Zarte Kette mit opulent besetztem Gleiter Dieses Collier ist garantiert ein Hingucker! Aus einer langen Venezianerkette mit 2 Perlen-Imitationen und einem mit Zirkonia besetzten Gleiter zaubert Alfredo Pauly ein Y-Collier, das aus jedem Outfit ein Mode-Highlight macht. Immer schön - von rhodiniert bis gelbvergoldet Der Clou an dem Collier mit Eyecatcher-Garantie ist der wunderschön funkelnde Gleiter. Er gibt Ihnen die Möglichkeit, mit der Länge ihre Kette zu spielen. Wollen Sie ein etwas halsnaheres Schmuckstück oder dürfen Gleiter und Perlen trendig tief sitzen? Sie können die Position des Gleiters nahezu beliebig variieren. Insgesamt 223 weiße, facettierte Zirkonia funkeln an dem durchbrochenen, kreisrunden Gleitverschluss und den Kappen der Perlen-Imitationen um die Wette. Im kühlen Weißgold-Look ergänzen sich Rhodinierung, Zirkonia und Perlen-Imitation perfekt. Die etwas wärmere Variante mit Gelbvergoldung erfreut Sie durch den Kontrast von Goldfarbe und strahlend weißem Besatz. Welche Farbe passt besser zu Ihnen und Ihrer Garderobe? Sie erhalten das Y-Collier in einem stilvollen Etui mit Alfredo Pauly Romance Card und dem Service-Guide „Schmuck & Uhren“. Glamour für jeden Tag - bestellen Sie das Y-Collier am besten gleich hier im Onlineshop! Material: gelbvergoldet oder rhodiniert, hochglanzpoliert 2x Perlen-Imitation, weiß kugelförmig, glatt ca. 12 mm im Durchmesser geklebt 223x Zirkonia, weiß rund/rechteckig/oval, facettiert je ca. 1,0 -3,5 mm im Durchmesser Krappenfassung (geklebt) Maße: Gleiter ca. 31,5 mm im Durchmesser, ca. 10,6 mm stark Kette ca. 96 cm lang, ca. 1,5 mm stark Kettenart: Venezianerkette mit Gleitverschluss Hinweis: Der Gleiter ist nicht abnehmbar! Gewicht: ca. 25,7 g
The Simultaneous Method of drawing is founded on the physiology of eye. It encourages the eye`s natural path of observation to be translated into drawing as directly as possible. By not committing to any outer contours within the drawing until the very final stages, the Simultanous Method fosters an extended process of observation and more gradual, organic development of structure and expression. Specially developed exercises help the learner to turn the conventional, objektive mode of observation into a more creative and integrative view of the drawing subject. The Simultaneous Method also emphatically avoids any kind of direct copying or imitation, which creativity and inventiveness. As well as providing clear, easy-to-understand descriptions and instructions as well as plenty of examples and exercises to master the Simultaneous Method, the author discusses in great detail the elementary principles of spatial composition, the structural vocabulary of tension and dynamics, and the underlying roles played by elementary shapes such as the sphere, cone, cylinder and cuboid. Artistic skills such as expression and composition are aptly illustrated by numerous sketches and drawings, as are more technical skills such as visual targeting and the determining of proportions. Topics such as the human figure (nude), animals and plants, portraiture, inanimate objects and surface texturing are treated in great detail, enhancing this instructional guide with a lot of practical examples. By also explaining how drawing subjects can be placed in a wider artistic context, Ursula Vanoli-Gaul’s instructions provide learners with excellent fundamentals of creating art, developing an individual perspective like an artist.
When we are confronted with a work of art, what is its effect on us? In contrast to post-Enlightenment conceptions, which tend to restrict themselves to aesthetic or discursive responses, the ancient Greeks and Romans often conceived works of art as having a more dynamic effect on their viewers, inspiring them to direct imitation of what they saw represented. This notion of 'mimetic contagion' was a persistent and widespread mode of framing response to art across theancient world, discernible in both popular and elevated cultural forms, yet deployed differently in various historical contexts, it is only under the specificity of a particular cultural moment's concerns that it becomes most useful as a lens for understanding how that culture is attempting tonegotiate the problems of representation.After framing the phenomenon in terms general enough to be applicable across many periods, literary genres, and artistic media, this volume takes a particular literary work, Terence's Eunuch, as a starting point, both as a vivid example of this extensive pattern, and as a case study situating use of the motif within the peculiarities of a particular historical moment, in this case mid-second-century BC Rome and its anxieties about the power of art. One of the features of mimeticcontagion frequently noted in this study is its capacity to render the operation of a particular work of art an emblem for the effect of representation more generally, and this is certainly the case in the Eunuch, whereby the painting at the centre of the play functions as a metatheatrical figure for the dynamicsof mimesis throughout, illustrating how the concept may function as the key to a particular literary work. Although mimetic contagion is only one available Greco-Roman strategy for understanding the power of art, by offering an extended reading of a single work of literature through this lens, this volume demonstrates what ramifications closer attention to it might have for modern readers and literary criticism.
"The life and death of Oscar Wilde, poet, playwright, poseur and convict, can only fittingly be summarised as a tragedy. Every misspent life is a tragedy more or less, but how much more tragic appear the elements of despair and disaster when the victim to his own vices is a man of genius exercising a considerable influence upon the thought and culture of his day, and possessing every advantage which birth, education, talent and station can bestow? Oscar Wilde was more than a clever and original thinker. He was the inventor of a certain literary style, and, though his methods, showy and eccentric as they were, lent themselves readily to imitation, none of his followers could approach their "Master" in the particular mode which he had made his own. There can be two opinions as to the merits of his plays. There can be only one judgment as to their daring and audacious originality. Of the ordinary and the commonplace Wilde had a horror, which with him was almost a religion," [...]Reprint of the book original published in 1906.
A stunning work on contemporary fashion spectacles, showcasing the most innovative, creative, and artistic high-fashion runway shows of the last twenty years. In recent years, as fashion shows have become a part of our collective imagination and an important part of contemporary culture, blockbuster productions have redefined the runway show as a form of entertainment and creativity on par with the clothes themselves. This book focuses on designers for whom fashion and the mode of presenting it have held equal significance: Alexander McQueen, Martin Margiela, Hussein Chalayan, Viktor & Rolf, Marc Jacobs, Karl Lagerfeld at Chanel, Raf Simons, Thom Browne, and Imitation of Christ, among them. From the performance art spectacles of the first Alexander McQueen collections in the mid-1990s and the high-art concept shows of Hussein Chalayan in the late 1990s to the lavish beauty of Chanel haute couture in 2012, author Alix Browne explores the highest pinnacles of fashion today. Runway gives the reader full access to the theatrical and creative aspects of the production, in both intimate, little-seen runway shows from the pre-Internet era-many of the photographs here have never been published before-as well as major productions with elaborate sets and full-blown narrative. A thrilling, immersive, and inspiring look into the wide-ranging creativity of contemporary fashion, Runway is the most thorough book available on the subject. Featuring the most innovative fashion designers of the last twenty years, this book is a must for lovers of fashion and culture.
Ancient depictions of Alexander the Great constitute the ‘hot core’ of portrait research in Classical Archaeology. Yet so far there have been no systematic studies on the history of their reception. In spite of this gap, the assumption that the iconography of Alexander was intensively received and imitated in the most diverse pictorial productions of Ancient art – and in particular in depictions of gods and mythical heroes – is axiomatically repeated in scholarly literature. The present study is the first to systematically investigate the relations of similarity, i.e. the iconographic entanglements between the portraits of Alexander the Great and individual depictions of gods and heroes [such as Helios, Achilles and Heracles] and traces their possible meanings and culture-historical background. Amongst others, it is questioned whether the twin term of Imitatio Alexandri, often used in scholarly literature and implying an intentional reference to Alexander, is even suitable for characterising the relevant linkages. In this analysis, ‘imitation’ as a normative mode of referencing and its unambiguous referent ‘Alexander’ are set against various inter-iconic forms of reference which qualitatively speaking differ markedly in their clarity. This makes it possible to provide a new assessment both of the reception of Alexander iconography and of its intensity.
Digitalization has transformed the discourse of architecture: that discourse is now defined by a wealth of new terms and concepts that previously either had no meaning, or had different meanings, in the context of architectural theory and design. Its concepts and strategies are increasingly shaped by influences emerging at the intersection with scientific and cultural notions from modern information technology. The new series Context Architecture seeks to take a critical selection of concepts that play a vital role in the current discourse and put them up for discussion. In the context of discussions of the medial, the notion of simulation plays a central role in architecture as illusion and imitation. In dialogue with information technology and computer science, however, that notion has now taken on a new quality in architectural discourse. Today when we speak of simulation we primarily think of 'computer simulation,' the technical ability to simulate processes. Whereas simulation used to refer to a mode of presentation, it now connects architecture with the sciences and represents a strategic and methodological instrument, a tool of discovery. With the scientific principle of simulation the focus shifts to the idea of 'modeling a dynamic system' (Norbert Wiener), not just presenting finished products but going in search of solutions and developing systems! TOC:Thomas Hänsli, Der Vorhang des Parrhasius. Simulation zwischen Mimesis und Medialität.- Andrea Gleiniger, Von Spiegeln, Wolken und platonischen Höhlen: medienexperimentelle Raumkonzepte im 20. Jahrhundert.- Niels Röller, Scientia Media. Simulation zwischen den Kulturen.- Georg Vrachliotis, Flussers Sprung. Simulation und technisches Denken in der Architektur.- Gabriele Gramelsberger, Das epistemische Gewebe simulierter Welten.- Erich Hörl, Wissen im Zeitalter der Simulation. Metatechnische Reflexionen.- Bibliography, commented selection.- Credits.- Biographies.
This book provides a translation, with introduction, commentary, and annotation, of the medieval Hindu Sanskrit text the Devi Gita (Song of the Goddess). It is an important but not well-known text from the rich Sakta (Goddess) tradition of India. The Devi Gita was composed about the fifteenth century C.E., in partial imitation of the famous Bhagavad Gita (Song of the Lord), composed some fifteen centuries earlier.Around the sixth century C.E., following the rise of several male deities to prominence, a new theistic movement began in which the supreme being was envisioned as female, known as the Great Goddess (Maha-Devi). Appearing first as a violent and blood-loving deity, this Goddess gradually evolved into a more benign figure, a compassionate World-Mother and bestower of salvific wisdom. It is in this beneficent mode that the Goddess appears in the Devi Gita.This work makes available an up-to-date translation of the Devi Gita, along with a historical and theological analysis of the text. The book is divided into sections of verses, and each section is followed by a comment explaining key terms, concepts, ritual procedures, and mythic themes. The comments also offer comparisons with related schools of thought, indicate parallel texts and textual sources of verses in the Devi Gita, and briefly elucidate the historical and religious background, supplementing the remarks of the introduction.
Digitalization has transformed the discourse of architecture: that discourse is now defined by a wealth of new terms and concepts that previously either had no meaning, or had different meanings, in the context of architectural theory and design. Its concepts and strategies are increasingly shaped by influences emerging at the intersection with scientific and cultural notions from modern information technology. The new series Context Architecture seeks to take a critical selection of concepts that play a vital role in the current discourse and put them up for discussion. In the context of discussions of the medial, the notion of simulation plays a central role in architecture as illusion and imitation. In dialogue with information technology and computer science, however, that notion has now taken on a new quality in architectural discourse. Today when we speak of simulation we primarily think of 'computer simulation,' the technical ability to simulate processes. Whereas simulation used to refer to a mode of presentation, it now connects architecture with the sciences and represents a strategic and methodological instrument, a tool of discovery. With the scientific principle of simulation the focus shifts to the idea of 'modeling a dynamic system' (Norbert Wiener), not just presenting finished products but going in search of solutions and developing systems!