在1925年左右,象征的概念开始成为中心。艺术作为直觉和表现或者作为想象,美作为客观化的快感,这些都没有人谈了;代替了这些讨论的是人形成象征和符号的特异能力在艺术上的意义。这个运动是多方面的,有时候和人类学与人文学科联合,有时候和数理逻辑或逻辑实证主义联合,也有时候和心理学或者重新和宗教联成一气。研究符号和象征的科学结了这许多联盟,并且时常从这些联盟借来 Around 1925, the notion of symbolism began to become central. No one talks of art as intuition and expression or as imagination, and beauty as the pleasure of objectification. Instead of these discussions, it is the artistic meaning of the special abilities of human beings to form symbols and symbols. This movement is multifaceted, sometimes in conjunction with anthropology and humanities, sometimes in conjunction with mathematical or logical positivism, and sometimes with psychology or re-religion. The sciences that study symbols and symbols have knotted so many alliances, and often borrowed from these alliances