicandre de Colophon : Poésie, histoire et politique à l’époque hellénistique". L'antiquité classique 88, n.º 1 (2019): 47–68. http://dx.doi.org/10.3406/antiq.2019.3948.

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Le poète hellénistique Euphorion est le premier à transformer l’éventuelle faute de Laocoon contre Athéna en faute irrévérencieuse envers Apollon, non seulement par goût pour les histoires érotiques, mais aussi pour s’en prendre aux adversaires de son protecteur, le roi Antiochus III. Car ces adversaires, Attale Ier (et Rome), se réclamaient à titres et degrés divers, de l’héritage de Troie. Contemporain et partisan du roi de Pergame, Nicandre de Colophon maior disculpe par contre Laocoon de toute impiété.
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Hochmann, Michel. "Laocoon à Venise". Revue germanique internationale, n.º 19 (15 de enero de 2003): 91–103. http://dx.doi.org/10.4000/rgi.940.

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Schröter, Jens. "The Laocoon Moment". Arts 12, n.º 4 (12 de agosto de 2023): 175. http://dx.doi.org/10.3390/arts12040175.

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Lessing’s Laokoon from 1766 is still an important text in the discussion on the borders between different arts and their media. Especially in the 20th century, texts were written that referred back to Lessing’s seminal text. One of the most important ones, which will receive a detailed discussion, is Clement Greenberg’s “Towards a Newer Laocoon”. The discussion will on the one hand start from the observation that drawing borders between different arts and their media has always had political implications. On the other hand, this discussion will be related to the transformation to digital media in the late 20th century. By reading Greenberg and discussing some examples from art, especially from the recent field of AI-generated imagery, the concept of “digital modernism” and its political implications will be introduced. The two main findings are as follows: Firstly, it might be problematic to construct a progression from medium-centered to multimedial art since both tendencies coexist in contemporary art. Secondly, the current situation once again points to the politics of drawing borders between different arts (and their respective media).
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Cheval, Olivier. "L'idylle tragique du Laocoon". Nouvelle revue d’esthétique 13, n.º 1 (2014): 21. http://dx.doi.org/10.3917/nre.013.0021.

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Queyrel, François. "La cécité de Laocoon". Bulletin de la Société Nationale des Antiquaires de France 1997, n.º 1 (2001): 88–96. http://dx.doi.org/10.3406/bsnaf.2001.10169.

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Scafoglio, Giampiero. "Le Laocoon de Sophocle". Revue des Études Grecques 119, n.º 1 (2006): 406–20. http://dx.doi.org/10.3406/reg.2006.4654.

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Queyrel, François. "Les couleurs du Laocoon". Revue germanique internationale, n.º 19 (15 de enero de 2003): 57–70. http://dx.doi.org/10.4000/rgi.935.

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Décultot, Élisabeth. "Les Laocoon de Winckelmann". Revue germanique internationale, n.º 19 (15 de enero de 2003): 145–57. http://dx.doi.org/10.4000/rgi.948.

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Tesis sobre el tema "Laoccon"

1

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.

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Thesis (M.A.) -- University of Maryland, College Park, 2007.
Thesis 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.
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Speidel, Klaus. "Narration visuelle et récit iconique : raconter une histoire en une image". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040195.

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A l’occasion de l'analyse de la question des capacités de l’image immobile isolée de « raconter une histoire », l’auteur développe les bases d’une narratologie fondamentale renouvelée, revisite la sémiotique du texte et les théories de l’image et réalise un déplacement méthodologique qui remplace l’approche sémiotique de la question du récit et de la narrativité par une approche en termes d’effets et de réception. La réflexion croise plusieurs disciplines : l’histoire de l’art, la narratologie, la sémiotique, mais aussi la philosophie et l’esthétique. Si l'auteur se propose bien de reconstruire les fondements même de la théorie de la narration visuelle, il ne cherche pas cependant à remplacer les théories existantes par un nouveau paradigme construit ex nihilo. Les bases nouvelles émergent au fil d’un travail sur les théories développées à ce jour ainsi qu'un corpus divers d'images narratives. Les théories critiquées se voient intégrées plutôt que niées dans le déplacement opéré. Pour résoudre le principal problème pour le récit iconique, celui du temps, l'auteur propose une nouvelle conceptualisation de la structure temporelle de l'image fixe unique. Celle-ci prend en compte le temps représenté et la durée perceptive. La dernière partie de l'ouvrage est consacrée à une relecture du Laocoon (1766) de G. E. Lessing, ouvrage largement responsable de la conception actuelle selon laquelle le récit iconique serait impossible. L'auteur montre que le débat autour des thèses de Lessing a été faussé par une confusion entre la question des possibilités/impossibilités de l’image comme telle et celle des « fins propres » de l’image dès lors qu’elle est artistique
Based 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”
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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.

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Kellett, 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.

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My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.
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Kemling, 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.

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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.

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碩士
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."
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7

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.

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The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism.
Art
D. Litt. et Phil.
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Libros sobre el tema "Laoccon"

1

d'Aurevilly, J. Barley. Laocoon. Los Angeles: William & Victoria Dailey, 1985.

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2

Ephraim, Lessing Gotthold. Laocoon. Paris: Hermann, 1990.

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3

Penelope, Curtis, Feeke Stephen y Henry Moore Institute (Leeds, England), eds. Towards a new Laocoon. Leeds: Henry Moore Institute, 2007.

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Brilliant, Richard. My Laocoön: Alternative claims in the interpretation of artworks. Berkeley: University of California Press, 2000.

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Galleria del Laocoonte (Rome, Italy), ed. Laocoon zoo: Art fauna 16th-21st century. Todi (PG): D'arte, 2021.

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Ephraim, Lessing Gotthold. Laocoon: An essay upon the limits of painting and poetry. Mineola, N.Y: Dover Publications, 2005.

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Zhan, Ting. Laocan you ji. 8a ed. Tainan Shi: Da qian wen hua chu ban shi ye gong si, 1992.

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Laocan you ji. Taibei Xian Xizhi Shi: Zhuan ye wen hua chu ban she--feng ge, 2008.

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E, Liu. Laocan you ji. 8a ed. Jinan: Qi lu shu she, 2002.

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1857-1909, Liu E., ed. Laocan you ji. Tainan Shi: Qi ren shu ju, 1997.

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Capítulos de libros sobre el tema "Laoccon"

1

Most, Glenn W. "Laocoons". En A Companion to Vergil's Aeneid and its Tradition, 325–40. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444318050.ch22.

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Ryynänen, Max. "Laocoon: Hands-On!" En 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.

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Prier, Raymond A. "Laocoön IV". En Cultura Ludens, 153. Amsterdam: John Benjamins Publishing Company, 1991. http://dx.doi.org/10.1075/cl.4.10pri.

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Flach, Sabine. "Moving is in Every Direction". En Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Holt, Robin. "Laocoön, leadership and wisdom". En Leadership and Wisdom, 136–60. 1 Edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781315232997-9.

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Watney, Simon. "Laocoon". En Impulse Archaeology, editado por Eldon Garnet. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442627598-087.

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"Laocoön". En Sergei Eisenstein. I.B.Tauris, 2010. http://dx.doi.org/10.5040/9780755604470.ch-005.

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"LAOCOÖN". En Poems for the Millennium, Volume Three, 709. University of California Press, 2019. http://dx.doi.org/10.1525/9780520942202-105.

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"Laocoön". En Fragments, 203–4. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26x3n.63.

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"6. Jacopo Sadoleto's Laocoon". En Words for Pictures: Seven Papers on Renaissance Art and Criticism. Yale University Press, 2003. http://dx.doi.org/10.37862/aaeportal.00179.008.

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Actas de conferencias sobre el tema "Laoccon"

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Danger, Jean-Luc, Laurent Fribourg, Ulrich Kuhne y Maha Naceur. "LAOCOÖN: A Run-Time Monitoring and Verification Approach for Hardware Trojan Detection". En 2019 22nd Euromicro Conference on Digital System Design (DSD). IEEE, 2019. http://dx.doi.org/10.1109/dsd.2019.00047.

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