Essence of Art Nouveau

By Paul Greenhalgh

Book Overview

Today, large corpora consisting of hundreds of millions or even billions of words,along with new empirical and statistical methods for organizing and analyzing these data, promisenew insights into the use of language. Already, the data extracted from these large corpora revealthat language use is more flexible and complex than most rule-based systems have tried to accountfor, providing a basis for progress in the performance of Natural Language Processing systems. UsingLarge Corpora identifies these new data-oriented methods and describes the potential results thatthe use of large corpora offers.The research described shows that the new methods may offersolutions to key issues of acquisition (automatically identifying and coding information), coverage(accounting for all of the phenomena in a given domain), robustness (accommodating "real data" thatmay be corrupt or not accounted for in the model), and extensibility (applying the model and data toa new domain, text, or problem). There are chapters on lexical issues, issues in syntax, andtranslation topics, as well discussions of the "statistics-based" vs. "rule-based" debate.ACL-MITSeries in Natural Language Processing

• Format: Hardcover
• Language: English
• ISBN: 0810940817
• ISBN13: 9780810940819
• Release Date: October 2000
• Publisher: Harry N. Abrams
• Length: 96 Pages
• Weight: 1.08 lbs.
• Dimensions: 0.8" x 7.8" x 8.5"
• Age Range: 13 years and up
• Grade Range: Grade 8 to Postsecondary

Customer Reviews

A brief yet fascinating introduction to Art Nouveau and its origins ...

From the outset, Paul Greenhalgh does what other art historians often fail to do, by placing the design style into historical context for the general reader. "Imagine a world," he writes, "in which virtually every aspect of life has undergone, in a single life-span, a complete physical transformation. Art Nouveau arrived in a world such as this." Using side-by-side comparisons, the author shows the direct stylistic impact of other artistic traditions and objects, such as rococo sculpture, Japanese prints, and Islamic decorative arts. Although the Minoan influences on later works are curiously absent, Greenhalgh effectively illustrates how, for example, "Islamic culture exuded a heavy sensuality for Europeans whose sense of the Orient was based upon the myth of the Eastern woman ..." One sees this Orientalist resonance in the sensuous glassware of Louis Comfort Tiffany and in Theodore Riviere's erotically charged sculpture, Carthage or Salammbo chez Matho. Interestingly, Greenhalgh attributes the demise of Art Nouveau to precisely what it celebrated, an "eclectic range of sources". Unusual in a book of this size, there is a substantial chronology with key moments in Art Nouveau listed by year and country of origin.