scholarly journals The Artist, the Image and the Self: Representation in Rembrandt, Bacon, Mapplethorpe, Sherman, and Nan Goldin

2019 ◽  
Vol 7 (1) ◽  
pp. 30
Author(s):  
Luiz Sérgio De Oliveira
Keyword(s):  
Contemporary Art ◽  
The Self ◽  
Francis Bacon ◽  
Cindy Sherman ◽  
Western Art ◽  
The Past ◽  
Robert Mapplethorpe ◽  
The Face ◽  
History Of ◽  
History Of Culture

Before photography, only painters, printmakers, and sculptors could tell, through self-portraits, how they saw themselves and how they were perceived. In the past, only artists had the resources to capture and picture themselves. From one brushstroke to another, this mediated gesture marked the perception of the self. Western art highlights numerous works from artists who wrote the history of culture through portraiture and self-representation. In contemporary art, some artists have been able to explore new means to investigate new possibilities of representing the self. In the past, painters seemed to scrutinize the mirror in search for hidden truths; in our era, however, dominated by uncertainty, ambiguity, and speedy records that carry out their obsolescence, new issues cross the representation in contemporary art. It is undeniable that the history of art reveals how self-representation has been an essential tool for artists, regardless of the historical time in which they are inserted, in their search to reflect on themselves and their relations with the world. In the face of an immensely large and virtually inexhaustible universe, in this study we focus on five artists: Rembrandt, Francis Bacon, Robert Mapplethorpe, Cindy Sherman, and Nan Goldin.

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.

Epilogue: On the Current and Future State of Historical Writing

2018 ◽  
Author(s):  
Allan Megill
Keyword(s):  
Historical Writing ◽  
Conceptual Difficulty ◽  
Universal History ◽  
The Past ◽  
Initial Decision ◽  
Future State ◽  
The Face ◽  
History Of

This epilogue argues that historians ought to be able to produce a universal history, one that would ‘cover’ the past of humankind ‘as a whole’. However, aside from the always increasing difficulty of mastering the factual material that such an undertaking requires, there exists another difficulty: the coherence of universal history always presupposes an initial decision not to write about the human past in all its multiplicity, but to focus on one aspect of that past. Nevertheless, the lure of universal history will persist, even in the face of its practical and conceptual difficulty. Certainly, it is possible to imagine a future ideological convergence among humans that would enable them to accept, as authoritative, one history of humankind.

Everybody's War

2021 ◽  
Keyword(s):  
Health Care ◽  
Lived Experience ◽  
International Humanitarian Law ◽  
Humanitarian Law ◽  
War Economy ◽  
The Past ◽  
Postcolonial State ◽  
The Face ◽  
History Of

This book explores the history of health care in postcolonial state-making and the fragmentation of the health system in Syria during the conflict. It analyzes the role of international humanitarian law (IHL) in enabling attacks on health facilities and distinguishes the differences between humanitarian solutions and refugee populations’ expectations. It also describes the way in which humanitarian actors have fed the war economy. The book highlights the lived experience of siege in all its layers. It examines how humanitarian actors have become part of the information wars that have raged throughout the past ten years and how they have chosen to position themselves in the face of grave violations of IHL.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

The Category of Beauty in the Poetry of Innokenty Annensky

2019 ◽  
Vol 15 (2) ◽  
pp. 128-133
Author(s):  
Mikhail S. Zayats
Keyword(s):  
Silver Age ◽  
Human Personality ◽  
The Face ◽  
History Of ◽  
History Of Culture ◽  
The Universe

In this work we decided to examine the creative path of Innokenty Annensky, since his attitude to some extent seems close to us, who have recently passed the Turn of the centuries. The Turn of the centuries is a shift of epochs not only in philosophy and history, but also in the history of culture. Namely during this period a new human personality is formed, its soul is utterly exposed in the face of life and time, which is tragically contradictory, full of expectations of terrible catastrophic changes in the universe, anxiety about the fate of mankind. The article traces how the works of I. Annensky were influenced by the ancient aesthetics, based on the power of Beauty, its opportunities to transform and change the universe. The poetic premonitions of the poet of the Silver Age in the era of the Turn of the centuries are shown in this article.

How good gets better and bad gets worse: measuring the face of emotion

2010 ◽  
Vol 41 (4) ◽  
pp. 133-143
Author(s):  
Bolanle Adetoun ◽  
Maggie Tserere ◽  
Modupe Adewuyi ◽  
Titilola Akande ◽  
Williams Akande
Keyword(s):  
South African ◽  
Facial Expressions ◽  
Function Analysis ◽  
Repeated Measure ◽  
Emotional Climate ◽  
African Students ◽  
Black South African ◽  
The Past ◽  
The Face ◽  
History Of

How good gets better and bad gets worse: measuring the face of emotion Given the history of the past, black South African students from different settings face unique academic and emotional climate. Using the Differential Emotions Scale (DES) which focuses on ten discrete emotions, and building upon Boyle's (1984) seminal work, this study reports a repeated-measure multiple discriminant function analysis for individual items across raters. The findings further indicate that majority of the DES items are sensitive indicators of the different innate and universal facial expressions. However, the construct requires revision so that it offers the examiner maximum flexibility in assessment at diverse levels, in terms of more extensive norming and programmatic replication. In brief, the DES potentially has much to offer provided that it is adequately developed for use in non-Western nations or contexts.

The Fate of Beauty in the Works of Alexander Blok

2019 ◽  
Vol 15 (2) ◽  
pp. 102-111
Author(s):  
Sergei M. Zayats
Keyword(s):  
Silver Age ◽  
Revolutionary Era ◽  
Human Personality ◽  
The Face ◽  
History Of ◽  
History Of Culture ◽  
The Universe

In our work we decided to look at the creative path of Alexander Blok, since his attitude to some extent seems close to us, who have recently passed the Turn of the centuries. The turn of the centuries is a shift of epochs not only in philosophy and history, but also in the history of culture. It is during this period that a new human personality is formed, whose soul is utterly exposed in the face of life and time, which is tragically contradictory, full of expectations of terrible catastrophic changes in the universe, anxiety about the fate of mankind. The article traces how the works of A. Blok were influenced by philosophy of Vl. Solovyov, his theological ideas about the saving power of Beauty, its opportunities to transform and change the universe. The religious premonitions of the poet of the Silver Age in the pre-revolutionary era are shown in this article.

scholarly journals Contemporary Chinese art: Mao's legacy and Danto's definition

2015 ◽  
Vol 7 (2) ◽  
pp. 191-200
Author(s):  
Wiseman Bittner
Keyword(s):  
Contemporary Art ◽  
Recent History ◽  
Chinese Art ◽  
Contemporary Chinese Art ◽  
Western Art ◽  
Social Nature ◽  
History Of ◽  
Definition Of ◽  
Contemporary Chinese ◽  
The Way

In this paper I am going to do three things: First, identify several themes in contemporary Chinese art that show its essentially social nature and its robust materialism. Second, suggest a way that contemporary art in China is post-modern in the way that Western art is and claim, moreover, that as different as the themes and recent history of this art are from contemporary Western art, the works satisfy a definition of art constructed by Arthur Danto. Finally, in a coda, I present the work of a woman artist that is unlike most recent Chinese and Western art. It positions itself at the far reaches of what art in China is and what Danto's definition allows at the same time that it suggests both the interiority of the practice of art and one way of being a woman.

scholarly journals OS CAMINHOS DA EDUCAÇÃO FEMININA

2020 ◽  
Vol 13 (1) ◽  
pp. 79
Author(s):  
Antônia Rosa Almeida ◽  
João Bartolomeu Rodrigues ◽  
Levi Leonido Fernandes da Silva ◽  
Elsa Maria Gabriel Morgado
Keyword(s):  
History Of Education ◽  
Female Empowerment ◽  
Rural Environment ◽  
Social Force ◽  
The Past ◽  
Foundations Of Education ◽  
The Face ◽  
History Of ◽  
Entire Universe

Since man is a man, history has been responsible for showing the progress of life in society and, analyzing the foundations of education, one can understand the advances and setbacks in the segments that support it. One must remember the importance and meaning of education to realize it”s contribution to people in particular and to humanity in general. For women, education is a great example of building for citizenship. Female empowerment and its entire universe overlap with the history of education, with the infinite property through the consolidation of social struggles and female resistance to what was imposed by society. The march of women made the role of education multiply in the face of more varied realities, whether in the rural environment or in the urban environment, in the most different spaces. It is known that the motivation for the search for knowledge in the circumstances in which women lived in the past was decisive for being the provocateur of women's empowerment, because it is a right for all, in the journey of the whole social force, family, religion, politics, culture, and work. In what was proposed by the advent of the role in the life of women, it is perceived that the force linked to power, wanting to learn have become more accessible to women and this development throughout life marks the vicissitudes that education manifested in the life of each individual.

scholarly journals Communication disorder: contemporary art and psychoanalysis

2019 ◽  
pp. 91-97
Author(s):  
Ana Lúcia Mandelli de Marsillac
Keyword(s):  
Contemporary Art ◽  
Time History ◽  
Communication Disorders ◽  
Work Of Art ◽  
The Uncanny ◽  
The Face ◽  
History Of ◽  
Qualitative Methodologies ◽  
And Function ◽  
Psychoanalytic Method

This revision seeks to analyze the methodological intersections of contemporary art and psychoanalysis, by considering the value attributed to communication disorders by both fields. I will analyze elements of "In the Face of time: History of art and anachronism of Images" (2000), by Didi-Huberman. In addition, I will single out two texts that are crucial to the psychoanalytic method: "The Uncanny” (1919), by Freud and "Function and field of speech and Language" (1953), by Lacan. The concept of the uncanny is central to this approach, since it reveals the proximity between strangeness and familiarity. It is through the concept of the uncanny that psychoanalysis unfolds the perspective of a negative aesthetics, which is not at the service of the completeness of communication. Instead, it focuses on the cracks that paradoxically allow us to say more and to look at the latent contents of communication. Contemporary art and psychoanalysis both use non-linear communication. Research performed at their intersection is based on qualitative methodologies and seeks to analyze exemplary situations in culture, such as the discourses of an epoch and works of art. In this methodological encounter, there isn’t a single meaning to be sought. On the contrary, it is the researcher’s task to reflect on the paths that lead to the creation of a work of art, as well as on the ideals it conveys, its singularity and its relationship with culture. He can then render visible the complexity and the multiple meanings embedded in the work of art.

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