scholarly journals Contribution to art history: Ornament and its regulations

Sinteze ◽  
2020 ◽  
pp. 79-85
Author(s):  
Tamara Žderić

The ornament is a part of every visual culture in the world. Its history goes back to early ages of human race. It is one of the most important fine art categories. The ornament was less important fine art category for a long time. The subject of this paper are various types of ornament altogether with personal experience in creating ornaments. The main aim was to reveal basis of ornament, its features and also to put in focus the importance of our attention in art process. Ornament has four categories determined by its appereance. Its complex forms, mathematical approach and lots of details are features I found similar in my art practice (paintings or drawings with various themes). The conclusions derived from comparison of this two various types of ornaments are contribution to examinations of its history through the eye of the artist.

PEDIATRICS ◽  
1967 ◽  
Vol 39 (1) ◽  
pp. 123-138
Author(s):  
Marie A. Valdes-Dapena

It is apparent that we are still woefully ignorant with respect to the subject of sudden and unexpected deaths in infants. Only by continual investigation of large series of cases, employing uniform criteria to define such deaths and using the investigative procedures outlined above as well as others which will undoubtedly suggest themselves, can we hope to understand and possibly prevent the deaths of some 15,000 to 25,000 infants in the United States each year. These lives, to say nothing of those in other countries throughout the world might provide some of the leadership which is necessary to maintain and advance the human race in the years to come.


1908 ◽  
Vol 54 (227) ◽  
pp. 704-718
Author(s):  
Lady Henry Somerset

I fully appreciate the very great honour which has been done to me this afternoon in asking me to speak of the experience which I have had in nearly twenty years of work amongst those who are suffering from alcoholism. Of courseyou will forgive me if I speak in an altogether unscientific way. I can only say exactly the experiences I have met with, and as I now live, summer and winter, in their midst, I can give you at any rate the result of my personal experience among such people. Thirteen years ago, when we first started the colony which we have for inebriate women at Duxhurst, the Amendment to the present Inebriate Act was not in existence, that is to say, there was no means of dealing with such people other than by sending them to prison. The physical side of drunkenness was then almost entirely overlooked, and the whole question was dealt with more or less as a moral evil. When the Amendment to the Act was passed it was recognised, at any rate, that prison had proved to be a failure for these cases, and this was quite obvious, because such women were consigned for short sentences to prison, and then turnedback on the world, at the end of six weeks or a month, as the case might be, probably at the time when the craving for drink was at its height, and therefore when they had every opportunity for satisfying it outside the prison gate they did so at once. It is nowonder therefore that women were committed again and again, even to hundreds of times. When I first realised this two cases came distinctly and prominently under my notice. One was that of a woman whose name has become almost notorious in England, Miss Jane Cakebread. She had been committed to prison over 300 times. I felt certain when I first saw her in gaol that she was not in the ordinary sense an inebriate; she was an insane woman who became violent after she had given way to inebriety. She spent three months with us, and I do not think that I ever passed a more unpleasant three months in my life, because when she was sober she was as difficult to deal with-although not so violent-aswhen she was drunk. I tried to represent this to the authorities at the time, but I wassupposed to know very little on the subject, and was told that I was very certainly mistaken. I let her go for the reasons, firstly that we could not benefit her, and secondly that I wanted to prove my point. At the end of two days she was again committed to prison, and after being in prison with abstention from alcohol, which had rendered her more dangerous (hear, hear), she kicked one of the officials, and was accordingly committed to a lunatic asylum. Thus the point had been proved that a woman had been kept in prison over 300 times at the public expense during the last twenty years before being committed to a lunatic asylum. The other case, which proved to me the variations there arein the classifications of those who are dubbed “inebriates,” was a woman named Annie Adams, who was sent to me by the authorities at Holloway, and I was told she enjoyed thename of “The Terror of Holloway.” She had been over 200 times in prison, but directly she was sober a more tractable person could not be imagined. She was quite sane, but she was a true inebriate. She had spent her life in drifting in and out of prison, from prison to the street, and from the street to the prison, but when she was under the bestconditions I do not think I ever came across a more amiable woman. About that time the Amendment to the Inebriates Act was passed, and there were provisions made by which such women could be consigned to homes instead of being sent to prison. The London County Council had not then opened homes, and they asked us to take charge of their first cases. They were sent to us haphazard, without classification. There were women who were habitual inebriates, there were those who were imbecile or insane; every conceivable woman was regarded as suitable, and all were sent together. At that time I saw clearly that there would be a great failure (as was afterwards proved) in the reformatory system in this country unless there were means of separating the women who came from the same localities. That point I would like to emphasise to-day. We hear a great deal nowadays about the failure of reformatories, but unless you classify this will continue to be so.


Author(s):  
José Colmeiro

Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.


2020 ◽  
Vol 11 ◽  
pp. 153-182
Author(s):  
Abbas Mirshekari ◽  
Ramin Ghasemi ◽  
Alireza Fattahi

In recent times, cyberspace is being widely used so that everyone has a digital account. It naturally entails its own legal issues. Undoubtedly, one of the main issues is that what fate awaits the account and its content upon the account holder’s death? This issue has been neglected not only by the primary creators of digital accounts but also by many legal systems in the world, including Iran. To answer this question, we first need to distinguish between the account and the information contained therein. The account belongs to the company that creates it and allows the user to use it only. Hence, following the death of the account holder, the account will be lost but the information will remain because it was created by him/her and thus belongs to him/her. However, does this mean that the information will be inherited by the user’s heirs after his/her death? Can the user exercise his/her right to transfer account content to a devisee through a testament? Comparing digital information with corporeal property, some commentators believe that the property will be inherited like corporeal property. This is a wrong deduction because the corporeal property can disclose the privacy of the owner and third parties less than the one in cyberspace. This paper aims to show what happens to a digital account after its user passes away and examine the subject using the content analysis method in various legal systems in the world, especially in Iran as a case study. The required information is collected from law books, articles, doctrines, case laws, and relevant laws and regulations of different countries. To protect the privacy interests of the deceased and others, it is concluded that the financially valuable information published by the account holder before his/her death can be transferred to successors. As a rule, the information that may violate privacy by divulging should be removed. However, given that this information may be a valuable source in the future to know about the present, legislators are suggested to make digital information, which may no longer lead to the invasion of the decedent’s privacy, available to the public after a long time.


Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 143
Author(s):  
Serra Desfilis

Modern historiography has studied the influence of messianic and millennialist ideas in the Crown of Aragon extensively and, more particularly, how they were linked to the Aragonese monarchy. To date, research in the field of art history has mainly considered royal iconography from a different point of view: through coronation, historical or dynastic images. This article will explore the connections, if any, between millennialist prophetic visions and royal iconography in the Crown of Aragon using both texts and the figurative arts, bearing in mind that sermons, books and images shared a common space in late medieval audiovisual culture, where royal epiphanies took place. The point of departure will be the hypothesis that some royal images and apparently conventional religious images are compatible with readings based on sources of prophetic and apocalyptic thought, which help us to understand the intentions and values behind unique figurative and performative epiphanies of the dynasty that ruled the Crown of Aragon between 1250 and 1516. With this purpose in mind, images will be analysed in their specific context, which is often possible to reconstruct thanks to the abundance and diversity of the written sources available on the subject, with a view to identifying their promoters’ intentions, the function they fulfilled and the reception of these images in the visual culture of this time and place.


2020 ◽  
Vol 9 (1) ◽  
pp. 121-139
Author(s):  
Dita Dzata Mirrota ◽  
Desy Nailasari

An authentic assessment is carried out comprehensively to assess the learning inputs, processes and outputs. Authentic assessment must reflect real-world problems, not the world of schools. This study aims to describe the problematics of the implementation of authentic assessment in the subject of the Qur'anic Hadith. This type of research is field research. The results of this study are the implementation of authentic assessment in the subjects of the Qur'an in Hadith in the MTsN Gandusari Blitar: the implementation of authentic assessment in the Blitar Gandsari State MTs requires improvement. Problems with authentic assessment implementation: more instruments and formats, a long time, the assessment process, assessment of attitudes that require accuracy, limited educators, inputs, and considerable costs. The solution given to the problem: conduct MGMP, workshops or guidance on authentic assessment, increase the number of educators, assess according to the provisions, certain parties who give their role, and get used to assess authentically properly and correctly.


Author(s):  
Dana Arnold

Are the practices of Western art history appropriate for the study of art from cultures outside its geographical boundaries and conventional timeframe? The bias in this interpretation of the subject opens up the questions of the importance of the canon in art history and how we view non-figurative, primitive, and naive art. ‘A global art history?’ considers a range of different examples of artistic practice from around the world, including the sculpture of the Dogon people of Mali and the calligraphy of Wu Zhen, who was active during the Yuan Dynasty (1271–1368). It also discusses what is meant by the ‘primitive’ arts of Oceania, Africa, and North and South America.


Tekstualia ◽  
2017 ◽  
Vol 2 (49) ◽  
pp. 65-78
Author(s):  
Justyna Pyra

The article begins with an analysis of two works of art: the photography Self Portrait as a Drowned Man by Hippolyte Bayard (1839–1840), which is one of the fi rst photographs in history, and the painting The Wounded Man by Gustave Courbet (1845–1854). Both these images use the same iconographic theme: the death of the author. This comparison leads to a refl ection about the intersections of photography and death, in an artistic as well as an anthropological sense. The similarity of the subject of both the works, and their rootedness in the time of creation, induce a variety of questions: what was the status of photography shortly after the invention of this medium? How did it affect the notion of art, the social position of the artist, the comprehension of realism, and fi nally – the perception of the world itself? The article tries to answer some of these questions by bringing out the picture of a specifi c moment in (art) history, when both man’s interest in death and the realist’s aspiration to create mimetic representations have found a new refl ection in art thanks to photography.


Author(s):  
Syamsiar - Syamsiar

Art creation: Exploration of Plastic Waste in Fine Art is an experiment in utilizing plastic waste around the author into an aesthetic 2-dimensional work of art as an effort to reduce waste on earth, and at the same time enriching the treasures of art in Indonesia, especially and the world in general. Plastic waste can unknowingly threaten the survival of the human environment. Plastic cannot be destroyed through natural processes and lasts a very long time in nature. It takes 500-1000 years for plastic to degrade, but it will still leave microplastic particles that are harmful to living things. Creating works of art is one of the efforts of the author as an artist to take care of reducing plastic waste. The concept of the work in this creation is a spooky facial expression that conveys a message to the audience that plastic waste is dangerous for the future of living things. To achieve the goal of creation, it is done by using the method of material experimentation and exploration of the form of the work of creation. The materials used are various kinds of plastic waste which are cleaned, sorted by color and then pressed using an electric iron on the prepared medium. Through this method, several works of spooky facial expressions were obtained. Abstrak               Penciptaan karya seni: Eksplorasi Limbah Plastik dalam Karya Seni Rupa adalah sebuah eksperimen dalam memanfaatkan limbah plastik yang ada di sekitar penulis menjadi sebuah karya seni 2 dimensi yang estetis sebagai upaya dalam mengurangi limbah sampah di bumi, dan sekaligus dapat memperkaya khasanah kesenirupaan di tanah air khususnya dan dunia umumnya. Limbah plastik tanpa disadari dapat mengancam kelangsungan lingkungan kehidupan manusia. Plastik tidak dapat hancur lewat proses alami dan bertahan sangat lama di alam. Dibutuhkan 500-1000 tahun bagi plastik agar tergradasi, tapi tetap saja akan menyisakan partikel mikroplastik yang berbahaya bagi makhluk hidup. Menciptakan karya seni adalah salah satu upaya penulis sebagai perupa untuk ikut peduli mengurangi limbah plastik. Konsep karya dalam penciptaan ini adalah ekspresi wajah seram yang membawa pesan kepada audiens bahwa limbah plastik berbahaya bagi masa depan makhluk hidup. Untuk mencapai tujuan penciptaan dilakukan dengan menggunakan metode ekspremen bahan dan eksplorasi bentuk ciptaan karya. Bahan yang digunakan adalah berbagai macam limbah plastik yang dibersihkan, dipilah warnanya kemudian dipress menggunakan setrika listrik pada medium yang telah disiapkan. Melalui metode ini kemudian didapatkan beberapa karya ekspresi wajah seram.  


Author(s):  
Veronika Zaitseva

The purpose of the article is to analyze the essence of the method of stylization and determine its creative and expressive role in various genres of fine arts. Based on the experience of the world and domestic visual art to explore the practical use of methods and techniques of artistic stylization. The methodology consists of the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty of the work consists in a comprehensive study and identification of the features of expressive means of artistic stylization of a pictorial composition in different genres of modern fine art. Conclusions. Exploring the expressive means of artistic stylization of composition in various genres of fine arts, it can be noted that leading foreign and domestic artists in their work have widely used a variety of techniques and methods of creative stylization of artistic images. The analysis of the experience of the world and domestic visual art of fine stylization should promote better visual perception and creation of subject-spatial stylized compositions and is, therefore, an extremely fruitful object of research.


Sign in / Sign up

Export Citation Format

Share Document