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Description ART, CRIME AND MADNESS: Gesualdo, Carravagio, Genet, Van Gogh, Artaud
This book explores the relationship between creative innovation, deviance and morbidity. To innovate, one has to be able to view the medium and the object of creativity in a different, hitherto unexplored manner. The essence of art is creative innovation, coupled with an ability, in varying degrees, to transcend the boundaries of consciousness. But this 'ability' is also the prerogative of the mentally deranged. Likewise, the criminal and the deviant are more likely to transcend normative barriers while creating, hence the wide range of criminal and deviant behaviour in society. Although the inverse hypothesis does not hold -- the mere existence of deviance or morbidity does not predispose the individual to creativity -- nevertheless criminal and mad behaviour are often very innovative. This thesis is illustrated by historical case histories of creative deviance and genius madness, and contemporary observations. The painter Michelangelo Merisi Caravaggio killed a man while still a teenager, and a second victim during a ball game. In his lifetime he was considered degenerate, but today he is considered the greatest painter of the Italian Settecento, and his portrait adorns the Hundred-Thousand Lira note. Jean Genet the homosexual thief was born out of wedlock and as a teenager he transgressed almost all the paragraphs of the French criminal code. But he became a famous French playwright, the mouthpiece for criminals and deviants. His plays built up a philosophical apology for the raison d'etre of the criminal group.
ART, CRIME AND MADNESS: Gesualdo, Carravagio, Genet, Van Gogh, Artaud Ebooks, PDF, ePub
Art, crime, and madness : Gesualdo, Carravagio, Genet, Van ~ Get this from a library! Art, crime, and madness : Gesualdo, Carravagio, Genet, Van Gogh, Artaud. [S Giora Shoham]
Art, Crime and Madness: Gesualdo, Caravaggio, Genet, Van ~ Art, Crime and Madness explores the relationship between creative innovation, deviance and morbidity by historical case studies of the madrigalist Don Carlo Gesualdo, prince of Venosa, the painter Michelangelo Merisi Caravaggio, Jean Genet the homosexual thief, Vincent Van Gogh, and Antonin Artaud, the revolutionary cinema director.
Art, Crime and Madness: Gesualdo, Caravaggio, Genet, Van ~ Art, Crime and Madness: Gesualdo, Caravaggio, Genet, Van Gogh, Artaud by Shoham, Shlomo Giora (2003) Paperback on . *FREE* shipping on qualifying offers .
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Art, Crime and Madness - Sussex Academic ~ Art, Crime and Madness explores the relationship between creative innovation, deviance and morbidity by historical case studies of the madrigalist Don Carlo Gesualdo, prince of Venosa, the painter Michelangelo Merisi Caravaggio, Jean Genet the homosexual thief, Vincent Van Gogh, and Antonin Artaud, the revolutionary cinema director.
Art, Crime and Madness: Gesualdo, Caravaggio, Genet, Van ~ Art, Crime and Madness: Gesualdo, Caravaggio, Genet, Van Gogh, Artaud [Shoham, Shlomo Giora] on . *FREE* shipping on qualifying offers. Art, Crime and .
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Art, Crime and Madness: Gesualdo, Carravagio, Genet, Van ~ Art, Crime and Madness: Gesualdo, Carravagio, Genet, Van Gogh, Artaud (Inglés) Tapa blanda – 1 junio 2002 de Shlomo Giora Shoham (Autor) › Visita la página de Shlomo Giora Shoham. Encuentra todos los libros, lee sobre el autor y más. Resultados de búsqueda para este autor. Shlomo .
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Shlomo Giora Shoham - Wikipedia ~ Art, Crime and Madness: Gesualdo, Caravaggio, Genet Van Gogh, Artaud: Sussex Academy Press: 2002 The Mytho-Empiricism of Gnosticism: Triumph of the Vanquished: Sussex Academy Press: 2003 Art in the Authentic Domain: Cambridge Scholars Publishing: 2006 Art, Myth and Deviance: Cambridge Scholars Publishing: 2006 International Handbook of Penology .
Langlois Bridge at Arles - Wikipedia ~ The Langlois Bridge at Arles is the subject of four oil paintings, one watercolor and four drawings by Vincent van Gogh.The works, made in 1888 when Van Gogh lived in Arles, in southern France, represent a melding of formal and creative aspects.Van Gogh used a perspective frame that he built and used in The Hague to create precise lines and angles when portraying perspective.
Douglas Morrey - Jean-Luc Godard and the Other History of ~ Art, then, for Blanchot, is related to our capacity and our desire to put an end to the world, to that which puts us in danger or removes us from the security of the world. The paradox of the work of art is as follows: since the image is distanced from the 15. Blanchot, 'Le Musee, l'Art et le Temps', p. 42.
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