Francesco Salviati’s Lamentation for Venice and the Origins of the Disegno/Colorito Debate

The Lamentation over the Dead Christ is unquestionably one of the most important works that Francesco Salviati produced during the roughly 18 months that he spent in Venice between 1539 and 1540. Yet, despite its importance, scholars have seldom discussed in any detail the work and its significance to Salviati’s famous sojourn in northern Italy. Recognizing Francesco’s physical presence in the work, this essay reconsiders this painting as an emphatic statement on the local school of painting. This provocative visual statement is related to the artist’s experience in the city, serving as a gauge of his negative attitude to the local environment, which is confirmed by his own remark that living in Venice “was not for men of drawing.” The Lamentation appears therefore as an early critical contribution in the form of an altarpiece to the long-standing debate over disegno and colorito.

“A Powerful Visual Statement”: Race, Class, and Gender in Uniform and Dress Code Policies in New Orleans Public Charter Schools

The current study critically analyzes the dress code and uniform policies of 89 New Orleans public charter schools using content analysis. Dress code and uniform policies across the United States are deeply rooted in racism, sexism, and classism and, through their implementation, further contribute to these same oppressions. In this study, the dress code and uniform policies, including the justifications for policy, specific policy rules, and possible consequences for noncompliance, are the primary units of analysis. Drawing on intersectionality and the concept of misogynoir, this study attempts to dissect what school policies communicate about race, class, and gender. The racist, classist, and sexist language deployed within the policies is exposed while specifically centering the disproportionate regulation of young black female bodies in dress code policies. School social workers are uniquely positioned to advocate for more equitable dress code and uniform policies. This study contributes to the larger body of literature for its inclusion of data from an entire city as well as its intersectional approach.

The Saknivka Plate

This paper proposes the reconstruction of the Scythian eschatological concepts on the basis of semantics of the Sakhnivka plate composition (4th century BC, Museum of Historical Treasures of Ukraine, branch of the National Museum of History of Ukraine). Taking into account the ritual detour of the sacral center from left to right in the Indo-Iranian tradition, the plate plots show a consecutive visual statement of the episodes of the myth of Kolaxais’ destiny. The culmination scene of the plate includes three figures. The half-turned and full-face iconography of the Goddess shows her belonging to two figures, on her both sides: to a meeting of the bearded Scythian king on the right and a scene with a young Scythian on the left (an image of the young, “regenerated” king / Kolaxais). Only the last figure has a in caftan wrapped from right to left, i.e. the clasp of the “living person” (as opposed to other figures) that confirms his special status of ‘reborn’. Accordingly, scenes show the important episodes of the Scythian eschatological representations connected with posthumous fate, basis for the ideology of funerary rites.

Examining The Effectiveness Of Animated Cartoon As Brand Awareness In Tv Advertisement: Evidence From Survey In Malaysia And Jordan

Animation is a dynamic visual statement and is frequently used for advertising purposes, expanding the TV advertisement content and causing affective stimuli to consumers. It has been documented that animation may increase TV advertisement effectiveness interms of consumers’ affective, cognitive and conative responses, thus, having a positive and significant impact on their attitudes, including brand awareness and preferences, products’ choice, and intention to purchase, although the role of involvement issignificant for assessing consumers’ responses to TV advertisement. The aim of this paper is to investigate animation influences on advertisement effectiveness, by examining consumers’ responses to animated advertisement (cognitive and affective) as regards intention to buy, taking also into account the role of involvement. Findings suggest that watching animated ads is positively correlated with the intention to purchase. In addition, consumers’ intention to buy is higher by watching cognitive than affective animated ads for the moderate-involved subjects, as well as that for highly involved individuals, intention to purchase is high for both types of cartoon animated advertisements, i.e. cognitive and affective.

Counterpreservation

In Berlin, decrepit structures do not always denote urban blight. Decayed buildings are incorporated into everyday life as residences, exhibition spaces, shops, offices, and as leisure space. As nodes of public dialogue, they serve as platforms for dissenting views about the future and past of Berlin. This book introduces the concept of counter-preservation as a way to understand this intentional appropriation of decrepitude. The embrace of decay is a sign of Berlin's iconoclastic rebelliousness, but it has also been incorporated into the mainstream economy of tourism and development as part of the city's countercultural cachet. It presents the possibilities and shortcomings of counter-preservation as a dynamic force in Berlin and as a potential concept for other cities. Counter-preservation is part of Berlin's fabric: in the city's famed Hausprojekte (living projects) such as the Køpi, Tuntenhaus, and KA 86; in cultural centers such as the Haus Schwarzenberg, the Schokoladen, and the legendary, now defunct Tacheles; in memorials and museums; and even in commerce and residences. The appropriation of ruins is a way of carving out affordable spaces for housing, work, and cultural activities. It is also a visual statement against gentrification, and a complex representation of history, with the marks of different periods—the nineteenth century, World War II, postwar division, unification—on display for all to see. Counter-preservation exemplifies an everyday urbanism in which citizens shape private and public spaces with their own hands, but it also influences more formal designs, such as the Topography of Terror, the Berlin Wall Memorial, and Daniel Libeskind's unbuilt redevelopment proposal for a site peppered with ruins of Nazi barracks. By featuring these examples, the book questions conventional notions of architectural authorship and points toward the value of participatory environments.

Art and Archaeology

The archaeologist Heinrich Schliemann once met, in London, the poet Alfred Tennyson – who, though he saluted Mount Ida tenderly, never travelled much south of the Dolomites. In the course of conversation, Schliemann remarked: ‘Hissarlik, the ancient Troy, is no bigger than the courtyard of Burlington House’. ‘I can never believe that’, Tennyson replied. Most of us, I dare say, would understand Tennyson's disbelief – and agree, accordingly, with the sentiment that Troy the site is not a marvellous ‘visitor experience’. The location may be broadly evocative – for those imaginatively predisposed to survey a landscape of epic combat. Yet the excavated remains are rather underwhelming, and difficult to comprehend. The huge trench cut through the Bronze Age settlement by Schliemann, and the resultant spoil heap left on the northern edge of the citadel, certainly contribute to a sense of confusion. But that aside, the multiple layers of habitation, from c.3000 bc until Byzantine times, customarily represented like a pile of pancakes in archaeological diagrams, will test even those pilgrims arriving with some expertise in ancient construction methods. Choice finds from the city are lodged in remote museums; and the substantial extent of Troy in Hellenistic, Roman, and possibly earlier times, indicated mainly by geophysical prospection, is hardly discernible. So archaeologists, post-Schliemann, have to work hard to make the ‘Trojan stones speak’ – at least if they also wish to avoid the charge of being obsessed (as Schliemann notoriously was) with establishing some kind of historical reality for Homer's epic. The late Manfred Korfmann, director of the international excavations at Troy since 1988, produced an enthusiastic guidebook. Now his colleague C. B. Rose has made a one-volume synthesis of the results so far, The Archaeology of Greek and Roman Troy. This will be particularly welcome for students unable or unwilling to access the annual excavation journal, Studia Troica. But novices, I fear, may soon despair of grasping the phases of stratification and ceramic assemblage more often cited by the author than explained (e.g. ‘LH III2a/VIh’). And any reader seeking new answers for old questions about the site's relationship to ‘the Trojan War’ should prepare for disappointment. Much of the evidence for Troy in the late Bronze Age – the period of c.1250 bc, generally reckoned to correlate with events transformed into epic – remains elusive: where, for example, are graves comparable to those of Mycenae? On the other hand, the lesson of the multi-period approach is that Troy the historical city largely constructs its identity upon Troy the mythical citadel – as does the Troad region. So Rose does well to devote an entire chapter to the remarkable archaic sarcophagus recovered in 1994 from a tumulus in the Granicus valley, with scenes of the sacrifice of Polyxena, Hecuba's attendant distress, and some kind of celebration. The iconography here may not be easy to relate to the gender of the deceased (a middle-aged man, according to osteological analysis). Yet it makes a visual statement about the sort of mythical bloodline to be claimed in the region: and, in due time (for Rose's survey is chronological), we will see the epigraphic and monumental evidence for similar ancestral claims by members of the Julio-Claudian clan.

Early Childhood Literacy and the Sense of Play

The author relates some of her experiences as a children’s book author/illustrator visiting schools, observing that in early childhood, creativity and sense of play are essential tools for teaching and learning. Believing that images and words play an equally important role in the learning process, she also includes a visual statement that early childhood literacy is empowering ...