Dai primi trattati portoghesi di astronomia alla «Nube di Magellano» di Haroldo de Campos

2021 ◽  
pp. 441-458
Author(s):  
Michela Graziani

Starting with the first astronomical treatises of the 16th century, this work focuses on the metaliterary concept of travel and on the attraction that astronomy, specifically the Magellanic clouds, produce in the Portuguese treaties of the modern age and in the Portuguese and Brazilian literature of the 20th century.

2021 ◽  
Vol 10 (2) ◽  
pp. 85
Author(s):  
Juan Reinoso-Gordo ◽  
Antonio Gámiz-Gordo ◽  
Pedro Barrero-Ortega

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.


2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.


2018 ◽  
Vol 10 (1) ◽  
pp. 51
Author(s):  
Yeni Mulyani Supriatin

Penelitian ini bertujuan mengungkap peristiwa Perang Bubat yang terjadi pada abad ke-14 atau tahun 1357 M dan resepsi sastranya. Masalah yang dibahas adalah bagaimana latar belakang terjadinya Perang Bubat, reaksi, dan tanggapannya. Teori yang digunakan adalah resepsi sastra. Metode untuk pengumpulan data adalah kualitatif dengan menerapkan prinsip resepsi sastra. Hasil penelitian menggambarkan bahwa terjadinya Perang Bubat adalah Raja Sunda tidak tunduk pada kehendak Gajah Mada dan Gajah Mada ingin menyatukan Nusantara. Resepsi sastra terhadap Perang Bubat dapat dikelompokkan menjadi 3, yaitu resepsi dari aspek kesejarahannya, resepsi pengaruhnya terhadap penciptaan karya baru, dan resepsi terhadap struktur sastra.  Simpulan penelitian ini adalah peristiwa Bubat diresepsi setelah dua abad berlalu, yaitu pada abad ke-16  dan peristiwa tersebut diresepsi ulang pada abad ke-20-an. Hasil resepsi sastra  dari abad ke-18 sampai dengan abad ke-20 cukup beragam. Keberagaman resepsi itu menunjukkan bahwa terdapat perbedaan horizon harapan pembaca.  This study aims to reveal the events of the Bubat War that occurred in the 14th century or the year 1357 AD and literary receptions that emerged after the incident occurred. The issue discussed is how the background of the Bubat War and the reactions and responses to the event through literary receptions. The theory used in analyzing data is literary receptions. The method used for data collection is qualitative by applying the principle of literary receptions. The results of this study illustrate that the background of the Bubat War have two versions and both controversial, the first version because the King of Sunda entourage do not obey to the will of Gajah Mada, on the other hand, the second version is that Gajah Mada tactics in unifying the archipelago while the Kingdom of Sunda is a state that has not been submitted. Literary receptions to the War of Bubat can be grouped into three, they are the reception of its historical aspect, the reception of its influence on the creation of new works, and the reception of the literary structure. The conclusion of this research is  Bubat event was perceived after two centuries passed, in the 16th century and the event was redrawn in the 20th century. Results of literary receptions in the 18th century until the 20th century quite diverse. The diversity of the receptions shows the difference in the horizon of readers' expectations.    


Author(s):  
Marija Vujović ◽  
Anka Mihajlov Prokopović

Prior to becoming the most dominant cultural product of the modern age, the film began its history as a journalistic concept. The first films made by the brothers Auguste and Louis Lumière in the late 19th century were documentaries. The first film made at the beginning of the 20th century in Serbia was also a type of a newsreel, a documentary. Some of the first cinema owners and cinematographers were journalists. This paper explains the development of documentary film in Serbia, which, in addition to being a film genre, also became a television genre in the second half of the 20th century. The goal of this paper is to show the development path starting from the first feature film and newsreel, to television news - one of the most frequent TV programs of the moment – by using the example of Serbia.


2018 ◽  
Vol 6 (8) ◽  
pp. 11
Author(s):  
Dr. Radha ◽  
Dr. Premalatha. C 

Postmodernism is a Western philosophy, a late 20th-century movement characterized by broad skepticism, subjectivism, or relativism; a general suspicion of reason; and an acute sensitivity to the role of ideology in asserting and maintaining political and economic power”.Post-Modernists are independent while expressing their ideas, they never drop their statements and theory. It is more personal than identify with some other categories. The post-modernism was started in America around 16th century later it extended to Europe and other countries.Post-modern civilization fails to accept the modification between high and low class. There is a little place for modernism, originality or individual thinking. Bhagat has concentrated on the preconceptions of toppers, however there is more to life than these things your family, your friends, your internal desires and goals and the grades you get in dealing with each of these areas will define you as a person.The post-modernism has defused the difference between good and bad, moral and immoral, right and wrong. If there is a choice to select modern generation would not hesitate to go for one which is traditionally named as bad. Bhagat imbibed all these qualities in his writing. His characters go against the traditional customs and values. Bhagat represents intricate, deeply engrained socio-cultural complications of multicultural India, light-heartedly. He wishes readers to giggle at themselves, at their stupidities, their partialities, and their wrong-actions; not as a member but as a distant observer. He doesn’t bout them directly, but through fiction he attempts to understand their errors and gives a chance to rectify in the real life. Bhagat’s linking story telling method and the funny situations appeal readers.


2019 ◽  
Vol 66 (1 SELECTED PAPERS IN ENGLISH) ◽  
pp. 19-31
Author(s):  
Barbara Niebelska-Rajca

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1. Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.


Author(s):  
Nada Shabout

The perception of the Arabic letter in art has gone through many changes from the Islamic civilization to the modern age. Following the political and socio-cultural changes of the 19th and 20th century, the Arabic script lost its sacredness. After decades of limited existence in traditional craft, the Arabic letter reappeared in modern Arab art around the middle of the 20th century on nationalistic bases. The Arabic language had acquired a high value during the age of colonialism as a symbol of national identity, a unifier; this value only grew stronger with time. The letter was also a signifier that aided twentieth-century Arab artists in their artistic identity crisis. A number of art groups—such as the Baghdad Group of Modern Art, formed in 1951—were established with their focus on a search for a local or national art style through ‘istilham al-turath,’ seeking inspiration from tradition. The Arabic letter became the means for connecting artists’ present with their past and allowing for the invention of tradition. Huroufiyah (Arabic for Letterism), a highly contested term initiated by a newspaper journalist, became a term popularly used to signify all experiments with the Arabic letter in the modern Arab art. Nevertheless, the term is surrounded by controversy in the contemporary Arab world and rejected by a number of scholars and artists. The term al-Madrassa al-Khattiya Fil-Fann (Calligraphic School of Art), has been alternatively proposed, expressing specifically a perceived continuation with Islamic calligraphy.


Author(s):  
Sarah Blake McHam ◽  
Stephen Mack

Florence was a crucial locus for developments in Italian art throughout the peninsula in the period between 1300 and 1600, and so this article will concern itself with art created in the city rather than by Florentine artists working outside of Florence. To a considerable degree, the pervasive influence of Giorgio Vasari’s Lives of the Artists (1550, 1568) affected all later historiography, which followed the patriotic Florentine in his claims that everything of importance throughout the Renaissance originated in the city and spread from there elsewhere. That myth was challenged only in the latter part of the 20th century. Nevertheless, no matter how Vasari exaggerated Florence’s importance, the city was a major center. It was wealthy particularly from the wool trade and through dominance in banking throughout Europe, and the city’s humanists early advised private and corporate patrons about the advantages to their reputations and to that of the city of commissioning art and architecture. Although in the 14th century, Florence was governed as a guild republic, and the major guilds commissioned most of the major works of art, by 1434, Cosimo de’ Medici rose to power, and thereafter except for brief intervals (1494–1512; 1527–1530), the Medici family controlled the city. In the mid-16th century, the family consolidated its power and ruled over all of Tuscany as grand dukes, and changed the nature of commissions to those flattering its rule.


Author(s):  
Zoltán Biedermann

The origins of the Portuguese Estado da Índia—the sum of all Portuguese Crown possessions east of the Cape of Good Hope—can be traced back to the late 1400s, most importantly to the inaugural voyage of Vasco da Gama from Lisbon to Calicut (Kozhikode) in 1497–1498. After some initial hesitations, the Portuguese Crown created a governorship for India in 1505, with a seat at Cochin (Kochi) later transferred to Goa, to oversee commercial, military, administrative, and other activities in an increasing number of possessions along the shores of East Africa and Maritime Asia. Portuguese trading posts (feitorias), forts, and fortified towns across the region resulted from conquest or, more frequently, from negotiated agreements with local rulers, on whose cooperation the Portuguese generally relied. The Estado reached its apex in the second half of the 16th century, drawing vast resources from trade around the Cape and within Asian and African waters, while investing increasingly in military and religious campaigns in a variety of regions from southeastern Africa to the Moluccas (Malukus) and Japan. Despite significant losses to the Dutch East India Company (VOC) and the English East India Company (EIC) during the 17th century, the Estado survived until the 20th century. Goa became a part of the Indian Union in 1961, and Macao integrated into the People’s Republic of China in 1999. The perceived decadence of the Estado during much of its history is at odds with its longevity and has prompted longstanding debates about the nature of Portuguese power in Asia; its reliance on trade, military might, and imperial ideas; and its intertwinement with Asian polities and societies.


Animals ◽  
2020 ◽  
Vol 10 (9) ◽  
pp. 1487
Author(s):  
Slawomir Gonkowski ◽  
Liliana Rytel ◽  
Krystyna Makowska ◽  
Jaroslaw Calka

Several methods of surgical treatments have been used in the history of Polish veterinary medicine, many of which have now been forgotten. In the present study, a review was conducted of Polish-language veterinary medicine books published from the 16th century (when the first books in Polish were printed) to the 20th century. The article contains a description of the most popular surgical methods used in animal treatment in Poland over the centuries including, among others, bloodletting, setons, fonticulus and cauterization. This article reviews historical veterinary methods and traces the development of Polish veterinary medicine from ancient cures often based on humoral theory to a modern branch of biologic science.


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