scholarly journals The Image of Homeland in the Works by Alphonse Mucha “Madonna of the Lilies”, the Poster for “The Lottery of the Union of Southwest Moravia” and the Poster for “The Slav Epic Exhibition”

2020 ◽  
pp. 1007-1019
Author(s):  
Yuliya S. Zamaraeva ◽  
Kseniya V. Reznikova ◽  
Natalya N. Seredkina
Keyword(s):  
Initial Moment ◽  
Russian Scientist ◽  
Native Land ◽  
The Third ◽  
History Of ◽  
Meaningful Analysis ◽  
History Of Culture ◽  
The Moment

Understanding the specifics of creativity, the features of the artistic method of not a single artist can be achieved without a meaningful analysis of their works. The purpose of this study is to analyse three works by the Czech artist A. Mucha “Madonna of the Lilies”, the Poster for “The Lottery of the Union of Southwest Moravia” and the Poster for “The Slav Epic Exhibition”, to reveal the programmatic content of each of these works, as well as their general artistic idea. The works by A. Mucha were analysed using the method proposed and justified in the field of theory and history of culture by the Russian scientist V.I. Zhukovsky. This technique determined the logic of analysis of the selected works. Such methods as observation, formalisation, analysis, synthesis, analogy, extrapolation and interpretation were applied. The result of a methodical analysis of the three selected works by A. Mucha testifies to the programmatic creativity of the artist, to a single semantic regularity in his works. The key theme uniting all three works being analysed is the theme of divine patronage of the homeland (native land, people). However, the authors draw attention to a number of aspects of visualisation of this topic in each of the works. If the work “Madonna of the Lilies” expresses the idea of patronage in its very initial moment, the moment of faith in patronage coming from above, then in the poster of the lottery divine patronage becomes doubtful. Nevertheless, the analysis of the poster for “the Lottery of the Union of Southwest Moravia” revealed a number of artistic signs indicating the possibility of a revival of faith in patronage. Based on the interpretation of these signs, such conditions for the revival of faith as the lack of fear “to look and see, to fight” were formulated. Confirmation of the idea of revival is expressed in the third analysed work of the artist, i.e. the poster for “The Slav Epic Exhibition”. Methodical analysis allowed us to characterise this work as a statement of fulfilled expectations, prosperity and dawn at the same time. The terms “death, withering, fossil”, which are defined as temporary phenomena, act as a programmatic condition expressed through the artistic signs of the work

Marrying “Well”: Debating Consanguinity, Matrimonial Law, and Brazilian Legal Medicine, 1890–1930

2015 ◽  
Vol 33 (3) ◽  
pp. 703-743 ◽  
Author(s):  
Okezi Otovo
Keyword(s):  
Catholic Church ◽  
Critical Issue ◽  
Civil Code ◽  
Law Schools ◽  
The Third ◽  
History Of ◽  
The Law ◽  
Old Republic ◽  
The Moment ◽  
Special Circumstances

On August 28, 1919, Brazil's most famous pediatrician, Dr. Carlos Arthur Moncorvo Filho, addressed his colleagues at the illustrious National Academy of Medicine in Rio de Janeiro, reminding them that consanguineous marriage was the topic of the moment. Dr. Moncorvo Filho's insistence that “everyone knew why” was a reference to a proposal made before the Senate just three months prior by Senators Eloy de Souza of the state of Pernambuco and Álvaro de Carvalho of São Paulo. The senators proposed that language prohibiting marriage between blood relatives in the recently ratified Brazilian Civil Code be amended to allow for special juridical or medical dispensation. Souza and Carvalho, with the backing of the Catholic Church and a minority of members of the Brazilian Institute of Attorneys, supported permitting marriage between third-degree relatives under special circumstances. At issue for the attorneys was how the law would deal with situations in which couples had a compelling need to marry within the third degree of kinship. A recent case of an uncle who had “deflowered” his niece and then offered to “remedy the damage” through marriage brought this issue to public debate. Marriages between uncles and their nieces and aunts and their nephews (third-degree relations) were traditional in Brazil, and Brazilian law had a long history of yielding to custom and context. However, under the new laws of the 30-year-old republic, this type of marriage was no longer legal, having been specifically prohibited by the 1916 Civil Code. Senators Souza and Carvalho, both lawyers by training, proposed reforming the Code, while their ultimately unsuccessful amendment sparked vigorous debate in both legal and medical circles on the validity of marriage restrictions within the third degree of consanguinity. As a result, physicians at Brazil's leading medical schools and their jurist counterparts at the law schools took sides on this critical issue, dividing themselves into rival camps of consanguinistas and anticonsanguinistas.

Le plan de l’expression des images: Quelques réflexions sur support et apport

Semiotica ◽  
2020 ◽  
Vol 2020 (234) ◽  
pp. 253-270
Author(s):  
Maria Giulia Dondero
Keyword(s):  
Digital Image ◽  
The Third ◽  
Works Of Art ◽  
Semiotic Approach ◽  
History Of ◽  
The Media ◽  
The Moment ◽  
Image Analyses ◽  
Media Characteristics

AbstractIn this article we plan to revisit the notion of substance of the plane of expression, as found in semiotic studies of the image, and how this notion relates to the concepts of purport and form. The article is divided into three parts: The first section gives a brief history of the various ways substance has been addressed in (or excluded from) image analyses based on Greimassian semiotics and Groupe μ rhetoric. Drawing upon Jacques Fontanille’s semiotics of practices and Jean-François Bordron’s theory of iconicity, the second section concerns proposals that attempt to address the “moment” of giving substance in autographic works of art – and also in writing –, through notions of support, application, and the gestural act of inscription. The third section tests these methodological tools on chemical photography and on digital image-making in order to propose a new, specifically semiotic approach to studying the media characteristics of images.

scholarly journals PROBLEMS OF CULTURE IN THE WORKS OF VSEVOLOD IVANOV

2021 ◽  
Vol 14 (2) ◽  
pp. 80-91
Author(s):  
E.A. Papkova ◽  
Keyword(s):  
Cultural Values ◽  
Modern World ◽  
Creative Work ◽  
The Novel ◽  
Spiritual Values ◽  
The Third ◽  
History Of ◽  
History Of Culture ◽  
The Buddha ◽  
First Time

Statement of the problem. The article is a continuation of our work devoted to the problems of the history of culture in the creative work of Vsevolod Ivanov in the 1940s–1960s. A new stage in the formulation of the problem, which makes it possible to trace the origins of the theme of culture in Ivanov’s creative work, became possible thanks to the publication of unknown texts by the writer of his early Siberian period. The purpose of the article is to analyze the theme of culture in Ivanov’s early work, to examine the evolution of the writer’s views. Methodology. The article uses comparative historical textual methods, the method of historical and cultural commentary. Research results. The theme of culture is considered for the first time on the material of Ivanov’s works of the 1910s, the evolution of his views is traced, which were formed in a dialogue with re- gional ideas and the concept of the East and West by A.M. Gorky. It is noted that the early works of the writer reflected anxiety for the fate of cultural values in the modern world. Particular attention is paid to the spiritual values of the culture of the East, understood by Ivanov in his own way and found embodiment in his work. The analysis of the story “The Return of the Buddha” and the third the edition of the novel “The Edessa Shrine” shows how the writer’s attitude to the East changed. Conclusions. The analysis of Ivanov’s works devoted to the theme of culture shows that this problem interested the writer from the very beginning of his creative path. Reflecting on the fate of the outgoing culture of Siberia in early works, dreaming of the possibility of the influence of the ancient East cultures on the historical choice of Russia and Europe in the 1920s, in the story “The Return of the Buddha”, the writer, by the end of the 1950s, obviously, comes to the conclusion that it is impossible for the forces of culture to resist the development of civilization.

The Sublime Conditions of Contemporary Art

2011 ◽  
Vol 5 (1) ◽  
pp. 73-83 ◽  
Author(s):  
Stephen Zepke
Keyword(s):  
Contemporary Art ◽  
Common Sense ◽  
Aesthetic Experience ◽  
Genetic Model ◽  
Human Perception ◽  
The Third ◽  
The Sublime ◽  
History Of ◽  
Conditions Of Possibility ◽  
The Moment

Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘aesthetics’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘modernism’, and to the discussion of his possible relevance to contemporary artistic practices.

Structural History of The Insula

1997 ◽  
Author(s):  
Roger Ling ◽  
Paul Arthur ◽  
Georgia Clarke ◽  
Estelle Lazer ◽  
Lesley A. Ling ◽  
...  
Keyword(s):  
Empty Space ◽  
Wall Painting ◽  
First Century ◽  
Diagnostic Features ◽  
The Third ◽  
Irregular Shapes ◽  
Structural History ◽  
History Of ◽  
The Moment ◽  
Early Phases

Having looked at the different units within the insula individually, we now need to review and summarize the structural history of the insula as a whole. As stated in Part One, Section 4 (pp. 19-20), the sequence has been divided into five main phases. The first corresponds to structures in opera a telaio and related techniques; the second to the First Style of wall-painting, i.e. mid-second to early first century BC (structures generally in opus incertum with a preponderance of lava and Sarno stone); the third to the Second Style of wall-painting, i.e. broadly the period from c.80 BC to the last years of the century; the fourth to the Third Style of wall-painting, i.e. broadly the period from the late first century BC to the mid-first century AD; and the fifth to the Fourth Style of wall-painting, i.e. the period from C.AD 50 to AD 79. In contrast to the preliminary report, this survey does not attempt to subdivide the phases, except in the more eventful Phase 5, since this approach now seems unduly rigid and implies a degree of precision beyond what the evidence warrants. Some of the main points in which the present analysis differs from the earlier one will be referred to in footnotes. Inevitably many aspects of the interpretation remain uncertain, particularly with regard to the early phases. Selective excavation might fill some of the gaps, but at the moment the early phase plans necessarily contain large areas of empty space or fragments of unrelated walling. Only where there is some ground for predicting missing elements have parts of plans been restored, but even then it has sometimes been necessary to choose between alternative restorations. The diagnostic features are the use of opera a telaio and inferences from the property boundaries and wall alignments. The Irregular shapes of houses 3,7, and 16 imply that they have been inserted in the gaps between pre-existing properties; we may, therefore, suggest that houses 1, 4, and 8 belong to the earliest development in the insula.

scholarly journals Ludwik Wołowski and His Contribution to the French Credit Revolution of the 19th Century

2021 ◽  
Vol 39 (1) ◽  
pp. 3-32
Author(s):  
Rafał Dobek
Keyword(s):  
Mortgage Loan ◽  
Political Activity ◽  
Second Empire ◽  
Second Republic ◽  
Theoretical Concepts ◽  
The Third ◽  
History Of ◽  
The Moment ◽  
The 19Th Century ◽  
Mortgage Law

Abstract Ludwik Wołowski was a Polish November emigrant in France. There, he gained recognition as an outstanding economist, banker and republican politician. The article focuses on the issue of mortgage loan, which is extremely important for Wołowski. It presents both the theoretical concepts of the Pole from 1834, his political activity in the years 1848–1851 aimed at changing the provisions of the mortgage law in France, and finally the moment of co-creation by Wołowski Crédit Foncier, the first modern mortgage bank in France, and the further history of the bank managed by Wołowski, in the board of which he sat until his death in 1876. In the first part, the text presents not only the criticism of the French mortgage system by Wołowski (primarily the so-called secret mortgages), but also his draft changes and the loan and mortgage model proposed by him and the companies that may grant it. In the second, it shows the parliamentary activity of Wołowski, an attempt to force through appropriate changes in the banking law and the reasons for its defeat. In the third, the most extensive, the article describes not only the very moment of establishing Crédit Foncier and the two-year period of management by Wołowski, but also the further, controversial operation of the bank until the second half of the 1870s. All this against the backdrop of the changing French Monarchy of July, the Second Republic and the Second Empire.

EPITAFIES OF THE RELATIVES OF HADJI IBRAHIM AL-URADI AS A SOURCE ON THE BIOGRAPHY OF THE SCIENTIST AND ON THE HISTORY OF GIDATL

2017 ◽  
Vol 13 (4) ◽  
pp. 13-21
Author(s):  
Sh M Khapizov ◽  
M G Shekhmagomedov
Keyword(s):  
18Th Century ◽  
Medieval History ◽  
Historical Sources ◽  
The Past ◽  
Arabic Script ◽  
History Of ◽  
History Of Culture ◽  
The Look ◽  
Cultural Monuments ◽  
Written Sources

The article is devoted to the study of inscriptions on the gravestones of Haji Ibrahim al-Uradi, his father, brothers and other relatives. The information revealed during the translation of these inscriptions allows one to date important events from the history of Highland Dagestan. Also we can reconsider the look at some important events from the past of Hidatl. Epitaphs are interesting in and of themselves, as historical and cultural monuments that needed to be studied and attributed. Research of epigraphy data monuments clarifies periodization medieval epitaphs mountain Dagestan using record templates and features of the Arabic script. We see the study of medieval epigraphy as one of the important tasks of contemporary Caucasian studies facing Dagestani researchers. Given the relatively weak illumination of the picture of events of that period in historical sources, comprehensive work in this direction can fill gaps in our knowledge of the medieval history of Dagestan. In addition, these epigraphs are of great importance for researchers of onomastics, linguistics, the history of culture and religion of Dagestan. The authors managed to clarify the date of death of Ibrahim-Haji al-Uradi, as well as his two sons. These data, the attraction of written sources and legends allowed the reconstruction of the events of the second half of the 18th century. For example, because of the epidemic of plague and the death of most of the population of Hidatl, this society noticeably weakened and could no longer maintain its influence on Akhvakh. The attraction of memorable records allowed us to specify the dates of the Ibrahim-Haji pilgrimage to Mecca and Medina, as well as the route through which he traveled to these cities.

A Universe of Societies

2018 ◽  
Author(s):  
Didier Debaise
Keyword(s):  
Spatial Relations ◽  
The Third ◽  
The Status ◽  
History Of ◽  
Temporal And Spatial

Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second part defines the temporal and spatial relations of societies; and the third explores the differences between physical, biological, and psychical forms of existence as well as their respective ways of relating to environments. The chapter thus tackles the status of nature and its domains.

The Origins of Gritty Realism on British Television: Euston Films and Special Branch

2014 ◽  
Vol 11 (1) ◽  
pp. 23-40 ◽  
Author(s):  
Max Sexton
Keyword(s):  
Cultural Discourse ◽  
Technological Changes ◽  
Television Drama ◽  
The Third ◽  
Fourth Series ◽  
History Of

Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.

Evaluation of concomitant gynecological pathology in group of patients of reproductive age with tumors and tumor formations

2020 ◽  
pp. 10-14
Author(s):  
N. V. Spiridonova ◽  
A. A. Demura ◽  
V. Yu. Schukin
Keyword(s):  
Diagnostic Errors ◽  
Ovarian Tumors ◽  
Reproductive Age ◽  
Women Of Reproductive Age ◽  
Predisposing Factor ◽  
Ovarian Tumours ◽  
Preoperative Diagnostic ◽  
Neoplastic Process ◽  
History Of ◽  
The Moment

According to modern literature, the frequency of preoperative diagnostic errors for tumour-like formations is 30.9–45.6%, for malignant ovarian tumors is 25.0–51.0%. The complexity of this situation is asymptomatic tumor in the ovaries and failure to identify a neoplastic process, which is especially important for young women, as well as ease the transition of tumors from one category to another (evolution of the tumor) and the source of the aggressive behavior of the tumor. The purpose of our study was to evaluate the history of concomitant gynecological pathology in a group of patients of reproductive age with ovarian tumors and tumoroid formations, as a predisposing factor for the development of neoplastic process in the ovaries. In our work, we collected and processed complaints and data of obstetric and gynecological anamnesis of 168 patients of reproductive age (18–40 years), operated on the basis of the Department of oncogynecology for tumors and ovarian tumours in the Samara Regional Clinical Oncology Dispensary from 2012 to 2015. We can conclude that since the prognosis of neoplastic process in the ovaries is generally good with timely detection and this disease occurs mainly in women of reproductive age, doctors need to know that when assessing the parity and the presence of gynecological pathology at the moment or in anamnesis, it is not possible to identify alarming risk factors for the development of cancer in the ovaries.

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