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dc.creatorĆipranić, Miloš
dc.date.accessioned2021-10-28T16:13:59Z
dc.date.available2021-10-28T16:13:59Z
dc.date.issued2019
dc.identifier.isbn978-86-80484-42-6
dc.identifier.urihttp://rifdt.instifdt.bg.ac.rs/123456789/2367
dc.description.abstractThe essay discusses whether painting can be a socially engaged art. Jean-Paul Sartre, Emmanuel Levinas and Maurice Merleau-Ponty gave a negative or at least skeptical answer. However, the essential fact that the images are silent does not prevent them from potentially obliging their viewers. The silence of the painter is not a negative act. Counter-examples that test the position of the generation of French phenomenologists will be sought in the Spanish and Yugoslav tradition of visual arts, primarily in the works of Francisco Goya and Đorđe Andrejević Kun.sr
dc.language.isoensr
dc.publisherBelgrade: Institute for Philosophy and Social Theorysr
dc.rightsopenAccesssr
dc.rights.urihttps://creativecommons.org/licenses/by/4.0/
dc.sourceEngagig (for) Social Changesr
dc.subjectpaintingsr
dc.subjectengagedsr
dc.subjectartsr
dc.subjectsilencesr
dc.subjectSartresr
dc.subjectLevinassr
dc.subjectMerleau-Pontysr
dc.subjectGoyasr
dc.subjectKunsr
dc.titlePainter and the Pledge of Silencesr
dc.typebookPartsr
dc.rights.licenseBY-NC-NDsr
dcterms.abstractЋипранић, Милош;
dc.type.versionpublishedVersionsr
dc.identifier.fulltexthttp://rifdt.instifdt.bg.ac.rs/bitstream/id/8356/bitstream_8356.pdf
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_rifdt_2367


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