Angle: The message, or angle, perceived from Hand with Reflecting Sphere revolves around the idea of self-identity and truth. First, the piece illustrates an existential lens on life, exemplifying how the concept of truth can only be found from within, and the outside world is meaningless and chaotic. Moreover, this is displayed in the use of a reflecting sphere for the portrait, conveying that when searching for truth and definition, the journey will always end within oneself. Furthermore, the notion of a chaotic, vain, universe is conveyed through the use of the library surrounding M.C. Escher in the piece. Specifically, the library is full of knowledge, but the dominant image is the author himself, thus demonstrating how outside influence
Although both Fragonard’s and David’s work convey different ideals through their style of painting, they are still able to use light in a very similar form. The viewer’s attention is directed on a specific point in the painting through the use of light. Both artists cast a spotlight on the figure or action in the painting that they want the viewer to especially notice. It is what each artist decides to focus on that makes his work is different from the other. A young woman on a swing who enjoys the pleasures of life is clearly where Fragonard wants to direct the viewer’s attention. However, David focuses attention on a male figure, specifically Socrates. How does the use of light help the viewer understand the ideals of each form of art? While Fragonard chooses to focus on a female and David chooses to focus on a male, the viewer now understands how Rococo can be a feminine form of art and Neo-Classicism the opposite. In addition, other stylistic elements like color and form depict how each art form differs from the other. By using all this visual evidence, we will later see how the concept of deciding...
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
In every single novel, the importance of the symbolism is probably as important as the language the novel is written in. Author uses symbolism to create memorable scenes that have a hidden meaning behind their original face value. Symbolism especially plays a huge role in the novel by Albert Camus, ”the Outsider” , where author’s examples imply various emotional short-cuts and serve as a helper to understand the inner world of the main character – Meursault. This is a thought-provoking novel, which brilliantly illustrated Albert Camus’s theme of absurdity. One interesting aspect about “The stranger” is the protagonist, where in his life there are no certain meanings and motives for his actions and his life overall. The absurdity of the protagonist has no rational explanation. Each of the many actions by Meursault have huge influence on the description of the indifference of the world, where symbolism used by the protagonist underlines the human’s dignity and unimportance of the world. In the provocative novel “The stranger” by Albert Camus uses symbolism such as the crucifix, th...
It is impossible to understand the innermost and ever complex thoughts, feelings, hopes, and reflections of others. To understand is to grasp the strife and pleasure of each moment’s depth through a set lens. Confined by my own lens, I have been and will always be the main character of my own book. Though I can never know another human’s cognitive glances, I can at least be mindful of the infinite complexity and reasoning of each human. Even the most empathetic cannot understand exactly how Claude Monet felt for Camille, how Beethoven felt for “Elise”, or how
2. The first reason for this thesis stems from the point of view used in the story. The point of view exemplified is one of third person, more specifically one who is omniscient. The story’s message could not be conveyed from the first person, due to the fact that virtually everyone in the writing at hand is not only unable, but unwilling to figure out the true nature of their surroundings.
Whether discussing virtue, honor or the meaning of life on the whole great books demands of its students an open yet critical mind. Every book discussed deepens our understanding of the world around us and life itself and whether or not we come to the conclusion that nothing has meaning the way Meursualt did or that everything has meaning but we have not yet recollected the truth as Socrates posits, it is the responsibility of the great books student to ask questions and grapple with each text and question in order to strengthen our own constructs. Thus in ending with The Stranger we are offered one more unique and challenging perspective.
“ The paintings of Filippo Lippi are frequently characterized by two features: an interest in minimizing the divide between world, image and the presence of humor, both bodily and representational. Although these two aspects of Lippi's art might initially seem unconnected, this paper suggests that both can be associated with the use of scientific perspective. Lippi's spatial concerns can be understood as a reaction to the distancing of the iconic image that accompanied the invention of perspective.”
What we see is not the truth, but rather our interpretation and distortion of the things we struggle to perceive, as our imagination fuses with our conception of reality. We conceptualize these omnipotent forces through our uses of symbols – to create an understandable world through abstractions – in order to explain what these forces are. [INTRODUCE CAPRA]
An evolving mother-daughter relationship is the focus of Jamaica Kincaid s autobiographical The Circling Hand. Like the narrator, Kincaid grew up in Antigua as the only child her mother and carpenter father. Also like the narrator, Kincaid admits her mother kept everything she ever wore. This narrative is a coming of age story, in which this dynamic and unusual mother-daughter relationship plays an important role. Through the beginning bliss of childhood to the frustrating stage of adolescence, this unique relationship, in which the daughter is infatuated with her mother, seems to control the narrator s development as a freethinking person.
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
This painting has deviated from the standard Renaissance model in that it goes beyond depicting subjects and scene, and employs exaggerated form, color emphasis, abnormal planar depiction, and visual directionality. The aspects of this painting have become the embodiment of the story told and the characters there held. The artist has used various techniques of color, line, and juxtaposition in order to portray an idea which supersedes the sum of its parts, and thereby leads the viewer through a thought.
At the surface, with questions such as “What immortal hand or eye, Could frame thy fearful symmetry?”
The pose recalls the seated portrait of Lorenzo de’ Medici by Michelangelo. The Thinker was concieved as a tortured being confronting a dilemma, a damned soul, but a free spirit, determined to solve his suffering with poetry. It symbolizes the university of reason and the links between mind and body.
The Portrait of an Artist as a Young Man by James Joyce is widely recognized by New Critics as one of the greatest novels of its age for its aesthetic artistry. In the Portrait, a powerful autobiographical novel of bildungsroman, commonly known as a coming-of-age story, that follows the life of Irish protagonist Stephen Dedalus, Joyce portraits his momentous transition to adulthood as a passage of psychological struggle towards his ultimate philosophical awakening and his spiritual rebirth as an artist. Most visibly in Chapter Four of the novel, Stephen Dedalus, after the denial of his own priesthood, goes on to seek his artistic personality through his secluded journey amongst a myriad of natural elements. Dramatizing the Stephen’s progression towards his artistic revelation, Joyce deployed numerous image patterns that together insinuate the spiritual transformation of Stephen Dedalus into an “impalpable imperishable being” out of the earthly body of which he is composed of (Joyce 108). Specifically, Stephen’s intellectual transfiguration is largely connected with the symbolic connotations of the clouds depicted throughout his journey, which alludes to his transcending soul, wafting across the celestial heaven yet hovering intimately close to the earth that he belongs.
The poem “Mirror” gives the perspective of a mirror and how it views itself and the world, and in turn, how the world views it. Sylvia Plath conveys her interpretation of a mirror primarily through personification and metaphorical parallels. To further her explanation, she contrasts the mirror’s own perception of itself against its perception of a woman who often visits it.