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The creative and cultural sectors in the United Kingdom largely exclude the working classes. Even the small number of working-class people who do ‘make it’ into these sectors often find themselves and their work badly treated by those who hold the real power. This article explores some of the experiences of working-class artists navigating the cultural sector and how exclusion, prejudice and precarity impacted and continue to impact them. It takes as its focus the filmmaker Alan Clarke and the playwright Andrea Dunbar, who were at the height of their success in the 1980s. It also considers the writers Darren McGarvey and Nathalie Olah, whose work has achieved prominence in recent years. It is through this focus I hope to demonstrate the long continuum of challenges for working-class creatives. This article also considers how, on the occasions when they are allowed the space they deserve, working-class artists have created powerful shifts in cultural production. Finally, it details some of the changes needed for working-class people to be able to take their rightful place in contributing to cultural life and the societal risks involved if they are denied that place.

Abstract The article attempts to set out evidence for various forms of Greek high culture in Bithynia from the fifth century BC to the middle of the third century AD, taking as a cut-off point the tetrarchic period in which Diocletian’s choice of Nicomedia as a capital had a marked impact on its and other Bithynian cities’ cultural life. The preliminary prosopography lists representatives of Greek culture by city, subdividing into the categories doctor, grammaticus, historian, philosopher, poet, rhetor or sophist, and scholar (with a sprinkling of other performers). Only Nicaea, with 30 names, makes a strong and persistent showing; of other cities only Nicomedia musters more than 10 names, though Prusa and Prusias ad mare produce several doctors. Prusias ad Hypium, by contrast, can boast only a single philosopher, perhaps a rhetor who moved to Nicaea, and a visiting tragic performer.

The appreciation system of art works is a system that combines art with computer. It can realize the appreciation and appreciation of art works through computer, so that more people can come into contact with art works and improve people’s appreciation ability and spiritual and cultural life level of art works. The system is an application system based on Web application program and running under Windows system. The whole project development framework is a popular web framework. It is an application-oriented system constructed by using java development language, Oracle database as data storage support in persistence layer, Tomcat as application server and JSP technology. The function of the system is mainly divided into two parts. The administrator part only realizes the operation of adding, modifying and deleting the relevant information of the art works, including the detailed information of the works, the relevant information of the painter, the background art management and comment management of the art works, and the user information management; In the user part, it mainly realizes the functions of browsing, understanding and learning art works, and increases the functions of attention and comment on works. After development and debugging, the system runs normally, all functions of the administrator side are basically realized, and relevant operations can be carried out; The functions of the client are basically all realized. Users can choose some functions of the system according to their preferences.

Pela an�lise de algumas instala��es realizadas pelo artista franc�s Daniel Buren (1938)�durante a d�cada de 1970, procura-se evidenciar a import�ncia dos locais especializados de exposi��o da arte para a constru��o do sentido da hist�ria da arte contempor�nea. Apesquisa ora apresentada se organiza em torno dos escritos de Daniel Buren e na documenta��o fotogr�fica produzida na ocasi�o de cada uma das interven��es analisadas, centrando-se em tr�s pontos principais: na an�lise da situa��o dos museus de arte europeus que ent�o se abriam para a arte contempor�nea; na atua��o comercial e pr�tica das galerias de vanguarda nos Estados-Unidos e, finalmente, no papel exercido no campo art�stico pelos ?novos museus? que, ao final da d�cada de 1970, se consolidam como espa�os importantes para a anima��o da vida cultural no hemisf�rio Norte.Palavras-chave:Trabalho in situ. Museu. Galeria. Novos museus. D�cada de 1970.�AbstractThrough the analysis of some installations carried out by the French artist Daniel Buren (1938) during the 1970s, we seek to highlight the importance of specialized art exhibition sites for the construction of the meaning of the history of contemporary art. The� research presented here is organized around the writings of Daniel Buren and the photographic documentation produced during each of the analyzed interventions, focusing on three main points: the analysis of the situation of European art museums that were then opening up to the contemporary art; in the commercial and practical performance of avant-garde galleries in the United States and, finally, in the role played in the artistic field by the ?new museums? which, at the end of the 1970s, were consolidated as important spaces for the animation of cultural life in the North hemisphere.Keywords:Work in situ. Museum. Gallery. New museums. 1970s.

This paper is not only aimed at disagreements with the views of Dina Rafidiyah and Fasho Tio Anugrah and their efforts to develop their thoughts, but also presents a basic concept formula for the application of progressive Islam that is simple and easy to apply in student activities at Muhammadiyah Higher Education. Researchers used a media approach through a globalization perspective introduced by Gill Branston and Roy Stafford in analyzing student activity at Muhammadiyah Higher Education as the object of this study. The conclusion of this study is the provision of material for students' understanding of the concept of progressive Islam and the application of its values that emphasize creativity and innovation through the basis of the Quran in the behavior and cultural life of the campus. This paper also produces derivative findings that come from these conclusions. The first finding is the need for material for students' understanding of the concept of progressive Islam that emphasizes creativity and innovation through the Quranic basis in behavior such as aspect of academic maturity in social media; and aspect of social action in everyday life. The second finding is the application of Progressive Islamic values in the cultural life of the campus through the aspect of guarding and ending learning by studying thematic Quranic verses; and aspect of career assurance and business experience-skills provision.

The purpose of the article consists of exploring the category of décor as a form of social belonging in ancient Rome. The methodology consists in the application of analytical method – to determine the theoretical and methodological foundations of the study of the décor in the works of Roman architects and philosophers: Vitruvius, Cicero, Seneca, Epicurus; formalization method – to clarify the concept of "décor" within the subject field of art history; the hermeneutic method – for interpreting the semantic load of the notion "décor" in the context of the culture of Ancient Rome; method of comparative studies – for analyzing approaches to understanding the category of décor as a form of social belonging in Ancient Rome. The scientific novelty of the work is that for the first time the essence of the décor as a form of social belonging in Ancient Rome. Conclusions. In Ancient Rome, the phenomenon of "Entertainment" was an important component of the socio-cultural life of this period, there was not a single sphere where this phenomenon did not act as the main decoration, the triumphs of emperors, the luxurious life of the patricians, all this was expressed in one definition of Juvenal – "Bread and circuses", Which became a defining marker in the culture and art of Ancient Rome. Décor, as an integral part of this phenomenon, becomes a form of social belonging, reflecting the characteristics of the corresponding lifestyle. The transformation of the concepts "décor" and "ornare" is considered, the first - in the ideological aspect of respect for the imperial power, the second - in the traditional decoration of Roman armor for legionnaires, as a means of emphasizing their belonging to the military. The most striking example of décor was the Arc de Triomphe, built in honor of the emperors (the Arc de Triomphe of Titus, Trajan, Constantine, etc.). On the example of the works of Vitruvius, Cicero, Seneca, the meaning of the category "décor" was considered as "Decor ornamentorum", the correspondence of details in relation to the whole, individual, special beauty that organically combines the combination of individual parts of an object into a single whole, situation or setting. Defined "décor" as a form of social belonging in the context of the transformation of the four Pompeian styles based on the decoration of insula and domus for different segments of the population (Domus aurea, "Villa of the Mysteries" in Pompeii, the house of Marcus Lucretius Frontinus in Pompeii, the villa in Oplontisi, the house of Menander in Pompeii, "House with Red Walls", "House of the Century" and "House of Julius Polybius"). Keywords: décor, interpretation, a culture of Ancient Rome, Vitruvius, Entertainment, Seneca, mosaic.

Since the inauguration of CPEC as a plan to reconstruct the olden road between Kashgar and Gwadar, Pakistan is also experiencing socio-industrial impacts at the macro level. In fact, Chinese industries have built such a technical structure within the Pakistani markets that largely affects the nature of the masses. Likewise, socio-cultural life including the business environment in Pakistan has also been rapidly affected by the Chinese arrival. Therefore, by collecting primary sources from Pakistani and Chinese ministries regarding Chinese imports towards Pakistan; the study examines how it is encircling daily route life along with human nature. At the same time, consultation with different organizations and think tanks assists the study in practically investigating the socio-industrial impacts of CPEC within the theoretical context of structural anthropology in different regions of Pakistan.

The purpose of the article consists of exploring sculpture as a form of the agonal tradition of ancient culture. The research methodology consists in the application of analytical method - to determine the theoretical and methodological foundations of the study of the phenomenon of sculpture as a form of the agonal tradition of ancient culture, using works of ancient classics; the method of comparative studies is used to analyze approaches to understanding sculpture as a form of agonal tradition in the context of «Entertainment» (the discourse of antiquity); the hermeneutic method is used to interpret the concept of «Entertainment» in the context of ancient culture; the method of theoretical generalization is used to summarize the intermediate and general results of the study. The scientific novelty of the work is that for the first time the essence of the sculpture as a form of the agonal tradition of ancient culture in the context of the phenomenon of «Entertainment». Conclusions. In ancient culture, agonism was its fundamental essence, and this manifested itself in all spheres of socio-cultural life, in art, politics, and sports. The spirit of competition was present in all aspects of the phenomenon of «Entertainment», shows dedicated to the February Lupercalia, December Saturnalia, Big and Small Dionysias, Big Panathenes, Pythian, Nimean, Isthmian, Olympic Games, where gods and winners were revered by the personification of their statue (Dionysus; Olympic winners: Epikharin hoplitodrome, Xenombrot, Xenodik, Kinisk). In antiquity, the anthropocentric perception of a person as an individual is not important, but an exclusively living body, corporeality is the main category underlying all forms of ancient culture. But sculpture, as a form of agonal tradition in ancient culture, is a great opportunity to show your own individuality within the framework of the canon, generally accepted traditions (Myron, Polycletus). Ancient plasticity became a great force, for it was the personification of the bodily understanding of life, the slave was understood exclusively as a thing, a body. But there is also a mythologized aspect of the artist's divine gift, sculpture as a means of transferring the divine gift of the gods to the artist who creates it, with this aspect of irrationality, antique plastic looks from a different perspective, from the perspective of the exaltation of the gods and heroes, the winners of the Olympics, who are beginning to be seen in the context of anthropocentrism. A hero is a person, he becomes, at least for a moment, like a god, and this is personified in the sculpture. Keywords: sculpture, agonal tradition, «Entertainment», collective experience, interpretation, ancient culture.

The residents of Zakopane are the group of permanent inhabitants who were not born in the Podhale region, but it was their choice to connect themselves to it. The formation of this group is the result of the social-demographic changes in the Tatra mountains at the beginning of the 20th century and in the interwar period. It is a group that is diversified and therefore difficult to define. It figures as a link between the highlanders who are ingrained into the space of Podhale and those who treat it in a pragmatic and utilitarian way. The residents constitute the cultural phenomenon present in literary works as well as in the cultural life of Zakopane during the end of 19th and the beginning of the 20th century. The main subject of the article is a portrayal of the residents — historical figures and literary heroines — taking into account their functions in the society of Zakopane of those times: the groups which have been highlighted are schoolgirls, the women who provide accommodation to the tourists, and the organizers of literary saloons.