Antique store offers reward to identify thieves
CTV News-Dec. 14, 2018
A south Edmonton business has offered a reward to whoever can identify the two men that allegedly stole jewelry on Wednesday afternoon. Betty Reitan, the ...
Marie Antoinette's Dazzling Jewelry Made Public for the First ...
The Vintage News (press release) (blog)-Oct. 22, 2018
Ruby and diamond brooch weighing 6.89 carats, estimate: $200,000 – 300,000, given by Archduke Frederic of Austria to his daughter (Courtesy: Sotheby's).
It's Time to Stock Up on Vintage Versace Jewelry
JCK-Nov. 29, 2018
Among jewelry collectors, this all adds up to one thing: OG Versace anything is ... And prompt antique and estate jewelers such as M.S. Rau Antiques in New ...
Watch shoplifter steal jewelry from Century Girl in New Orleans
NOLA.com-Jan. 14, 2018
Watch shoplifter steal jewelry from Century Girl in New Orleans ... rings from Century Girl Vintage, 2023 Magazine St., New Orleans, on Wednesday (Jan.
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The portrait is an image of the outside, he understands his A. G. Tires.
Hence the impossibility of the image of thought -- "thought neizobrazimo in
spatial art;
it gives only a hint of a certain thought, or rather -- on
a particular area of thought: it indicates the range of subjects, United by a
common emotional attitudes depicted of the subject" (P. 137).
Here's the problem facing the practical semiotics
in the field of "public relations", when it should, for example, to demonstrate such
characteristics, such as honesty or sincerity of the Premier. "Cunning deceit,
insidious plan, tactful silence, gentle "neokazanii of view", external
coldness, aloofness, noble restraint, etc. -- all this
characterized by external faintness, and, consequently, the unavailability
beautiful image" (p. 127). And this is the peculiarity of the semiotic
the language of painting. "Absolute faintness totally inaccessible external
the image is -- the rest, absolutely no painting"
(P. 128). In this plane, there is another purely semiotic paradox
-- the absence of an image "unreal" experiences, for example, acting.
"The actor may not be depicted in the portrait. Portrayed an actor in
of a role -- not an actor but a real person. Let the signature
reads: "NN in such a role," let the masquerade tinsel says about it
the language of painting-in the facial expression, the facial expressions and
position, we will not see the game, unless, of course, before us is a genuine game, not
explicit imitation of the real expression" (P. 129). This is an interesting task.
It turns out that in the presence of like several semiotic levels,
painting is not all of them can pass, he goes down to one of them.
A. G. Tires expresses it as follows:
"a portrait can depict the real, but cannot display it
anastasescu" (P. 130).
Revealing the complexity of the processes of interpretation, A. G. Tires
comes to understanding the special nature of the aesthetic hermeneutics scenic
works: "Art "hermeneutics" is very special
the methodology compared to the "hermeneutics" psychological. Along with
psychological "physiognomy", "somatogenic", "gestagenic",
"costumography", etc.,
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