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Your style is chic and simple, and you are most likely to rock a silk slip dress to your wedding with some serious jewelry. You care more about quality than ...
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especially the photographer as semiotics-the practice of making enormous
the volume of canonized characters in your object. At the same time the selection of a
other reading exercises and the context of situation-the raised hand may
be read not only as a gesture to monument, but also to be an indication that
tight sleeve. "The traditional understanding of the role of the monument canonize this
by the way, a certain value of the depicted characteristic gesture" (P. 108).
A. G. Tires introduces also such a purely semiotic principle
the randomness of the clothes and the situation: the human is considered
as something characteristic, not fancy. Artist
preparirovanie and the expression on the face of the model to make it
A hint of a third type of sign is the fact that has no real
relationships (what is a characteristic sign) and has certain
conventional values (which is a characteristic of the word). Example
hint can serve as a cloud-Laden sky that hints at a disturbing
the status of the person depicted. A. G. Tires defines the hint
the object or the part of it that bear impressionally color.
What's the difference between an attribute and a hint? The hint is associated with the transfer
some content portrait from one layer to another. For example, from
external in the internal, it is like a repetition, but on a different level. The same symptom
located in one layer, on one level, there is this transition. Another
the difference is that the "hint has more freedom in choosing
layer of personality to which he may specify" (P. 114-115). Hint
fundamentally shaped, while the signs and words can be
neobratimo. The whole is determined by the context: "the value of each
a separate portrait of mark reveals to us only in the context
the contemplation of the portrait as a holistic unity" (p. 116).
A. G. Tires also considering the possibility of metaphor in painting and
sculpture. In the case of painting instead of naming a single object by name
other we are talking about "sobrannosti one subject in the guise of
the other" (p. 122). Metaphor in painting, he interprets as metafora in thought,
because there is no conventionality of the word mark. Plastic
the metaphor never loses the individual in favor of the abstract.
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