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Symbol  

Jean Wirth

Term used to describe certain types of sign that are designed to extend the realm of representation, particularly so as to incorporate abstract ideas. Though overlapping in function, they are broadly less sophisticated in operation and meaning than allegories (see Allegory), of which they might form elements. They constitute an important area of study in Iconography and iconology. While the examples of symbolism analysed in this article are taken from Western art, the principles involved can be extended mutatis mutandis to that of other cultures also. The ideas discussed here should be distinguished from those connected with the late 19th-century movement of Symbolism, which mixed aesthetic issues with occult doctrines.

Every culture has its own conception of symbolism, as do various groups of philosophers, historians and sociologists. Many of the theories used to explain and understand them are contradictory, and some people, such as the anthropologist Dan Sperber, have doubted that it is possible even to define symbolism. The American philosopher ...

Article

Julius Kaplan

European cultural movement that was at its peak in the last two decades of the 19th century, profoundly affecting the visual arts and inextricably bound up with music and literature.

Symbolism was first identified as a literary movement by Jean Moréas (1856–1910) in the Symbolist manifesto (‘Le Symbolisme’, Le Figaro, 18 Sept 1886). Symbolism in the visual arts was further defined by Albert Aurier as the ‘painting of ideas’ (‘Les Symbolistes’, Rev. Enc., 1 April 1892). Its complex aesthetic was a mix of Platonic-inspired philosophy, mystical and occult doctrines, psychology, linguistics, science, political theory and such aesthetic issues as the relationship between abstraction and representation. While many Symbolists reacted against the materialism of 19th-century science and its implications (positivist philosophy, social Darwinism, artistic Realism), others sought to reconcile modern science with spiritual traditions. Ideas based on the rise of scientific psychology with its emphasis on individual freedom and the great interest in the occult, together with such practices as hypnosis, opened up a realm of psychic experience, which promised access to important realms of knowledge. Symbolism stressed feeling and evocation over definition and fact and emphasized the power of suggestion. ...

Article

Theatre  

Graham F. Barlow, F. B. Sear, Meg Twycross, Roland Wolff, Marian C. Donnelly, Marie-Françoise Christout, John Orrell, Stanley Wells, Isidre Bravo, Marjoke de Roos, Jérôme de la Gorce, James Fowler, John Earl, Pieter van der Merwe, and Roger Pinkham

Place or structure for drama and performance.

Graham F. Barlow

Architectural theatre structures developed after years of experiment during which performances were conducted in flexible impermanent environments or in buildings designed for other purposes. When dramas involved communities in state celebration of occasional religious festivities, climatic and seasonal considerations dictated the time of performance. The ancient theatres of Greece and Rome (see §II), the impermanent medieval rounds, processional wagon stages (see §III, 1) and the public playhouses of northern Europe were roofless, relying on favourable weather conditions and daylight to illuminate the performances. As social conditions and patterns of leisure changed, performances were also given in the winter season, and theatres became enclosed. They were lit first by candles and oil, then gas and finally electricity. Although in general theatrical practitioners determine on-stage technical requirements, the structure and decoration of the auditorium and exterior is determined by the patrons. From the 16th century aristocratic ...

Article

John Marenbon

(b Roccasecca, c. 1225; d Fossanova, 7 March 1274; can 18 July 1323; fd formerly 7 March; since 1970, 28 Jan). Italian saint and theologian. He studied at Monte Cassino and the University of Naples, and then in 1244 he joined the Dominicans. In 1256, after further study under Albert the Great (1200–80) in Paris and Cologne, he became a Master of Theology. For the rest of his life he worked in Paris and in Italy. His contemporaries and immediate successors regarded him as a very important theologian, but it was not until the 16th century that he came to be thought pre-eminent among Catholic systematic thinkers. He produced two major works, the Summa contra Gentiles and the Summa theologiae, and the latter was unfinished at his death. Although his voluminous writings contain only a few remarks on the concept of beauty, many 19th- and 20th-century commentators have tried to gather a Thomist ...

Article

Aileen Ribeiro, Margaret Scott, Hero Granger-Taylor, Jennifer Harris, Jane Bridgeman, Diana de Marly, and Eleanor Gawne

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John Dixon Hunt

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Peter Kidson, Michael T. Davis, Paul Crossley, Dany Sandron, Kathryn Morrison, Andreas Bräm, Pamela Z. Blum, V. Sekules, Phillip Lindley, Ulrich Henze, Joan A. Holladay, G. Kreytenberg, Guido Tigler, R. Grandi, Anna Maria D’Achille, Francesco Aceto, J. Steyaert, Pedro Dias, Jan Svanberg, Angela Franco Mata, Peta Evelyn, Peter Tångeberg, Carola Hicks, Marian Campbell, Elisabeth Taburet-Delahaye, A. M. Koldeweij, G. Reinheckel, Judit Kolba, Lennart Karlsson, Barbara Drake Boehm, Danielle Gaborit-Chopin, Virginia Chieffo Raguin, Yvette Vanden Bemden, Nigel J. Morgan, Daniel Kletke, Erhard Drachenberg, and Scot McKendrick

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Article

Mark Alan Hewitt

(b Philadelphia, PA, June 25, 1925).

American architect. The only child of an Italian–American greengrocer, he was raised in Philadelphia and attended the élite Episcopal Academy in Merion, PA. Entering Princeton University in 1944, he graduated summa cum laude in architecture in 1947, and earned a MFA degree in 1950. Venturi served his apprenticeship in the offices of Oskar Stonorov, Eero Saarinen, and Louis I. Kahn, before winning the Rome Prize in 1954. Upon his return from Rome he began teaching at the University of Pennsylvania, and opened his own architectural office in 1957.

Venturi immediately began to separate himself from the predominant functionalist philosophy associated with the Harvard Bauhaus and the sterile steel and glass aesthetic of Ludwig Mies van der Rohe ’s Chicago school. His first book, Complexity and Contradiction in Architecture (1966), argued that the “messy vitality” of the contemporary environment demanded buildings that embraced complexity and ambiguity, and embodied “the difficult whole.” This book, and two controversial early buildings—the Vanna Venturi (Mother’s) House (...

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Aileen Ribeiro

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Tan Tanaka

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Peter Kidson, Michael T. Davis, Paul Crossley, Dany Sandron, Kathryn Morrison, Andreas Bräm, Pamela Z. Blum, V. Sekules, Phillip Lindley, Ulrich Henze, Joan A. Holladay, G. Kreytenberg, Guido Tigler, R. Grandi, Anna Maria D’Achille, Francesco Aceto, J. Steyaert, Pedro Dias, Jan Svanberg, Angela Franco Mata, Peta Evelyn, Peter Tångeberg, Carola Hicks, Marian Campbell, Elisabeth Taburet-Delahaye, A. M. Koldeweij, G. Reinheckel, Judit Kolba, Lennart Karlsson, Barbara Drake Boehm, Danielle Gaborit-Chopin, Virginia Chieffo Raguin, Yvette Vanden Bemden, Nigel J. Morgan, Daniel Kletke, Erhard Drachenberg, and Scot McKendrick

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Mick Hartney

Term used to describe art that uses both the apparatus and processes of television and video. It can take many forms: recordings that are broadcast, viewed in galleries or other venues, or distributed as tapes or discs; sculptural installations, which may incorporate one or more television receivers or monitors, displaying ‘live’ or recorded images and sound; and performances in which video representations are included. Occasionally, artists have devised events to be broadcast ‘live’ by cable, terrestrial or satellite transmission. Before video production facilities were available, some artists used television receivers and programmes as raw material, which they modified or placed in unexpected contexts. In 1959 the German artist Wolf Vostell included working television sets in three-dimensional collage works. In the same year Nam June Paik began to experiment with broadcast pictures distorted by magnets. He acquired video recording equipment in 1965, after moving to New York, and began to produce tapes, performances and multi-monitor installations (e.g. ...

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Aileen Ribeiro

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Peter Kidson, Michael T. Davis, Paul Crossley, Dany Sandron, Kathryn Morrison, Andreas Bräm, Pamela Z. Blum, V. Sekules, Phillip Lindley, Ulrich Henze, Joan A. Holladay, G. Kreytenberg, Guido Tigler, R. Grandi, Anna Maria D’Achille, Francesco Aceto, J. Steyaert, Pedro Dias, Jan Svanberg, Angela Franco Mata, Peta Evelyn, Peter Tångeberg, Carola Hicks, Marian Campbell, Elisabeth Taburet-Delahaye, A. M. Koldeweij, G. Reinheckel, Judit Kolba, Lennart Karlsson, Barbara Drake Boehm, Danielle Gaborit-Chopin, Virginia Chieffo Raguin, Yvette Vanden Bemden, Nigel J. Morgan, Daniel Kletke, Erhard Drachenberg, and Scot McKendrick

In 

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John Dixon Hunt

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Diana de Marly

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Peter Kidson, Michael T. Davis, Paul Crossley, Dany Sandron, Kathryn Morrison, Andreas Bräm, Pamela Z. Blum, V. Sekules, Phillip Lindley, Ulrich Henze, Joan A. Holladay, G. Kreytenberg, Guido Tigler, R. Grandi, Anna Maria D’Achille, Francesco Aceto, J. Steyaert, Pedro Dias, Jan Svanberg, Angela Franco Mata, Peta Evelyn, Peter Tångeberg, Carola Hicks, Marian Campbell, Elisabeth Taburet-Delahaye, A. M. Koldeweij, G. Reinheckel, Judit Kolba, Lennart Karlsson, Barbara Drake Boehm, Danielle Gaborit-Chopin, Virginia Chieffo Raguin, Yvette Vanden Bemden, Nigel J. Morgan, Daniel Kletke, Erhard Drachenberg, and Scot McKendrick

In 

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John Dixon Hunt

In