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- W2770622871 abstract "The opposition between these two conceptions of the image—as degraded shadow of a physical thing and as supreme representative of an abstract type—is mirrored in the opposition between the two different sorts of natural representation I have identified: is it the cicada’s husk that is the trace or the Lucretian “film,” or is it rather the adult cicada that crawls out of the husk? Both of these oppositions are in turn mirrored by that between two basic conceptions of art that have endured throughout most of Western history: the imitation of the imitation derided by Plato, on the one hand, and on the other, the idea, found for example in the work of Friedrich Schiller and throughout much of the German Romantic movement, that art is an expression or drawing out of the inner truth of things, and as such plays a supremely important role in mediating between human beings and nature, a role that could not be played by the natural objects that are themselves taken as the subjects of figurative art. Whichever side we take in this series of oppositions, one thing remains the same: nature throws forth representations, and human artists are not so much doing something apart from or in response to nature when they begin throwing forth their own as they are getting in on the action." @default.
- W2770622871 created "2017-12-04" @default.
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- W2770622871 date "2017-11-01" @default.
- W2770622871 modified "2023-10-18" @default.
- W2770622871 title "The art of molting" @default.
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- W2770622871 doi "https://doi.org/10.1086/694230" @default.
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