This article examines myths that have been disseminated through arts and culture about so-called “Gypsies”, confining them to “anti-worlds”. There is always a “glamour that enwraps the Gypsy race” (Sampson 1935a, 10). Romantics and some nineteenth-century writers considered them to be positive symbols of resistance to newly born capitalism and rampant industrialization. This constituted a sort of “légende rose” (Descola 2019, 13), or pink legend, as Philippe Descola put it about Achouars, that is, a very positive gaze upon a people yet labelled “primitive”. However, this article intends to focus on the negative “black legend” (Ibid.), the idea that “Gypsies” form a dark and hostile people belonging to a dark and hostile fantasized territory. Sixteenth- and seventeenth-century playwrights first depicted “Gypsies” as thieves, monsters, or inferior beings displaying dubious morality. They were ascribed mysterious powers, and “Gypsy” women were depicted as witches connected to their natural and dangerous territory, an occult Gypsyland. In all cases, they were shown as somewhat uncivilized (Grellman 1787, 24) and primitive beings, very much attached to their own traditions: a figure of the “Orientals within” (Lee 2000, 132). This Gypsylorism – understood here broadly as an orientalism about “Gypsies” – imposed a vision about them, now deeply rooted in the collective consciousness of the gadjos. “Gypsies” of fiction have been created and re-created until they occupy, in the Western imagination, foreign and/or dark territories yet these are situated inside Europe.
Surprisingly, they can be found to this day wandering in books and movies, in other spaces or “espaces autres”, and in fetishized beyonds or heterotopias (Foucault 1966, 31). “Gypsy” characters inhabit the margins of the dominant societies of the countries in which they settled centuries ago, as if constantly bringing along with them, in the fantasies of the gadjos, their own frontiers which would isolate them from the rest of the population; or they live in exotic Gypsylands inside the very West. Their assigned territories are “absolutely different”, they are counter spaces, or “contre-espaces” (Foucault 1966, 24), constituting a huge reserve of imagination, “une grande réserve d’imagination” (Foucault 1967, 36). A “Gypsy” para-history thus has been told and written over and over again, “evacuating” (Barthes 2010, 240) the history of Gypsies, and questioning the role of artists and responsibility of social players. This article will also seek to raise the issue of “double consciousness” (Du Bois 1903, 8) among “Gypsy” Travellers.
Colonies and colonization. Emigration and immigration. International migration, Communities. Classes. Races
Built between 1929 and 1935 by architect Roger-Henri Expert, the French legation in Belgrade stands out as one of the most accomplished examples of diplomatic architecture conceived as an instrument of cultural and political influence. In a context where France sought to reaffirm its position in Central Europe after the First World War, this building – situated on a site of exceptional prominence – was intended as a reflection of a republic rooted in its artistic traditions and geopolitical ambitions. Beyond its monumental exterior, the edifice reveals a sophisticated decorative programme, the highlight of which is the rotunda salon, or Paquebot Salon, entirely adorned with a monumental stucco tapestry. Created in collaboration with the sculptor Carlo Sarrabezolles, this ensemble offers a synthesis of art, craftsmanship and diplomacy. Through the use of stucco – a material historically associated with grand ceremonial decors – the State asserts the enduring excellence of its craftsmanship by reinterpreting its traditional know-how in a contemporary manner. This article examines how this decorative stucco ensemble contributes to the construction of a space of political representation, and how Art Deco, far from being a mere style, becomes a vehicle for a republican imaginary designed to embody modernity while magnifying a centuries-old cultural heritage.
This is a case study of Japan’s school lunch program (kyūshoku) in the long 1960s. Using previously unexamined archival materials, I present concrete evidence for the ideological and practical transformation of kyūshoku during those years. I argue that with basic nutrition essentially assured after 1958, hygiene, discipline, mutual responsibility, and other aspects of social learning were increasingly prioritized over the original goal of improving school attendance and performance. Put differently, kyūshoku’s functions shifted―in line with Maslow’s needs hierarchy―from physiological and safety needs to social needs, a development common among successful social programs. As codified since the mid-1950s, the program is a cornerstone of Japanese compulsory education with a dual mandate to nurture healthy, responsible citizens. Schools therefore emphasize “proper” dietary habits on the one hand and sociability, cooperation, gratitude, etc., on the other. Through structured, unified, participatory daily rituals including serving and cleanup, children learn hygiene, teamwork, responsibility, and more. Embodied knowledge from collective experiences of discipline become part of children’s habitus and values. These aspects of kyūshoku suggest the need for a nuanced vision of the role of discipline and technologies of the self in educational and childrearing spaces.
Introduction <em> Human Computers </em> is a media archaeology research that aims to unravel the intricate entanglement between computing and capitalism through the prism of labor.
This article defends Digital Humanities (DH) against important epistemological challenges questioning its place within the humanities. It emphasizes that while DH incorporates digital technologies, notably AI technologies, it remains fundamentally aligned with the humanities through its focus on understanding and appreciating the creation of human-made things such as literature, philosophy, and culture. Addressing epistemic critiques of DH’s knowledge characteristics, its supportive roles in research, and the efficacy of its tools, the article advocates an anti-essentialist viewpoint. This approach proposes that DH’s diverse methodologies enrich rather than dilute the humanities. By applying the idea of anti-essentialism, especially Wittgenstein’s notion of family resemblance, to understanding the concept of humanities, the article argues for a broader, more inclusive understanding of the humanities, underscoring DH’s legitimate role in this evolving field.
Symbols play a crucial role in various domains, serving as conveyors of meaning through concrete signs with abstract significance. In some periods, it is seen that certain symbols stand out uniquely to that period and some symbols are used repeatedly or transformed throughout history. It is very difficult to reach definite conclusions about the origin of symbols in the history of art. However, the external and internal factors that influence the art, of course, shape the symbols that the work contains, as well as the work. A work of art, which is the product of a collective process is affected by many conditions such as the social environment, economy, material supply, geographical variables, the government, the wishes of the administrator and the artist, the understanding and style of art of the period, religion and sacred elements, the artist’s experience and inner world. The work, which is formed by selection among all these variables is a cornerstone of the general art style. Anatolian Medieval art can be interpreted as the art of societies, not the art of individuals like modern art. In this respect, in Turkish art and symbolism, where the state, religion and social powers come to the fore, these mentioned elements appear as the dominant and guiding power. Should the idea of “abstract symbolic style” be mentioned in Turkish art? Which factors influenced art and style? What is the place of stamps in the transformation of ancient symbols into art? In this study, answers to these questions and problems are sought.
Este trabajo ahonda sobre un ejercicio de escritura historiográfica realizado en el marco de la cursada de Historiografía de las artes visuales III (FDA-UNLP). A partir de la lectura de tres autores fundamentales de la historia del arte argentino: Eduardo Schiaffino, Antonio J. Payró y José León Pagano, alumnos de la materia realizaron ensayos críticos sobre artistas mujeres atendiendo a la sensibilidad, recursos y visión teórica de los mencionados autores. Los tres ejemplos presentados que se corresponden con en análisis de las obras de Raquel Forner, Dora Cifone y María Obligado de Soto y Calvo, dan cuenta posibles lecturas en clave historiográfica, categorías, teorías y principios estéticos utilizados para la construcción de nuestra historia del arte.
The 2015 African Union Agenda 2063 promises “an integrated, prosperous, and peaceful Africa, driven by its own citizens.” Within its seven ambitions and several flagship projects, digital transformation and data governance are becoming key drivers of socio-economic success. Data is an economic resource and a human rights problem in the digital age, therefore adequate data protection is crucial for trust, privacy, and Africa's involvement in the global digital economy. This article investigates how Agenda 2063 prioritises data protection and cybersecurity. The African Union Convention on Cyber Security and Personal Data Protection (Malabo Convention), regional frameworks from ECOWAS, EAC, and SADC, and global regimes like the GDPR and APEC Privacy Framework are highlighted. While 39 African countries have data protection legislation and 34 have Data Protection Authorities, enforcement is patchy, with fewer than half of AU member states ratifying the Malabo Convention. Weak institutional capability, digital illiteracy, cybercrime expansion, and fragmented policy approaches are major issues. Opportunities exist: the African Continental Free Trade Area (AfCFTA) facilitates harmonised digital trade, Africa's young are a source of digital innovation, and alignment with the UN Sustainable Development Goals (SDGs) boosts global relevance. To improve cyber resilience, the report advises expediting legislative framework harmonisation, boosting institutions and public awareness, and encouraging multi-stakeholder collaboration. Agenda 2063 needs strong data protection measures to protect privacy and rights and enable inclusive, secure, and sustainable development across the continent.
History of scholarship and learning. The humanities, Arts in general
Isabel Flores de Oliva (1586–1617), generally known as Saint Rose of Mary or Saint Rose of Lima, became the first and, until today, the most venerated Catholic saint of Latin America. Almost immediately after her death, this Dominican of the Third Order, who died young and won fame for her highly ascetic life, various virtues and immovable faith, developed a cult following in Peru. Soon enough the cult had spread across South America and Europe. The topic of Saint Rose of Lima has been addressed in a great many publications that appeared in various (primarily Spanish-speaking) countries, but in Lithuania, the devotion to and images of this saint have not received specific research attention. By referring to the published sources and manuscripts, as well as the surviving ecclesiastical artworks, the author of this paper aims to discuss in more detail how information about the life and personality of Saint Rose of Lima was disseminated in the Grand Duchy of Lithuania, what information about Latin America, its culture and people was conveyed in these sources, whether it was reflected in the icono- graphy of the saint, and if so, how.
With contributions by Austen Barron Bailly, M. Elizabeth Boone, Peter John Brownlee, Sarah Burns, Teresa A. Carbone, Wanda M. Corn, Ellery Foutch, Alicia Harris, Jacqueline Francis, Lauren Lessing, Jennifer Jane Marshall, Jeffrey Richmond-Moll, Jessica Skwire Routhier, Gwendolyn DuBois Shaw, Louise Siddons, Naomi Slipp, and David Sokol
Artikkeli tarkastelee Suomen kansallismuseon kokoelmiin kuuluvan myöhäiskeskiaikaisen Kalannin alttarikaapin merkitystä suomalaisessa taidehistorian kentässä sekä analysoi teoksen ajoitukseen ja tekijäkysymykseen liittyviä seikkoja. Taidehistorian kirjoituksessa merkittäväksi nostettua teosta tulkittiin historiallisissa vaiheissa eri tavoin ja 1940-luvulla se haluttiin nähdä erillisenä Suomen taiteen historiasta. Artikkelissa selvennetään, että teoksen nykyinen, useiden tutkijoiden esittämä myöhäisempi ajoitus 1430-luvulle on lähellä saksalaisessa tutkimuksessa ohitetun K. K. Meinanderin jo 1900-luvun alussa tekemää ajoitusehdotusta. Tiivistäen viimeaikaisten tutkimusten tuloksia alttarikaapin provenienssista, artikkelissa osoitetaan, että teos todennäköisesti tilattiin Kalannin kirkkoon sen valmistumisen jälkeen 1430-luvulla. Kirkon 1700-luvun lopun arkistolähteissä siitä kirjoitetaan vanhanaikaisena. Edelleen artikkelissa argumentoidaan, että uudet ehdotukset attribuoida Kalannin alttarikaapin maalaukset Konrad von Vechta -nimiselle taiteilijalle eivät ole vakuuttavia, ja vaikka emme tiedäkään mitään mestari Francke -nimellä tunnetun henkilön elämästä, tämä on kuitenkin edelleen hyödyllinen tekijänimi.
Since ’50, thanks to programmes as Le avventure dell’arte (1954) and Musei d’Italia (1953-1959), Italian television, in line with the pedagogical and informative original purpose, has played a central role in order to divulge art history and to develop cultural consciousness in critical viewers. However, recently, the scenario has radically changed, following the commercial requirements as well as technological innovations. In the present essay, I will focus on Sky’s Art films The Vatican Museums 3D (2013), Florence and the Uffizi Gallery 3D (2015), St. Peter’s and the Papal Basilicas of Rome 3D (2016), Raphael – the Lord of the Arts (2017), which have been screened in cinemas in 60 countries worldwide and then they have been broadcasted on television. By employing advanced “dimensionalization” and “modeling” techniques, 3D cameras, ultra-high definition, historical re-enactment, evocative aerial shoots and musical soundtrack, these productions reflect upon the re-codification process concerning broadcasting art history and criticizing artworks. Referring to theoretical and aesthetic concepts suggested by Carlo Ludovico Ragghianti, Giulio Carlo Argan, Aldo Grasso, Vincenzo Trione, regarding how to narrate art through the medium, my aim is to highlight how the films I am going to take into account provoke a visual and perceptual re-conceptualization concerning the phenomenological experience of artwork.
El Museo Arqueológico Municipal de Cabra es el museo local más antiguo de la provincia de Córdoba, autorizado en el año 1973 por el Ministerio de Cultura. Desde esa fecha, aunque ha mantenido su sede en la Casa de la Cultura, ha sufrido varias reformas, la última culminó el 28 de febrero de 2015. Su recorrido expositivo está centrado en las fases cronológicas más importantes de la comarca de Cabra, desde la prehistoria a la Edad Moderna, con especial interés en la ocupación humana de la ciudad, desde el oppidum ibérico de Igabrum a Madinat Qabra. El Museo mantiene una línea de investigación con el objetivo de proteger y divulgar el patrimonio arqueológico del término municipal, actualmente se está trabajando en la puesta en valor del recinto de Época Ibérica del Cerro de la Merced y en la necrópolis de la Edad del Cobre de La Beleña.
History of the arts, Museums. Collectors and collecting
The water problem was and still is one of the problems around which debate often rages. Rather, water security is one of the most important gaps in national security. All indications confirm that water will be in the coming years one of the most important causes of conflict and conflict between the riparian countries. Iraq, especially fears of major changes in the international situation and the introduction of new ideas and visions such as the new international order, the Greater or New Middle East, globalization and the preemptive war on terrorism, and with all these international changes, we find that many countries have clearly reformulated their water policies
History of scholarship and learning. The humanities, Arts in general