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| – classical languages, literature, art, and philosophers |
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| – person with broad education, diverse range of skills, interests |
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| – given art form, literature, visual art/ as well as a field of academic study |
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| – pleasing arrangement that affects us aesthetically |
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| – experience in the arts or humanities, that we value for no reason beyond itself, eg. A sunset. |
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| – non-emotional state where the viewer is able to derive the author’s message |
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| – derived from Apollo, Greek god of light; used to describe something that is orderly and rational |
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| – background, environment in which a certain work is understood. |
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| – rational and logical analysis, looking at subjects objectively, then drawing conclusions |
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| – derived from Greek God of wine and vegetation; used to describe spontaneity as well as a lack of order and structure. This is the passionate or creative aspect of art, society, an individual. |
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| – quality of identifying with another (character in play, novel, eg.) |
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| – often mistake for critical thinking –justifying something that we have done |
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| – careful evaluation of a work of literature, drama, visual art, by pro or non-pro critic. |
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| – (1) collective myths of a culture; (2)organized study of myths; either those of world cultures or of a specific culture. |
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| – tales and beliefs transmitted from generation to generation; many contain psychological truth or fulfilling some deep-rooted need. |
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| – model that, through mythology, becomes part of our subconscious and an addition to the way we organize our thinking about ourselves, human beings in general, and the nature of the universe. |
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| – Jung’s phrase for the universal of myths and archetypes among cultures. |
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| – James Joyce’s term for a fundamental myth of all cultures, also known as a world myth. (eg. hero) |
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| – any distinct category within a discipline. Eg. An epic in literature, or a poem, the novel or short story. Usually each genre has distinct rules, eg. A sonnet must have fourteen lines. |
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| – a literary work that continues to be read centuries after its initial appearance, because it is still relevant. |
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| – poetry that has iambic parameter rhythm, but does not rhyme. |
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| – elaborate, extended description of something in terms of something else (metaphors) |
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| – two consecutive lines of poetry that rhyme; often used by Shakespeare to conclude a sonnet. |
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| – a literary work acknowledged to tower above others of its time in its style, execution, memorable characters, or profound meaning. Not necessarily recognized in its time. |
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| – genre of literature; a long narrative poem recounting the actions of a hero who exemplifies strength, courage, but not necessarily moral virtue. |
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| – sudden insight into life or human nature that often serves as the climax in a work of fiction, particularly in a short story. |
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| – rhythmic, often rhymed verse, musical in nature, usually dealing with the poet’s feelings. |
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| – fourteen line verse form controlled by strict rhythm and rhyme scheme, invented by Renaissance Italian poets and used by Shakespeare and others. |
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| – classical rhythmic scheme, widely used in English verse, consisting of five repetitions in a poetic line. Unstressed syllable is followed by a stressed syllable. |
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| – Japanese poetic form that presents one image, usually derived from an observation in nature, with an underlying thought. Limited by three line, 17 syllables. 5-7-5 |
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| – literary genre popular in the middle ages, revolving around the exploits of a brave knight and his love for a beautiful lady, often married to someone else. |
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| – work of fiction that is shorter than a novel but longer than a short story. |
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| – widely used in literary device in which something abstract is described in terms of something that is more concrete. |
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| – belief that life is essential good and worth living; the ability to free oneself from unnecessary burdens of guilt and a lack of self esteem as well as fears of growing older and eventually having to die. |
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| – belief that all events, including the nature, time, and place of one’s death, have all been predetermined. |
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| – way of living based on the mythical archetype of the phoenix, an immortal bird that goes up in flames and flies up again from its own ashes; a way of perpetually reinventing ourselves. |
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| – art that takes from reality only what the artist wants or that renders a visual depiction of concepts in the artist’s mind; a work that in no way resembles the real world. |
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| – how the modern artist changes reality by adding it to shapes, line and colors not found in nature |
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| – Italian term denoting a way of reproducing in a work of art the interplay of light and shadow in the real world. |
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| – balanced, harmonious, often mathematical characteristics of art and architecture in fifth-century Athens and those aspects of Roman Art that were heavily influenced by artists of that period; also used for all subsequent works art and architecture created in that style. |
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| – artwork painted on the walls of churches and public buildings, popular in the Renaissance, in which the artist paints wet plaster. |
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| – aesthetically pleasing relationship between the two sides of a plane. Ratio is 1:1.68 |
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| – transference of what is experienced either inside or outside the artist to a medium of art; it can be an idealized reproduction, or a realistic, or abstract |
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| – art that is of a person or landscape with the aim of being as close to reality as possible. Declined with the invention of the camera. |
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| – materials an artist works on, eg. Paint, acrylic, charcoal, stone, etc. |
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| – refers less to a particular art movement than to art produced in the late nineteenth to the late twentieth centuries. |
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| – technique of rendering, on a plane or curved surface, objects as they appear to natural vision; developed and defined during the early Italian Renaissance. |
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| – art produced from the late twentieth century to the present; less specific movement than a broad umbrella term for the many innovative techniques. |
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| – used in this chapter, art as likeness. |
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| – period of artistic, political, and social movement that began in the fourteenth century Italy, then spread throughout Western Europe in the 15th and 16th centuries; characterized by renewed interest in the classical world, also marking the end of Medievalism. |
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| –apples, pears, a loaf of bread, and a bottle of wine on a table-can look so real you might imagine all you had to do was reach inside the frame for the food or drink. |
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| – movement in modern art, epitomized by Picasso, in which the artist breaks down the field of vision into discontinuous segments or in which the artist shows a number of visual events taking place simultaneously (as in Guernica). |
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| – group of painters producing intensely realistic art, centered in Holland during the seventeenth century, with Rembrandt the outstanding example. |
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| – mid-nineteenth-century art movement wherein the attempt to be realistic is abandoned, and instead, the artist projects onto the canvas, a subjective experience of the world as color and light. |
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| – an architectural style of the late Middle Ages, featuring high pointed spires and pointed arches |
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| – art as an event that generally exists only for the time it takes for the presentation or installation. |
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| – style of mid-twentieth-century art influenced by comic books, movies, television commercials, and billboard advertising |
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| – broad term used by the art historians for art of the late nineteenth and early twentieth centuries that resembles but is not strict Impressionism |
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| – modern style made famous by the sculptures of Duane Hanson that are so lifelike they seem about to move |
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| – modern style associated with work of Salvador Dali, among others, in which recognizable objects are put together in bizarre contexts that seem like visualizations of dreams |
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| – Greek term defining actions of the spirit or soul (in an intellectual or aesthetic sense) including love for another’s mind |
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| – an artificial and codified set of rules governing the mating behavior of the upper classes during the late Middle Ages and the Renaissance |
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| – originally a reference to the understanding in the Victorian period that men would have sex outside of marriage but women should not |
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| – Greek term referring to the appetites of passion and the flesh |
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| – a medieval troubadour, usually a young man training for the priesthood, who sand lyrics extolling the hedonistic life and encouraging others to enjoy themselves before entering austere holy orders |
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| – originally, an ideal relationship between two compatible minds, one that may have begun as physical passion but moves to a higher plane that involves mutual intellectual and aesthetic interests |
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| – a belief that the ideal society can be planned and rationally administered |
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