形而上绘画或形而上艺术是由意大利艺术家Giorgio de Chirico和CarloCarrà开发的绘画风格。该运动始于1910年的de Chirico。即使拥有一定的反叛性和实验性,其仍与古典主义艺术有着一定的联系,同时形而上艺术的思想内核对于意大利...形而上绘画或形而上艺术是由意大利艺术家Giorgio de Chirico和CarloCarrà开发的绘画风格。该运动始于1910年的de Chirico。即使拥有一定的反叛性和实验性,其仍与古典主义艺术有着一定的联系,同时形而上艺术的思想内核对于意大利的民用建筑有着深刻的影响。本文将通过探讨形而上艺术对意大利建筑的影响,通过引用大量实例并结合当代艺术,探寻形而上艺术作为艺术史中的一环的重要性。展开更多
In The Metaphysics of Love, Schopenhauer argues that love is a literary invention. For the philosopher, this feeling was a creation of men to mask the real desire. On the other hand, Nicolas Grimaldi, while analysing ...In The Metaphysics of Love, Schopenhauer argues that love is a literary invention. For the philosopher, this feeling was a creation of men to mask the real desire. On the other hand, Nicolas Grimaldi, while analysing Marcel Proust＇s work, enumerates a series of issues that strengthen Schopenhauer＇s arguments. For Grimaldi, the writer explains the literary character of love in its work. Through the analysis of four films, from different cinematography, this work intends to explore the issue of the representation of love in the art of film. In an attempt to understand how film uses its formal and discursive resources to present or represent this feeling, this paper analyses films chosen on the basis of how they tell their love stories. Beginning with Gertrud whose motto, Omnia Love says it all. In The Woman Next Door, Truffaut reveals the paradox of love and pain. Wings of Desire speaks of love and redemption. More recently, Kiarostami offered his Certified Copy, a film that asks whether a copy can produce in us the same thrill of an original. If love is an invention of literature, this paper seeks to understand how such an invention is born, and what it consists in modern and contemporary cinema.展开更多
文摘形而上绘画或形而上艺术是由意大利艺术家Giorgio de Chirico和CarloCarrà开发的绘画风格。该运动始于1910年的de Chirico。即使拥有一定的反叛性和实验性,其仍与古典主义艺术有着一定的联系,同时形而上艺术的思想内核对于意大利的民用建筑有着深刻的影响。本文将通过探讨形而上艺术对意大利建筑的影响,通过引用大量实例并结合当代艺术,探寻形而上艺术作为艺术史中的一环的重要性。
文摘In The Metaphysics of Love, Schopenhauer argues that love is a literary invention. For the philosopher, this feeling was a creation of men to mask the real desire. On the other hand, Nicolas Grimaldi, while analysing Marcel Proust＇s work, enumerates a series of issues that strengthen Schopenhauer＇s arguments. For Grimaldi, the writer explains the literary character of love in its work. Through the analysis of four films, from different cinematography, this work intends to explore the issue of the representation of love in the art of film. In an attempt to understand how film uses its formal and discursive resources to present or represent this feeling, this paper analyses films chosen on the basis of how they tell their love stories. Beginning with Gertrud whose motto, Omnia Love says it all. In The Woman Next Door, Truffaut reveals the paradox of love and pain. Wings of Desire speaks of love and redemption. More recently, Kiarostami offered his Certified Copy, a film that asks whether a copy can produce in us the same thrill of an original. If love is an invention of literature, this paper seeks to understand how such an invention is born, and what it consists in modern and contemporary cinema.
