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Power and Virtue: The Horse in Chinese Art. Art Media Resources, 1997. Painting and Private Life in Eleventh-Century China: Mountain Villa by Li Gonglin. Princeton University Press, 1998. The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection. Art Museum at Princeton University, 1999. The Landscape of Words. University of ...
Embodiment theory speaks to the ways that experiences are enlivened, materialized, and situated in the world through the body.Embodiment is a relatively amorphous and dynamic conceptual framework in anthropological research that emphasizes possibility and process as opposed to definitive typologies. [1]
The Dada avant-garde movement touted by its proponents (Jean Arp, Kurt Schwitters, Tristan Tzara) as anti-art, dada focused on going against artistic norms and conventions. [ 62 ] The Imaginists were avant-garde post- Russian Revolution of 1917 poetic movement that created poetry based on sequences of arresting and uncommon images. [ 63 ]
Embodied imagination is a therapeutic and creative form of working with dreams and memories pioneered by Dutch Jungian psychoanalyst Robert Bosnak [1] [2] and based on principles first developed by Swiss psychiatrist Carl Jung, especially in his work on alchemy, [3] and on the work of American archetypal psychologist James Hillman, who focused on soul as a simultaneous multiplicity of ...
Embodied design grows from the idea of embodied cognition: that the actions of the body can play a role in the development of thought and ideas. [ 1 ] [ 2 ] Embodied design brings mathematics to life; studying the effects of the body on the mind, researchers learn how to design objects and activities for learning. [ 3 ]
In the sociological sense, recuperation is the process by which politically radical ideas and images are twisted, co-opted, absorbed, defused, incorporated, annexed or commodified within media culture and bourgeois society, and thus become interpreted through a neutralized, innocuous or more socially conventional perspective.
The Boston origins of the American movement date to a "wave of German and European-Jewish immigrants" in the 1930s and their "affinities to the contemporary German strain of figurative painting ... in artists like Otto Dix (1891–1969), Ernst Ludwig Kirchner (1880–1938), Oskar Kokoschka (1886–1980), and Emil Nolde (1867–1956), both in style and in subject matter," art historian Adam ...
The principal motivation of the Nazarenes was a reaction against Neoclassicism and the routine art education of the academy system. They hoped to return to art that embodied spiritual values, and sought inspiration in artists of the Late Middle Ages and early Renaissance , rejecting what they saw as the superficial virtuosity of later art.