Статья посвящена исследованию творчества современного художника Императорского фарфорового завода Татьяны Васильевны Афанасьевой в контексте традиций российского фарфора. Актуальность работы обусловлена угрозой утраты уникальных художественных и технологических навыков на предприятии в условиях современного индустриального и коммерческого давления, а также недостаточной научной освещенностью профессионального творчества современных художников завода. В исследовании использованы методы сравнительного и образно-стилистического анализа произведений, интервьюирование. В статье рассмотрены произведения Татьяны Афанасьевой, созданные в разные периоды ее творческой деятельности, выявлены особенности художественного стиля, его развитие от ранних пейзажных и натюрмортных работ к более декоративным, абстрактным сериям, отражающим современные тенденции в фарфоровом искусстве. Анализ показывает, что творчество Т.В. Афанасьевой — яркое продолжение традиций, основанных на многовековом опыте и преемственности поколений мастеров, оно служит примером сочетания современных художественных приемов с классическими канонами. Автор поднимает вопрос возможного кризиса традиционного фарфорового производства на заводе, вызванного акцентом на упрощении качественных свойств продукции и потерей индивидуальности. Исследование обогащает знания о современном состоянии декоративно-прикладного искусства России, в частности о характерных особенностях петербургского фарфора, и способствует пониманию механизмов трансляции культурного наследия. Результаты работы важны для понимания путей дальнейшего развития Императорского фарфорового завода, сохранения национального достояния и популяризации традиционной культуры через современное искусство.
Nicolás Stutzin, José Parra-Martínez, M. Elia Gutiérrez-Mozo
Este artículo examina el papel que los registros fotográficos de niñas y niños jugando en la calle desempeñaron en los debates arquitectónicos de posguerra e investiga cómo, hasta la irrupción del color, la fotografía documental en blanco y negro contribuyó a forjar diversos imaginarios vinculados a la infancia. En el periodo comprendido entre el primer playground inaugurado por Robert Moses (1934) y el último diseñado por Aldo van Eyck (1978), se analizan y comparan tres casos paradigmáticos: las plazas de juego de Nueva York, Ámsterdam y Londres, cuyos archivos fotográficos fueron instrumentales en la configuración, difusión e historiografía de cada proyecto. El estudio sistemático de fondos municipales, colecciones históricas y repositorios institucionales llevado a cabo en estos tres escenarios evidencia que tales imágenes, más allá de documentar espacios recreativos, articularon visiones muy distintas sobre infancia, arquitectura y ciudad: legitimando discursos patrióticos en Estados Unidos; construyendo memoria colectiva en Holanda; y narrando la acción efímera y disruptiva de los adventure playgrounds ingleses frente a las lógicas de la planificación moderna. Este análisis permite, finalmente, situar dicho legado ante los desafíos contemporáneos de representación de la niñez en un contexto marcado por la postfotografía y la progresiva erosión del fotoperiodismo como registro crítico de lo urbano.
This graphic essay reflects on the concepts developed for Common Accounts’ installation Have a Nice Day, a solar canopy and artificial sun presented at MUDAC’s Solar Biennale in 2025. The essay intersperses images of the installation with transcripts of narration sourced from influencer testimonials and Georges Bataille’s “The Accursed Share,” staging a critical encounter between contemporary domestic therapeutic devices and Bataille’s theory of excess solar energy. Through this juxtaposition, “A Case for Sunbathing” examines how artificial sunlight has been theorized in popular consumer advertising and wellness-oriented social media for applications as diverse as cellular rehabilitation, anti-aging, and enhanced fertility. Taking Have a Nice Day as a conceptual scaffold, the paper follows how the installation troubles psycho-social associations with the sun in an age of climate anxiety, channeling them into sensible, energetic encounters in the gallery and tracing their entanglement with optimization, self-design, planetarity, technology,
and daily life.
This study analyzes the spatial needs of families living in homes affected by ground subsidence in Jocotepec. The research involved residents from 17 households, using a mixed-methods approach that combined surveys and participatory dynamics as data collection tools. The results show that children represent 16% of the population and people with disabilities 3%. The most valued housing features include green areas (59%), spacious rooms (35%), good lighting (29%), and natural ventilation (24%). Other important aspects mentioned are accessibility, comfort, bedrooms with bathrooms, functional layout, and spaces for pets (6%). Additionally, the most requested extra spaces are gardens and bathrooms, both mentioned by 59% of the participants. Finally, the majority of residents expressed a preference for detached single-family housing typology.
This paper explores the 1948–1949 exhibitions showcasing Polish folk art, initially held in Poland and then sent westwards: to Paris, Brussels, and Amsterdam. They were organised by Polish Communist authorities under the ‘Recovered Territories’ campaign that aimed to assert Poland’s historical and ethnographic ties to its new territories that before World War II had belonged to Germany. This propagandist effort sought to reinforce the post-war European status quo, with the exhibitions in question serving as an important element of the campaign. This case study constitutes therefore one of the earliest manifestations of the East-West Cultural Cold War. Analysing exhibition catalogues, press reviews, and archival documents, this study investigates the extent to which the propagandist objectives were achieved in the West. Additionally, it examines how French, Belgian, and Dutch representatives of the field of culture responded to Communist propaganda and mitigated its effects.
En esta sección de la revista Ñawi podemos encontrar trabajos de investigación que abordan los principios fundamentales del diseño y la gestión de marcas. Se reflexiona sobre la utilización de los múltiples elementos visuales que intervienen a la hora de construir mensajes capaces de transmitir valores y emociones. También se examina la manera en que se comunica una identidad de marca a través de diferentes canales. Y asimismo se explora el mundo del branding experiencial, pues las marcas buscan generar experiencias memorables y significativas para sus potenciales públicos. En esta ocasión, tendremos la oportunidad de leer dos interesantes artículos. En uno de ellos, se propone un análisis de las representaciones visuales de una marca de cerveza mexicana, pues en la evolución de dichas representaciones aparecen reflejadas diversas modulaciones de la identidad de lo mexicano. Con ello, puede constatarse que en los componentes visuales de una determinada marca comercial aparecen plasmados, en ocasiones, importantes rasgos de identidad cultural. En el otro trabajo, comprobaremos que el proceso de creación de una marca también puede ponerse al servicio de proyectos que tienen un enfoque más social y un arraigo en lo local.
Drawing. Design. Illustration, Communication. Mass media
Taking inspiration from Pendakis and Wilson’s (2012) call to “sight, cite, and site” oil, in this piece we consider how interventions in artistic material practice can offer up complementary, and at times entirely unique, modes of engaging with the materialities of oil and petro-media. Building on conversations of the past several years, we make particular reference to Oil Topography (2014), a hand-woven jacquard tapestry created and produced by Ruth Beer.
The American visual sociology is bad known in France. It is not to be confused with the French sociologie visuelle which aims to report the social world by the way of images. One main topic of visual sociology is to be concerned with every visual aspect of the social and material life. This paper does not claim to be synthetic presentation, but bases its argument on an American sociologist’s work, Jerome Krase, who gives a pivotal role in eyesight the urban life and shooting it.
در سوبژکتیویته دکارتی، انسان محور اصلی حقیقت گردید و سوژه، اصالت یافت. اگرچه دکارت تحلیل خود را با من اندیشنده فردی آغاز میکند، اما در نهایت، به استنباطی کلی درباره انسان میرسد و فرد انسانی در محاق قرار میگیرد. این وضعیت در نظامهای فکری پسادکارتی تداوم مییابد؛ تا در قرن نوزدهم با ظهور اندیشههای فردگرایانه اگزیستانسیالیستها، تلقی نوع باورانه در باره انسان به چالش گرفته میشود و به فرد انسانی با تمامی ویژگیهای فردیاش توجه میشود. در وادی هنر،، هنرمندان اندکی پیش از شکلگیری جریانهای فردگرایانه در عالم تفکر، با روشهای گوناگون بازنمایی بر ویژگیهای فردی مدل، تاکید نمودند. خودنگارههای هنرمندان پسارنسانسی یکی از مهمترین تجلیات این رویکرد فردمحورانه است. از طرفی، با اختراع دوربین عکاسی، تحول در تعریف هنر و به رسمیت شناخته شدن عکاسی به عنوان رسانه هنری، اشتیاق سراسری به خلق تصاویر مبتنی بر ویژگیهای فردی نیز گسترش مییابد. با رشد تکنولوژی و تولید تلفن همراه مجهز به دوربینهای عکاسی، این هنر بیش از پیش فراگیر شده و پدیدهای بنام سلفی بهعنوان یکی از تجلیات فردمحوری رایج، رونق بسیار مییابد. پرسش اصلی این مقاله، امکان بررسی فلسفی پدیده نوظهور سلفی از منظر فردگرایی جاری میباشد که طی مسیر پژوهش، به پرسشهای فرعی چگونگی سیر سوبژکتیویته دکارتی به فردگرایی، چرایی هنر نامیدن سلفی و چگونگی روند سیر آثار هنری انسانمحور به فردمحور پاسخ داده میشود. رویکرد این مقاله، رواج فردگرایی در اندیشه معاصر است که بر بستر آن تلاش میشود، پدیده سلفی مورد بررسی قرار گیرد. در این مقاله با واکاوی ریشههای فلسفی پدیده نوظهور سلفی، این نتیجه حاصل میگردد که، یکی از علل اقبال عمومی به این رسانه نوظهور، فردگرایی جاری در دوران معاصر منتج از سوبژکتیویته دکارتی است. پژوهش حاضر، پژوهشی کیفی است که به روش مطالعه کتابخانهای اطلاعات گردآوری شده است.
Carlos Henrique da Costa Barreto, Taís Steffenello Ghisleni, Elsbeth Léia Spode Becker
Inserido no tema de ensino em tempos de pandemia, este é um estudo bibliográfico exploratório da Comunicação Social que foi desenvolvido na Universidade Franciscana e aplicado diretamente ao corpo docente dos cursos de Publicidade e Propaganda e Jornalismo com o objetivo geral de compreender os impactos do Ensino Remoto – adotado pela instituição – nas suas metodologias e dinâmicas tradicionais. Para coleta de informações, um questionário via Google Forms foi elaborado a partir de dois diferentes grupos de autores como base teórica: Moreira, Henriques e Barros (2020) e Petermann et al (2020). Da interpretação de seus trabalhos, adaptamos 3 seções de questões em nosso estudo: 1) questões sobre os planejamentos docentes; 2) questões sobre as tecnologias utilizadas no ensino remoto; e 3) uma avaliação conduzida ao docente para refletir sobre sua adaptação ao formato. O questionário foi enviado a um total de 20 docentes divididos entre os cursos e, positivamente, obteve-se o número máximo das respostas. Como resultados, pudemos compreender o panorama de Ensino Remoto pela Comunicação Social na Universidade Franciscana: um corpo docente adaptado e seguro para lecionar neste modelo – mesmo apesar das adversidades encontradas – reconhecendo as mudanças tecnológicas e metodológicas desse cenário como oportunidades para “hibridizar” o ensino (mesmo no futuro, após a pandemia) ressignificando a aprendizagem com as tecnologias contemporâneas da Era Digital e da Informação e da Comunicação.
Although dance as a topic has been explored through various theoretical and thematic discourse, little attention has been paid to the presence of dance motifs in Christian imagery. An examination of Orthodox Macedonian medieval fresco painting provides a fascinating point of entry into this overlooked subject. Analysis reveals the presence of two dominant approaches, conditioned primarily by the position of dancing in the philosophical-ethical discourse present in the Bible and other late antique and medieval theological texts. Some frescoes and icons show the body as a channel through which the Lord is glorified. Others show it as an instrument and reflection of immorality instigated by demonic powers. As in each approach, the bodies have differing semantic qualities, valuable information can be obtained about the performing practices present in this historical period.
El concepto de patrimonio se ha desarrollado en España, desde la primera tesis doctoral de educación patrimonial (Fontal, 2003), a lo largo de los últimos 15 años desde una visión humanista y relacional. En el currículum aparece ligado a las ciencias sociales, pero también como contenido esencial de la educación artística. Abordamos un análisis cuantitativo y cualitativo de las percepciones, visiones y conocimientos que los alumnos de Educación Secundaria Obligatoria tienen sobre el concepto patrimonio, para conocer sus percepciones y conocimientos en torno al patrimonio y detectar las presencias y ausencias en su formación en torno al contenido patrimonial. Seguimos un método mixto y aplicamos un cuestionario validado por expertos en una muestra compuesta por cuatro aulas en dos institutos de Valladolid. Realizamos análisis cuantitativos y estadístico-descriptivos a través de Nudist Vivo10. El análisis de su percepciones y valoraciones nos permite conocer las percepciones de los estudiantes en torno al patrimonio, comprender cómo se aproximan al patrimonio y definir las claves que guían el trabajo para un mejor y mayor acercamiento a este contenido.
In the last months of 1960, the art historian and philosopher Edgar Wind delivered that year’s BBC Reith Lectures, which made him a well-known public intellectual. Under the title of Art and Anarchy, Wind criticized throughout six lectures several aspects of modern art. Wind’s critiques, even though the end result of a lifetime of historical research and philosophical speculation on the artistic phenomenon, were formulated in response to contemporary events. According to Wind, Art and Anarchy was a tract for the times. This article describes the reasons why Wind was invited by the BBC to deliver the Reith Lectures of 1960, examines the aims of his critique vis-à-vis the artistic developments of those years, and evaluate his position as a public intellectual questioning the assumption that a wide diffusion of art was intrinsically good for society.
One of the leading institutions in the field of musicology in Japan is the one hosted by “Tokyo University of the Arts” (previously Tokyo National University of Fine Arts and Music). The musicology course, started in 1949, was, and still is, the main promoter of music history teaching in the Japanese university system. A reflection on the over 60 years of its existence, which has been characterized by the fortunate coexistence of musicology students and students of ‘practical’ musical courses, might contribute to raise awareness among European musicologists about the pedagogic-didactic task that is expected of them in the current situation of Western musical culture.
Music and books on Music, Musical instruction and study
Cette contribution aborde la question des relations de Jung avec, d’une part, le gnosticisme comme phénomène de l’histoire religieuse et, d’autre part, avec la gnose, vaste courant regroupant des doctrines diverses au sein de la tradition occidentale et postulant le salut par la connaissance. Elle reconstitue au préalable l’histoire de la réception d’idées gnostiques dans l’espace germanique aux XIXe et XXe siècles, puis situe l’approche qu’en propose Jung par rapport à celle d’autres auteurs contemporains et acteurs de cette « récidive gnostique» (Blumenberg) dans la première moitié du XXe siècle, qui privilégie les thèmes et mythes de la chute, du monde créé par un démiurge mauvais, de l’homme comme étranger dans ce monde… L’étude interroge ensuite la construction des notions les plus originales de la théorie jungienne du psychisme (l’inconscient collectif, l’anima, le Soi) dans leur relation à des représentations issues de cette tradition. Elle met en évidence l’évolution de la relation de Jung aux courants de la gnose, d’un « gnosticisme radical » à une gnose chrétienne, déjà perceptible dans les textes du Livre Rouge et qui fondent le projet religieux de son œuvre.
Ioan Constantin Praun, Emil-Sever Georgescu, Ioan Sorin Borcia
For the constructors, monitoring has common meanings with the usual terms surveillance, follow up, control etc. of the behavior of buildings determined by their location. The scientific literature uses “monitoring of the structural status”. The analysis of the behavior of different categories of constructions in case of an earthquake and the assessment of effects presumes, in addition to a detailed visual examination of the state of constructions and recording the observed damages, a series of experimental determinations in order to know the real resistance capacity of the damaged construction, establishing the consolidation solutions. In this context, determining the own oscillation periods of a building and comparing them with the original data represent a first method to globally appreciate the variation of the rigidity of a building after earthquake solicitation. The paper specifically presents the manner of using field observation data and instrumental data within the seismic network of INCERC when associated with advanced processing. The paper underlines the need for an extended instrumentation of buildings of national interest, such that information on the behavior of some structural categories could be available in a short time interval after the occurrence of an earthquake.
Profª. Drª. Fátima Antunes da Silva (Yaska Antunes)
O presente trabalho tem por objetivo tentar compreender a produção da imagem visual no teatro. Para isso se vale da apropriação livre do conceito de “dobra? de Gilles Deleuze para se referir à multiplicidade de imagens criadas pelas diversas modalidades artísticas. Como no teatro há o entrelaçamento de imagens verbais – palavras enunciadas pelo texto dramático ou teatral – com imagens visuais – a visualidade advinda da composição cênica concreta que organiza no espaço ator e objeto –, a ênfase só podia recair sobre estas duas formas imagéticas. No caso do teatro, surge ainda a percepção de que para além da materialidade da cena, outras imagens emergem do confronto entre palco e platéia. Nesse sentido, imagem teatral seria então aquilo que surge da interação entre ator e espectador. A contribuição desse trabalho pode estar no fato de atualizar certos conceitos sobre a criação da imagem poética na poesia e no cinema para aplicá-los ao teatro. Ao recuperar o pensa-mento de Otávio Paz, Alfredo Bosi, Sergei Eisenstein, entre outros, bus-ca-se promover uma reflexão mais aprofundada sobre a construção visual no teatro.
At the time of Caliph Umar, Sariyah b. Zunaym who took part in the conquest of Persia, was sent to Fesa and Darebcerd in 23/644. Sariyah marched with his troops and surrounded the Persian army. But at the meantime, the Persians asked for military support from other Persian cities and could manage to dispatch strong army to this area. That army was making a manoeuvre that would destroy the muslim army. If the muslim army moved aside the mountain, they would be secured. At the classical sources was narrated that at that moment Caliph Umar called out that "O Sariyah al-Cabal al-Cabal (to the Mountain to the Mountain)" and Sariyah heard this word and saved his army from destruction. But these narrations can be criticized from different points of view. At this article these traditions have been studied and evaluated