首页> 外文OA文献 >Образ дзеркала та естетичні ідентифікації суб’єкта в символіці художньої творчості (The image of a mirror and aesthetic identification of subject in art creativity symbolism)
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Образ дзеркала та естетичні ідентифікації суб’єкта в символіці художньої творчості (The image of a mirror and aesthetic identification of subject in art creativity symbolism)

机译:镜子的图像和艺术创造力的象征意义中的主题的审美认同(镜子的图像和艺术创造力象征性中的主题的美学认同)

摘要

У статті досліджений спектр семантичних значень символу дзеркала в мистецтві та показана виняткова роль цього художнього образу в розкритті проблем ідентичності суб’єкта. Наявність різних модусів «дзеркала» (ціле, деформоване, розбите, реальне, порожнє) у творі дозволяє виробити уявлення про внутрішній статус естетичного суб’єкта в той чи інший історичний період.ud(The spectrum of semantics of mirror symbol in art and the significanсe of this image in disclosing problems of the subject’s identity are researched in the article.udThe motif of «a man in the mirror» is used to depict moments of self-reflection, introspection of character in works of art. It is a «mirror» becomes a symbol with the wide range of connotations related to human subjectivity and identity of the subject (an author, a character, a recipient). A «mirror» in art is allegory of self-knowledge, wisdom, selfrighteousness,udselfishness, pride, lust, luxury, vanity, dissimulation, mimicry and even annihilation.udThe symbol of the person, who immerse himself in contemplation of his own «Ego» in a mirror, is a mythological character Narcissus. This image used throughout the history of art embodies many meaning and senses as well as the mirror. Narcissus is the highest expression of introspection, complete absorption in himself, egomania and absolute break with societyudThe mirror also provides the subject with another, opposite possibility – to see himself among the others, compare himself with someone or something, and, therefore, to understand his place in the social or spiritual space. Thus, artists often represent character vis-a-vis a»mirror» to give him the opportunity to see himself in some context: in the context of his own life, in the context of ideal prescriptions or in the context of society. So the identity is acquired between theseudtwo positions – self-discovery, introspection and comparison, mimicry.udThe art via various modes of «mirror «(whole, deformed, broken, real, empty) demonstrates the results of suchudsearches for identity and allows to develop the idea of the internal status of the aesthetic subject in a particular historical period.)
机译:本文考察了艺术中镜像符号的语义范围,并展示了这种艺术图像在揭示主体身份问题方面的独特作用。作品中存在各种不同的“镜子”模式(整体,变形,破碎,真实,空虚),这使我们对一个特定历史时期的审美主体的内部状态有了一个认识。 Ud(镜子符号在艺术和艺术上的语义谱)文章中研究了该图像在揭示主体身份问题中的意义。 ud“镜子里的男人”的主题用来描绘艺术品中自我反思的时刻,内省的性格。镜子»成为具有与人类主观性和主体身份(作者,角色,接受者)有关的广泛含义的符号。在艺术中,镜子«是关于自我知识,智慧,自以为是,自私的寓言,骄傲,欲望,奢侈,虚荣,虚伪,模仿,甚至是ation灭 ud这个人的象征,是沉浸在镜子中沉思自己的“自我”的象征,是神话人物水仙。的rt体现了许多意义和感官以及镜子。水仙是内省,自我完全吸收,狂妄自大和与社会的绝对分裂的最高表达。镜子还为对象提供了另一种相反的可能性-与他人相比,与其他人或其他人进行比较,因此,了解他在社会或精神领域的地位。因此,艺术家经常相对于“镜子”来代表角色,使他有机会在某些情况下看到自己:在他自己的生活中,在理想处方中或在社会中。因此,在这两个位置(自我发现,内省和比较,模仿)之间获得了认同。Ud通过各种“镜像”模式(整体,变形,破碎,真实,空虚)的艺术展示了这种 udsearch的结果。身份,并允许在特定历史时期内发展审美主体的内部地位的观念。)

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  • 入库时间 2022-08-20 20:13:00

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