Ningún país europeo dedicó a Klimt la atención que tuvo en Italia. Ampliamente representado en la Bienal de 1910 y en la Muestra Internacional de Roma de 1911, su obra influyó en los artistas del norte del país y de los territorios irredentos que transcribieron su laboratorio de experiencias tanto en pintura como en otras disciplinas artísticas. La recepción de Klimt, a través del diseño, el mobiliario, la moda y la decoración de interiores perpetuó, de manera más moderada que en sus inicios, el modernismo y el simbolismo hasta mediados del siglo XX en el país transalpino a través de los modelos decorativos venecianos, la recepción en Felice Casorati y los artistas “rebeldes” de Ca’Pesaro, los súbditos austriacos del habla italiana en Trento y Trieste y la escultura y la gráfica de Adolfo Wildt.
This essay explores how traditional arts impact the lives of older adults, especially those recognized as inheritors of an Intangible Cultural Heritage (ICH). Through the work of elder Bai artist Mrs Zhao Huaizhu, I consider how traditional hand-icrafts and cultural knowledge enhance elder wellbeing and foster intergenerational connections. Mrs Zhao is a master of buzha, a traditional Bai art form where embroidered silk items are filled with wormwood and other aromatic herbs. Recognized as an ICH inheritor, Mrs Zhao invests her silk creations with Bai folklore, local history, and personal narratives. She uses her creations to convey cultural values and impart her individual identity. Engaging in this expressive practice not only gives Mrs Zhao’s life purpose and meaning, but also allows her to contribute to the economic and cultural vitality of her Bai community. This case study underscores the reciprocal relationship between ICH practices and the elders who practice them. Blending folklore methods with gerontological perspectives, the essay makes clear that traditional arts and cultural performances can work to support the quality of life of older adults. While elder artisans may be vital for sustaining traditional knowledge and practices, active participation in these cultural productions also enhance their emotional, psychological, physical, and social wellbeing, which is seldom a consideration in scholarly and governmental conversations about the value of ‘heritage’ conservation efforts.
Since the nineteenth century, the history of colonial Brazilian art has highlighted the work of Afro-Brazilian men, specifically those with a white father and Black or parda mother. Antonio Francisco Lisboa, known as Aleijadinho, is the subject of countless books, exhibitions, television shows, and films. In addition to such famous men, dozens of other Afro-Brazilian artists are known and much scholarship has examined iconography and style with ties to African cultures. This extensive and important work has led to major exhibitions demonstrating Afro-Brazilian contributions as central to Brazil’s past and present. Although intended as celebratory, the language and framing structures scholars use to discuss Afro-Brazilian artists from the colonial period are founded in white supremacy. The conception of Brazil as a nation where everyone is of mixed race, and therefore devoid of racism, is partly responsible for Aleijadinho’s fame. This essay will clarify how this narrative of harmonious racial mixing and the focus on the visibly African perpetuates white supremacist interpretations of colonial Brazilian art and limits the study of Afro-Brazilian artists’ work. I will propose ways to reframe workshop practice and improve connoisseurship using, among other cases, the lawsuit directed toward the white painter Manoel da Costa Ataíde that named the Afro-Brazilian artists who created one of his commissions. The essay builds on existing scholarship, acknowledging the violence of enslaving artists and promoting lines of inquiry that consider the agency and cultural positioning of Afro-Brazilian artists and patrons as subtle, ubiquitous, and heterogeneous.
The book of regional origin, but metropolitan in terms of the level of the TATLIN publishing house, aims to draw the attention of a wide audience and specialists to the process of comprehension and on this basis- design of creative leisure institutions, commonly called “DK” in Russia. The genesis of the development and functioning of this type of cultural institutions (from 1890 to the present day) indicates not only the uniqueness of the phenomenon of Russian and Soviet houses of culture in the world, but also on the need to rethink the heritage, transform spaces into more modern ones in form and content. On 296 pages, the reader will find a Russian and English text, rich illustrative material (photos, infographics, archival documents, illustrations), a description of the past, present and future of the "system" of houses and palaces of culture in Russia.
Sociology (General), Urban groups. The city. Urban sociology
Consideramos que la pregunta “¿qué es la ética?” implica una investigación ontológica como metaontológica, lo cual debería conducirnos a una explicación y justificación del programa de investigación natural. Bajo ese marco, una investigación ontológica debería darse favorablemente si es irrestricta a la vez que epistémicamente responsabilizada con el otorgamiento de criterios. En ese caso, la ontología de algo podría llamarse una teoría-puerto, la cual, en relación con la ética y en nuestro caso, se delimitará al examen de posturas metaéticas y a la definición de ética en función de la definición de su objeto de estudio. El examen resultará en la percepción de una aparente inabarcabilidad de la moral, la cual podría dirigir a un abolicionismo basado en su fatiga conceptual. Objetamos a este abolicionismo sosteniendo que la amplitud de lo moral en su exposición metaética más bien llama a una mayor concordancia con el naturalismo.
History of scholarship and learning. The humanities, Literature (General)
The Eastern Anatolia region, a high plateau, is exceptionally rich in paintings on rocks. Rock paintings in Ardahan, Kars, Erzurum, Erzincan, and Van-Hakkari mountainous region constitute a large part of this wealth. The technique of line, engraving, carving, and pecking was generally used in rock paintings drawn on andesitic and basalt stones in the region. The motifs encountered in rock painting areas are human (shaman), horse, bull - ox - cow, deer, wolf, dog, and sheep - ram - mountain goat. Furthermore, scenes of hunting and war, ceremonial and geometric scenes, and celestial shapes are among the covered themes. Sixteen rock painting areas were identified in the Northeast Anatolian region. Nine centers were examined in the study; Çıldır Başköy, Borluk Valley/Azat village, Camuşlu, Digor/Dolaylı, Geyiklitepe, Kurbanağa, Dilli Valley, Cunni Cave, and Şenkaya Kaynak village are rock paintings. There are more than 368 figures in these paintings, of which 119 are mountain goat figures. In the study, the morphology of the mountain goat motif in the related rock painting areas was examined, and its symbolic meaning and place in the hunting ritual and the possible cosmic world were analyzed.
يسعي البحث إلي تحديد اثر تمكين العاملين في الاداء السياقي لدي معمل الالبسة الرجالية في النجف الاشرف وقد تحدد تمكين العاملين بأبعاده الأربعة التي تمثلت في حرية الاختيار، الكفاءة الذاتية، تحفيز العاملين والتاثير وقد حددت ابعاد الآداء السياقي في سلوك المواطنة والالتزام الوظيفي وقد تم اختبار الفرضيات عن طريق برنامج (SPSS) وان اهم ما توصل اليه البحث أن هناك أثر لكل من بعدي حرية الاختيار وتحفيز العاملين علي الاداء السياقي لدى معمل الالبسة الرجالية وأنه لا يوجد أثر لكل من بعدي الكفاءة الذاتية والتاثير علي الاداء السياقي لدى معمل الالبسة الرجالية.
History of scholarship and learning. The humanities, Arts in general
The article is devoted to the analyzes of number of Iranian edged weapons, lacking any fighting efficiency but distinctively ornamented, from the collections of the Russian museum of ethnography and Peter the Great Museum of anthropology and ethnography (the Kunstkamera). Such weapons of diversified types (sabers, swords, daggers, battle-axes, defensive weapons) form a considerable part of museum collections, and evidently were produced by quantities in Iran, from where they appeared in the museums either directly, that is important, or via the antique shops in Europe and Russia in the second half of the 19th-the beginning of the 20th centuries.
Based on the complex analyses of both the objects, and primary sources as well as research literature on history and ethnography, the author puts these arms in the context of Iranian culture of the 19th century, linking their use with the rituals, organized in the first ten days of muharram, a month of the Muslim lunar year. During these days, various ceremonies, commemorating the martyrdom of the third shia imam Khusain in the desert near the city of Karbala in 680, take place in the shia Muslim communities. The author provides profound descriptions and analyses of the activities and performances, that could have incorporated such kind of non-battle arms and armour, specially made for these occasions, as well as the real weapons, thus acquiring another ethnographical status. Travelers, ethnographers, historians, who visited Iran and nearby territories with shia brand of islam venerated, described the ceremonies in details, through their attention was paid more to the scenario of the events, their religious and ethnic specificity, than to the objects used. Nonetheless, the analyses of philological data, cultic and ritual aspects of the ceremonies, and comparison of even a few facts from primary sources and juxtaposition them with the images, made by the artists who saw them with their own eyes, as well as with real objects, permitted the author to arrive at the steadfast conclusions. These are the principles of ornamentation of the arms and armor under discussion as well as the range of decorating them images, which as investigation has showed, reflect the symbolic ideas of muharram ceremonies and vivid in these events heroic and mythological features of Iranian culture, that have appeared to be one of the most important sources to determinate the place of these objects in the Iranian ritual culture of the second half of the 19th century and the beginning of the 20th. The stylistic analyses of such objects from the Russian museum of ethnography and Peter the Great Museum of anthropology and ethnography (the Kunstkamera), provided by the author, can serve as the basis for the attribution of this kind of weapons from other museums to the sub-culture of muharram ceremonies.
This article underscores the romanticization of basket weaving in coastal Southern California in the late nineteenth and early twentieth centuries and the survival of weaving knowledge. The deconstruction of outdated terminology, mainly the misnomer “Mission Indian”, highlights the interest in California’s Spanish colonial past that spurred consumer interest in Southern California basketry and the misrepresentation of diverse Indigenous communities. In response to this interest weavers seized opportunities to not only earn a living at a time of significant social change but also to pass on their practice when Native American communities were assimilating into mainstream society. By providing alternative labelling approaches, this article calls for museums to update their collection records and to work in collaboration with Southern California’s Native American communities to respectfully represent their weaving customs.
The paper focuses on Imamura Shōhei’s History of Post-War Japan as Told by a Bar Hostess (Nippon Sengoshi—Madamu Onboro no Seikatsu), a documentary released for general viewing in 1970. The subject of the documentary was Azaka Emiko, the uninhibited middle-aged owner of the bar Onboro in the port city of Yokosuka, home to a U.S. naval base. Emiko embodied the phantasmagoric (chimimōryō) lowlifes who inhabited the nooks and crannies of Japanese cities and went about their lives without resentment or guilt, unburdened by familial responsibility and social norms that fascinated Imamura. While other intellectuals and film makers were obsessing about the status of Japanese democracy, Imamura chose to focus on people such as Emiko to identify the psychological and moral changes undergone by the Japanese people during three decades of post-war recovery and growth.
El artículo indaga en las técnicas de montaje elaboradas por el cine, como
un procedimiento para la organización formal en la música. A partir de fragmentos
heterogéneos que se cortan y conectan han resignificado la forma y el
tiempo musical desde las vanguardias del pasado siglo XX. Se analiza el caso
del preludio Canope, número diez del segundo libro de Claude Debussy y la
incidencia de su concepción musical para nuevas poéticas.
From the end of the 1990s, several studies based on imaging evidenced the participation of reward mechanisms in the hearing of tonal music. Tonal music is constructed from a set of discrete elements (musical notes) organized in time according to mathematical reasons and well-defined structural relationships, thus enabling, through the repetition of listening, the apprehension of the rules of construction and, consequently, the formation of expectations. Reward mechanisms correspond to systems which are responsive to expectations, comprising three components, formed by partially dissociable neural substrates, related to motivation, learning and hedonia. This paper seeks connections between the characteristics of tonal musical structure and material and the process of musical apprehension and activation of reward systems, suggesting the important role of such mechanisms in maintaining the longevity of tonal music in modern society, particularly in relation to its functional nature.
CRACOW BURGHERS’ BEQUESTS TO THE OBSERVANTS’ FRIARY IN STRADOMIN THE SECOND HALF OF THE 15TH C.
The article is aimed at analysing late-mediaeval testaments of Cracow burghers which included bequests to the Observants’ church and friary in Stradom (a suburb of Cracow). The source basis are testaments recorded in Cracow municipal books, most of them in the Liber Testamentorum kept by the city council (The National Archives in Cracow, Records of the City of Cracow, manuscript 772). The Observant friary in Stradom was founded in 1453, following a religious stir induced by a visit to Cracow made by the famous Italian preacher John of Capistrano, an Observant friar. There are 58 last wills from the second half of the 15th c., made by 54 testators, which include bequests to the newly-founded friary. This is a significant number as compared with the number of surviving wills from the second half of the 15th c. including bequests to orders long established in Cracow, the Grey Friars and Dominicans (30 and 22, respectively). The number of bequests from the fi rst two decades of the friary’s functioning is defi nitely higher than in the later years. In this early period it was common for testators who left legacies to several Church institutions (a typical situation) to endow the Observants with a larger bequest. This might have resulted from the burghers’ interest in a new institution among Cracow’s religious houses. It can be also supposed that the new friary was supported by the municipal authorities. Still, most of the donors were craftsmen, from both richer (e.g. goldsmiths) and less affluent (e.g. oil makers) groups, although the majority represented low-status professions. This might have been due to the Observants by rule doing the ministry among the poorer. The bequests were usually money, intended generally for the needs of the church, the friars and the friary, sometimes specifi cally for food. Rarely can it be concluded that the testator re-ally knew the current needs of the friary but there are several examples of bequests for liturgical books, vestments and paraments.
Archaeology, History (General) and history of Europe
The issue of co-morbidity in Anxiety and Depression as disorders leads to questions about the integrity of their present taxonomies in mental health diagnostics. At face value the two appear to have discrete differences, yet nonetheless demonstrate a high co-morbidity rate and shared symptoms implying pathological similarities rather than that of chance. Reviewing evidence from behavioural, neural, and biological sources that elaborate on the aspects of these two constructs, helps to illustrate the nature of these apparent differences and similarities. Integrating evidence from the anxiety and depression literature with the pathological process best illustrated by the burnout theory, alongside with support from the neurobiology of anxiety and stress, presents a proposition of a basic and natural anxiety pathology that when excessive, may result in the symptoms psychology has come to know as representative of anxiety and depressive disorders.
Arts in general, History of scholarship and learning. The humanities
Keats and Swinburne loom large as purveyors of the “aesthetic” in its early and late nineteenth-century forms—that is, as a discourse of subject-formation through the exercise of tasteful distinction and as a self-referential discourse of art for art’s sake, respectively. In this essay, I analyse how Swinburne constructs a “Keats” that will allow him to master a “manliness in crisis” that affected both writers. If this “crisis” is historicized by the body as a social matter that Victorian legislators were policing in the forms of prostitution and pornography, it is, I argue, this materiality that Keats and Swinburne insist of enjoying rather than sublimating. The ultimate question I pose is this: can aesthetics become the critical discourse that recent revisionary readings have postulated if both a Romantic and a Decadent aesthetic insist on enjoying the body, materiality, gender instability and other topoi communicated by prostitution, pornography and poetry.
This paper investigates Socrates’ intention in his defense speech against the first accusers in Plato’s Apology. As a defender, Socrates is supposed to argue for his acquittal. However, his opening defense against the first accusations that he engages in natural philosophy and rhetoric does not seem to aid him in this respect. To the official and later indictment for corrupting the young and disbelieving in the gods, Socrates adds further accusations, which the accusers themselves never brought up. For what purpose does Socrates seemingly incriminate himself and, through this unorthodox tactic, what does he achieve? Previous studies on this question generally offer two interpretations. Some suggest that Socrates’ argument against the first accusations, which he himself raises, is a reasonable appeal for an acquittal, because the official indictment depends on the claim of the first accusations. Others contend that Socrates does not attempt to argue for his acquittal, but merely highlights the tragic and irresolvable conflict between his own sense of morality and the conventional ethics of the city. This paper offers a third interpretation. Appealing to the first accusations as an example of the prejudice that he considers characteristic of the Athenians, Socrates tries to transform the negative connotations attached to their prejudice into positive associations, without sufficiently refuting the accusations. His speech is less a refutation than it is an attempt to elevate his moral status in the eyes of the public.
History of scholarship and learning. The humanities, Fine Arts
El trabajo ofrece una exploración epistemológica de un campo de conocimiento que constituye un área de vacancia y cuyo abordaje científico y sistemático es relativamente nuevo: la Pedagogía Vocal.
Mediante el relevamiento de la bibliografía especializada, el estudio distingue en el desarrollo de este campo dos momentos: el primero, que suele ubicarse entre 1795 y 1950, y el segundo, que se extiende de 1950 a nuestros días, al tiempo que se detiene en las características de los paradigmas de la enseñanza del canto que signaron estos períodos.
Por último, el artículo expone los resultados de una encuesta realizada por el autor a 285 docentes de canto de todo el país, que proporciona evidencia respecto de cómo se aplican estos paradigmas en la práctica, y reflexiona sobre posibles vías de desarrollo de la Pedagogía Vocal en el futuro.