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BİRLİK-ÇOKLUK TEORİSİ BAĞLAMINDA SANATIN DEĞERSEL SINIRLARININ SORGULANMASI ̇, 1-18
A DISCUSSION ON THE VALUE BOUNDARIES OF ART IN THE CONTEXT OF THE THEORY OF UNITY-MULTIPLICITY
http://dx.doi.org/10.29228/ASOS.76454
Nazan DÜZ -Sema YAYLA BOZA
Abstract
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ERWIN PANOFSKY’NİN İKONOGRAFİK VE İKONOLOJİK ELEŞTİRİ YÖNTEMİNE GÖRE HUGO VAN DER GOES’UN “İLK GÜNAH” ADLI ESERİNİN “KARŞILAŞTIRMALI” ANALİZİ̇, 60-71
"COMPARATIVE" ANALYSIS OF HUGO VAN DER GOES' "THE ORIGINAL SIN" ACCORDING TO ERWIN PANOFSKY'S ERWIN PANOFSKY'S ICONOGRAPHIC AND ICONOLOGICAL CRITICAL METHOD
http://dx.doi.org/10.29228/ASOS.54190
Nazan DÜZ
Abstract
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CLAUDE MONET’İN “İZLENİM: GÜN DOĞUMU” ADLI YAPITININ A. J. GREIMAS’A GÖRE GÖSTERGEBİLİMSEL AÇIDAN ÇÖZÜMLENMESİ̇, 200-212
AN ANALYSIS OF CLAUDE MONET’S “IMPRESSION: SOLEIL LEVANT” WITH RESPECT TO SEMIOLOGICAL METHOD OF A. J. GREIMAS
http://dx.doi.org/10.16992/ASOS.12254
Nazan DÜZ
Abstract
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