標(biāo)題: Titlebook: Marcel Duchamp’s Fountain; One Hundred Years La Robert Kilroy Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Duchamp.Founta [打印本頁(yè)] 作者: 胃口 時(shí)間: 2025-3-21 19:41
書目名稱Marcel Duchamp’s Fountain影響因子(影響力)
作者: Verify 時(shí)間: 2025-3-21 20:46
Art History and Psychoanalysis Todayquiry: an interrogation of Duchamp’s oeuvre on the basis of Lacanian psychoanalysis and an exploration of the precise influence of Courbet on Duchamp. To pursue this aim, the author builds on the work of two Duchampian scholars who have rigorously engaged with Lacan’s conceptual apparatus: Rosalind 作者: Infantry 時(shí)間: 2025-3-22 01:10 作者: 浮雕寶石 時(shí)間: 2025-3-22 04:43 作者: verdict 時(shí)間: 2025-3-22 09:49 作者: Proponent 時(shí)間: 2025-3-22 13:14
The Artistcreate “art” is, in fundamental human terms, a struggle to realize his identity as “artist,” to be recognized as a genius. This subjective process takes place at the basic level of language as an effort to declaratively mark one’s position in the aesthetic field. What Duchamp terms the “art coeffici作者: Wallow 時(shí)間: 2025-3-22 18:07
The Onlookertion of the exhibition space in aestheticizing the object. The operation of display, Duchamp argues, produces what he terms a phenomenon of “transubstantiation”: a piece of inert matter is magically transformed into a work of art on the basis of a fundamental illusion. It is argued that, with ., Duc作者: dermatomyositis 時(shí)間: 2025-3-23 00:52 作者: debunk 時(shí)間: 2025-3-23 05:19 作者: 鋸齒狀 時(shí)間: 2025-3-23 07:39
Posterity the creative act, this spectator overlooks the artificial nature of the tasty affairs and presents the movement or “ism” as an objective, naturally occurring phenomenon. In doing so, he consolidates the validity of the “immediate spectator’s” initial verdict. To demonstrate this point, Duchamp dire作者: misanthrope 時(shí)間: 2025-3-23 12:11
The Lighthouse controlling principles that take the form of an “ism”: the construction of an idealized figurehead or “star” with whom a group of artists can identify in order to become subjectively engaged in their work. Identification with the lighthouse ensures that the act of producing in line with a taste is 作者: 帳單 時(shí)間: 2025-3-23 13:59 作者: 使人煩燥 時(shí)間: 2025-3-23 20:36 作者: 動(dòng)脈 時(shí)間: 2025-3-23 22:31
klische (siehe Kapitel 10) oder korrosive Beanspruchung sowie herstellungsbedingte Fehler, wie z.B. Gusslunker in Metallen oder Sinterporen in Keramiken (Beispiele in Bild 5.1).. Auch von Partikeln, wie z. B. Ausscheidungen, k?nnen Risse ausgehen. Sie haben zum einen h?ufig eine ungünstige Geometrie作者: Alveolar-Bone 時(shí)間: 2025-3-24 05:13 作者: PRISE 時(shí)間: 2025-3-24 06:56 作者: blackout 時(shí)間: 2025-3-24 12:49
telle Bestimmung mechanischer Eigenschaften von Holz bei biaxialer Beanspruchung. Die Inangriffnahme dieser werkstoffmechanischen Grundlagenuntersuchung vor etwa neun Jahren war mit einer Neuorientierung hinsichtlich der Forschungsaktivit?ten des dem Institut für Festigkeitslehre der Technischen Uni作者: 一再遛 時(shí)間: 2025-3-24 16:00 作者: 萬(wàn)花筒 時(shí)間: 2025-3-24 21:22
Robert Kilroywerden, wie und bei welcher Belastung Rissausbreitung stattfindet, um so eine sichere Bauteilauslegung zu erm?glichen. Risse k?nnen dabei als besonders (bzw. unendlich) scharfe Kerben angesehen werden. Da dadurch das theoretische Spannungsfeld an der Rissspitze singular wird, sind die für Kerben ang作者: 突變 時(shí)間: 2025-3-25 01:11
Robert Kilroywerden, wie und bei welcher Belastung Rissausbreitung stattfindet, um so eine sichere Bauteilauslegung zu erm?glichen. Risse k?nnen dabei als besonders (bzw. unendlich) scharfe Kerben angesehen werden. Da dadurch das theoretische Spannungsfeld an der Rissspitze singular wird, sind die für Kerben ang作者: 苦笑 時(shí)間: 2025-3-25 06:20
erimente erforderlichen biaxialen Versuchseinrichtung breiter Raum gewidmet..Die Motivation für die Durchführung dieses Forschungsvorhabens war das Fehlenvon experimentellen Daten über das Steifigkeits- und Festigkeitsverhalten vonbiaxial, schr?g zur Faserrichtung beanspruchtem Fichtenholz ohne Besc作者: 老人病學(xué) 時(shí)間: 2025-3-25 07:35
The Editor(s) (if applicable) and The Author(s) 2018作者: Muffle 時(shí)間: 2025-3-25 14:04
https://doi.org/10.1007/978-3-319-69158-9Duchamp; Fountain; conceptual art; anti-art; Modern art; ?i?ek; Slavoj Zizek; Lacanian theory; Psychoanalysi作者: cancellous-bone 時(shí)間: 2025-3-25 18:31
http://image.papertrans.cn/m/image/623845.jpg作者: 極小量 時(shí)間: 2025-3-25 21:34 作者: 姑姑在炫耀 時(shí)間: 2025-3-26 00:27 作者: 鄙視 時(shí)間: 2025-3-26 06:30
The Artistent” is thus the gap or distortion in the artist’s statement that draws attention to its broader formal conditions. Aware that the logic of the creative act cannot be stopped, Duchamp attempted to expose these conditions by rendering the art coefficient explicit in his own statements of which . is the purest form.作者: 闡釋 時(shí)間: 2025-3-26 12:26 作者: 侵略 時(shí)間: 2025-3-26 16:23
The Spectatormp terms “transmutation.” Ultimately, the artist’s statement is understood on the basis of aesthetic priorities so that the art coefficient, the gap indicating the true nature of his activity, is erased. Duchamp attempts to make this operation visible by provoking his “friend” and critic Guillaume Apollinaire into offering a verdict on ..作者: inspiration 時(shí)間: 2025-3-26 17:13 作者: etidronate 時(shí)間: 2025-3-26 21:40 作者: Adjourn 時(shí)間: 2025-3-27 03:04
The Lighthousefirmly rooted in a fundamental psychological “need.” To make this explicit, Duchamp plays with his own role as lighthouse, first within the Surrealist group and, later, within the 1950s and 60s art scene where he became an idealized figurehead for a new generation of artists to follow.作者: 賭博 時(shí)間: 2025-3-27 07:32
The One-Man Show and the Dealerthus allowing it be fitted into a narrative of influence and causality. Duchamp’s crucial point is that the one-man show is supported by the actions of “the dealer” in securing a work’s commercial value. By asking Arturo Schwarz to produce replicas of ., Duchamp exposed this crucial operation that proceeded his art historical recognition.作者: 脊椎動(dòng)物 時(shí)間: 2025-3-27 11:38 作者: 辯論 時(shí)間: 2025-3-27 15:12
Book 2018 expose the underlying logic of its reception, what he terms ‘The Creative Act.’ This book will be of interest to a broad range of readers, including art historians, psychoanalysts, scholars and art enthusiasts interested in visual culture and ideological critique.作者: 發(fā)出眩目光芒 時(shí)間: 2025-3-27 18:23 作者: GNAW 時(shí)間: 2025-3-27 23:50
Art History and Psychoanalysis Todayre limited by institutional priorities?that render visible the internal logic of art historical practice: how art history reformulates its interpretative models in order to ensure the stability of an established narrative.作者: Alcove 時(shí)間: 2025-3-28 03:54
Duchamp with Lacan through ?i?ekxical logic of his work’s reception and, in turn, the mechanism underpinning this reception. This justifies the use of a Lacanian-?i?ekian model as the strongest interpretative tool available to art historians.作者: vertebrate 時(shí)間: 2025-3-28 09:23 作者: 觀點(diǎn) 時(shí)間: 2025-3-28 12:38 作者: HARD 時(shí)間: 2025-3-28 16:11 作者: morale 時(shí)間: 2025-3-28 19:55
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