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Pacific Arts

Pacific Arts Vol. 26 No. 1 (2026) Cover, Journal Information, and Table of Contents

Editors, Pacific Arts

Pacific Arts N.S. Vol. 26, No. 1 (2026) Full Issue

Máté Huber

The Representation of American Culture in the English Language Classroom in Hungary

Metin Kaya

It is understood that the cornucopia motif, which originated in Ancient Greece, has influenced the art of many civilizations until today, especially the Roman, Byzantine, early Islamic, European and Ottoman (especially the early 18th-early 20th century ranges) artworks and it was used for the same meaning and purpose since the beginning. In addition, the studies revealed that the description of this motif as empty or full does not cause any difference in meaning, however, it is generally depicted as filled with fruits. In this article, we have identified the cornucopia motifs in the aniconic decoration of the wall paintings of nine rock churches and a rock-cut monastery monk cell, which we have examined in detail with their definitions and descriptions, and different usage examples in Byzantine art connected to their chronological framework. In addition to all these, regarding the examples we have encountered in the region, we have also emphasized how the cornucopia motif is positioned in the buildings, its decoration features, its sacred and symbolic meanings, and the relationship between architecture and art.

Nicoletta Rozza

Lettura di Iacopo Sannazaro tra latino e volgare. Atti del Convegno di Studi in ricordo di Marco Santagata (Pisa, 8-9 luglio 2021), cur. M. Landi, M. Riccucci, Pisa, Pisa University Press, 2023, pp. 315, ISBN 978-88-3339-763-4.

Salomé Voegelin

This is an essay that was a talk, which preceded a workshop that tried to make its participants experience the world as an interdependent environment generated by breath and sound and manifesting as a viral sphere. In this way it hoped to develop an embodied thinking, able to engage with the interdependent global and local challenges of today. The essay continues this intention and describes the relationality of current emergencies, outlining the connected reality between planetary and public health, scarcity of resources, consequent migratory pressures, growing population density, persecution, exclusion, violence and death. In response it acknowledges that the entanglements of these challenges necessitate the capacity to think and sense relationally. It proposes a transversal sound studies as the practice of a theory that generates the knowledge and sensibility of the world and of human and more-than-human beings and things with the world, as an entangled and responsible socio-geography that aims to know accountably from the connections and the in-between, generating a “response-able conviviality”: a being as being with, and an understanding of the inevitable contagion or contamination that this being with entails.

Barbara Rodziewicz, Klaudia Koczur-Lejk

Celem artykułu jest przedstawienie działalności twórczej malarza emigracyjnego Klemensa Rodziewicza w świetle jego listów do Józefa Ignacego Kraszewskiego. Analizie poddano 137 autografów z lat 1858–1881. W analizowanej korespondencji autor poświęca wiele miejsca swojej pracy, opisom wykonywanych dzieł i stosowanych technik artystycznych, doskonalenia umiejętności. Oddzielną część stanowią fragmenty dotyczące relacji biznesowych malarza z pisarzem. Zaprezentowany materiał archiwalny pozwala zgłębić tajniki warsztatu malarza-kopisty i poznać okoliczności towarzyszące wykonywaniu oddzielnych dzieł, dlatego stanowi punkt wyjścia do szerszych badań nad sytuacją i działalnością twórczą polskich dziewiętnastowiecznych artystów emigracyjnych.

Cristina Bienvenida Martínez García

Review about Iván Rega Castro and Borja Franco Llopis´new book; Imágenes del islam y fiesta pública en la corte portuguesa. De la Unión Ibérica al terremoto de Lisboa, (Gijón: Ediciones Trea, 2021), 198 págs., (ISBN 978–84-18105–46 3).

Arts Editorial Office

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I Made Bendi Yudha, Anak Agung Gde Alit Geria, I Wayan Gulendra et al.

Gurita in English is called Octopus which often refers only to animals of the genus Octopus. This creation is based on the results of research on the octopus which is used as a symbolic brand icon to reveal the existence of the current social, cultural, economic and political realities. In interpreting the characteristics of the shape and nature of the Octopus, it is expressed through a metaphorical visual language to represent the value of rajas and tamas that permeates the human soul. This study aims to present visual aesthetic values and symbolic meanings through the processing of forms of abstraction, distortion and deformation, as an expression of the growing influence of global capitalism in people's lives which are dominated by the energy of guna rajas and guna tamas. The research method is carried out by observation, interviews, documentation and media reset as well as the stages of creation through exploration, improvisation and formation. The visualization of the work presents the complexity of lines, colors, shapes and textures by carrying out technical and coloring hybridization, in order to present meaningful forms which are symbolic representations of the rajas and tamas that dominate people's lives today. The concept of creation offered is a form of concern for the emergence of moral and moral degradation in society which has implications for the fading of ethical values, and a sense of humanity as contained in animal values which promote love and tolerance among others, which in Hinduism is known as term; mutual sharpening, compassion and care, sagilik, saguluk, salunglung sabayantaka, paras paros sarpanaya.It is not enough for this kind of concept to be offered only through works of art, but it really needs to be communicated in the wider social field, so that interactive and communicative dialogue occurs, while at the same time providing education and enlightenment, so as to create new awareness, so that we have the ability and strength to facing or overcoming current global issues.

Izabela Kozłowska, Eryk Krasucki

Central and Eastern European countries were subjugated to the Soviet Union in the second half of the 20th century. In this new political environment, defined as the period of dependency, the concept of space gained a new denotation as a space of dependence, in both social and physical terms. The political changes that took place after 1989 enabled these spaces to be emancipated. In this work, we aim to delineate the complex relationship between architecture and politics from the perspective of spaces of dependence and their emancipation. Through a case study of two squares, plac Żołnierza Polskiego (the Square of the Polish Soldier) and plac Solidarności (Solidarity Square) in Szczecin, we gained insights into the processes and strategies that promoted their evolution into spaces of emancipation within architectural and urban narratives. Szczecin’s space of dependence was created by an authoritarian state that had a monopoly on defining architecture and urban planning in the country and the state as a whole. In a process orchestrated by economic factors, as well as the scale of architectural and urban degradation, the squares under discussion have transitioned from spaces of dependency to spaces of emancipation. As a result, an architectural-urban structure characterized by new cultural and identity values has been created.

Andrea Díaz-Cortés, Lucía López-Polín, Hector Del Valle Blanco et al.

El hueso es un material que aparece frecuentemente en las colecciones de patrimonio cultural y especialmente en las colecciones arqueológicas y paleontológicas. Una correcta diagnosis de su estado de conservación es esencial, sin embargo, la información sobre su naturaleza y las transformaciones que se producen en ellos durante el enterramiento no es muy conocida en los trabajos de conservación. Esto hace que en muchas ocasiones el hueso sea un material desconocido en cuanto a su naturaleza. La Tafonomía se encarga de describir los agentes, procesos y efectos que afectan al hueso en los yacimientos arqueológicos o paleontológicos hasta el momento de su descubrimiento. Ello hace que las propiedades fisicoquímicas del material óseo se modifiquen, aspecto que se debe tener en cuenta en los estudios de conservación y restauración. En este trabajo se describirán distintas características del hueso, agentes que lo modifican y procesos de degradación con el objetivo de exponer un apropiado planteamiento de la naturaleza inicial, estado de conservación y adecuación de tratamientos para este material.

Richard Obeng Mensah

In 2005, the Supreme Court of Ghana in Attorney-General v Faroe Atlantic Co Ltd rendered its decision on the interpretation of Article 181(5) of the 1992 Constitution. The Court’s decision influenced its subsequent decisions in 2011 and 2012 on the scope and application of Article 181(5). This Case Comment reveals that the Court’s interpretation in relation to the PPA in question was oxymoronic in that it simultaneously held the PPA as both valid and void. The author argues that the Court would have rendered a clearer and fairer decision if it had wholly interpreted Article 181. Its partial interpretation, needless bureaucratic judicial process, and the Government’s lack of due diligence are disincentives to private investment in Ghana’s power sector. Keywords: Ghana, PPA, investment dispute, interpretation, illegal contract, power crisis, power sector investment.

Sari Edelstein

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Arts Editorial Office

The editorial team greatly appreciates the reviewers who have dedicated their considerable time and expertise to the journal’s rigorous editorial process over the past 12 months,[...]

Keri Watson

Arts Editorial Office

Rigorous peer-review is the corner-stone of high-quality academic publishing [...]

Laura Figueroa Sebastián, Virginia Pérez Pastor

The international and collaborative art project consisted in producing a communication and a creation channel between two groups of participants affected by acute mental disorders who are clients of mental health services placed in diferent countries: one group is located in Calatayud, Zaragoza (Spain) and the other in London (UK). The framework was based on a creative, free and flexible setting founded on a simple suggestion which was supported with the artist Hundertwasser theory of the “five skins”.