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Semiotics of Art
A vital force in European linguistics and literary scholarship in the 1930s, the Prague School opened up the rich field of semiotics and art. The study of art as the creative use of the sign became one of its principal areas of critical examination, and in this collection of 21 essays this concept of semiotics is brought to bear on a wide range of the arts, including theater, film, poetry, folk art, and painting. The editors are professors in the Department of Slavic Languages and Literature at the University of Michigan, Ann Arbor.
Semiotics of Art
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Semiotics for Art History
Reading art from a semiotic perspective, this book offers a new interpretation of the development of Chinese landscape painting and outlines a new framework for contemporary semiotics and critical theory. It will appeal to those interested in visual art, Chinese studies, critical theory, semiotics, and other relevant fields, and will allow the reader to learn how to put theory into the practice of studying art, how to give new life to an important theory, and how to acquire a new point of view in appreciating and enjoying art with a certain critical theory.
Semiotics and Iconography
No detailed description available for "Semiotics and Iconography".
Art, Culture, and the Semiotics of Meaning
Do the arts mean? Do all the arts mean? Do they all mean in the same way? Does an art work mean in the same way in which a street sign means? More importantly, do all art works mean in a semiotically interesting way? This book argues for the importance of those formal meanings in the arts which most effectively enrich our knowledge of "the way things are" and train our cognitive faculties to deal with them. Jackson Barry examines the meaning of art works as read through their material and formal constituents using a semiotic approach which clarifies the historical and cultural forces molding these sensorially elaborated "signs." Medieval wheel-of-fortune diagrams, a Shakespeare play, non-objective painting, and a stage set for Tennessee Williams' A Streetcar Named Desire, all demonstrate the interplay between concepts struggling for expression and the available matter and form for their manifestation. At the end, the author considers the biological basis for art as defined in contemporary cognitive science.
The Messages of Tourist Art
Tourist art may be a billion dollar business. Nevertheless, such art is despised. What is worse, the "bad" culture is seen as driving out the "good. " Commer cialization is assumed to destroy traditional arts and crafts, replacing them with junk. The process is seen as demeaning to artists in the traditional societies, who are seduced into a type of whoredom: unfeeling production of false beauty for money. The arts remain problematic for the social sciences. Sociology textbooks treat the arts as subordinate reflections of social forces, norms, or groups. An thropology textbooks conventionally isolate the arts in a separate chapter, failing to integrate them with analyses of kinship, economic...
Visible Signs
Basic semiotic theories are taught in most art schools as part of a contextual studies program, but many students find it difficult to understand how these ideas might impact on their own practice. Visible Signs tackles this problem by introducing key theories and concepts, such as signs and signifiers, and language and speech, within the framework of visual communication. Each chapter provides an overview of a particular facet of semiotic theory, with inspiring examples from graphic design, typography, illustration, advertising and art to illustrate the ideas discussed in the text. Creative exercises at the end of the book will help exemplify these ideas through practical application. The third edition of Visible Signs features new material from international designers and new creative exercises to accompany each chapter. This new edition also features a new design and layout.
The Language of Displayed Art
Drawing on his background as a linguist, O'Toole analyses in detail a number of major works of art to show how the semiotic approach relates a work's immediate impact to other aspects of our response to it: to the scene portrayed, to the social, intellectual and economic world within which the artist and his or her patrons worked, and to our own world. It further provides ways of talking about and interrelating aspects of composition, technique and the material qualities of the work.
