Ancient Greek Terracotta Sculpture

The phrase “terracotta sculpture” refers to all figurative representations in fired clay produced in Greece and in the Greek world during the first millennium bce, (from the Geometric period to the end of the Hellenistic period), whatever their size (figurine, statuette, or statue), whatever their manufacturing technique (modeling, molding, mixed), whatever their material form (in-the-round, relief, etc.), whatever their representation (anthropomorphic, zoomorphic [real or imaginary], diverse objects), and whatever the limits of their representation: full figure (figurines, statuettes, groups), truncated or abbreviated representations, including protomai, masks, busts, half figures, and anatomical representations, among others. All these objects, with the possible exception of large statues, were the products of artisans who were referred to in ancient texts as “coroplasts,” or modelers of images in clay. Because of this, the term “coroplasty,” or “coroplathy,” has been used to refer to this craft, but also increasingly to all of its products, large and small, while research on this material falls under the rubric of coroplastic studies. Greek terracottas were known to antiquarians from the mid-17th century onward from archaeological explorations in both sanctuary and funerary sites, especially in southern Italy and Sicily. Yet serious scholarly interest in these important representatives of Greek sculpture developed only in the last quarter of the 19th century, when terracotta figurines of the Hellenistic period were unearthed from the cemeteries of Tanagra in Boeotia in the 1870s and Myrina in Asia Minor in the 1880s. These immediately entered the antiquities markets, where their cosmopolitan, secular imagery had a great appeal for collectors and fueled scholarly interest and debate. At the same time, sanctuary deposits containing terracottas also began to be explored, but scholarly attention privileged funerary terracottas because of their better state of preservation. For most of the 20th century, the study of figurative terracottas basically was an art-historical exercise based in iconography and style that remained in the shadow of monumental sculpture. It is only in the last four decades or so that coroplastic studies has developed into an autonomous field of research, with approaches specific to the discipline that consider modalities of production, as well as the religious, social, political, and economic roles that terracottas played in ancient Greek life by means of broad sociological and anthropological approaches. Consequently, this bibliography mainly comprises publications of the last forty years, although old titles that are still essential for research are also included.

Planning experiences in historic cities protected by UNESCO

This article arises from the need to clarify the field of heritage preservation and conservation at the beginning of the 21st century, especially in central areas and historic cities. We went through this reflection in the face of the expressive homogenization of places and mischaracterizations of the landscapes produced with artificial interventions aimed at exploratory tourism, which directly reflect on the loss of the identity of urban heritage and, more ambitiously, with the cities-commodity in large cities, through management of urbanism with new contemporary interventions. The process of patrimonialization of historic cities is seen here from two distant angles in time, space, territory, culture and history, but they reflect the same repercussions for the city: scenography and gentrification, as is the case in Brazil, in Pelourinho in the city of Salvador, in 1992, and Portuguese, in the Quarteirão das Cardosas, in Porto, in 2009. With this, we were able to further question and denounce some perversions in architecture, the result of these economic speculations, which see facade renovation works as useful, that rip apart the entire interior of the heritage, neglecting the entire authentic experience of the city and demonstrate the perversions in the community in the face of the gentrification process, where landscape is transformed giving material form to the difference between cultural and economic power. We believe that it is possible to demonstrate in time to society, which is in constant threat of globalization, that heritage needs to be urgently recovered in order to remain on the continuum of life.

ONLINE LEARNING MEDIA IN HIGHER EDUCATION IN THE NEW NORMAL ERA

This study aims to determine and describe (1) online learning media used in the teaching and learning process in the new normal era, (2) students’ understanding of the use of online learning media, (3) students’ preference of the way of communication, and (4) students’ preference of material form. The participants of this research are the students of English Education Study Program at Universitas Al Washliyah (UNIVA) Labuhanbatu. The instrument of the research is questionnaire distributed via Google Form. Data analysis technique used in this study consists of data colletion, data reduction, data display, and drawing conclusion. The result shows that the most frequently used online learning media are WhatsApp and Google Classroom. Almost all students understand how to operate WhatsApp, Zoom, and Email. As many as 47% students choose two-way semi communication in teaching learning process. Using video as the material form in teaching learning proces is the most preferred by students.

The strain of constraint

This article seeks to define and illustrate the notion of ‘constraint’ as it applies to literary translation. After a brief discussion of various ways in which the concept of constraint intersects with literary translation, the focus turns to the notion of ‘elasticity’, which describes tensions exerted upon the translator by factors particular to a given translation project, whether these are stylistic, formal, lexical, or intentional literary constraints. This tension forces the translator to work ‘otherwise’ and dictates to a certain extent where the translator must situate him or herself along a continuum of ‘faithfulness’ that ranges from material form to semantic meaning. Four examples are taken from the author’s own work as a literary translator, drawing on translations of ‘constrained’ texts of progressive difficulty by Marcel Schwob, Raymond Queneau, Olivier Salon, and J.-A. Soubira. Finally, this illustration of varying textual elasticity and constraint is examined from a sociological angle, which seeks to explore practical constraints of literary translation in today’s American literary marketplace.

On Interaction between Prosecutors and Specialists when Exercising Supervisory Powers outside the Criminal Law Sphere

Prosecutors outside the criminal law sphere have the power to identify violations of the law, such as the right to demand that the heads and other officials “supervised” by the prosecutor’s office assign specialists to clarify the issues that have arisen. The conclusions of knowledgeable persons, clothed in material form, are in demand among law enforcement officers in various spheres of public life. At the same time, scientists and practicing lawyers have accumulated a number of issues concerning the legal status of a specialist in the Russian legislation, which also affect prosecutorial activities. In the paper, the author attempts to call interested researchers to a scientific discussion about the need for improvement of the legal regulation of the relevant legal relationship. Thus, the author outlines the results of the analysis of the legal regulation of the mechanism of cooperation between specialists and prosecutors in the course of the latter’s supervision over the implementation of laws, the observance of human and civil rights and freedoms, existing theoretical developments, personal experience of work in the prosecutor’s office.

Manipulating Emotions: A Study of Emotional Evocation in Architecture

<p>Architecture is understood to inspire awe and affect our emotions and moods. This thesis aims to focus these effects through our emotional sensibilities, questioning the capability of architecture to act as an emotional evocation. The objective of this work is to challenge some current practice within architecture of irreverent and careless applications of atmospheric qualities, where little appreciation is given to the emotional impact these decisions have on the occupants of the spaces. This thesis will outline the use of atmospheric conditions in the creation of an architecture of emotional evocation that presents spaces of two emotional states, proving with this, the existence of particular atmospheric conditions and the emotional impact inherent within them. The result is a design that incorporates spaces embodied with the characteristics associated with either grief or love- emotions chosen to limit the scope of this work. The qualities within these spaces are transferable and felt by the occupants through expression theory and the personification of architectural elements and qualities. A theatre programme tests the design of these emotionally evocative spaces, creating an affiliation between the performance of theatre and the performance capacity of architecture. This thesis concludes with the understanding of the necessity and reliance of associating emotional states to characteristics that can be qualified within an architectural situation. Perception and psychology of emotions are used as a theoretical basis for the understanding of the personal and subjective nature of architectural experience. Concepts of perception and sensation are also imperative in the development of the architectural project in its totality, creating a full experience through the combination and dialogue between the different spaces. The associations and connotations of materials, forms and proportions create a framework for the analysis of case studies attributed to either emotion. These case studies formulate the spatial character of each emotion, incorporating material, form, volume and light as key qualities alterable to produce appropriate emotional atmospheres. Design progresses from sketches of concepts utilised in these case studies and the literature to create two 'languages' according to the two emotional states. These 'languages' are tested in the final design, where the communication between the two emotions is vital in the narrative and experience of the building. The architecture of emotional evocation proves the emotionally stirring qualities of particular architectural atmospheres and the capacity and power of architecture to evoke these emotional states within the occupants. Utilised terms within this thesis include evocation and languages. 'Evocation' implies a passive transference of emotion through the representation of associated qualities within the architecture. 'Languages' is used to envelope the production of these associated qualities, with this thesis creating separate 'languages' for grief and love.</p>

Manipulating Emotions: A Study of Emotional Evocation in Architecture

<p>Architecture is understood to inspire awe and affect our emotions and moods. This thesis aims to focus these effects through our emotional sensibilities, questioning the capability of architecture to act as an emotional evocation. The objective of this work is to challenge some current practice within architecture of irreverent and careless applications of atmospheric qualities, where little appreciation is given to the emotional impact these decisions have on the occupants of the spaces. This thesis will outline the use of atmospheric conditions in the creation of an architecture of emotional evocation that presents spaces of two emotional states, proving with this, the existence of particular atmospheric conditions and the emotional impact inherent within them. The result is a design that incorporates spaces embodied with the characteristics associated with either grief or love- emotions chosen to limit the scope of this work. The qualities within these spaces are transferable and felt by the occupants through expression theory and the personification of architectural elements and qualities. A theatre programme tests the design of these emotionally evocative spaces, creating an affiliation between the performance of theatre and the performance capacity of architecture. This thesis concludes with the understanding of the necessity and reliance of associating emotional states to characteristics that can be qualified within an architectural situation. Perception and psychology of emotions are used as a theoretical basis for the understanding of the personal and subjective nature of architectural experience. Concepts of perception and sensation are also imperative in the development of the architectural project in its totality, creating a full experience through the combination and dialogue between the different spaces. The associations and connotations of materials, forms and proportions create a framework for the analysis of case studies attributed to either emotion. These case studies formulate the spatial character of each emotion, incorporating material, form, volume and light as key qualities alterable to produce appropriate emotional atmospheres. Design progresses from sketches of concepts utilised in these case studies and the literature to create two 'languages' according to the two emotional states. These 'languages' are tested in the final design, where the communication between the two emotions is vital in the narrative and experience of the building. The architecture of emotional evocation proves the emotionally stirring qualities of particular architectural atmospheres and the capacity and power of architecture to evoke these emotional states within the occupants. Utilised terms within this thesis include evocation and languages. 'Evocation' implies a passive transference of emotion through the representation of associated qualities within the architecture. 'Languages' is used to envelope the production of these associated qualities, with this thesis creating separate 'languages' for grief and love.</p>

Gaming and Photography: Investigating the Elision of Illusion and the Actual

<p>The application of aesthetics and techniques from photography into computer generated images leads audiences to read images of a virtual space similarly to images of a physical space. This phenomenon has allowed for a continuation in the cultural fascination with photorealism, and cases of audiences mistaking images from the virtual space as ‘real’. This thesis looks in detail at how the boundaries between the virtual and physical space shift when approaching the virtual space of a video game from the perspective of a photographer, rather than a player. It looks in detail at how audiences interpret images of the virtual space of video games when displayed in a form reminiscent of art photography. Photographs of the virtual and physical spaces were produced for online surveys and an exhibition to test audience perceptions of image origin. Participants were also asked to try and distinguish photorealism in the landscape form, urban form, and material form. Technical analysis of audience responses, combined with textual analysis of the images themselves, helped in determining the types of content, as well as styles of photography that were used by the audience as indexes to reality in the virtual space. In some cases, the technical theory could explain the thought process of the participants, however in other cases there were dominant factors that more significantly impacted participant interpretations, despite what theory suggested. This highlighted the blur that is emerging between the physical and virtual spaces. There were difficulties in designing tests that could identify and isolate the elements that influenced perceptions of photorealism, due to the complex, and sometimes unexpected, ways in which people made judgments about the images. A variety of factors and areas for future research arose from the tests, including using the medium of photography to document the ever-changing landscape of the virtual space.</p>

Gaming and Photography: Investigating the Elision of Illusion and the Actual

<p>The application of aesthetics and techniques from photography into computer generated images leads audiences to read images of a virtual space similarly to images of a physical space. This phenomenon has allowed for a continuation in the cultural fascination with photorealism, and cases of audiences mistaking images from the virtual space as ‘real’. This thesis looks in detail at how the boundaries between the virtual and physical space shift when approaching the virtual space of a video game from the perspective of a photographer, rather than a player. It looks in detail at how audiences interpret images of the virtual space of video games when displayed in a form reminiscent of art photography. Photographs of the virtual and physical spaces were produced for online surveys and an exhibition to test audience perceptions of image origin. Participants were also asked to try and distinguish photorealism in the landscape form, urban form, and material form. Technical analysis of audience responses, combined with textual analysis of the images themselves, helped in determining the types of content, as well as styles of photography that were used by the audience as indexes to reality in the virtual space. In some cases, the technical theory could explain the thought process of the participants, however in other cases there were dominant factors that more significantly impacted participant interpretations, despite what theory suggested. This highlighted the blur that is emerging between the physical and virtual spaces. There were difficulties in designing tests that could identify and isolate the elements that influenced perceptions of photorealism, due to the complex, and sometimes unexpected, ways in which people made judgments about the images. A variety of factors and areas for future research arose from the tests, including using the medium of photography to document the ever-changing landscape of the virtual space.</p>

Body | Sense Experience: An Architecture of Atmosphere and Light

<p>This thesis explores notions of the immaterial and metaphysical in architecture. It seeks to ‘elicit a sense of wonder’ in a participant of experiential space by promoting awareness of the metaphysical through atmosphere, affect and light. Architecture is more than purely a physical tangible object - it also crosses into the realms of the intangible, ephemeral and perceptive. The immaterial within architecture is just as important as the physical, if not more so, where a participant’s perception of space is informed more by the swirling climate of atmospheric ephemera than that of material form. It is through light that architecture is enlivened and imbued with character and meaning and it is the immaterial aspect of light that evokes a sense beauty and wonder within built form. The body/sense experience, looked at through the lens of the affect, evokes an intimately humanistic response to architectural space that is unbound by race, religion, culture or creed. This allows for architecture to become the catalyst for an awareness of the metaphysical, evoked through atmosphere, affect and light. Ultimately this thesis argues that the intangible, elusive and transitory moments within architecture are just as important as the physically present tangible object. It stresses the importance of architecture that is understood and experienced holistically, where created atmospheres, interaction of light and bodily cognition of space shape the way in which the built world is perceived.</p>