De cómo el arte se convirtió en el arte

1970 ◽  
Author(s):  
Luis Puelles Romero
Keyword(s):  
Cultural History ◽  
The Public ◽  
Las Casas ◽  
History Of Art ◽  
History Of ◽  
Artistic Theory

RESUMENSe dedican estas pá´ginas a unos pocos comentarios surgidos de la lectura del libro de Larry Shiner "La invención del arte. Una historia cultural" (Barcelona, Paidós, 2004). Además de apreciable por sus contenidos, esta obra destaca por sus implicaciones epistemológicas, no siempre explicitadas, y su capacidad para reunir procedimientos historioráficos y objetos intelectuales de diversas disciplinas afines a lo artístico. Bajo la exigencia de una "historia cultural" Shiner consigue que la teoría estética y la teoría artística, instituidas en la modernidad, se encuentren con otros factores, materiales, como el mercado, el origen del público o la aparición de las casas de subastas, habitualmente poco presentes en los índices de las historias del arte y de la estética de mayor divulgación.PALABRAS CLAVEESTÉTICA-ARTE-MODERNIDADABSTRACTThese pages deal with some reflections upon the book by Larry Shiner "The Invention of Art" (Barcelona, Paidós, 2004). In addition to its remarkable contents, this work is outstanding due to its epistemological presuppositions, not always explicitly mentioned, and its ability to join historiographic devices and intellectual subjects from various diciplines related to the artistic domain.. Under the scope of a "cultural history", Shiner succeeds in making that artistic theory and aesthetics theory, both of them institutionalised in modernity, encounter other material factors such as the market, the emergence of the public or the auction´s houses rarely mentioned in the usual table of contents of books about history of art and aesthetics.KEYWORDSAESTHETICS-ART-MODERNITY

Emotions in performance: Poetry and preaching

2017 ◽  
Vol 54 (1) ◽  
pp. 67-102
Author(s):  
Carla Petievich ◽  
Max Stille
Keyword(s):  
Cultural History ◽  
Rhetorical Analysis ◽  
Cultural Tradition ◽  
Public Performance ◽  
The Public ◽  
Collective Emotions ◽  
Performance Poetry ◽  
Performance Traditions ◽  
History Of ◽  
Modern Nation State

Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.

Rewriting or Reaffirming the Canon? Critical Readings of Exhibition History – Editorial

2015 ◽  
Vol 1 ◽  
Author(s):  
Linda Boersma ◽  
Patrick van Rossem
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Public Realm ◽  
The Public ◽  
Artistic Production ◽  
Exhibition History ◽  
History Of Art ◽  
History Of

In 2010, Afterall Publishers launched a series of exhibition histories wholly devoted to the study of landmark exhibitions.[1] The aim was to examine art in the context of its presentation in the public realm. In this way, research into art history shifted from the artistic production of one individual artist to the context of the presentation, and to the position, views, and convictions of the curator. In the introduction to the book, published in 2007 with its contextually pertinent title, Harald Szeemann: Individual Methodology, Florence Derieux stated: “It is now widely accepted that the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions.”[2] Not everyone agrees with this, however. For example, art historian Julian Myers justifiably criticized this statement when he wrote that the history of art and exhibitions are inextricably linked.

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 Body Beyond the Anatomy Lab: (Re)Addressing Arts Methodologies for the Critical Medical Humanities

2018 ◽  
Author(s):  
Rachael Allen
Keyword(s):  
Cultural History ◽  
The Body ◽  
Human Anatomy ◽  
Anatomical Dissection ◽  
The Public ◽  
The Arts ◽  
History Of ◽  
Special Knowledge ◽  
Human Dissection ◽  
Anatomy Lab

Bearing witness to these anatomies ‘in the flesh’ is rooted in the cultural history of human anatomy and dissection: the meeting of artists and anatomists around the dissecting table; the public spectacle of ritualised dissections in Renaissance anatomical theatres; the study of anatomy in institutions; the contentious display of dead bodies in Gunther von Hagen’s Body Worlds, to name a few. Our bodies have commonly been understood by both medical and lay people as a biological machine of sorts and an image ‘embedded in popular culture and sustained in the anatomy lab’. First-hand experience of anatomical dissection has become a guarded professional ritual and a marker of special knowledge that depends on the violation of the taboo (access to the interior of the body and to death): ‘The anatomy theatre lies at the mysterious heart of medicine in the public fantasy and the professional imagination.’ Categorical, turbulent and romantic accounts of human dissection have circulated widely over the centuries, through prose, poetry and the arts, and it is precisely because of the body’s moral centrality that it can be used subversively by contemporary artists today.

scholarly journals Neobrađene fotografije Ive Petriciolija iz ostavštine Zbirke Petricioli

Ars Adriatica ◽  
2012 ◽  
pp. 249
Author(s):  
Suzana Valenta
Keyword(s):  
Large Collection ◽  
Photographic Material ◽  
The Public ◽  
Black And White ◽  
Left Behind ◽  
Chemical Damage ◽  
Historical Monuments ◽  
History Of Art ◽  
History Of ◽  
The University

Dr Ivo Petricioli left behind a large collection of material from his activity as a photographer. Although the majority of it is in the possession of the late Professor’s family, 85 black and white negatives on 6 x 6 rollfilms grouped in three albums are housed as part of the Petricioli Collection in the Department of History of Art of the University of Zadar. The collection was formed by Petricioli himself soon after he joined the Department as a lecturer. The collection contains different photographic material: exposures and negatives on various surfaces. The physical condition of the collection is, apart from minor mechanical and chemical damage sustained by some items, satisfactory. The initial sorting of the photographic material in the collection began in 2010. Three albums marked with the label ‘PRIVATE’ on the side attracted interest. They contain 85 black and white negatives created in the period between 1958 and 1965 during the Professor’s private travels in France and Italy. The negatives are well preserved: some have only minor scratches while some were stained through the action of residual chemicals after they were developed. Apart from excellent photographs of art-historical monuments in French and Italian towns with a pronounced note of the documentary, a number of interesting vedutes can be found among the negatives. Until now, the photographic oeuvre of Dr Ivo Petricioli had been unsorted and unpublished, leaving the public unfamiliar with his photographic works, which certainly merit attention.

scholarly journals Sources and Resources‘The NHS … Should not be Condemned to the History Books’: Public Engagement as a Method in Social Histories of Medicine

2020 ◽  
Author(s):  
Jennifer Crane
Keyword(s):  
Cultural History ◽  
Public Engagement ◽  
Academic Research ◽  
Professional Boundaries ◽  
The Public ◽  
Critical Methodology ◽  
Archival Documents ◽  
History Of ◽  
Post War ◽  
The University

Summary This article explores the public engagement work of the Cultural History of the National Health Service (NHS) project, conducted at the University of Warwick between 2016 and 2019 and aiming to explore the meanings attached to Britain’s NHS over its 70-year history. The article situates public engagement as a critical methodology for social historians of medicine, exploring how events deepened this project’s understandings of post-war welfare, childhood treatments and activist cultures. Through reflection on these themes, the article emphasises that public engagement can generate rich new forms of qualitative testimony, complementing archival documents; point us towards ‘hidden archives’; and challenge cultural visions of historical research as ‘condemning’ or ‘celebrating’ its subjects. Finally, the article provides critical reflection on the challenges of such work and argues that engagement around health makes visible the broader research challenges of emotional intensity, personal and professional boundaries, and the hierarchies ingrained in academic research.

Open Sourcing the Colonial Archive – A Digital Montage of the History of Fernando Pó and the Bight of Biafra

2014 ◽  
Vol 41 ◽  
pp. 387-415 ◽  
Author(s):  
Enrique Martino
Keyword(s):  
Twentieth Century ◽  
Cultural History ◽  
Equatorial Guinea ◽  
The Public ◽  
Information Commons ◽  
Colonial Archive ◽  
History Of

AbstractThe archival sources gathered for my PhD research have all been posted to a blog, www.opensourceguinea.org. Among other things, the sources trace the migrants and laborers in and around the plantation island of Fernando Pó, moving through numerous empires and societies in Equatorial Guinea, Nigeria, Cameroon and Gabon for most of the twentieth century. Having sources “speak for themselves” to the “public” and even “amongst themselves” contributes not only to an expansionary information commons, but also to a methodological reorganization and pluralization. When a multiplicity of sources are displayed and interlinked as hypertext, the static conceptual lenses of traditional social and cultural history dissolve.

scholarly journals The Emphasis Of Methaphorical Form On Cultural Park

2019 ◽  
Vol 10 (2) ◽  
pp. 85-93
Author(s):  
D. D Harisdani ◽  
A Chandra
Keyword(s):  
Cultural History ◽  
Research Method ◽  
Chinese Culture ◽  
Tourism Destination ◽  
Tourist Destination ◽  
The Public ◽  
International Tourist ◽  
Long Time ◽  
History Of ◽  
Box Method

Chinese in Indonesia as one of the diverse ethnicity had a long story in Medan’s development. Even though Chinese has been in Indonesia for a long time, the history of Chinese culture is rarely known by the public. The need for a medium to support this is to preserve the culture and history of Chinese. The inadequate medium for documenting and preserving the cultural history threatens the culture gradually lost in the age so that it needs a museum to document Chinese culture. As one of the local and international tourist destination, it needed a cultural museum with an iconic architectural emphasis of metaphorical form. To achieve the research objectives, the glass box method was used as a research method. With the emphasis form on the museum, it could enriched tourism destination and adding insight of local or international citizen about Chinese culture in Medan.

scholarly journals Stanisław Bednarski SJ i prof. Stanisław Kot: uczeń i mistrz

2018 ◽  
Vol 17 ◽  
pp. 119-149
Author(s):  
Stanisław Cieślak ◽  
Keyword(s):  
World War Ii ◽  
Cultural History ◽  
Doctoral Dissertation ◽  
General Assembly ◽  
World War ◽  
College Professors ◽  
History Of Art ◽  
History Of ◽  
University Department ◽  
History Of Culture

On September 15th 1922, a young Jesuit, Father S. Bednarski, enrolled at the Jagiellonian University, Department of Philosophy, Faculty of Humanities, with specialization in modern history, history of culture and history of art. One of his college professors was a well-known historian, Prof. Stanisław Kot. The Jesuit and Prof. S. Kot shared historical interests and ties of friendship. Prof. S. Kot became the mentor and professor adviser of the Jesuit’s doctoral dissertation, Collapse and rebirth of Jesuit schools in Poland (Kraków, 1933), which on June 15th1934 was awarded a prize by the PAU General Assembly and was considered the best historical work in 1933. During his research in archives and libraries in Poland and abroad, the Jesuit had in mind not only his own plans but also his mentor’s interests. The student was loyal to his mentor, who was associated with the anti-Piłsudski faction and politically engaged in activities of the Polish Peasant Party. For this reason, Prof. S. Kot did not enjoy the trust of the state authorities. In 1933, as a result of Jędrzejewicz reform, the Chair of Cultural History headed by him was abolished. Fr. S. Bednarski bravely stood in its defence. The friendship of the mentor and student’s ended in World War II. Prof. S. Kot survived the War and emigrated, where he remained active in politics, while his student died on July 16, 1942 in the German Nazi concentration camp in Dachau near Munich.

scholarly journals A atribulada criação da Biblioteca Pública de Braga e o seu arrojado bibliotecário limiano

2020 ◽  
Author(s):  
Paula Sequeiros
Keyword(s):  
Cultural History ◽  
Social Economic ◽  
Public Libraries ◽  
Public Library ◽  
Professional Life ◽  
The Public ◽  
Modern Times ◽  
The Social ◽  
History Of ◽  
The Creation

The creation of the Public Library of Braga, one of the first of the modern times in Portugal, and a brief sociobiography of Manoel Rodrigues da Silva Abreu, the first librarian, are here presented within the context of the social, economic, cultural and political power relations of the initial decades of the Library’s history.Some episodes of the creation and of the consolidation of the Library, as well as some episodes of the librarian’s professional life will be outlined to facilitate a wider reading. While building from specificity, the analysis and interpretation of this case enclose an explanatory capacity addressed at a wider framework, in what concerns both the history of public libraries in Braga, and the understanding of the cultural history of this period in Braga and in Portugal.

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