scholarly journals CLARA Review: Kourou, N & G. Bourgiannis. Ρυθμοί της Κυπριακής Κεραμικής: Σύντομη Επισκόπηση με βάση τη Συλλογή του Αρχαιολογικού Μουσείου του Τμήματος Ιστορίας και Αρχαιολογίας του Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών

CLARA ◽  
2021 ◽  
Vol 7 ◽  
Author(s):  
Nassos Papalexandrou
Keyword(s):  
Visual Culture ◽  
The University ◽  
Public Collection

The material and visual culture of Cyprus in Greece is represented by two important public collections in Athens, the Thanos Zintilis Collection at the Museum of Cycladic Art, and the collection of Cypriot Antiquities at the National Archaeological Museum in Athens. Both are quantitatively and qualitatively hefty and are wonderfully exhibited in displays that seek to convey to laymen and expertsalike the complexity, interconnections and cultural vigour of Cyprus over several millennia.The handy compendium by Nota Kourou and Giorgos Bourogiannis publishes an equally important, but not as easily accessible to a wider public, collection of Cypriote ceramics at the Archaeological Museum of the University of Athens. This is a didactic collection for students of history, art and archaeology in this institution whose curriculum has regularly included subjects on the art and archaeology of Cyprus since the 1980s.

scholarly journals La vigencia de espigar en el Arte y la Cultura Visual

Visualidades ◽  
2018 ◽  
Vol 16 (2) ◽  
Author(s):  
Fernando Miranda Somma
Keyword(s):  
Visual Culture ◽  
Television Series ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
The University ◽  
Contemporary Artists

Resumen Este texto trabaja sobre la vigencia de la idea de quelos educadores y las educadoras tengan una actitud deespigadores de la cultura visual para su trabajo cotidiano,desde la escuela a la universidad, o en distintos ámbitospedagógicos. Repensando la noción de postproduccióneducativa, ya expresada en otros textos, se relevan seriesde televisión – como Black Mirror  o Homeland  –, obras deartistas visuales contemporáneos, y diversos anuncios quehacen a los imaginarios infantiles. El trabajo se estructurasobre las últimas aportaciones de autores como NicholasMirzoeff y Mieke Bal, enfocando la idea de la permanencia e importancia de los estudios de Cultura Visual. Resumo Este texto debruça-se sobre a validade da ideia de queos educadores tenham uma atitude de catadores dacultura visual para o seu trabalho cotidiano, da escola atéa universidade, ou em diferentes âmbitos pedagógicos.Repensando a noção de pós-produção educativa, jáexpressada em outros textos, se revisam séries de televisão– como Black Mirror  ou Homeland  –, obras de artistasvisuais contemporâneos e diversas propagandas quecompõem os imaginários infantis. O trabalho se estruturanas contribuições mais recentes de autores como NicholasMirzoeff e Mieke Bal, orientando a ideia da permanência e importância dos estudos de Cultura Visual. AbstractThis text works on the validity of the idea that educators have an attitude of gleaners of the visual culture for theirevery-day work, from the school to the university, or indifferent pedagogical realms. Rethinking the notion of educative postproduction, already expressed in other texts,this article reviews television series – such as Black Mirroror Homeland –, works of visual contemporary artists, andmany advertisements that make children's imaginaries. Thework is structured on the last contributions by authors likeNicholas Mirzoeff and Mieke Bal, focusing on the idea of the permanence and importance of Visual Culture studies

“The Cost of That Revealing”

2022 ◽  
Vol 2022 (142) ◽  
pp. 152-168
Author(s):  
Alexis L. Boylan
Keyword(s):  
Visual Culture ◽  
Visual Studies ◽  
University Of California ◽  
Santa Cruz ◽  
History Of Art ◽  
History Of ◽  
The Cost ◽  
The University

Abstract Interview with Derek Conrad Murray, professor of history of art and visual culture at the University of California, Santa Cruz. Murray discusses his new book, Mapplethorpe and the Flower: Radical Sexuality and the Limits of Control (2020), selfies, and the present and future potentials and limitations of visual studies.

The Popular Picturesque: Landscape in Boucicault's Irish Plays

2016 ◽  
Vol 32 (4) ◽  
pp. 347-362
Author(s):  
Patricia Smyth
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Special Issue ◽  
Irish History ◽  
Research Fellow ◽  
Paul Delaroche ◽  
The University

The inspiration for Dion Boucicault's first Irish subject, The Colleen Bawn, in a set of pictur esque views of Ireland after the artist W. H. Bartlett is well documented, and Bartlett's iconography of wild scenery, moonlight, round towers, and ruined abbeys features strongly throughout the Irish plays. Although Bartlett's compositions were widely known in the nineteenth century, there has been little consideration of how they may have informed the audience's understanding of the plays. Rather, they are regarded as a set of clichéd, stereotyped images, which the playwright subverted through a process of ironic distancing and repurposing. In this article Patricia Smyth argues that, on the contrary, Boucicault made use of the mythical and supernatural associations of picturesque Ireland in order to convey a particular narrative of Irish history. Patricia Smyth is a Visiting Research Fellow at the University of Warwick. She has published articles and book chapters on French and British nineteenth-century art, visual culture and theatre. She is co-editor of Nineteenth-Century Theatre and Film, co-edited with Jim Davis a special issue dedicated to theatrical iconography (2012), and is currently completing a book on Paul Delaroche and theatre.

Nie tylko Frederick Douglass. Fotografia, nowoczesna kultura wizualna i polityka rasowa w dziewiętnastowiecznej Ameryce

2021 ◽  
Author(s):  
Łukasz Zaremba
Keyword(s):  
Nineteenth Century ◽  
North Carolina ◽  
African American ◽  
Visual Culture ◽  
Frederick Douglass ◽  
University Of North Carolina ◽  
Oxford University ◽  
Visual Politics ◽  
The University ◽  
Oxford University Press

Krytyczne omówienie książek "Visualizing Equality. African American Rights and Visual Culture in the Nineteenth Century", autorstwa Astona Gonzaleza, wydanej przez The University of North Carolina Press w 2020 oraz "Exposing Slavery. Photography, Human Bondage, and the Birth of Modern Visual Politics in America", autorstwa Mathew Fox-Amato, wydanej przez Oxford University Press w 2019 roku.

Alchemy in Cambridge

Nuncius ◽  
2015 ◽  
Vol 30 (2) ◽  
pp. 345-511 ◽  
Author(s):  
Anke Timmermann
Keyword(s):  
Visual Culture ◽  
Trinity College ◽  
University Libraries ◽  
Wide Audience ◽  
Corpus Christi ◽  
College And University ◽  
High Interest ◽  
History Of ◽  
The University ◽  
First Time

Alchemy in Cambridge captures the alchemical content of 56 manuscripts in Cambridge, in particular the libraries of Trinity College, Corpus Christi College and St John’s College, the University Library and the Fitzwilliam Museum. As such, this catalogue makes visible a large number of previously unknown or obscured alchemica. While extant bibliographies, including those by M.R. James a century ago, were compiled by polymathic bibliographers for a wide audience of researchers, Alchemy in Cambridge benefits from the substantial developments in the history of alchemy, bibliography, and related scholarship in recent decades. Many texts are here identified for the first time. Another vital feature is the incorporation of information on alchemical illustrations in the manuscripts, intended to facilitate research on the visual culture of alchemy. The catalogue is aimed at historians of alchemy and science, and of high interest to manuscript scholars, historians of art and historians of college and university libraries.

Aby Warburg and the Secularization of the Image

2013 ◽  
Author(s):  
Michael P. Steinberg ◽  
Yaron Ezrahi
Keyword(s):  
Sudden Death ◽  
Visual Culture ◽  
Art History ◽  
Second Generation ◽  
Visual Studies ◽  
World Culture ◽  
Erwin Panofsky ◽  
The University ◽  
Aby Warburg

This chapter draws attention to the anthropological imagination of Aby Warburg, the great student of world culture and comparative mythology whose “Warburg Library,” founded in Hamburg, served as the meeting place for Weimar philosophers, historians, and cultural critics. Warburg determined the library's acquisitions from 1886 until his sudden death in October 1929. In December 1933 the library (approximately 60,000 books, plus slides, photographs, other materials, as well as the collective argument of the enterprise itself) was evacuated to London, to be linked as of 1937 to the University of London and fully incorporated into the university in 1944. The Warburg Institute's second-generation principal scholars, adherents, and administrators included Erwin Panofsky, Ernst Gombrich, Rudolf Wittkower, Edgar Wind, Frances Yates, and Anne Marie Meyer. In recent years, the methods and claims of visual culture and visual studies have embraced the legacy of Warburg's critique of formalist art history.

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