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Titlebook: Metamorphosis; Creative Imagination Anna-Teresa Tymieniecka Book 2004 Springer Science+Business Media Dordrecht 2004 Immanuel Kant.Plato.ae

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發(fā)表于 2025-3-23 10:49:00 | 只看該作者
Rustic Architecture: The Metamorphosis of Nature and Architecture in Eighteenth-Century Britainst-Renaissance culture. Naturalistic waterways and tree plantings presented a different way of conceiving the landscape. The garden follies scattered across these gardens are often interpreted as harbingers of the broader Neo-classical and Gothic Revival movements in architecture. Exotic follies lik
12#
發(fā)表于 2025-3-23 14:50:42 | 只看該作者
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發(fā)表于 2025-3-23 20:35:12 | 只看該作者
Saint-Amant, Holland House, and The Queen of England Louvre palace. Along with the Duke of Buckingham, he was actually on his way to Spain, in disguise, to negotiate for the hand of the Infanta Maria. That situation did not at all turn out favorably, and soon the prospect of a French marriage instead of a Spanish one gradually took form. Not long aft
14#
發(fā)表于 2025-3-24 00:37:35 | 只看該作者
15#
發(fā)表于 2025-3-24 03:35:55 | 只看該作者
Life and Human Struggle in ,same to deplore the triteness of existence that to speak about the unfathomable abyss of personal inwardness. In some interpretations, “tragic” is to be overwhelmed by fate or by the unfair social obligations and not be able to fight against them; in other interpretations, “tragic” is to have a bril
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發(fā)表于 2025-3-24 07:50:09 | 只看該作者
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發(fā)表于 2025-3-24 12:22:57 | 只看該作者
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發(fā)表于 2025-3-24 16:12:47 | 只看該作者
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發(fā)表于 2025-3-24 20:06:59 | 只看該作者
Challenge to a National School at Risk: Mikel Dufrenne’s , (1953) historic role it comes as no surprise that during a period of particular national upheaval and change, from 1945 to 1959, authoritative voices in France would continue to evaluate aesthetic efforts through the lens of artistic nationalism. Over the course of the Fourth Republic, state control over
20#
發(fā)表于 2025-3-25 01:03:30 | 只看該作者
Painterly Transubstantiations/Political Change of history’s glories and scandals, . which will hardly add to the angers or the hopes of man — and no one complains.”. So writes Maurice Merleau-Ponty in the first section of his late essay ‘Eye and Mind’ which was published in 1961. By way of example, he cites Cézanne who “l(fā)ived hidden away at Est
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