Hasil untuk "History of the arts"

Yohana Michael Lukinga

This article interrogates the destructive socio-ecological nexus in Véronique Tadjo’s In the Company of Men (2021) through a synthesis of Cajetan Iheka’s framework of ‘proximity’ and Rob Nixon’s concept of ‘slow violence’. While existing scholarship primarily addresses pandemic memorialization, this study identifies a critical gap by analysing how Tadjo’s visceral and multi-sensory imagery functions as a diagnostic of the colonial and socio-economic forces driving ecological collapse. The central argument posits that Tadjo utilizes imagery to manifest the catastrophic outcomes of ‘vulnerable proximity’, where the material enmeshment of species under extractive capitalism facilitates a lethal bridge for pathogens. By applying Nixon’s theory, the analysis demonstrates how the ‘slow violence’ of habitat destruction and unregulated mining, often invisible and attritional, is accelerated into the ‘fast violence’ of zoonotic spillover. The findings reveal that when human-non-human proximity is mediated through post-colonial structural weaknesses and global market demands, it results in a terminal breakdown of species boundaries. This research contributes to the African environmental humanities by illustrating how Tadjo’s aesthetic strategies map the negative externalities of the human–non-human nexus, specifically identifying how habitat loss, pollution, pandemic eruptions and deaths of living beings emerge as inevitable consequences of fractured proximity. Ultimately, the study concludes that the pandemic is the visceral manifestation of long-term, attritional environmental degradation inherent in modern extractive regimes.

Lorenzo Vespoli

L’interesse di Poliziano per Macrobio è ampiamente rintracciabile nella sua produzione relativa all’esegesi dei classici. Nelle postille inedite che Poliziano ha vergato a commento dell’Eneide, tramandate dall’incunabolo Paris, Bibliothèque Nationale de France, Rés. G. Yc. 236 (ISTC iv00151400), il confronto con i Saturnalia di Macrobio risulta condotto in modo sistematico. Con il mio articolo mi propongo di fornire alcuni esempi relativi alla lettura dei Saturnalia da parte di Poliziano per mettere in luce la tecnica imitativa di Virgilio.

Giedrė Mickūnaitė

Europos šiaurėje Viduramžiai žymi pradžią nacionalinių istorijų, kuriose pirmą kartą paminėti etnonimai, vietovardžiai, asmenvardžiai, aprašyti įvykiai ir suformuoti pasakojimai, susiję su gamtiniu ir kultūriniu kraštovaizdžiu, moderniais laikais klojo pamatus valstybių istorijoms. Šių procesų išdava yra ir vadinamoji „kunigaikščių Lietuva“, pastaraisiais šimtmečiais maitinusi istorinę vaizduotę, didaktiką, iš dalies ir istorijos politiką. Tik XX a. pabaigoje šiuos prieštaravimų nepripažįstančius ir veikiausiai nepažįstančius didžiuosius pasakojimus imta skaidyti, į mokslo apyvartą įtraukiant kasdienį gyvenimą fiksavusius šaltinius, medžiaginės kultūros tyrimų duomenis, bet visų pirma keliant klausimus ir pasitelkiant tarpdalykines tyrimų prieigas. Taip dabartinė medievistika Viduramžių Europoje atrado miestietišką gyvenseną, moteriškąjį maldingumą, nuolatinį nepriteklių ir proginį perteklių, inžinerinę mintį, kenčiantį kūną ir kultūriškai ugdomą žvilgsnį. Permąstoma Lietuvos Didžiosios Kunigaikštystės (toliau – LDK) praeitis tapo paskata peržiūrėti dailės istorijos pasakojimą, visų pirma jį praplečiant ir papildant pastarųjų dešimtmečių tyrimais. Prieš dešimtmetį VDA Dailėtyros institute, aptariant LDK dailės ir architektūros tyrimų būklę, buvo sumanyta parengti naują Lietuvos dailės istoriją, kuri turėjo prasidėti nuo tomo, skirto krikščioniškiems LDK Viduramžiams. Optimistinį sumanymą skatino palyginti trumpas, XIV a. pabaiga – XVI a. pradžia apribotas laikotarpis, negausiai išlikę objektai, gausėjantys archeologinių ir natūros tyrimų duomenys. Tuokart apsispręsta aptarti medžiaginės kultūros šakas ir taip padėti pamatus tyrimų sintezei. Dešimtmetį brandintas sumanymas ne tik pateikė naujas tyrimų apžvalgas, bet ir išryškino spragas, netolygumus ir tyrėjų stoką probleminę dailės istorijos sintezę paversdamas ne konkrečiu planu, o ateities lūkesčiu.

Tatiana V. Gorbunova

This article examines the use of the Hangul image in the works of contemporary South Korean artists as a key element of South Korea’s cultural identity and self-definition. Created in the fifteenth century by King Sejong, Hangul has become an important symbol of the independence of Korean culture from Japanese culture and an element of Korean writing to facilitate literacy. In this way, Hangul played a key role in mass enlightenment by making knowledge accessible, connecting different segments of society, and serving as an important tool in the dissemination of culture and education. In today’s context of globalization and digitalization, artists are increasingly turning to the Korean alphabet, using it in their installations using digital technology and multimedia formats, allowing them not only to preserve cultural heritage but also to reinterpret it through the lens of the digital age. Through such works, Hangul acquires new forms of expression, becoming not just a writing, but also a significant visual and philosophical symbol. Examples of exhibitions and installations, such as those at the National Hangul Museum and the Gangseong Museum, demonstrate not only the significance of Hangul in preserving cultural heritage, but also its role as a bridge between tradition and innovation, confirming its relevance in contemporary society and its significance to Korean national identity. For example, an exhibition at the National Museum of Hangul (Seoul, 2017) focused on Hongminjonim, a treatise explaining the principles of the creation and use of the alphabet. Visual and sound elements created a unique space where the traditional Korean alphabet was perceived through a contemporary lens. Kang Ik Joon’s installation Gwanghwamun Ariran (2020), incorporating elements of digital technology, expresses political and cultural ideas, the pursuit of unity, and the preservation of memory. Kang Ik Joon through his installation “Hangul Wall” (2024) interprets the Korean alphabet into contemporary art without losing its meaning. Through the image of Hangul, the artists lay down a powerful visual image that does not leave their compatriot indifferent. In the context of globalization and technological change, Hangul retains its uniqueness as an important tool for expressing Korean identity and cultural memory. As a stimulus for creative processes, Hangul continues to inspire artists, creating a new space for self-expression.

Jennifer Way, Tracy Stuber

Jolita Mulevičiūtė

Straipsnyje tiriamas teisėsauginės fotografijos tapsmas Rusijos valdytose istorinėse Lietuvos žemėse. Siekiama atsakyti į klausimus, kaip XIX a. keitėsi asmens tapatybės samprata, kokioms Lietuvos gyventojų grupėms caro administracija fotografinės identifikacijos metodą pradėjo taikyti pirmiausia, kas lėmė būtent šių grupių išskyrimą, kaip vizualinė visuomenės priežiūra buvo vykdoma ir kuo Šiaurės vakarų teritorijoje praktikuoti būdai skyrėsi nuo vaizdinės kontrolės kituose Romanovų imperijos regionuose. Kartu aptariamas fotografijos, kaip moralės ir politikos požiūriu pavojingos medijos, statusas bei mėginimas XX a. pradžioje liberalizuoti teisinį jos reglamentavimą.

Petar Puhmajer, Ratko Vučetić, Ivana Haničar Buljan

U članku se razmatraju prostorne i oblikovne značajke stambene arhitekture Osijeka u 18. stoljeću. To su većinom građanske kuće obrtnika, trgovaca, gradskih i vojnih činovnika, koje nastaju na parcelama unutar planski izgrađenoga grada-tvrđave. Kuće imaju karakteristična tlocrtna obilježja koja čine nizovi i grupe prostorija, kod kvalitetnijih u prizemlju redovito s vežom, koja može biti centrirana ili decentrirana u odnosu na središnju os, a na katu reprezentativni salon. Identificiraju se pojedinačni primjeri kuća, s obzirom na vrijeme nastanka i naručitelje, kao i arhitektonska rješenja, uz bitnu odrednicu da je riječ mahom o reprezentativnim katnicama višeg standarda koje su se isticale u vizuri grada. One u izvjesnoj mjeri preuzimaju elemente s javnih i vojnih zgrada što se tumači djelovanjem istih graditelja i projektanata – vojnih inženjera koji su bili angažirani na gradnji tvrđave, a koji dokumentirano projektiraju i građanske kuće.

Erik Hinterding, Huigen Leeflang, Manon van der Mullen

Phd Students of History of Art and Theory of Literatur School of Arts and Humanities - University of Lisb

Genovaitė Dručkutė

Drawing on the theoretical premises of imagology and geocriticism, the article analyzes the aesthetic experience of the traveler who traverses Lithuanian cities (Vilnius, Kaunas, Klaipėda), walks across small towns, stops over in villages, and makes his way to the seaside. The local aesthetic identity of the newly discovered country, i.e. its beauty and/or loathsomeness, is revealed by the author Jean Mauclère through a few perspectives: on the one hand, it is the beauty of nature, folk and professional art (architectural exteriors and interiors, fine arts, music), the physical type of Lithuanian men and women. This identity, as Mauclère suggests, reveals itself in the contexts of local history, traditions and culture. Although the author seeks to remain objective in his description of his new aesthetic experience in Lithuania, he remains a representative of his own French culture and its traditions nonetheless. On the other hand, he underlines the otherness of the novelty of his experience.

Miroslav Jindra

Homosexuality in children’s literature is still a controversial topic in many countries of the world. Not only are people afraid to talk about this theme with children, they do not know how. The history of this topic in children’s literature dates back to the 80s of the 20th century, when the first books were published. In 20th century, human society went through many changes which were reflected in all the fields of art (theatre, fine arts, literature, etc.). Writers had a need to familiarise children readers with ‘taboo topics’ such as homosexuality, death, drugs, etc. They wanted to introduce homosexuals as ordinary men and women, who live their own lives with their joys and worries. Today, we can find three main themes in children’s literature: coming out, the life of homosexuals and homosexual parenthood. Each theme has its own specifics and typical reader age group of children or youth. This characterisation can help us to deeper identify the topic. The literature offers children and youth better and easier cognition of the world with its differences. The aim is to learn about the history of homosexuality in children’s literature and go deeper into its individual themes, especially homosexual parenthood. Children need to know everything about life and have no taboos. Why are we afraid to talk about it?

J. Ratcliff

In the early nineteenth century, the material culture of British science was being transformed by an increasingly centralized colonial information order. Surveys conducted during and immediately after the Napoleonic Wars were particularly important to the growth of the East India Company's new collections in London. In the wake of territorial gains, surveyors and their staff bought, plundered, collected and otherwise acquired a wide range of materials related to arts, sciences, history, natural history and literature. Focusing on survey collections formed in Ceylon, Mysore and Java between 1795 and 1820, this essay explores the place of the Company's culture of surveying and collecting within both Company science and wider shifts in the political economy of colonial collecting. Such shifts include changes in property claims, the growing clout of the Company's library and museum in London and, most importantly, the Napoleonic Wars. The wartime context enabled not only basic access to new materials but also cheap modes of collection and a motive to collect—or to value collections—driven by commercial and territorial competition.

Mariel Tarela

En los últimos años, el arte cerámico contemporáneo se hace presente y, de esta manera, habilita otras formas de percepción y se apropia de ámbitos ajenos a él, con anterioridad a la segunda mitad del siglo XX. Focalizamos en las transformaciones contextuales del arte contemporáneo que posibilitan emergencias y desplazamientos de las prácticas artísticas de cerámica en la actualidad. Obras de cinco artistas contemporáneos son muestras de un presente complejo configurado a partir de visibilidades e invisibilidades.

Samta P Pandya

This paper discusses Auroville as an intentional spiritual community in South India and the way facets of Integral yoga are manifested. The existential thinking, aspirations, existential anxieties, daily spiritual experiences and worldview of the residents also called Aurovilians, were studied through a 10-year period. Aurovilians’ scores on measures of existential thinking, aspirations, and spiritual experiences were higher and existential anxieties scores were lower than their phase 1 scores. At phase 2, scores on the integrative worldview were higher. In-depth discussions showed an evolution of existential thinking and spiritual inclinations as well as integrative worldview of residents of Auroville as an intentional spiritual commune. Theistic existentialism of Aurovilians is, drawing from Sri Aurobindo’s Integral yoga, a phenomenological quest for the Absolute. The study is a demonstration of the practical applications of Integral yoga as a world affirming philosophy to qualify the divine quest of humanity, through an intentional community’s experiment.

Morteza Yazdanjoo, Fazel Asadi Amjad, Fatemeh Shahpoori Arani

A comprehensive command of national (Persian) and Western (mainly English/American) literary traditions and a deep knowledge of historical events form the backbone of the cinematographic oeuvre of Hassan Fathi, an Iranian director noted for his “historian-adaptor” approach toward filmmaking. This being the case, in his Shahrzad series (2015–2018), the director details the August 1953 coup d’état in Iran as an intertextual scenario in which a mélange of literary and cinematic “texts” and fictional characters along with historical figures are brought together in a dynamic and interactive process. In an undertaking that gives the series an interesting postmodern character, Fathi, instead of adapting a single literary work, engages in animating this historical event by interweaving One Thousand and One Nights, Othello, and The Godfather together. Taking advantage of adaptation theory as its theoretical framework, this paper attempts to delineate how, in terms of storyline and characterization, the series stages these multiple “texts” simultaneously. Overall, the paper proposes that Shahrzad is a palimpsestuous hive of intertextuality.

Monique Rakhorst

The bow jewel in the Rijksmuseum collection is one of the finest examples of its kind. The provenance of this piece of jewellery is unclear, as is generally also true of the other extant bow jewels. The strong resemblance to a number of ornament prints has often led to the suggestion that the Rijksmuseum’s bow brooch, and bow jewellery in general, was a French concept that came about in the late sixteen-fifties or early sixties, but seventeenth-century Dutch portraits and inventories indicate that in the Netherlands it was already a popular jewel by then. Bow jewels could be acquired from jewellers in the Low Countries in the early sixteen-thirties and at the end of the decade they were worn at court in The Hague. Princess Amalia of Solms-Braunfels owned several diamond bow jewels in 1640, and in a portrait made a few years earlier she wears a pearl bow on her dress. The aristocracy and the wealthy citizens in the Republic started following this example and the bows set with diamonds and pearls stayed in fashion throughout the rest of the century. The bow jewel was already in fashion in the Low Countries thirty years before it became in vogue in France.

Andrea M. Truitt

University of Minnesota Press By Jason Weems Reviewed by Andrea M. Truitt

Beatriz Bermejo de Rueda

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Dmitri Levitin

Andrzej Janowski, Paulina Romanowicz

Notka.