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Titlebook: A New Approach to the Arts; Tracing the Roots of Peter Moore Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive lic

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https://doi.org/10.1007/978-3-031-61429-3the arts; iconology; mimesis; gesture; verisimilitude; narrative; artistic conventions
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https://doi.org/10.1007/978-3-662-00429-6ld. The book identifies image, word, melody and gesture as four primary ‘ingredients’ of artistic representation. It is these four ingredients, singly or in various combinations, which generate the multifarious forms of art in every culture. Artistic representation entails far more than imitation. A
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https://doi.org/10.1007/978-3-642-57982-0articular sequence of words used to build up a new world, or a new view of the world, in the mind of reader or listener? These and other questions direct our attention to the many links between word and image, the relationship between poetry and prose, the implicit music and rhythm of language, and
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https://doi.org/10.1007/978-3-662-00430-2ational. Quite apart from music written to accompany voice or narrative, a good deal of purely instrumental music is acknowledged, often by musicians themselves, to be representational at least in the sense of being expressive of moods and emotions, if not of ideas, narratives or visual impressions.
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,Diskrete Wahrscheinlichkeitsräume,rtists work variously to confirm, challenge or overturn. It is these conventions which differentiate art from nature. Art is nevertheless judged by its fidelity to nature, by its truth-telling quality. The term ‘verisimilitude’ identifies the lifelike character of a work of art. But being true to li
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,Diskrete Wahrscheinlichkeitsräume,life, but frequently they also seek to imitate, draw inspiration from or collaborate with each other. Thus we find not only the play or the novel, but the film of the play or the novel; not only the painting, but the poem about, or the novel inspired by, the painting; and so on. The close connection
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