Essay. Cultural property: a museum director's perspective

1998 ◽  
Vol 7 (2) ◽  
pp. 438-445 ◽  
Author(s):  
GD Lowry
Keyword(s):  
Cultural Property ◽  
Property A ◽  
Work Of Art ◽  
Works Of Art ◽  
The Relationship ◽  
The Way

This essay explores a number of issues concerning the relationship between works of art and cultural property. From the perspective of a museum director, it posits an ontological distinction between the idea of a work of art and the concept of cultural property. The essay concludes by arguing that to the extent that nations place restrictions on the export of their art, they inevitably affect the way their culture is understood and perceived abroad and so alter the larger metanarrative of culture.

Divine or Human Images? Neoplatonic and Christian Views on Works of Art and Aesthetics

Numen ◽  
2016 ◽  
Vol 63 (2-3) ◽  
pp. 196-209
Author(s):  
Arja Karivieri
Keyword(s):  
Work Of Art ◽  
Greco Roman ◽  
Roman Literature ◽  
Christian Art ◽  
Works Of Art ◽  
Christian View ◽  
And Function ◽  
The Relationship ◽  
The Ideal ◽  
The Way

This paper explores how Neoplatonists and Christians experienced and interpreted works of art, and how views on artists and individual works of art, such as Pheidias’ Zeus in Olympia, were expressed by the representatives of traditional Greco-Roman religions and Christians. The way the value of a work of art was expressed in Greco-Roman literature is compared with the comments and opinions of Neoplatonists and Christian authors, which show that art and its appreciation and function are closely connected to the relationship to God in ancient sources. The ideal of beauty took its place to enrich also the Christian view of aesthetics and enhanced the development of both Greco-Roman and Christian art.

scholarly journals Improvement of the Non-Destructive Testing of Heritage Mural Paintings Using Stimulated Infrared Thermography and Frequency Image Processing

2019 ◽  
Vol 5 (9) ◽  
pp. 72
Author(s):  
Kamel Mouhoubi ◽  
Vincent Detalle ◽  
Jean-Marc Vallet ◽  
Jean-Luc Bodnar
Keyword(s):  
Infrared Thermography ◽  
Cultural Property ◽  
Wall Paintings ◽  
Non Destructive Testing ◽  
Property A ◽  
Destructive Testing ◽  
Mural Paintings ◽  
Works Of Art ◽  
Optical Effects ◽  
Non Destructive

Within the framework of conservation and assistance for the restoration of cultural property, a method of analysis assistance has been developed to help in the restoration of cultural heritage. Several collaborations have already demonstrated the possibility of defects detection (delamination, salts) in murals paintings using stimulated infrared thermography. One of the difficulties encountered with infrared thermography applied to the analysis of works of art is the remanence of the pictorial layer. This difficulty can sometimes induce detection artifacts and false positives. A method of thermograms post-processing called PPT (pulse phase thermography) is described. The possibilities offered by the PPT in terms of reducing the optical effects associated with the pictorial layer are highlighted first with a simulation, and then through experiments. This approach can significantly improve the study of painted works of art such as wall paintings.

The Literary Artwork between Word and Concept

2019 ◽  
pp. 115-130
Author(s):  
Gerhard Richter
Keyword(s):  
Literary Text ◽  
Work Of Art ◽  
Philosophical Interpretation ◽  
Figurative Speech ◽  
Relationship Of ◽  
The Relationship ◽  
Speculative Thought ◽  
Recent Interpretation ◽  
The Way

This chapter investigates another set of problems with which the uncoercive gaze must contend when it fastens upon a work: the relationship of speculative thought to the work of art and the ways in which the chasm between literal and figurative speech bears upon that relationship. One of the themes that a reading of Kafka’s The Trial should emphasize is the way in which a literary text both calls for philosophical interpretation and resists such interpretation at the same time. One problem that arises out of this constellation concerns the question of the relationship between the literal and the figurative nature of a text’s rhetorical operations. If Kafka’s novel, by causing the relation between the literal and the figural to enter a space of indeterminacy, enacts a situation in which, as Adorno characterizes it, “a sickness means everything [eine Krankheit alles Bedeuten],” no reading of Kafka—at least no reading informed by the sensibilities of the uncoercive gaze—can afford to ignore the precise conceptual terms of this sickness. Finally, to cast Adorno’s reflections on Kafka into sharper relief, the chapter also considers them in relation to Giorgio Agamben’s recent interpretation of The Trial as Kafka’s commentary on the imbrication of law and slander.

The Protection of British Heritage: Woburn Abbey and The Three Graces

1996 ◽  
Vol 5 (2) ◽  
pp. 269-290
Author(s):  
Sara E. Bush
Keyword(s):  
Subsequent Treatment ◽  
Cultural Property ◽  
Historic Buildings ◽  
The Public ◽  
Works Of Art ◽  
The Relationship

SummaryThis article describes the removal of Canova's sculpture, The Three Graces, from Woburn Abbey and the British laws that determined its subsequent treatment and ownership. In this case, the group of laws intended to protect the integrity of Woburn Abbey's Sculpture Gallery was deemed to be less important than the goal of retaining the sculpture within the country. It is therefore necessary to examine the relationship between the object and the building and the effectiveness of the laws designed to preserve objects and buildings for the benefit of the public. This article examines the implications of the laws regulating the preservation of historic buildings and the export of works of art for definitions of cultural property and national patrimony.

Criticizing and Evaluating the Visual Arts in India: Preliminary Example

1988 ◽  
Vol 47 (1) ◽  
pp. 3-28 ◽  
Author(s):  
Joanna Williams
Keyword(s):  
Visual Arts ◽  
Work Of Art ◽  
Works Of Art ◽  
The Way

By what standards should we judge works of art from another culture or era? We are generally used to the idea that understanding the meaning of an image requires consideration of its distinctive context—literary, religious, social, and so on. Evaluating the quality of a work of art is another specific case of this broad dilemma of understanding. Do we evaluate good and bad images by the “proper” criteria and in the way that is appropriate to them?

scholarly journals SEMANTIC FEATURES OF THE LANGUAGE GAME AND ITS REPRESENTATIONS IN THE PROSE OF A. T. AVERCHENKO

2018 ◽  
pp. 86-91
Author(s):  
Y. N. Kucheryavykh
Keyword(s):  
National Culture ◽  
Word Order ◽  
Language Game ◽  
Literary Text ◽  
Semantic Features ◽  
Work Of Art ◽  
Works Of Art ◽  
Relationship Of ◽  
The Relationship ◽  
Selection Of

The article discusses the features of the formation and functioning of irony as a way of expressing evaluation in the relationship of the characters of works of art A. T. Averchenko. The importance of this phenomenon is determined by the dependence of the elements of its construction, as well as the external historical and literary vertical context, language elements that form the emotional and expressive marking of the statement. Therefore, it is possible to distinguish some types of ironic evaluation: non-reflexive and reflexive. Acting as a means of language comedism, pun in the humorous prose of Arkady Averchenko structurally-semantically organized, and, as an element of the language game, has the laws of construction and selection of stylistic techniques of creation and influence characteristic of the works of the writer. Therefore, the variety of means of creating a comic assessment in the artistic texts of the author suggests that the choice of a particular technique depends on the language personality of the writer, the ratio of linguistic and extralinguistic means of representing the evaluation in the literary text, because the meaning of the phrase predicted by the addressee is created at the expense of the expected word order for the original syntax. Consequently, the realization of the ironic meaning inherent by the Creator of the work of art in the lexemes, becomes clear only from the surrounding context. Since the game is the basis of any culture, the ratio of these concepts becomes the leading person playing, manifested in the manner of speech behavior of the linguistic personality of both the author-Creator and the character - his creations. Therefore, it is appropriate to state that the linguistic personality exists in the space of culture, and, therefore, it can be presented as a linguocultural type as an image recognizable by representatives of a certain national culture, embodied in the character of an artistic work as a creative and playing unique linguistic personality.

Dangerous Art

2020 ◽  
Author(s):  
James Harold
Keyword(s):  
Point Of View ◽  
Moral Evaluation ◽  
Human Being ◽  
Work Of Art ◽  
The Real ◽  
Careful Scrutiny ◽  
Works Of Art ◽  
Moral Standards ◽  
Moral Point ◽  
The Relationship

This book takes up the problem of judging works of art using moral standards. When we say that a work is racist, or morally dangerous, what do we mean? The book is divided into two parts. The first part takes up the moral question on its own. What could it mean to say that a work of art (rather than, say, a human being) is immoral? The second part steps back and asks about how moral evaluation fits into the larger task of evaluating artworks. If an artwork is immoral, what does that tell us about how to value the artwork? The overall approach of the book is moderately skeptical. The book argues that many of the reasons given for thinking that works of art are immoral do not stand up to careful scrutiny. It further tries to show that even when works of art are rightly condemned from a moral point of view, the relationship between that moral flaw and their value as artworks is complex. The book defends a moderate version of autonomism between morality and aesthetics. But the real purpose of the book is to highlight the complexities and difficulties in evaluating artworks morally—many philosophers of art have simply assumed that artworks can be evaluated morally and proceeded as though such assessments were unproblematic.

Given the Tino Sehgal Case: How to Save the Future of a Work of Art that Materializes Only Temporarily

2009 ◽  
Vol 34 (2) ◽  
pp. 194-199 ◽  
Author(s):  
SANDRA UMATHUM
Keyword(s):  
Visual Arts ◽  
Performance Art ◽  
Work Of Art ◽  
Unique Position ◽  
Works Of Art ◽  
History Of Art ◽  
The Future ◽  
History Of ◽  
The Way

This article focuses on German artist Tino Sehgal (born in 1976), whose works of art materialize only temporarily, while they fulfill, at the same time, all the requirements that any work of the visual arts must fulfill if it is to have a lasting existence. In this regard Sehgal's artistic approach not only takes a unique position within the history of art; it also departs fundamentally from the tradition of performance art. This article deals with the way Sehgal tries to save the future of the ephemeral situations his art puts forth, and shows, furthermore, how he thereby confronts questions and problems that performance art has neglected or even generated.

The Type of Temperament, Mood, and Strategies of Categorization

2012 ◽  
Vol 33 (4) ◽  
pp. 227-236 ◽  
Author(s):  
Agata Wytykowska
Keyword(s):  
Information Processing ◽  
Negative Mood ◽  
Cognitive Activity ◽  
Processing Capacity ◽  
Affective Value ◽  
The Relationship ◽  
The Way

In Strelau’s theory of temperament (RTT), there are four types of temperament, differentiated according to low vs. high stimulation processing capacity and to the level of their internal harmonization. The type of temperament is considered harmonized when the constellation of all temperamental traits is internally matched to the need for stimulation, which is related to effectiveness of stimulation processing. In nonharmonized temperamental structure, an internal mismatch is observed which is linked to ineffectiveness of stimulation processing. The three studies presented here investigated the relationship between temperamental structures and the strategies of categorization. Results revealed that subjects with harmonized structures efficiently control the level of stimulation stemming from the cognitive activity, independent of the affective value of situation. The pattern of results attained for subjects with nonharmonized structures was more ambiguous: They were as good as subjects with harmonized structures at adjusting the way of information processing to their stimulation processing capacities, but they also proved to be more responsive to the affective character of stimulation (positive or negative mood).

Understanding prescription in language. A corpus-based approach

2019 ◽  
Vol 41 (2) ◽  
pp. 67-81
Author(s):  
Douglas A. Kibbee ◽  
Alan Craig
Keyword(s):  
Social Context ◽  
French Tradition ◽  
Linguistic Behavior ◽  
The Relationship ◽  
The Way

We define prescription as any intervention in the way another person speaks. Long excluded from linguistics as unscientific, prescription is in fact a natural part of linguistic behavior. We seek to understand the logic and method of prescriptivism through the study of usage manuals: their authors, sources and audience; their social context; the categories of “errors” targeted; the justification for correction; the phrasing of prescription; the relationship between demonstrated usage and the usage prescribed; the effect of the prescription. Our corpus is a collection of about 30 usage manuals in the French tradition. Eventually we hope to create a database permitting easy comparison of these features.

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