Art

2020 ◽  
pp. 111-194
Author(s):  
Will D. Desmond

Hegel’s Lectures on Fine Art offer a veritable ‘world history of art’, and have led to his being called the real ‘father of art history’, but at their heart is a close identification of beauty with ‘the ideal’ and of art with ‘the classical’—and hence with (Greek) antiquity. With reference to the legacies of Winckelmann and Kantian aesthetic theory, this chapter begins by explicating the main features of Hegel’s aesthetics: the notion of ‘the ideal’ and of art’s vocation to reveal ‘the truth’ sensuously; the classification of artistic styles into Symbolic, Classical, and Romantic; and the division of basic art forms into architecture, sculpture, painting, music, and poetry. The chapter tackles each of these art forms in turn, focusing on Hegel’s sources and understanding of their role in Greek and Roman civilizations. His discussions of the Greek temple, Greek sculpture, epic, lyric, and comedy are relatively neglected, but all contribute as much as tragedy to his Winckelmannian understanding of the Greeks as ‘the people of art’ and of the ‘sculptural’ nature of the Greek mind. Here his Romans play counterpoint, as a derivative and aesthetically uncreative people—except in the genre of satire, which also fills out Hegel’s portrait of Roman ‘prose’, alienation, and increasing self-awareness. Though each of the art-forms peaks in a certain historical period, Hegel tends to associate each peak with the ‘classical’ ideal—an association that may help to illuminate his controversial statements about the ‘end of art’ in the modern, Romantic style.

This edited collection explores how knowledge was preserved and reinvented in the Middle Ages. Unlike previous publications, which are predominantly focused either on a specific historical period or on precise cultural and historical events, this volume, which includes essays spanning from the eighth to the fifteenth centuries, is intended to eschew traditional categorisations of periodisation and disciplines and to enable the establishment of connections and cross-sections between different departments of knowledge, including the history of science (computus, prognostication), the history of art, literature, theology (homilies, prayers, hagiography, contemplative texts), music, historiography and geography. As suggested by its title, the collection does not pretend to aim at inclusiveness or comprehensiveness but is intended to highlight suggestive strands of what is a very wide topic. The chapters in this volume are grouped into four sections: I, Anthologies of Knowledge; II Transmission of Christian Traditions; III, Past and Present; and IV, Knowledge and Materiality, which are intended to provide the reader with a further thematic framework for approaching aspects of knowledge. Aspects of knowledge is mainly aimed to an academic readership, including advanced undergraduate and postgraduate students, and specialists of medieval literature, history of science, history of knowledge, history, geography, theology, music, philosophy, intellectual history, history of the language and material culture.


1957 ◽  
Vol 17 (1) ◽  
pp. 85
Author(s):  
Chu-tsing Li ◽  
Sheldon Cheney

2018 ◽  
Vol 10 (1) ◽  
pp. 85-86
Author(s):  
Arvydas Pocius

The 16 February is the most significant date in Lithuania’s history. In 1918, an independent democratically-run modern civic state was established, together with the restoration of the statehood tradition cherished in the ancient Lithuania (1253-1795). On 16 February 2018, we celebrated the birth of a modern Lithuania. This date is like a bridge between the old Lithuania born on 6 July 1253 and the new independent Lithuania restored on 11 March 1990. Had it not been for the 16 February, there would have been no events of 11 of March, nor the subsequent success story. In the lead-up to the Centennial of the Restoration of the State (hereinafter – the Centennial), the past is seen not only as a reason to celebrate the important anniversary but also as an inspiration to reflect the historical significance of the past for today and the relevance of the issues of today for the past, i.e. the centennial achievements of the state and its people, and our ambitions for the next centennial which is fast approaching. The Centennial of the new Lithuania is a success story. The main achievements are as follows: Lithuania has become a player of the European and world history, with its modern civil society aware of the importance of freedom and the responsibility that goes with it, and with new emerging vistas for action for the Lithuanian state and its people. Building of the modern Lithuanian state in 1918 was based on the principles of the equality of all, as well as the freedom and prosperity, and this is why all freedom loving people of the country and Lithuanians living abroad, for the first time in the history of Lithuania, became the creators of their state, and later on, during the years of the occupation – the guardians of its tradition. The heroes of the restored Lithuania are thousands of those of different nationalities, religions and social groups having built and safeguarded the tradition of the Lithuanian statehood and national identity. They include volunteers, farmers, teachers, architects and engineers, athletes, aviators, clergy of various denominations, Righteous among the Nations, freedom fighters, dissidents that challenged the Soviet regime, people that created the liberation movement Sąjūdis, and the Lithuanians living abroad that preserved the idea of statehood and fostered the Lithuanian traditions. The hero of today is each individual living in Lithuania and each Lithuanian living abroad, who actively contributes to the building of Lithuania of the twenty-first century and knows that his daily efforts have an impact not only on the present but also on the future of the history of the Lithuanian state and the nation. Apart from the most important symbol of the Centennial, the national flag, we have our state symbol Vytis, bridging the two Lithuanias – the old and the new. The Centennial has revealed our capacity to draw the best from the depths of the past for the needs of the present; we are always ready to give our responsible and often times hard efforts for the bettering of our state and the people; we stand for our freedom, when this fundamental value is threatened; we have the vigour to build not only our own but also the European and world history. These things serve as the basis for us being proud of the achievements of the restored Lithuania, while inspiring us to work for the present and be hopeful about the future.


1938 ◽  
Vol 3 (3) ◽  
pp. 440
Author(s):  
M. R. Rogers ◽  
Sheldon Cheney

Art Education ◽  
1970 ◽  
Vol 23 (4) ◽  
pp. 35
Author(s):  
Duncan E. Stewart ◽  
Gina Pischel

2020 ◽  
Vol 18 (4) ◽  
pp. 67-98
Author(s):  
Alexey Popovich

The article explores changes in the use of the categories of victim and sacrifice in political literary artefacts in the second half of the 16th century: namely, the correspondence between Ivan the Terrible and Andrey Kurbsky and Kurbsky’s History of the Grand Prince of Moscow. The study shows that the writers of this time used the literary topoi of victim in a fundamentally different way to earlier authors in medieval Russia. The article defines the main means of poetics and rhetoric in the works of Ivan the Terrible and Andrey Kurbsky. The methods for updating the topos of victim for both authors are similar. Each of them desacralizes a high Christian idea and uses it and a topos for subjective and, as a rule, ideological purposes. Such changes are possible due to the mixing of earthly (profane) and heavenly (sacred) logic when dealing with the categories of victim and sacrifice, which is typical for this time. If, for Kurbsky, the people killed by the tsar are new martyrs, then for Ivan the Terrible, they are justly punished traitors. The tsar believes that subjects should be ready to sacrifice their lives for him. Kurbsky does not deny the necessity of willingness to sacrifice, but he consistently proves that the tsar’s personality does not correspond to Christian ideas about the ideal monarch, so he convinces the reader of the possibility of confronting the tsar. At the same time, both authors characterize themselves as a person affected by the actions of the other and use the literary topoi of victim.


Author(s):  
Ankita Shelke ◽  
Madhura Inamdar ◽  
Vruddhi Shah ◽  
Amanshu Tiwari ◽  
Aafiya Hussain ◽  
...  

AbstractIn today’s world, we find ourselves struggling to fight one of the worst pandemics in the history of humanity known as COVID-2019 caused by a coronavirus. If we detect the virus at an early stage (before it enters the lower respiratory tract), the patient can be treated quickly. Once the virus reaches the lungs, we observe ground-glass opacity in the chest X-ray due to fibrosis in the lungs. Due to the significant differences between X-ray images of an infected and non-infected person, artificial intelligence techniques can be used to identify the presence and severity of the infection. We propose a classification model that can analyze the chest X-rays and help in the accurate diagnosis of COVID-19. Our methodology classifies the chest X-rays into 4 classes viz. normal, pneumonia, tuberculosis (TB), and COVID-19. Further, the X-rays indicating COVID-19 are classified on severity-basis into mild, medium, and severe. The deep learning model used for the classification of pneumonia, TB, and normal is VGG16 with an accuracy of 95.9 %. For the segregation of normal pneumonia and COVID-19, the DenseNet-161 was used with an accuracy of 98.9 %. ResNet-18 worked best for severity classification achieving accuracy up to 76 %. Our approach allows mass screening of the people using X-rays as a primary validation for COVID-19.


2011 ◽  
Vol 16 (2) ◽  
pp. 100-103 ◽  
Author(s):  
Veronika A. Polišenská

This article describes the development of the European Federation of Psychology Students’ Associations (EFPSA) since its formation in 1987 up to 2011. It concentrates on the history of the organization and its structure and how it has changed over the years to accommodate the growing number of students, countries, and projects involved. It introduces the ideal of the “EFPSA spirit,” which is the experience of multiculturalism of the people and the friendships formed at various events. The article concludes with a view of the future of EFPSA.


2021 ◽  
pp. 671 (756)-676 (760)
Author(s):  
G.N. Ginzburg

In the world history of art, various graphic techniques for making and printing works of art have had their own names: etching, woodcut, linocut, lithography, etc. The new definitions of the 21st century sound quite reasonable: “Flowinggraphics” and “Fluid Fusion”, based on technological and chemical discoveries work with acrylic paints. The purpose of my article is to acquaint the art community with new techniques and terms. English version of the article on pp. 756-760 is available at URL: https://panor.ru/articles/fluid-fusion-and-flowing-graphics-new-stylistic-descoveries-in-the-works-of-the-duet-of-artists-alexey-and-irina-polyakov/70067.html


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