Hasil untuk "History of the arts"

Okoa Simile, Devet Goodness

This study analyses the semantics of Kiswahili separation verbs, with the aim of exploring their categorisation, usage, and patterns of meaning extension. The research is grounded in Cognitive Semantics, drawing on Frame Semantics and Profiling and Base Theory. A qualitative approach was employed, using data from Kiswahili newspapers, storybooks, and other written sources. Thirty-four separation verbs were identified. The analysis demonstrates that these verbs map both concrete and abstract domains, featuring culturally grounded metaphorical extensions. They structure conceptual frames involving detachment, division, destruction, transformation, and exposure. Several verb classes emerged, including those expressing removal from surfaces, parting, cutting and breaking, opening, dispersing, and altering the body. Examples include bandua ‘peel off’, funua ‘reveal’, and pasua ‘split’, which extend systematically to figurative senses. Cultural factors also shape these verbs, as evidenced by chinja ‘ritual slaughter’ and keketa ‘circumcise’. Highly productive verbs such as mwaga ‘spill’ extend to reveal secrets or perform vigorously, while others exhibit more limited extension. The main argument of the study is that Kiswahili separation verbs systematically encode both concrete and metaphorical concepts of separation, reflecting embodied experiences and cultural practices through complex cognitive and semantic structures.

حسين حافظ, رسول بلاوي, نيان عبد الله

الميزانسين تقنية سينمائيّة تعني سيطرة المخرج على كلّ ما يظهر في كادر التصوير كالإضاءة والديكور والإكسسوار والماكياج وحركة الممثّل داخل الكادر، ويتحقّق ذلك من خلال النصّ المكتوب قبل الفلمنة. وبما أنّ الشعر فن إبداعيّ يتتبّع خطى التطوّرات الراهنة فراح يستعير الوسائل التعبيريّة من التقنيات البصريّة الحديثة. ومن بين التقنيات الحديثة تُعتَبر تقنية الميزانسين إحدی تلك التقنيات التي أثّرت على الشعر المعاصر، ومن أبرز الشعراء المعاصرين الذين تجلّت في أشعارهم هذه الظاهرة هو يونس البوسعيدي الذي قام بإثراء ديوانه "مايسترو الوردة والبرق" من خلال اعتماده علی عناصر الميزانسين.    تعتمد هذه الدراسة على المنهج الوصفي- التحليلي للكشف عن تمظهرات الميزانسين السينمائي وعناصره الأساسية في ديوان "مايسترو الوردة والبرق" للشاعر العماني المعاصر يونس البوسعيدي، ومن هنا يهدف هذا البحث لبيان أهميّة دور الميزانسين السينمائي في الديوان المذكور ومدی إشراف الشاعر وإلمامه بهذا الفنّ لإثراء نصوصه الشعريّة. أبرز المحاور التي تطرّقت لها هذه الدراسة هي العناصر المرتبطة بالميزانسين كالإضاءة والألوان والديكور والأزياء وحركة الشخوص داخل النصّ الشعريّ. ومن أهمّ النتائج التي توصّل إليها البحث هي أنّ الشاعر اعتماداً علی عناصر الميزانسين استطاع أن يحقّق تناسقاً متكاملاً بين اللقطات الشعريّة. استخدم الإضاءة لكي تؤدّي دوراً بارزاً في استجلاء العناصر البصريّة التي قد تبدو الصور فيها ثلاثيّة الأبعاد. وقد جاء الشاعر بالألوان لتسهيل عمليّة القطع واللصق بين اللقطات؛ كما ركّز علی القِطَع الديكوريّة لإثارة شعور المتلقي وانطباعه في المشهد الشعري.

Maksymilian Wroniszewski

This article examines the key concepts, ideas, and recurring motifs in the work of Marek ”Rogulus” Rogulski, a Gdańsk-based artist who emerged in the mid-1980s and founded, among others, Fundacja Tysiąc Najjaśniejszych Słońc [The Thousand Brightest Suns Foundation] and the galleries C14~~~, Spichrz 7, and Spiż 7. Through an analysis of his actions, works of art, and theoretical writings, the article explores the central categories of energy and consciousness transformation, which Rogulski consistently investigated throughout the 1980s and 1990s. The primary interpretative frameworks include non-heterodox spiritual traditions (shamanism, New Age thought) as well as the anti-holistic premises of postmodern philosophy. Given the growing scholarly interest in positioning the art of the 1990s within the broader context of esotericism, this article argues for Rogulski’s artistic and theoretical practice as a crucial ele-ment in the reconfiguration of the artistic landscape during Poland’s transitional period.

Ibrahim Darwish, Razan Fakhouri, Noora Abu Ain

People with hearing impairment (the Deaf, Deafened and Hard-of-hearing) were immensely impacted by COVID-19. They had to figure out the meaning of the new pandemic-related terminology, and they had to suffice with hand gestures in the absence of face expressions and lip movements due to wearing face masks. In this study, we investigated the signs of 25 new and old pandemic related terms in Jordanian Sign Language (JSL), Unified Arab Sign Language (UASL) and International Sign Language (ISL). We found that each new term that spread during the Corona pandemic was signalled using approximately the same sign in all three languages under investigation. On the other hand, it was found that the old terms, whose meaning expanded semantically during the Corona pandemic, were signalled differently. To expand our quest, we conducted a survey of 120 hearing impaired people in Jordan to find out the impact of wearing face masks during the Corona pandemic on sign language users. This data was analysed using Rbrul software. The results showed that communication with either hearing impaired or hearing people was made difficult with the so-called “mask advisory” and “mask mandate”.

Shi-yee Liu

Drawing on Zhong Kui’s legendary identity as a demon queller, this study suggests that Gong Kai (1222–1307) created a veiled autobiographical work, Zhongshan Going on Excursion in the Freer Gallery of the Smithsonian’s National Museum of Asian Art in Washington, DC, that combines painting and inscription to project his unfulfilled aspiration to clear the nation of destructive evils. The demons to be expelled in his life as a Song patriot living into the Mongol Yuan were the powerful and abusive ethnic others, not limited to the ruling Mongols. Conflating himself with Zhong Kui by constructing a new, self-referential biography and image of the demon queller, Gong Kai conveyed his xenophobia during the dynastic transition through two topical allusions, the Muslim merchant-official Pu Shougeng’s fatal blow to the Song revivalist cause in Quanzhou in late 1276 and the Tibetan Buddhist leader Yang Lianzhenjia’s desecration of Song imperial tombs in Shaoxing in 1285. In the painting, Gong Kai confesses his resignation to the brutal new realities under alien rule by portraying Zhong Kui in an uncharacteristically subdued demeanor.

Valeria Paruzzo

In the wider phenomenon of the reception and readaptation of aristocratic architectural heritage in post-revolutionary Europe, the repurposing of former aristocratic palaces in Venice after the Fall of the Serenissima in 1797 constitutes a preeminent example. The paper takes as a case study Ca’ Rezzonico, one of the most splendid palaces along the Grand Canal, which has housed, since 1936, the illustrious Museum of 18th-century Venice (Museo del Settecento veneziano). After the Rezzonico family died out in 1810, the palace was gradually stripped of its art historical treasures and has served the most diverse purposes. From being the seat of the Austrian Tobacco Administration to housing dealers’ galleries, from hosting the ateliers of stage designers and international painters to being the home of renowned intellectuals and aesthetes, Ca’ Rezzonico’s rooms and walls have witnessed the profound changes in art, taste, and culture that rang through Europe during the long 19th century. The paper offers a comprehensive recon struction of the palace’s 19th-century history, drawing from both published and unpublished sources.

Alicia Girona Calvé

En el presente artículo se pone en valor la importancia de la sensibilidad olfativa en la cultura andalusí a partir de la consecuente configuración de obras artísticas, ya sean éstas objetos suntuarios vinculados a las sustancias aromáticas o plasmaciones artísticas de estos mismos objetos. Para ello, hay que prestar atención a las materias odoríferas más preciadas, teniendo en cuenta su procedencia y el largo periplo comercial que sufrían hasta llegar a la península ibérica. Es necesario, a su vez, comprobar cuáles eran los usos de los aromas y en qué contextos eran utilizados. Finalmente, se atiende a las piezas en sí, presentando diversos ejemplares de pebeteros e incensarios, esencieros y píxides, así como también se analizan algunas representaciones de redomas contenedoras de perfumes.

Iris Lauterbach

Drawing on the analysis of the training, voyages and family and professional networks of gardeners at the German court, this essay looks at the reception of the French-style garden in Germany in the 18th century. The examples that German gardeners took as points of reference were not limited to the creations of Le Nôtre or to the royal gardens of the Île-de-France. During their long formative voyages, the gardeners visited different countries, such as Germany, Austria, sometimes Hungary and the Netherlands, and, from the 1750s, they increasingly travelled to England, where the new ‘natural’ garden was becoming established. Thanks to the competitiveness of the many German courts, the gardeners became a particularly mobile group. We will attempt to assess the role of French gardens in this European training.

Anna bondioli!?3

The contribution focuses on pretend play, a kind of play that is found in children of all cultures and is easily recognizable by adults. The expression with which this type of play is labelled presents, in the common sense, a semantic aura that refers to a series of terms with a negative meaning such as falsehood, deception, error, illusion. Starting from the assumption that the understanding of the meaning of pretend play must be based on a distancing from the idea of truth as a reflection of reality, I’ll present and discuss some play theories which show, on the contrary, the necessity and the productivity of the “as if.” In line with this perspective, infantile pretend play will be considered as the prototype of an essential human experience to which particular attention should be paid, to be promoted with sensitivity and delicacy, and not to be used improperly as an instructional tool.

Nahid Hashemi, Nematullah pur, Ali Khwa

ظهر مفهوم "التآزر" أولاً في مجال العلوم البيولوجية ثم في مجال العلوم الإدارية. بعد إدخال هذا المفهوم بنجاح في مجالات العلوم السلوكية والعلوم الاجتماعية والعلوم السياسية وعلوم الاتصال ، أصبح تطبيقه في مجال المناهج الدراسية أيضًا أمرًا شائعًا. في هذا المدخل ، تم تشكيل "منهج التآزر". تشير هذه الصيغة المفهوميه إلى نوع من تخطيط الدروس الذي غطى المنهاج على نطاق أوسع من أي وقت مضى. يوفر "منهج التآزر" القدرة على إشراك أعضاء هيئة التدريس كعناصر المناهج الدراسية ، وبالتالي يتجاوز المعنى التقليدي للمنهج. يتم شرح هذه الصورة الجديدة للمقرر ، مع التركيز على تطبيقها على المدرسة الابتدائية. النهج المستخدم في هذه الدراسة هو نوعي وتوليفها كما البحوث. يشمل السكان الإحصائيون لهذا البحث جميع الكتب والمقالات والأبحاث في مجال التآزر في المناهج الدراسية والتعليم. شكلت نتائج هذا التحليل ، ثم دمجها ، إطارًا مفاهيميًا في مجال المناهج الدراسية المتمحورة حول التآزر والتي أكدت ، نظرًا لأهمية المدرسة الابتدائية ، على إمكانات التحرر وتحقيق الذات والقدرة الاجتماعية على التحمل

Thomas Busciglio-Ritter

I was struck that contemporary viewers of Weber’s painting apparently did not mind the vagueness of the image’s relation to the American land it was thought to depict. . . . Weber was thought to ably capture a quintessential national identity through nature, even if he appeared unwilling to brand his work as a glorification of a strictly American spirit.

Azra Ghandeharion, Roya Abbaszadeh

Literary adaptation has been both intriguing and challenging for directors especially when it comes to complicated modernist writers like James Joyce (1882–1941) who is commonly considered unadaptable. First approached by John Huston (1906–1987), Joyce’s famous short story, “The Dead” (1914) came to Hollywood (1987). Unitizing the views of different scholars in the realm of adaptation studies, this paper reveals why the director has changed the emotional features of the main hero, Gabriel, in his last movie. The main gap in adaptation studies is mostly associated with analyzing the works in relation to their main sources rather than scrutinizing them individually. We try to fill this gap by focusing on the film and Huston’s personal life. It is concluded that Huston, the product of a troubled childhood and marital life, recreated Gabriel to portray his personal dilemmas.

Priscila Rampin

Nos anos de 1970, os governos de Cuba e da União Soviética uniram esforços para construir a Planta Nuclear de Juraguá, localizada nas imediações da cidade de Cienfuegos, Cuba. Um projeto ambicioso e utópico devido à necessidade orçamentária para sustentá-lo. Para além dos riscos inerentes à geração de energia atômica, a proximidade geográfica com o Estado da Flórida alarmara os Estados Unidos sobre o prenúncio de desenvolvimento de arma nuclear. Anos antes do estabelecimento do projeto, Cuba havia instalado mísseis balísticos de origem russa. O ideal atômico cubano nunca se completou, consequentemente, nenhuma das aventadas ameaças. O que resta nessa paisagem industrial e na vida em meio aos edifícios inacabados da cidade nuclear (originalmente destinada a receber trabalhadores de Juraguá) ativam continuamente certo aturdimento e a memória, por vezes não fiel, daquele tempo.

Pedro Ernesto Freitas Lima, Emerson Dionisio Gomes de Oliveira

A partir da coincidência da exibição de trabalhos realizados em madeira pelos artistas Eduardo Frota, Eudes Mota e Marcelo Silveira em exposições cujas narrativas curatoriais eram de caráter identitário, questionamos: como curadorias operam narrativas identitárias a partir de determinados materiais – no nosso caso, a madeira –, procedimentos empregados em obras e de dados biográficos do artista? Quais as implicações desse processo? Para isso, confrontaremos análises de obras a discursos curatoriais e proporemos hipóteses sobre o emprego da narrativa identitária enquanto mediador institucional e econômico na inserção desses trabalhos, provenientes de circuitos considerados “locais” ou “periféricos”, em circuitos de dimensão “nacional”.

Nicola Luigi Bragazzi, Hicham Khabbache, Eman Nasry Shenouda et al.

Italian Muslims represent 2.6% of the entire population and one-third of all foreigners, constituting a fragmented and pluralistic community. Recently, father Jacques Hamel, a French Catholic priest, was killed by two knife-wielding French men pledging allegiance to the Islamic State. The Muslim French community strongly dissociated from this event. Italian Muslim community heeded this call and also sent delegates to French churches. According to the statistics, about 15,000 Muslims (approximately 1–2% of the Italian community) attended the commemorative event. Using a qualitative approach, we aimed at investigating the reasons that led Italian Muslims to join or not such an event. The following themes emerged: 1) public responsibility and accountability; 2) every murder as a crime to mankind; 3) importance of inter-faith dialogue and initiatives; 4) judging actions on the basis of intention; 5) fear of losing identity and roots; 6) innovation of attending churches even for good purposes; 7) dead peoples of series A and B; 8) useless of the action; and, finally, 9) impact of islamophobia. Our research sheds light on the multiple voices and thoughts of a complex, multifaceted community. We believe that our findings could be helpful for policy-makers and stakeholders, in designing inclusive and truly integrative policies.

Alicia Miguélez

Ana Liza Bugnone

A comienzos de la década del sesenta los artistas de La Plata se sumergían en el clima de modernización y emergencia de nuevos lenguajes. Junto con la aparición de grupos de teatro experimental y de músicos renovadores, poetas y plásticos abrieron el paso a una década de renovación y experimentación en el arte. En este marco, resulta interesante rescatar la experiencia particular –y escasamente analizada en la bibliografía sobre la época- del Grupo de los Elefantes (formado por Lida Barragán, Omar Gancedo, Raúl Fortín, Roberto Ávila y Yoly Poisneuf), ocurrida en el ámbito de la poesía, a comienzos de la década.

Markus Lähteenmäki

Laura Fernández Orgaz

Partiendo de la desigual visibilidad de Juana Francés frente al resto de compañeros de su generación, el artículo considera algunos de los factores que provocaron esta injusta situación. Así mismo se aborda un recorrido por la intensa y variada trayectoria creativa de la artista que incluye sus etapas más significativas analizadas. Taking into account the poor visibility of Juana Francés compared to tfie rest of tier generation colleagues, ttie article reflects on some of tfie causes ttiat provoked this unfair situation. In addition to that, tfie article explores the intense and diverse artistic career including her most significant stages.

Rafael Cornudella

L'article conté diversos estudis sobre obres pictòriques de la primera meitat del segle XVI conservades al Museu Episcopal de Vic. En primer lloc, s'atribueix a Jean Bourdichon un pergamí il. luminat amb una Mare de Déu, que va ser adquirit l'any 1920 per al Museu, on va ser catalogat com a anònim. La resta del treball està dedicat a peces realitzades a Catalunya, com el retaule de la Trinitat de la Seu de Manresa, del català Gabriel Guàrdia, o una petita Nativitat que aquí s'atribueix a Pere (Perris) de Fontaines. Els dos epígrafs següents estan dedicats a la producció del taller vigatà de Joan Gascó i els seus fills. D'orígen navarrès, Joan Gascó (o Joan Navarro) va arribar a Catalunya vers els primers anys del segle XVI i va instal. lar el seu taller a Vic, treballant per a una clientela local, sobretot a la Plana de Vic, però també per a alguns pobles del Vallès Oriental. En aquestes seccions examino en primer lloc la fortuna historiogràfica dels Gascó, i proposo tot seguit un nou enfocament crític i una nova articulació del catàleg de llur obra, especialment la de Joan Gascó («Gascó I»), d'un «Gascó II» que s'identifica amb Perot, el fill primogènit, i d'un «Gascó III» que s'hauria d'identificar amb un altre dels fills de Joan (Sebastià o Francesc). L'últim epígraf explica la projecció a la Plana de Vic, a mitjan segle, d'un estil més classicista, d'un cert «romanisme», principalment cultivat per pintors radicats a Barcelona.