scholarly journals The I as the Eye: on Poetics of Ruins in I. Brodsky’s essay Homage to Marcus Aurelius

2021 ◽  
pp. 371-390
Author(s):  
Daniela Lugarić Vukas ◽  
Keyword(s):  
Cultural Heritage ◽  
Social Constraints ◽  
Work Of Art ◽  
Marcus Aurelius ◽  
Sense Of Time ◽  
Writer's Voice

The main aim of this chapter is to offer a possible interpretation of the meanings attached to the ruins as both the image and the metaphor in Brodsky’s essays, or, to be more precise, in “Homage to Marcus Aurelius” (1994), an essay that sets its narrative world in the ruined world that surrounds the narrator, elicits an ambivalent sense of time, and provokes complex thoughts of history as an eternal cycle and dialectic process. Departing from the premises that ruins emancipate us from social constraints, free senses, and desires, enable introspection, and foster creativity, I expand the well-established thesis according to which Brodsky’s writings are structured on an image of time as irretrievability and irreclaimability, which, in his writings, reverberates and re-creates an experience of continuous failures to discipline the memory, thus making any return impossible. Moreover, my aim is to show that the approach to Brodsky’s essays from the perspective of an analysis of ruins can offer us much more: for example, it can offer valuable insights into his understanding of the agency of the authorial modernist voice in literature. Where, in a work of art, is the writer’s voice located? What does it mean to see and to write, and what does it mean to read? What role, in this process, is assigned to tradition, “eternal values,” and cultural heritage?

PERLINDUNGAN HUKUM TERHADAP KARYA SENI BATIK YANG BELUM TERDAFTAR MENURUT UNDANG-UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Inggrit Fernandes
Keyword(s):  
Intellectual Property ◽  
Property Rights ◽  
Cultural Heritage ◽  
Intellectual Property Rights ◽  
Rapid Growth ◽  
Economic Value ◽  
Legal Protection ◽  
Property Law ◽  
Market Demand ◽  
Work Of Art

Batik artwork is one of the treasures of the nation's cultural heritage. Batik artwork is currently experiencing rapid growth. The amount of interest and market demand for this art resulted batik artwork became one of the commodities in the country and abroad. Thus, if the batik artwork is not protected then the future can be assured of a new conflict arises in the realm of intellectual property law. Act No. 28 of 2014 on Copyright has accommodated artwork batik as one of the creations that are protected by law. So that this work of art than as a cultural heritage also have economic value for its creator. Then how the legal protection of the batik artwork yaang not registered? Does this also can be protected? While in the registration of intellectual property rights is a necessity so that it has the force of law to the work produced

Implementasi Nilai Dakwah dan Ekonomi Syariah Dalam Motif Batik IRD Walisongo

2020 ◽  
Vol 2 (1) ◽  
pp. 20-42
Author(s):  
Indriya Rusmana
Keyword(s):  
Cultural Heritage ◽  
Economic Value ◽  
North Coast ◽  
Eastern Region ◽  
Work Of Art ◽  
Economic Wealth ◽  
Self Confidence ◽  
The North ◽  
Central Java ◽  
Islamic Economic

The art of batik wastra (cloth) has traveled a very long journey in part of the Indonesian cultural fabric, to modern designs or patterns that adorn clothing. Apart from being exclusive, batik is never really the same as the others, and in each of its many stories and philosophical values. Batik is a cultural achievement, world cultural heritage and Indonesia. As a characteristic of the people's economic wealth, batik is also constantly being preserved and developed. However, batik is one of the cultural heritages of the Indonesian nation's ancestors. Walisongo or Walisanga was known as the spreader of Islam in Java around the 17th century.These Guardians lived in three important areas of the north coast of Java Island, namely Surabaya-Gresik-Lamongan in East Java, Demak-Kudus-Muria in Central Java, and Cirebon in West Java. Not only were they known as propagators of Islam, Walisongo were intellectuals who became community reformers at their time. At that time, Walisongo introduced various forms of new civilizations, ranging from farming, commerce, health, culture, arts, society to government. For example, the Ampel Denta and Giri Islamic boarding schools were the two most important educational institutions at that time, starting from Giri, Islamic civilization developed throughout the eastern region of the archipelago.  Batik IRD Walisongo has a "batik motif containing da'wah, education, and Islamic business value", which is actually a reconstruction of Walisongo's teachings which are translated into batik motifs. Where in the motive contains philosophy. First, the afflicative transformation of Walisongo's teachings through its batik motives, second, education is characterized by the values ​​of Walisongo's teachings, third, the implementation of local wisdom that comes from the teachings of the ulama through developing an attitude of respect, responsibility and self-confidence in the community, so that a sense of belonging to the product results arises. local namely batik. It can also be said that batik as a work of art is associated with religious teachings that reach humans through revelations from Allah SWT. The existence of batik as an ancestral cultural heritage should be preserved, as a work of art that carries da'wah, as well as having Islamic economic value.  

scholarly journals In Between the ‘Brows’: The Influx of Highbrow Literature into Popular Music

2016 ◽  
Vol 13 (1) ◽  
pp. 81-95
Author(s):  
Oana Ursulesku
Keyword(s):  
Twentieth Century ◽  
Cultural Heritage ◽  
Popular Music ◽  
Literary Work ◽  
Pivotal Role ◽  
New Work ◽  
Literary Canon ◽  
Popular Song ◽  
Work Of Art ◽  
Anglo American

The global phenomenon of popular music from the middle of the twentieth century on played a pivotal role in the merging of what was traditionally deemed high and low cultures. Performers of popular music of different genres started including direct references to literary works from the Anglo-American literary canon, one of the most famous examples being Kate Bush’s 1989 single “The Sensual World,” in which she originally intended to quote verbatim from Molly Bloom’s soliloquy Bloom in James Joyce’s Ulysses; however, since permission from the Joyce Estate was not granted, the song did get recorded, but with lyrics that Bush wrote herself, inspired by Molly Bloom’s words on the page.This paper analyses the way ideas from the original literary work get transposed and adapted in the lyrics of the popular song, giving credit to the musicians as not only innovative creators of a new work of art, but creators of an adapted work of art that can be intertextually read in the context of the artist’s cultural heritage.

scholarly journals The Perczel Project (2007–2019)

2021 ◽  
Vol 4 ◽  
pp. 1-8
Author(s):  
Mátyás Márton ◽  
Gábor Gercsák ◽  
László Zentai
Keyword(s):  
Cultural Heritage ◽  
Prime Minister ◽  
The State ◽  
Work Of Art ◽  
The Third ◽  
The Past ◽  
University Library ◽  
Public Property ◽  
The University

Abstract. Hungarian presenters gave several papers on this project at cartographic conferences and published articles on the state of the work in the past decade. The project undertaken by the Department of Cartography and Geoinformatics at Eötvös Loránd University (ELTE) serves the saving of cultural heritage, namely a globe, a significant work of art. The project is named after its maker, Perczel. The work, which lasted for more than ten years with interruptions, was crowned by the birth of three imposing artistic copies of the globe. This part of the project completed in half a year was organized by the Archiflex Studio and led by Zsuzsanna Lente, restorer artist. The first copy decorates the office of the Hungarian prime minister in the former Carmelite cloister in the Buda Castle. The second copy is placed in the National Széchényi Library, where the original globe is kept. The third copy went to the University Library of ELTE. The physical embodiment of the globe makes it a real public property: Perczel’s globe is a work of art that represents great scientific and cultural values.The present paper reviews shortly the manuscript globe made by Perczel in 1862, and presents the stages of the digital re-creation and restoration of the globe map carried out at the Department of Cartography and Geoinformatics at ELTE, which led to its physical reconstruction, the birth of its artistic copies. Finally, some cartographic “juicy bits” follow: the representation of non-existent “ghost” islands on the globe and some interesting graphical solutions that are unusual today.

Multimedia Experiences for Cultural Heritage

2019 ◽  
pp. 80-101
Author(s):  
Manuela Piscitelli
Keyword(s):  
Cultural Heritage ◽  
Cultural Context ◽  
Work Of Art ◽  
Wide Audience ◽  
Interactive Technologies ◽  
External Communication ◽  
Cultural Sites ◽  
Italian Context

The chapter analyzes, with particular regard to the Italian context, the aspects related to the fruition of cultural heritage and to the expectations of the potential public. There is often a lack of adequate media for communication, which should create interest in a non-specialist public. Multimedia and interactive technologies can be a valuable support to enhance internal and external communication for museums and cultural sites, reaching a wide audience in a differentiated and customized manner depending on their interests. The aim is to understand the link between the work of art and the geographical, physical, historical, and cultural context in which it was born, to open the horizon to a synoptic and organic understanding of heritage, contributing to its protection and educating citizens. Finally, a case study concerning the museum and territory of Mondragone (Italy) is presented.

scholarly journals Virtual Restoration and Visualization Changes through Light: A Review

Heritage ◽  
2020 ◽  
Vol 3 (4) ◽  
pp. 1373-1384
Author(s):  
Ángela Gómez Manzanares ◽  
Anto J. Benítez ◽  
Juan Carlos Martínez Antón
Keyword(s):  
Cultural Heritage ◽  
Work Of Art ◽  
Optical Techniques ◽  
Design And Optimization ◽  
Works Of Art ◽  
Calibration Methods ◽  
Lighting Systems

The virtual modification of the appearance of an object using lighting technologies has become very important in recent years, since the projection of light on an object allows us to alter its appearance in a virtual and reversible way. Considering the limitation of non-contact when analysing a work of art, these optical techniques have been used in fields of restoration of cultural heritage, allowing us to visualize the work as it was conceived by its author, after a process of acquisition and treatment of the image. Furthermore, the technique of altering the appearance of objects through the projection of light has been used in projects with artistic or even educational purposes. This review has treated the main studies of light projection as a technique to alter the appearance of objects, emphasizing the calibration methods used in each study, taking into account the importance of a correct calibration between devices to carry out this technology. In addition, since the described technique consists of projecting light, and one of the applications is related to cultural heritage, those studies that carry out the design and optimization of lighting systems will be described for a correct appreciation of the works of art, without altering its state of conservation.

Head of a Young Woman: The thrilling recovery of a flying Picasso

2021 ◽  
Vol 28 (1) ◽  
pp. 175-190
Author(s):  
Nicolás Zambrana-Tévar
Keyword(s):  
European Union ◽  
Cultural Heritage ◽  
Young Woman ◽  
Administrative Law ◽  
European Level ◽  
European Union Law ◽  
Work Of Art ◽  
Judicial Assistance

AbstractThe case of the illicit export of a Picasso painting by its owner and its confiscation and recovery by French and Spanish authorities provides an interesting example of the complexities of the transnational criminal, civil, and administrative law protection of national cultural heritage and of the ongoing efforts to achieve useful legal instruments at the European level, which foster and harmonize the current and often informal mechanisms of cooperation and judicial assistance among the different domestic enforcing agencies. It also attempts to show how Spanish authorities have made a legitimate, but possibly overreaching, use of existing European Union law in order to recover and appropriate a valuable work of art.

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