Combined MA-XRF and SEM-EDX Analysis of a Medieval Stained-Glass Panel Formerly from Notre Dame, Paris Reveals its Material History

2021 ◽  
Author(s):  
Arthur Gestels ◽  
Geert Van der Snickt ◽  
Joost Caen ◽  
Gert Nuyts ◽  
Stijn Legrand ◽  
...  
Keyword(s):  
Stained Glass ◽  
Glass Panel ◽  
Edx Analysis ◽  
Material History

A Medieval Procession: Sacred Rites Commemorated in a Stained Glass Panel from Soissons Cathedral

1992 ◽  
Vol 67 (1) ◽  
pp. 30-37
Author(s):  
Marilyn M. Beaven
Keyword(s):  
Stained Glass ◽  
Glass Panel

scholarly journals Daylight stained-glass panel as a means of lightning design

2018 ◽  
Vol 0 (15) ◽  
Author(s):  
L. Koval
Keyword(s):  
Stained Glass ◽  
Glass Panel

A Plea for Stained Glass

1900 ◽  
Vol 29 (5build) ◽  
pp. 82-82
Keyword(s):  
Stained Glass

"River Novels' Trace in Material History and Publicness Way"

2016 ◽  
Vol 42 ◽  
pp. 5-45
Author(s):  
Gil-Yeon Han
Keyword(s):  
Material History

Sacred Silver and Stained Glass: A New Gallery at the Victoria & Albert Museum, London

2006 ◽  
Vol 2 (3) ◽  
pp. 397-397
Author(s):  
Crispin Paine
Keyword(s):  
Stained Glass

Stained Glass

2019 ◽  
Keyword(s):  
Stained Glass

SEM-EDX ANALYSIS OF GARNETS AND THEIR INCLUSIONS FROM THE LOWER-MOST LAYER OF THE WOODVILLE HILL LACCOLITH RHYOLITE IN NORTHERN BLACK HILLS, SOUTH DAKOTA

2016 ◽  
Author(s):  
Shannon K. Hunter ◽  
◽  
Jacob Sounik ◽  
Tathagata Dasgupta ◽  
David B. Hacker
Keyword(s):  
South Dakota ◽  
Black Hills ◽  
Edx Analysis

Dancing Women

2020 ◽  
Author(s):  
Usha Iyer
Keyword(s):  
South Asian ◽  
Cultural Production ◽  
The Body ◽  
Theoretical Frameworks ◽  
History Of ◽  
Material History ◽  
Cultural Forms ◽  
Hindi Cinema

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the “women’s question” via new mobilities corpo-realized by dancing women. Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women.

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