scholarly journals On the ability of visual representation of ideas and verbal contents

2021 ◽  
pp. 55-68
Author(s):  
Vadim Markovich Rozin
Keyword(s):  
New World ◽  
Visual Representation ◽  
Works Of Art ◽  
Verbal Content ◽  
In The Beginning ◽  
Two Stages

Using the examples of displayed works of art, painting and music, this article discusses the ability of visual representation of ideas and verbal contents. The author compares two stages in the development of art: the early XX century with the popular were popular ideas of cosmism and the advent of the new world; and the present time characterized by pessimism due to the crisis of modernism. Analysis is conducted on the examples of artworks characteristic of each stage. The author dwells on why in the beginning of the XX century the artists were able visually create a complex verbal content and ideas, while at the present day it is quite challenging. The article determines two techniques of visualization of verbal contents ‒ works with the conceptual verbal explanations, which still do not allow to organically synthesize visual and verbal-conceptual planes; and complex work on conceptualization of verbal narratives. As the case for clarification of the second method, the author chooses the theatrical-musical-dance action projected and implemented by the psychologist Aida Aylamazyan, and offers the analysis of this technique as promising for solution of the problem of visual representation of ideas and verbal contents. The author believes that solution of such tasks requires creating the concept of artistic reality of the intended work, taking into account available visual means, potential audience, and personal aesthetic attitudes.

scholarly journals Nupcialidad y dispensas matrimoniales en El Sagrario de la catedral de la ciudad de Puebla, Nueva España, durante el reinado de Felipe IV.

2020 ◽  
Author(s):  
Agustín Grajales Porras ◽  
Lilián Illades Aguiar
Keyword(s):  
Sexual Behavior ◽  
New Spain ◽  
New World ◽  
Relative Importance ◽  
Moral Norms ◽  
Cultural Patterns ◽  
Colonial Society ◽  
Differential Behavior ◽  
Two Stages ◽  
Los Grupos

Con la conquista y evangelización del Nuevo Mundo se introdujo el modelo de vida cristiana y consigo las normas morales específicas en cuanto a la conducta sexual y la formación de las familias. El período de análisis toca al reinado de Felipe IV, distinguiendo dos etapas: 1621-1639 y 1661-1669. Con base en 3.391 actas de casamiento, el estudio apunta a situar algunos patrones socioculturales de la nupcialidad y el nivel de apego a las normas tridentinas y su expresión en la Nueva España. Específicamente, se intenta descubrir la importancia relativa de los matrimonios con impedimentos dirimentes que obtuvieron licencia y los recursos de los parroquianos para eludir las amonestaciones prenupciales. Otros tópicos de interés son el canon del matrimonio, su registro, la frecuencia y evolución de las nupcias, su estacionalidad y el comportamiento diferencial de los grupos étnicos mayores de la sociedad colonial: amerindios, españoles con mestizos y afrodescendientes. With the conquest and evangelization of the New World, the model of Christian life was introduced and with it the specific moral norms regarding sexual behavior and the formation of families. The period of analysis refers to the reign of Philip IV, distinguishing two stages: 1621-1639 and 1661-1669. Based on 3.391 marriage acts, the study aims to situate some socio-cultural patterns of nuptiality and the level of attachment to Tridentine norms and their expression in New Spain. Specifically, an attempt is made to discover the relative importance of marriages with diriment impediments that were licensed and the resources of parishioners to avoid prenuptial admonitions. Other topics of interest are the canon of marriage, its registration, the frequency and evolution of marriages, their seasonality and the differential behavior of the major ethnic groups of colonial society: Amerindians, Spaniards with mestizos and Afro-descendants.

In the Beginning, All the World Was America

2018 ◽  
Author(s):  
Onur Ulas Ince
Keyword(s):  
Natural Law ◽  
New World ◽  
Private Property ◽  
The State ◽  
Liberal Theory ◽  
Colonial Expansion ◽  
Tacit Consent ◽  
The World ◽  
In The Beginning ◽  
Colonial Capitalism

This chapter offers an analysis of John Locke’s theory of property in the context of Atlantic colonial capitalism. Breaking with interpretations that center on Locke’s theory of labor, the chapter identifies Locke’s theory of money as the linchpin of his liberal justification of English colonization in America. It brings into conversation the colonial interpretations of Locke with the earlier economic debates on the place of natural law, morality, and accumulation of capital in Locke’s theory of property. It argues that by predicating property and improvement on monetization, Locke construes the absence of monetization in America as the sign that the continent remains in the state of “natural common” open to nonconsensual appropriation. By invoking a fictive “universal tacit consent of mankind” as the origin of money, Locke bridges the gap between his liberal theory of private property and the illiberality of extralegal colonial expansion in the New World.

“Where Is the Friend’s Home?”: New World Landscapes in Sohrab Sepehri’s Poetic Geography

2019 ◽  
Vol 6 (03) ◽  
pp. 313-328
Author(s):  
Atefeh Akbari Shahmirzadi
Keyword(s):  
New World ◽  
Visual Representation ◽  
Islamic Revolution ◽  
Political Poetry ◽  
Literary Movement ◽  
The Mind ◽  
East West

Sohrab Sepehri (1928–1980), the Iranian poet, painter, and translator, wrote during the tumultuous decades before the Islamic revolution in Iran (1979), concurrent with global decolonizing movements. At a time when many of his contemporaries were active participants in the “Committed” literary movement and wrote ostensibly political poetry, Sepehri’s work was considered apolitical and thus marginal in the revolutionary discourse of the time. This article demonstrates how his writing in fact worked towards decolonizing the mind of the Iranian subject by creating his own unique language of revolt–a language that refrained from engaging in the East-West binarism of this discourse. His language of revolt comes out of his subversive view of culture and through his frequent travels to global literary spaces while simultaneously de-centering these spaces. I analyze his poem "Address" in tandem with its visual representation by Abbas Kiarostami to present the embodiment of his poetic geography.

scholarly journals Symbolic motifs in the novel Clock by A. M. Remizov

2021 ◽  
Vol 62 ◽  
pp. 221-231
Author(s):  
Yuwei Zhang
Keyword(s):  
New World ◽  
World View ◽  
The Novel ◽  
Natural Phenomena ◽  
In The Beginning ◽  
The Cost

The paper is to analyze symbolic motifs in A. Remizov’s novel Clock (1908), which is considered as a neo-mythological text. Myth-poetic, mythological, semiotic and hermeneutical methods enable to understand the novel’s neo-mythological structure, to explore symbolic motifs such as the images of time, dream, unconsciousness and nature, which create together a special mythological space, expressing the writer’s compassionate concern for people and their miserable life. The paper aims to identify these symbolic motifs and examine their structure-forming role in connection with the writer’s world view position. The time shown on the clock is symbolic. It restricts and deceives people, whose depressed position is reflected in the motifs of dreams and unconsciousness. Their semantic meanings demonstrate a lack of fraternal love in people and imply their doomed fortune. Based on comparing the description of natural phenomena in the beginning and the ending sections of the novel, the author concludes that human can find a way out of the tragic situation with the help of faith in goodness. Depicting people’s suffering, Remizov shows the destructive power of the evil and expresses his idea of creating a new world at the cost of destroying the present one.

scholarly journals The Intoxication of Power in George Orwell’s Nineteen Eighty Four (1949) and Aldous Huxley’s Brave New World (1932)

IJOHMN ◽  
2020 ◽  
Vol 6 (1) ◽  
pp. 115-125
Author(s):  
Hadjer Khatir
Keyword(s):  
New World ◽  
Will To Power ◽  
The Past ◽  
Political Transformations ◽  
World Power ◽  
Works Of Art ◽  
The World ◽  
The Will ◽  
Brave New World ◽  
Ultimate Purpose

George Orwell’s Nineteen Eighty Four (1949)and Aldous Huxley’s Brave New World (1932) stand as two powerful works of art that emanated from a mere disorder and fragmentation. To put it differently, this work of art emanated from a world that underwent an extremely rigorous political transformations and cultural seismology. This is a world that has witnessed an overwhelming dislocation. All those upheavals brought into being a new life, that is to say, a reshuffled life .A new life brings forwards a new art. This research, accordingly, attempts to put all its focus on two modernist visionary works of art that have enhanced a completely new system of thought and perceived the past, the present, and even the future with an entirely new consciousness. In the world of Nineteen Eighty Four and Brave New World, power seems to get beyond of what is supposedly politically legitimate. This power has paved the way for the emergence of a totalitarian system; I would rather call it a totalitarian virus. This system has emerged with the ultimate purpose of deadening the spirit of individualism, rendering the classes nothing but “docile masses”. I will be accordingly analysing how power becomes intoxicating. In other words, I will attempt to give a keen picture of how power becomes no longer over things, but rather over men according to Nietzsche’s philosophical perception of “The Will to Power”.

The Passion of Christ in the New World

2021 ◽  
Author(s):  
Alena Robin
Keyword(s):  
Indigenous People ◽  
New World ◽  
Local History ◽  
Political Order ◽  
Indigenous Populations ◽  
Death Sentence ◽  
Colonial Mexico ◽  
Works Of Art ◽  
Art Forms ◽  
Passion Of Christ

The study of Passion imagery in the New World is located at the crossroads of artistic expressions, historical moments, and interests. It must consider issues of iconography, local devotion, agency, identity, and the materiality of artworks, but also connections to belief, piety, and the colonial context. The Passion of Christ encompasses the last moments in the life of Jesus: from his death sentence and the torments he suffered, to his execution through Crucifixion at Mount Golgotha. Although Passion imagery depicts moments narrated in the four canonical Gospels, artists also found inspiration in apocryphal texts, Spanish mystic literature, and European images that traveled in the form of engravings, which were sources abundantly used in Ibero-America. Spanish, Flemish, and Italian sources circulated in America, providing Passion images with particular characteristics. At the same time, local history was incorporated into the representation of these last moments of the life of Jesus, such as in cases of the Christ of Ixmiquilpan in colonial Mexico or the Christ of the Earthquakes, in Cusco, Peru. Generic Passion images became specific cult images due to their miracles, which were particularly important in the Americas as part of the evangelization process and the preservation of the colonial political order. The indigenous populations of America were in many occasions intertwined in these stories around images of Christ. Soon after the conquest, indigenous people also became manufacturers of these images. Passion imagery is found in the form of painting, sculpture, engraving, and architecture, becoming, in certain cases, Gesamtkunstwerk, or total works of art, since buildings and their interiors make use of many art forms under a unifying concept related to the Passion of Christ, such as sanctuaries dedicated to Jesus or architectural renditions of the Way of the Cross.

Sedimentology of Upper Ordovician – Silurian sequences on New World Island, Newfoundland: separate fault-controlled basins?

1983 ◽  
Vol 20 (3) ◽  
pp. 345-354 ◽  
Author(s):  
R. J. Arnott
Keyword(s):  
Debris Flow ◽  
Black Shale ◽  
New World ◽  
Upper Ordovician ◽  
Sedimentary Sequences ◽  
Narrow Belt ◽  
Two Stages ◽  
Fault Scarps

Remapping of northeast New World Island, Newfoundland demonstrates that two major faults separate three distinct sedimentary sequences, Paleontology and sedimentology indicate that these sequences are partly equivalent in age but were deposited in separate basins of deposition that were adjacent to each other. Active Silurian faults, the Boyds Island and Byrne Cove Faults (new names), bounded the margins of these basins and directly influenced sedimentation by uplifting Ordovician volcanics, limestone, and black shale, which are found both in situ and as blocks within Silurian sediments. Silurian sediments deposited adjacent to these faults are dominated by pebbly mudstones and chaotic bedding interpreted as debris flow deposits and slumped horizons. Away from the fault scarps sedimentation was predominantly axial; it comprises resedimented conglomerates and thick- and thin-bedded sandstone turbidites.West of New World Island, similar synsedimentary faults are confined to a narrow belt south of the Lukes Arm – Sops Head Fault. Two stages of Acadian deformation overprint all structures associated with the Silurian faulting.

scholarly journals Dzieło M.B. Valentiniego Museum museorum i inne publikacje muzeograficzne z gdańskich księgozbiorów oraz ich znaczenie w kształtowaniu zbiorów przyrodniczych i artystycznych w XVII i XVIII wieku

2021 ◽  
Vol 27 ◽  
pp. 131-167
Author(s):  
Antoni Romuald Chodyński
Keyword(s):  
Natural History ◽  
New World ◽  
17Th Century ◽  
Previous Knowledge ◽  
Frankfurt Am Main ◽  
Surrounding World ◽  
Works Of Art ◽  
The Alps ◽  
Research Objects ◽  
Clear Increase

The work of M.B. Valentini “Museum museorum” and other museographical publications from the Gdańsk book collections and their significance in the formation of the natural history collections in the 17th and 18th centuries After 1700 we observe a clear increase in the number of conscious collectors gathering works of art, naturalia and various curiosities – mirabilia, typical of many Baroque “chambers” (Kammer) that were created by collectors during the previous, 17th century. Michael Bernhard Valentini (1657–1729), court physician at the court of the Landgrave of Hessen, published a compendium of encyclopaedic knowledge, a work for academic collectors of natural history specimens, entitled Museum museorum (Vol. I–II, Frankfurt am Main 1704–1714). Valentini provided information about various noteworthy things found in the Old and New World as well as in Asia (India), sometimes exceeding the limits of previous knowledge, both for researchers and collectors. Valentini’s work may be seen as evidence of a real collector’s fever, directed not only at all kinds of rare and curious things (curiosities) but also research objects collected for study purposes, especially in countries north of the Alps (e.g. natural amber and amber with insect inclusions). This German author recommended in his proposed programme for the creation of an ideal modern museum that objects should be arranged into groups, for example naturalia and artificialia and then divided into more detailed subgroups in order to make them more visible and their content more comprehensible, therefore enriching the knowledge of the surrounding world.

scholarly journals Depiction of the Enemy in Croatia During World War I

Eikon / Imago ◽  
2020 ◽  
Vol 9 ◽  
pp. 341-361
Author(s):  
Marko Vukičević
Keyword(s):  
World War I ◽  
Visual Arts ◽  
General Public ◽  
Visual Representation ◽  
Popular Press ◽  
World War ◽  
Works Of Art

The aim of this paper is to analyse and compare the visual representation and iconography in works depicting the enemy in Croatian visual arts during World War I. The article encompasses research on unpublished archival sources and contemporaneaous press. The works of renowned Croatian artists, who were enlisted or volunteered for frontline duty are analysed, as are the works of art presented to the Croatian general public through graphics, cartoons and caricatures in the then popular press. Comparison of war-themed images shows differences in the visualisation of the enemy. The generally accepted belief that the enemy was visually satanised and ridiculed actually only applies to caricatures and cartoons.

scholarly journals El nacimiento del Tawantinsuyu de los Habsburgo

1974 ◽  
Vol 3 ◽  
pp. 11-50
Author(s):  
Antoni Macierewicz
Keyword(s):  
New World ◽  
Social Classes ◽  
Social Structures ◽  
Top Down ◽  
Inca Empire ◽  
The Social ◽  
History Of ◽  
Political Structures ◽  
In The Beginning

The article describes the history of interactions between the social structures of the freshly conquered Inca realm and the Spanish-designed structures brought on by the colonization of the New World. The article mentions the replacement of top sovereigns and elites of the Inca empire by Spaniards. In the beginning, the pace of changes within the lower and local social classes was very slow. Overall, the replacement of political structures was a time-consuming, top-down process.

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