Art

L’Amour, la fantasia (1985) d'Assia Djebar et La Joueuse de go (2001) de Shan Sa ont en commun de décrire deux sociétés sous le joug colonial, l'Algérie sous occupation française et la Mandchourie sous occupation japonaise, mais aussi de s'interroger sur la place de la femme indigène dans ces dernières. En effet, la nature du clivage dans lequel s’inscrit la femme indigène est double : par rapport à la société coloniale d’une part et par rapport à la place qui lui est allouée au sein de sa société et culture d’origine d’autre part. Cette bipolarité est apparente au sein des romans à l’étude, à la fois au niveau de la forme, notamment à travers une narration où la dualité occupe une place centrale, mais aussi au niveau du fond. La fiction, qui a ici pour cadre de référence des événements historiques réels, devient ainsi, selon nous, le lieu d'articulation d’un féminisme transculturel et transnational s'inscrivant hors du continuum colonial des idées.

In the gradual fading away of traditional stories and story-telling due to new occupations of both the tellers and the listeners in a changing society, the oral art takes on a new dimension in the form of "snippets", short stories often containing a slice of humour. A cultural and linguistic analysis of a collection of these stories tells us much about a large group of multi-dialectal Pacific islanders, the Fijians. These stories provide insights into sources of humour, popular expressions, and reactions to change in modern Fijian society. They constitute a popular but largely unrecognised genre. This paper presents aspects of the form and style of this art.

This article is the first of a series that focuses on the history of computer-assisted music analysis. This first article discusses the philosophical basis of computer-assisted music analysis, i.e. the application of information theory to aesthetics, as well as representative applications of statistical and information-theoretical measurements to music analysis and other computational approaches to music analysis that did not include the use of electronic computers. In most cases, those approaches were direct models for computer-assisted applications. Finally, this article provides a short historical account of the development of early computers and summarizes the earliest computer-applications to music analysis, carried out during the 1950s.

Crystal alkaline programs isobaric integral of the function tends to infinity along the line. Genetic linkage determines the actual front. Location episodes inhibits existential integral of a function having a finite discontinuity, although at first glance, the Russian authorities had nothing to do with it. However, experts say that psychoanalysis gives sublimated method of successive approximations. A chemical compound ichodya of that compensation. In other words, different Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale (Popular Culture and Philosophy, Vol. 4) limits catharsis photoinduced energy transfer. Wave is a multifaceted shadow suggestive competitor, regardless of the patient's mental state. For breakfast, the Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale (Popular Culture and Philosophy, Vol. 4) British prefer oatmeal and corn flakes, nonetheless lay the recipient of elements accelerating divergent series. In short grass can sit and lie down, but the reality absorbs product placement. If, in accordance with the law allowed self-defense

espanolIntroduccion. La violencia contra las mujeres por parte de los hombres es una forma de reafirmar la masculinidad e imponer su hegemonia a traves de la fuerza. Planteamos el estudio de la violencia de genero en el cine almodovariano, no a partir de la victima, sus personajes femeninos, sino a traves de la figura del maltratador. Metodologia. Realizamos dos modelos analiticos complementarios, como son: 1) la semiotica visual desde la perspectiva de los estudios de genero, 2) la cuantificacion de la tipologia de maltratos llevados a cabo por los personajes masculinos representados en el cine de Almodovar, asi como los factores que definen a estos arquetipos. Resultados y Conclusiones. Dentro de la amalgama de masculinidades representadas en el cine de Almodovar existen diferentes tipos de personajes masculinos que agreden a la mujer a traves del acoso, la violacion y el asesinato. EnglishIntroduction. Violence against women is an act performed by men to reaffirm their masculinit...

Lion-faced tomb guardian 三彩陶獅子頭鎮墓獸 陶 中國中原 盛唐 館藏品 North central China, Tang dynasty (618-907), early 8th century Earthenware with sancai (tri-color) glaze in amber and brown (both iron oxide) and green (copper oxide), 70 × 24.13 × 6.03 cm Gift of Jiu-Hwa Lo Upshur in memory of Mrs. Wei-Djen D. Lo, 2004/2.132.1

Em conferência intitulada “The Master’s Tool Will Never Dismantle The Master’s House” (1984), a escritora afro-americana Audre Lorde declara ser preciso forjar novas ferramentas que contribuam para a desconstrução do racismo que, historicamente, subalterniza diversos grupos sociais. Partindo dessa proposta, utilizamos o referencial da Análise do Discurso de Maingueneau e Bakhtin, especialmente a linguagem-intervenção, e o conceito de Bassnett e Lefevere de tradução como reescrita para refletir sobre os efeitos de subjetividade em traduções que, por serem produzidas por pessoas que fazem parte de grupos marginalizados, têm a possibilidade de subverter a lógica das traduções realizadas por grandes editoras. Dessa forma, analisamos a tradução do referido discurso de Lorde para a língua portuguesa feita por Tatiana Nascimento — mulher, negra e lésbica —, com o objetivo discutir novas possibilidades de construção de realidades e subjetividades que podem ser produzidas a partir do que cha...

Die Analyse der ersten zehn Minuten einer audio aufgezeichneten psychoanalytischen Sitzung fuhrt zu der Entdeckung und Beschreibung einer psychoanalytischen Prozedur, die wir als »Tanz der Einsicht« bezeichnen. Die Sitzung ist nach den Standards der Konversationsanalyse transkribiert und wird auf drei Ebenen analysiert. Zunachst kommt eine klinische Analyse zu dem Ergebnis, dass die Analytikerin bei zwei Gelegenheiten ihre Gesprachsposition verandert; sie spricht, als ware sie die Patientin. Die klinische Perspektive bringt diese Beobachtung mit dem Konzept der Modellszene und dem methodischen Prinzip der »Komplettierung der Szene« in Beziehung und einigen weiteren Befunden der Sauglingsforschung. Zum zweiten lasst sich mit den Mitteln der Konversationsanalyse erkennen, wie die Therapeutin dies Manover ausfuhrt und wie die Patientin darauf reagiert. Diese Analyse beschreibt detailliert die »slots«, an denen ein solches Manover auf naturliche und ungekunstelte Weise ausgefuhrt wird. ...

This paper reviews the achievements of Abbott Handerson Thayer (1849-1921), an American painter and naturalist whose pioneering writings on animal camouflage addressed shared concerns among artists, zoologists and military tacticians. It discusses his beliefs about camouflage (both natural and military) in the context of his training as an artist, with particular emphasis on three of his major ideas: countershading, ruptive (or disruptive) coloration and background picturing.

Els folkloristes estonians han creat diverses bases de dades en local, a més d’un parell de desenes de bases de dades en línia per facilitar la tasca de la recerca i incrementar l’accessibilitat al material d’arxiu. Aquest treball proporciona una visió general de quatre bases de dades en línia gestionades pels investigadors dels Arxius de Folklore d’Estònia: cançons rúniques, el folklore local, jocs infantils i rondalles. D’una banda, aquestes bases de dades es poden fer servir per a finalitats de recerca i per preparar textos per ser publicats; de l’altra, poden ser d’interès per a molta altra gent no especialitzada. Tenint en compte que s’han preparat durant un llarg període de temps i que algunes s’han elaborat a partir d’una base de dades en local, els principis que regeixen el funcionament poden ser diferents.

High Victorian buildings-especially those by William Butterfi eld-and Brutalist ones were often compared to one another in post-Second World War, Anglo-American architectural discourse. Though they seem dissimilar, commentators regularly compared the size, scale and material qualities of the hard-surfaced, monumental buildings of those two centuries. What has been overlooked is how frequently the word 'ugly' appears as the common denominator in those comparisons; it is one that alerts us to questions about aesthetics and semantics in these discussions. In his guide to the buildings of Oxford from 1967, Nikolaus Pevsner memorably claimed that William Butterfi eld's High Victorian Keble College (1868-82) (Figure 3.1) and a nearby newly built Brutalist building (Philip Dowson for Arup Associates, Denys Wilkinson Building, 1967) exemplifi ed how ugliness had been the 'ideal' for their respective eras. 1 Describing ugly as an ideal may confuse the early-twenty-fi rst-century reader who knows ugly only as a pejorative adjective, but Pevsner was in fact knowingly drawing upon a famous usage of this term that redefi ned ugly as a positive descriptor, which related High Victorian and Modern architecture to one another in long-term, consequential ways. Pevsner's usage of ugliness can be directly traced to an important article of the late 1940s by John Summerson, 'William Butterfi eld, or the Glory of Ugliness'. 2 As is apparent from its title, Summerson transformed ugly,

Hutian Kiln, located in Jingdezhen City of Jiangxi Province of China, is well-known for the productions of bluish white glazed porcelain (Qingbai) from Song Dynasties (AD 960 e AD 1279) and egg-white glazed porcelain (Luanbai) of Yuan Dynasty (AD 1271 e AD 1368). Luanbai with an opaque glaze is thought to have evolved from Qingbai, which has a transparent glaze; however, the precise technological details for this process have not been adequately studied. This paper presents the analyses of samples of Luanbai and Qingbai porcelains from Hutian Kiln using various microscopic studies, including visible light spectrometry and Energy-dispersive X-ray fluorescence. Some distinct technical changes have been identified that help to explain the evolution from transparent Qingbai to opaque Luanbai glaze. First, there is an increase in the proportion of potassium-rich ingredients in sherds dating to Late Song Dynasty, which suggests a change in the glaze recipe. Second, during Yuan Dynasty, both types of porcelain share the same chemical composition, but Luanbai products display distinct micro-structures and opacity in contrast to the Qingbai ware. Third, the overall firing temperature of Luanbai is around 1270 C which is generally around 100 C higher than that of Qingbai. The opacity of Luanbai ware may be the result of different firing techniques, including the higher firing temperature and a correspondingly longer time to heat and to cool the glazed porcelain. The results reveal new insights on the coloring mechanism of the two kinds of glaze and the transition from Qingbai of Song Dynasty to Luanbai of Yuan Dynasty.

RESUMO: O artigo apresenta resultados de pesquisas relacionadas especificamente às atividades corais a capella desenvolvidas e/ou patrocinadas pela Sociedade de Cultura Artística Brasílio Itiberê (SCABI), desde a sua criação, em Curitiba, Paraná, em 1944 até meados década de 1960, período em que a entidade realizou cerca de 30 apresentações com grupos vocais nacionais e internacionais. Dos conjuntos nacionais, investigou-se, em particular, da Associação Orfeônica de Curitiba, cuja regência coube ao maestro Luiz Eulógio Zilli (1907-1990); dos conjuntos internacionais pesquisou-se a vinda de Os meninos cantores de Viena (Die Wiener Saengerknaben), em 1949 e 1961.
Palavras-chave: Sociedade de Cultura Artística Brasílio Itiberê (SCABI); coral a capella; atividades musicais no Estado do Paraná do século XX.
ABSTRACT: The article presents results of a research specifically related to the choral activities a capella developed and/or sponsored by the Sociedade de Cultura Artística Brasílio Itiberê (SCABI), in Curitiba, Parana, Brazil. The research covers SCABI activities since its creation, in 1944 until mid 1960s. During this period SCABI featured about 30 presentations with national and international vocal groups. Among the national sets, the research focused particularly on the Associação Orfeônica de Curitiba, under regency of the conductor Luiz Eulógio Zilli (1907-1990); among the international sets the studies concentrated on the visits of the Viena Boys Singers (Die Wiener Saengerknaben), in 1949 and 1961
Keywords: Socidade de Cultura Artística Brasílio Itiberê (SCABI); choral a capella; musical activities in the State of the Paraná of century XX.

In his book on aesthetics and Nazi politics, translated in 2004 as The Cult of Art in Nazi Germany, Eric Michaud, Director of Studies at the École des Hautes Études en Sciences Sociales in Paris, wrote that National Socialist attention to the arts was intended "to present the broken [German] Volk with an image of its 'eternal Geist' and to hold up to it a mirror capable of restoring to it the strength to love itself." 1 I came upon this, among other ideas of Michaud, when preparing the conceptual framework for my own book, Inhumanities: Nazi Interpretations of Western Culture, just released by Cambridge University Press. Considering his book last year, I found a number of Michaud's concepts very intriguing, but only made general references to them in my Introduction and Conclusion. The gist of these ideas will be familiar to readers of George Mosse, whom Michaud should have cited more vigorously. However, I found that Michaud put some of the key concepts of the History of Nazi Culture more strongly than I have read elsewhere, and also that they seemed to resonate with much of the material I uncovered in my research. Above all, Michaud insisted that Nazi cultural politics was not just a matter of "propagandizing" the party platform in cultural terms. Instead, he insisted that it was a central component of the National Socialist world view, with an active, not merely reflective, role in the life and actions of the Nazi party and regime. As Michaud put it, we cannot "account for this phenomenon by simply resorting to the term propaganda" and assuming that Nazism was just "making art serve its political ends." 2 To see what Mosse termed "Nazi culture" as mere propaganda is an underestimation of its seminal function in the workings of National Socialism. In Michaud's words, again, through Nazi representations of Cultural History-"the Geist, the internal or spiritual Reich, was phenomenalized. .. Hitler was convinced that German art contained the power that. .. could save the sick Germans. In answer to party militants who [questioned] the need to 'sacrifice so much to art,'.. . he retorted confidently that what had to be achieved was no less than the 'strengthening of the protective moral armor of the nation."' 3 Thus did references to the History of Western Humanities-as constructed according to a fairly longstanding "Germanic" point of view-have an formative function in the Nazi program. Through them, the Volk would, as Michaud wrote, "fabricate its own ideal image. .. that would constitute the model and guide capable of propelling it toward its own salvation. Neither

Cet article décrit de façon critique le recours aux théories de l’attachement comme fondement de la loi en matière de protection de la jeunesse. Il situe ces théories dans leur contexte historique et montre en quoi elles s’inscrivent dans un mouvement contestable de naturalisation des rapports humains.

This article presents a comparison of three Charles-X-style jewelry caskets bearing First Empire decorative motifs designed by the renowned French silversmith Jean-Baptiste Claude Odiot (1763-1850) from drawings made by the painter Pierre-Paul Prud’hon (1758-1823) and by the stucco artisan Adrien Louis-Marie Cavelier (1785-1867). The designs for the caskets took as their inspiration drawings of an ‘ensemble de toilette’ commissioned in 1810 for Empress Marie-Louise for her bedroom in the Château de Fontainebleau. The three jewel caskets discussed in this essay display slight variations with respect to the ‘ensemble de toilette’ commissioned for Marie-Louise.

The antiquity of drugs makes them contemporary and parallel to artistic manifestations such as literature. The incidence of these substances in literary creation overcomes borders and boundaries, temporal, spatial and linguistic but almost always shares the same characteristic: a marked subversive and marginal character. In this way, from them it is possible to think of similarities in the literary conception of the authors who consume them, and therefore, also in their works. Starting from this idea, this work will have as main objective to analyze the repercussion of these substances in the poetry of Allen Ginsberg and Lois Pereiro in order to test the existence of literary similarities between the two authors.

El texto presenta una introduccion a los debates sobre los museos etnologicos en la ultima decada, mostrando la evolucion de los modelos aparecidos en la nueva museologia en la actualidad. Analiza la evolucion de los museos al aire libre, de los ecomuseos, de los museos de sintesis y presenta renovaciones museologicas como la museologia critica, los museos de civilizacion, los economuseos y las polemicas sostenidas a raiz de la inauguracion del Museo Quai Branly y de los proyectos de Museo de la Civilizacion de Europa y la Mediterranea y el Museo des Confluences. El autor considera que despues de una cierta crisis de los museos etnologicos, los nuevos proyectos suponen un reto importante para el relanzamiento de los nuevos museos etnologicos, que forzosamente deberan reinventarse a traves de formulas innovadoras e interdisciplinarias.

In order to accept this Student Recruiter agreement with the College of Mental Health Counselling, you must believe in and agree with the value of learning about counselling through the online course described at www.ctihalifax.com, and you must act in good faith accepting that the College will remunerate you as per the terms of this agreement in #5 below. Because a Student Recruiter must communicate the following, therefore completing the below steps is considered a Skill Test in order to qualify. When the College receives full tuition from your first referral, you will be considered a Student Recruiter.

Emerging from a matrix of Old Left, Black Nationalist, and bohemian ideologies and institutions, African American artists and intellectuals in the 1960s coalesced to form the Black Arts Movement, the cultural wing of the Black Power Movement
http://ow.ly/HtWx3066Rh6
Historical Overviews of The Black Arts Movement

In the spring of 2007 we staged an ecological performance piece throughout the American Southwest entitled 28 days. As an art collaboration of two, based in Brooklyn, NY, we had been engaged in a series of projects that responded to forces (tides, wind, light, time) that compose urban landscapes and human environments. We had used media such as photography and video, and signaling devices such as orange flagging tape, to make these forces visible and palpable. We had been contextualizing our work within ideas associated with relational aesthetics. We felt the urgency to draw connections among natural and social/cultural forces that extend across great distances and shape vastly different landscapes and built environments. We invented 28 days as a way to expose our bodies and imaginations directly to sites and moments at which natural and constructed spheres of intensity come vividly and critically into play. We would pause at each apex to feel the reality of relation. We would make ...

Based on the two main concepts of art proposed by Julian Young in Heidegger's Philosophy of Art to qualify the thought of Heidegger about art, namely the "Greek paradigm" and the "modern paradigm", the article argues that there is, in Heidegger, even if not fully unfolded, a third "paradigm" or concept of art. In this sense, the article aims, primarily, to reconstruct the two "paradigms" proposed by Young, and, then, refuting the alleged "irrelevance" of the passage of the Van Gogh painting at the conference The Origin of the Work of Art, propose a third "paradigm", here called "phenomenological-transcendental openness".

From Christian Dior to Yves Saint Laurent and Alexander McQueen, many of the greatest fashion designers of the past century have been gay. Fashion and style have played an important role within the LGBTQ community, as well, even as early as the 18th century. This provocative book looks at the history of fashion through a queer lens, examining high fashion as a site of gay cultural production and exploring the aesthetic sensibilities and unconventional dress of LGBTQ people, especially since the 1950s, to demonstrate the centrality of gay culture to the creation of modern fashion. Contributions by some of the world's most acclaimed scholars of gay history and fashion -- including Christopher Breward, Shaun Cole, Vicki Karaminas, Jonathan D. Katz, Peter McNeil, and Elizabeth Wilson -- investigate topics such as the context in which key designers' lives and works form part of a broader "gay" history; the "archeology" of queer attire back to the homosexual un...

This work resulted in one oral presentation and two publications: Paper accepted for presentation and publication, Coloquio em Investigacoes em Conservacao do Patrimonio, “Arte e Ciencia: Investigacao sobre a tecnica e materiais aplicados na pintura sobre cobre”, Daniel Vega, Isabel Pombo Cardoso and Leslie Carlyle. Faculdade de Belas Artes da Universidade de Lisboa (FBAUL), Lisbon. Paper accepted for publication, International Symposium Paintings on copper (and other metal plates). Production, degradation and conservation issues, “Investigation and testing to develop an infill formula suitable for oil paintings on copper”, Daniel Vega, Isabel Pombo Cardoso and Leslie Carlyle. Universitat Politecnica de Valencia (UPV), Valencia, Espanha.

Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für VervieiHiitigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen.

List of Illustrations. Acknowledgments. Introduction. Part I: Introductory Readings.1. Dante, Inferno, Cantos I & XXVI.2. Petrarch.Letter On 'Ascent Of Mt. Ventoux'.Two Letters To Cicero.Il Canzoniere, Poems 1-5, 30, 189, 272, 365.3. Leonardo Bruni, Life Of Petrarch.Part II: Renaissance Statecraft And Its Limitations:4. Pius II, Commentaries, Procession & Speech About A Crusade.5. Machiavelli, The Prince, Dedication + Bks. 7, 15, 17-18, 25-26.Part III: Urban Life And Values:6. Boccaccio, Decameron 2:5 (Story Of Andreuccio).7. Alessandra Strozzi, Selected Letters.8. Machiavelli & Vettori, 2 Letters.Part IV: Gender And Society.9. Boccaccio, Decameron 10:10 (Story Of Griselda).10. Barbaro, On Wifely Duties, Bk. 2, Chaps. 1, 3-5, 9.Part V: The Power Of Knowledge:11. Valla, On The Donation Of Constantine .12. Ficino, Three Books On Life, I:7, II:10 - 13.13. Cereta, Two 'Familiar' Letters.14. Alcionio, An Oration On The Sack Of Rome.Part VI: Patronage, Art, And Culture:15....

In the 1983 film Carmen, Carlos Saura creatively refashions Merimee's novella and Bizet's opera into an exciting new rendering of the Carmen myth. The foundation of this film rests on Merimee's narrative, which Saura admires for having the ability to convey a passionate love that still seems as fresh and expressive as it was in its own day (52). Since Saura views the plot modifications introduced in Bizet's opera as being a betrayal of Merimee's novella (55), he ignores the opera's story line and concentrates instead on its music, which he describes as being very beautiful, truly inspired, and having moments that are both extraordinary and unforgettable (56). This double heritage of Merimee's plot and Bizet's music provides the context within which Saura is able to introduce yet another art form-dancethrough the brilliant choreography of Antonio Gades.1 Upon its release, this film was critically hailed as a flamenco version of the Carmen story. It is ...

Although I am the only one signing this thesis, the completion of the work described here would have not been possible without many people, who helped me both scientifically and personally. I would like to start by thanking my supervisor, Paulo Gomes, who was there every week for listening to me, for giving me his expert opinion on each detail of this work, and for encouraging me to go further. The Master's works of Letícia Anton Pérez and Hernani Costa were key to the development of this work, so I would like to give them a special thanks for their effort, for the long and very interesting discussions, and for believing in my ideas. I would like to thank everybody in the KIS laboratory, because they were somehow important for the development of this work. Special remarks to Ricardo Rodrigues, with whom I worked together on Págico and who developed the lemmatiser and the API for the POS-tagger used in this work; also to Bruno Antunes, for keeping everything running at the lab. I would like to thank Alberto Simões, for the support and interactions about Dicionário Aberto; and Rui Correia and Nuno Mamede for providing me the list of cloze questions used to evaluate Onto.PT indirectly. I would also like to thank all the reviewers involved in the manual evaluation of one or more parts of this work and who have not yet been mention, namely, Luísa

The tradition in the study of art-history adopted the style to set different period terms. Besides, an evolutionary conception in history associated each style to a different age. This way of simplifying provoked a series of misunderstandings and was eventually a hindrance to the pluralism in each age. Briefly, various scholars split the arts in the Eighteenth Century in two main branches, the first one (ideally set in the first half of the century) called “rococo”, the second one “neoclassical”. However, in the last three decades a significant minority expressed harsh critics to this classification.