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Journal articles on the topic 'Art - Reference Books'
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1
Fawcett, Trevor. "The nineteenth-century art book: Content, Style and Context." Art Libraries Journal 17, no. 3 (1992): 12–17. http://dx.doi.org/10.1017/s0307472200007902.
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Although ‘art books’ of various kinds existed before 1800, art publishing grew significantly and with increasing speed through the 19th century. Two key factors, each encouraging the other, were the growth of interest in art among a heterogeneous public, and developments in printing technology, especially in methods of reproducing illustrations. Increasing numbers of illustrated art books contributed to the dissemination of awareness of an ever-broader spectrum of works of art, and of the decorative arts, throughout society, and nourished the historicism and eclecticism practised by contemporary artists and designers. The Romantic Movement’s cult of the individual artist prepared the way for the emergence of the artist’s monograph as a significant category of art book, made possible by the capacity to reproduce an artist’s works. The growth of art historical scholarship, informed by a new rigour, brought about the publishing of scholarly works incorporating documentary research, and of previously unpublished or newly-edited source material; art reference works, of several kinds, also multiplied. By 1900 art publishing had set all the precedents it would need until well into the second half of the 20th century.
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Scholz, Norbert. "BIBLIOGRAPHY OF PERIODICAL LITERATURE." Journal of Palestine Studies 33, no. 3 (2004): 206–17. http://dx.doi.org/10.1525/jps.2004.33.3.206.
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This section lists articles and reviews of books relevant to Palestine and the Arab-Israeli conflict. Entries are classified under the following headings: Reference and General; History (to 1948) and Geography; Palestinian Politics and Society; Jerusalem; Israeli Politics, Society, and Zionism; Arab and Middle Eastern Politics; International Relations; Law; Military; Economy, Society, and Education; Literature and Art; Book Reviews; and Reports Received.
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Scholz, Norbert. "BIBLIOGRAPHY OF PERIODICAL LITERATURE." Journal of Palestine Studies 34, no. 1 (2004): 195–207. http://dx.doi.org/10.1525/jps.2004.34.1.195.
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This section lists articles and reviews of books relevant to Palestine and the Arab-Israeli conflict. Entries are classified under the following headings: Reference and General; History (to 1948) and Geography; Palestinian Politics and Society; Jerusalem; Israeli Politics, Society, and Zionism; Arab and Middle Eastern Politics; International Relations; Law; Military; Economy, Society, and Education; Literature and Art; Book Reviews; and Reports Received.
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Koot, Geert-Jan, and Fransje Kuyvenhoven. "The ‘Willet-Holthuysen’ Collection of Books." Art Libraries Journal 12, no. 1 (1987): 32–38. http://dx.doi.org/10.1017/s0307472200005034.
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The Museum Willet-Holthuysen, comprising the house and private collections of Abram Willet and his wife Louisa Holthuysen, was bequeathed to Amsterdam on the death of the latter and in 1929 became the home of the Institute of Art History of the University of Amsterdam. The collection of books, originally scattered through the house, had previously been gathered together, and although added to up until 1965 remained essentially the reference library of a 19th century collector whose special interests were the decorative arts, particularly glass and ceramics. The art historical volumes were moved with the Institute in 1961-62 and remain in the care of the Institute’s Library; they are likely to become more accessible when the Institute is rehoused once more in the near future.
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Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.
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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.
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Drakopoulou, Eugenia. "Review of: Carol M. Richardson, Kim W. Woods and Michael W. Franklin (eds), Renaissance Art Reconsidered: An Anthology of Primar y Sources,." Historical Review/La Revue Historique 13 (February 24, 2017): 156. http://dx.doi.org/10.12681/hr.11562.
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The title of this volume refers to the course of the Open University entitled Renaissance Art Reconsidered and more particularly to its three course books, which reflect three reference fields in the modern history of art: the method and arduous work of making works of art; the centres of art production, the trade networks and the relations between artists and clients; and the means of viewing art, whether in the context of religious practice, theory or patronage, during the fifteenth and early sixteenth centuries.
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Frost, Jonathan. "The Michaelis Art Library: Thirty Years in a Changing City." Art Libraries Journal 20, no. 4 (1995): 13–15. http://dx.doi.org/10.1017/s0307472200009561.
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The Michaelis Art Library, part of the Reference Division of the Johannesburg Public Library Service, originated with a collection of books purchased for the planned Johannesburg Art Gallery in the 1920s. Temporarily and then permanently housed in the Public Library, the collection became the nucleus of a growing art library, the largest public art library in South Africa. In recent years usage of the library declined as a result of political tensions, but then increased in parallel with a surge of vitality in the arts which heralded the end of apartheid and the emergence of democracy. During 1995 the Michaelis Art Library was due to move into Johannesburg’s central library building.
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Vogel, Melanie. "P.J.H. Cuypers’ Art Library in the Rijksmuseum Amsterdam: a room dedicated to arts and science." Art Libraries Journal 37, no. 1 (2012): 46–49. http://dx.doi.org/10.1017/s030747220001734x.
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With the construction of the Rijksmuseum by Cuypers in 1885, the art museum acquired its first rooms solely dedicated as a reference library. This was a direct consequence of the growing demand for scientific libraries in the 19th century. In contrast to established concepts of that time, the room for the books – usually a rather plain stack room – was sumptuously decorated. This expresses the idea that arts and knowledge should be regarded as one unity.
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Newington, Linda. "Nostalgia and renewal: collections and collaborations." Art Libraries Journal 35, no. 1 (2010): 41–46. http://dx.doi.org/10.1017/s0307472200016278.
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This article describes some unusual ways of working with the special collections in the University of Southampton Library of Winchester School of Art. Two of these collections have proved particularly fruitful: numerous successful activities centred on the Knitting Reference Library have aroused great interest, and there is now a strategic aim of making it the primary research resource for knitting for artists, students, and researchers in the University, and also for the wider community locally, nationally and globally. The contents of the Artists’ Books Collection too are being shared with a new audience, through exhibitions, events and participation at artists’ books fairs.
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Piggott, Stuart. "Early British craftsmen." Antiquity 60, no. 230 (November 1986): 189–92. http://dx.doi.org/10.1017/s0003598x00058841.
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Professor Stuart Piggott published his British prehistory in the Home University Library in 1949, and his Neolithic cultures of the British Isles five years later. Now a third of a century later he reviews five new books dealing with pre-Roman Britain, with special reference to early Celtic art (listed below). His comments on the 1921 and 1939 finds from Grimes Graves are intriguing.
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Jaquet, Daniel. "European Fight Books 1305-1630: Classification, typology and comparison between manuscripts and prints." Acta Periodica Duellatorum 8, no. 1 (October 15, 2020): 5–24. http://dx.doi.org/10.36950/apd-2020-002.
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No bibliometric or analytic studies of the fight books have been conducted and few reference publications offer analyses of the genre as a whole. Moreover, the existing bibliographies all have their own limitations and do not allow for an investigation of the larger corpus. This contribution applies a typology developed by the author to the corpus of those fight books created between 1305 and 1630, for a total of 187 sources (manuscript and print). It also updates the bibliography published in 2016 for the same chronological framework. The author’s typology allows for a study, based on objective criteria, of the corpus and the genre alike. It analyses the impact of the development of printing technology on the production of knowledge about the art of fighting, as well as the main characteristics of the fight book genre. The limits of any bibliometric study and implementation of a typology are due, on the one hand, to the conservation of the primary sources compared to the documented corpus, and on the other to the extent of scientific investigation conducted into each element. Such limits are flagged and discussed in order to offer a proper classification of the fight books’ production prior to the Thirty Years War, where major changes affected books about fighting in Europe.
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Mehr, Linda Harris. "Oscar’s very special library: the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences." Art Libraries Journal 34, no. 3 (2009): 29–34. http://dx.doi.org/10.1017/s0307472200015996.
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‘Oscar’ is the best-known symbol of the Academy of Motion Picture Arts and Sciences. But there is more to the Academy than the golden statuette. The Academy’s Margaret Herrick Library, which has been in existence for 80 years, is widely regarded as the pre-eminent research and reference facility for the study of all aspects of motion pictures, as an art form and an industry. The non-circulating research and reference collection, located in Beverly Hills, California, is open to the public, free of charge, and is heavily used by students, scholars, industry personnel, journalists, filmmakers and the general public. Its holdings document the multiple facets of the film industry and its personnel, past and present, and include books, periodicals, clipping files and screenplays, as well as special collections of photographs, manuscripts, posters, graphic art materials, music and recorded sound, and oral histories.
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Li, Xiaqing. "A Pragmatic Analysis of Humor Words in English Advertisements." English Language and Literature Studies 6, no. 2 (June 2, 2016): 193. http://dx.doi.org/10.5539/ells.v6n2p193.
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<p>As an independent discipline, pragmatics was through out thirty years’ development. It is also a young discipline. As a medium emerging commonly in advertising language art, humor has attracted wide attention of many producers. Previous scholars analyzed more from the perspective of grammar, vocabulary, rhetoric, etc. But the research of advertising language humor is lacking from the aspects of pragmatic rules. Our collection of data is quite open. Any advertisement that can be transcribed in to written form is our interest. They are excerpted from magazines, advertisement, collecting books, newspapers, TV and radio commercials. As we only focus on language humor, situational humor produced by visual performance is not involved this thesis. The advertising language art of humor has been widely paid attention. Based on the existing theories of humor research, author of this paper used many kinds of pragmatic theories to analyze English advertising humor language, and including reference, deixis, anaphora, presupposition, speech act theory, the cooperative principle, conversational implicatures, and the politeness principle. It can not only provide reference for the research of this field for later scholars, but also provide theoretical guidance for the AD makers of using humor language to produce a good advertising effect.</p>
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Suryo Ediyono, Ro Hani,. "TERAPI MUSIK MENURUT AL-FARABI PADA MASA DINASTI ABBASIYAH." Jurnal CMES 12, no. 1 (October 9, 2019): 65. http://dx.doi.org/10.20961/cmes.12.1.34872.
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This study was intended to describe the functions and instruments of music during the Abbasid Dynasty and to describe music therapy according to Al-Farabi. The research method used is the descriptive qualitative method, where the data were technically collected using the library technique, then the data were analyzed based on the formulated problem, following after it describes the analysis results in the form of a written report. The data sources are the reference books related to Al-Farabi. The data of this study used Mūsīq Al-Kabīr, books, theses, journals related to the research. Based on this research, it can be concluded that the art of music began to develop rapidly during the Abbasid caliphate, and music can be used as a therapy for the soul, spiritual, and psychosomatic.
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Gakhar, A. P. "Collection development and the acquisition of art materials at the Indira Gandhi National Centre for the Arts." Art Libraries Journal 18, no. 2 (1993): 4–8. http://dx.doi.org/10.1017/s0307472200008270.
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Collection development plays a pivotal role in all libraries, and should be guided by a library’s purpose and the needs of its users. The Reference Library at the Indira Gandhi National Centre for the Arts aims to provide material on all the arts, within a broad context, and acquires material in several formats and in many languages. Materials acquired include rare books, the collections of private scholars, journals, microfilm of mss, visual resources, videos, and sound recordings. It is hoped that some of the problems that have been encountered can be resolved by means of contact and cooperation with other art libraries in Southern and South-East Asia.
16
Inizan, Yvon. "L'unité de la “vaste sphère poétique”." Études Ricoeuriennes / Ricoeur Studies 7, no. 2 (February 1, 2017): 111–23. http://dx.doi.org/10.5195/errs.2016.384.
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Is there, in the work of Paul Ricœur, as has been said, a form of dissymmetry between the field of metaphor and that of narrative ? From The Rule of Metaphor, the reference to Northrop Frye and to Nelson Goodman will make it possible to fully grasp the unity of the poetic sphere. The Rule of Metaphor and Time and Narrative are then presented as two twin works. Paul Ricœur explains in particular that lyric poetry itself has the power to produce a plot, and that in this sense “the feeling articulated by the poem is no less heuristic than the tragic tale.” (The Rule of Metaphor (London: Routledge and Kegan Paul, 1986 [1978]), 245.) Following certain references made in these two twin books – where the dialectic between “discovering and creating,” “finding and projecting” (The Rule of Metaphor, 306) can be read –, it is then possible to make a common thread appear in the analyses where a general idea of the creative act presents itself as a viewpoint. The work of art becomes experience, proof of a “tensional” conception of truth, a dialectic between “the experience of belonging” and “the power of distanciation.”
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Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.
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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.
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Yusuf, Vanessa, Hafiz Aziz Ahmad, and Dianing Ratri. "PEMETAAN KONSEP, PRINSIP, MEKANISME, DAN ELEMEN PAPER ENGINEERING." Jurnal Sosioteknologi 20, no. 2 (August 31, 2021): 201–9. http://dx.doi.org/10.5614/sostek.itbj.2021.20.2.6.
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Paper engineering or often referred to pop-up has been growing and gaining popularity among people. Yet, until todaythere have been no well-structured mapping made in the study of paper engineering as done in other studies in art anddesign. This research, therefore, aims to map the concept, principle, mechanisms, and elements of paper engineering forcreators and people who are interested in exploring the art of paper engineering to learn. The research is done throughliterature study, either from books or the internet; it was taken from interviews with professional paper engineers inIndonesia. Based on the results of this research, the principle of paper engineering consists of five principles: interactivity,compact, consistency, flexibility, and surprise. The mechanism of paper engineering can be classified into two categories:the movement and the form of the mechanism. The study also reveals that the whole mechanism of paper engineeringconsists of four types of elements: the base page, the object being moved, the moving object, and the builder element.The results of this research can be used as a study reference about the art of paper engineering for students, teachers,practitioners, and fans of paper engineering art.
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Maharani, Penina Inten, Birmanti Setia Utami, and Jasson Prestiliano. "Representasi Tokoh Pewayangan Purwa Pandawa Gagrag Surakarta." Gondang: Jurnal Seni dan Budaya 3, no. 2 (December 3, 2019): 144. http://dx.doi.org/10.24114/gondang.v3i2.14385.
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The trend of initiating art design carrying wayang as the theme, is an attempt initiated by young generation that is worth-appreciated. However, the process of at design-making itself mostly does not genuinely pay attention to the essentials that each wayang figure has. Omitting or replacing one of the elements of Wayang Purwa could possibly change the values of wayang itself. This study is conducted to arrange a representative figure of Wayang Purwa, which is, Pandawa gagrak Surakarta as the principle of the design making without excluding the meanings and identities of the character. The method used in this study is qualitative, obtained from various references, such as; books, articles, and journals related to the Pandawa gagrak Surakarta figure, and interview with Bambang Suwarno, as a puppeteer as well as a leather wayang crafter. The result of this research is a reference of the Pandawa Lima and Gatotkaca figures design, as mostly used in various media.
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Evans, Janet. "Human Rights issues linked to War, Conflict and Peace Reflected in Picturebooks Through Art, Music and Song Lyrics." Journal of Literary Education, no. 1 (December 8, 2018): 39. http://dx.doi.org/10.7203/jle.1.12442.
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This article will look at the relationship of the arts: fine arts, music, song and other kinds of artistic expression in picturebooks, prior to considering how the arts have been used to communicate human rights issues linked to war, conflict and peace in picturebooks. It will briefly consider what is meant by “the arts”, prior to considering how some award winning picturebook creators have been influenced by fine art in their book illustrations, and how others have taken lyrics from songs dealing with conflict, peace and human rights and illustrated them to create picturebooks as art objects which are both emotive and emotional. A particular focus will be on books affiliated to Amnesty International with special reference to Imagine by John Lennon.
Keywords: Human Rights, Peace, Music, Picture Books, Art
Resum
Aquest article fa una mirada a la relació entre les arts: belles arts, música, cançó i altres tipus d’expressió artística en àlbums il·lustrats, abans de considerar com han sigut utilitzades les arts per a comunicar els problemes respecte dels drets humans lligats a la guerra, el conflicte i la pau en aquests àlbums. Es considerarà breument què s’entén per “les arts” abans de considerar com alguns autors premiats d’àlbums com a objectes artístics són tant emotius com emocionals. Es farà una incidència particular en els llibres publicats per Amnistia Internacional amb especial referència a Imagine de John Lennon.
Paraules clau: Drets humans, Pau, Música, Àlbums il·lustrats, Art
Resumen
Este artículo contempla la relación entre las artes: bellas artes, música, canción y otros tipos de expresión artística en álbumes ilustrados antes de considerar cómo han sido utilizadas las artes para comunicar la problemática respecto de los derechos humanos ligados a la guerra, el conflicto y la paz en estos álbumes. Se considerará brevemente qué se entiende por “las artes” antes de considerar omo algunos autores premiados de álbumes en tanto que objetos artísticos son tanto emotivos como emocionales. Se incidirá particularmente en los libros publicados por Amnistía Internacional con especial referencia a Imagine de John Lennon.
Palabras clave: Derechos humanos, Paz, Música, Álbumes ilustrados, Arte
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Fischer, Rachel K. "The Alert Collector: The Gothic Aesthetic: From the Ancient Germanic Tribes to the Contemporary Goth Subculture." Reference & User Services Quarterly 58, no. 3 (June 22, 2019): 143. http://dx.doi.org/10.5860/rusq.58.3.7040.
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Goths. How did we get from warlike Germanic tribes sacking Rome, to an aesthetic or subculture imbued with “the dark and melancholy, a hint of horror tinged with romance.” This column will show you how widely this aesthetic is represented in art, architecture, film, literature and more, and along the way you will undoubtedly find some great resources to add to your collections, from music CD, to academic journals, reference works and the usual popular and academic books. Rachel Fischer has ably put together an excellent resource for anyone wanting to build a collection from the ground-up, or add some new and interesting resources.—Editor
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VĒVERE, VELGA. "RADICAL DEMAND AND SPONTANEITY IN K.E. LØGSTRUP’S PHENOMENOLOGICAL ETHICS WITH CONTINUOUS REFERENCE TO S.KIERKEGAARD." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 10, no. 1 (2021): 123–39. http://dx.doi.org/10.21638/2226-5260-2021-10-1-123-139.
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Danish philosopher and theologian Knud Ejler Løgstrup (1905–1981) was professor of ethics and philosophy at the University of Aarhus. During his lifetime he published numerous books in phenomenology. In the context of the current article we should mention here Norm and Spontaneity, Art and Ethics and, the most significant, The Ethical Demand and Controverting Kierkegaard. The purpose of the current article is research the basic notions of his ontological ethics—the ethical imperative (radical, unspoken, one-sided and unfulfillable) and the sovereign expressions of life (trust, mercy, love, forgiveness, open speech, etc.). If the first one regards the demand for unselfish actions of the individual, then the second one—spontaneity and openness towards the other. In order to disclose these notions, the article confronts Løgstrup’s interpretation with Søren Kierkegaard’s (1813–1855) ethical stance, since the concept of sovereign expressions of life was offered to the reader in the book Controverting Kierkegaard. Løgstrup criticizes Kierkegaard for not paying attention to the real life phenomena and concentrating upon the solely religious self-reflection of the nuclear abstract individual. The article consists of introduction, two parts and conclusion. The introduction sets the stage for further investigation giving the historical background, tracing influences by the leading phenomenologists of the 20th century (a special role here is assigned to Hans Lipps, Martin Heidegger and Frederic Gogarten). The first part is devoted to the explication of the ethical imperative, while the second part—to the sovereign expressions of life and human interdependence. The research is summarized in the conclusion, stressing possibility to apply Løgstrup’s phenomenological approach in nursing and psychiatry.
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Daw, Robert H., and William J. Dane. "PUBLIC TOL: The Circulation of Art Reference Books to a National Clientele Via Interlibrary Loans: A Current Survey of Interests and Needs." Art Documentation: Journal of the Art Libraries Society of North America 7, no. 4 (December 1988): 154–55. http://dx.doi.org/10.1086/adx.7.4.27947963.
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Mega Saputra, Gde Agus. "Kajian Instrumentasi dan Organologi Gendang Beleq Sanggar Mertaq Mi Lombok Tengah Nusa Tenggara Barat." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 2 (February 12, 2020): 69–81. http://dx.doi.org/10.33153/sorai.v12i2.2837.
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It is of absolute importance, to maintain the art of Gendang Beleq when it comes to its sustainability among the Sasak culture. Therefore, being the identity of Lombok Island in West Nusa Tenggara, the awareness of the people possessing such art is highly demanded, in order to safeguard its advancement. It means that when people do not realize that Gendang Beleq is an asset or representation of their culture, there are many uncertainties regarding the future of its existence. The most obvious thing is the lack of reference related to the explanation of the names of the instruments contained in this art, as well as the organology of Gendang Beleq that has never been published in the form of research journals and books. This paper is more of an effort to explore and understand the existence of each instrument in the Gendang Beleq ansamble group. To capture the value of knowledge and overall description related to Gendang Beleq's art in order to obtain data as desired, the time of the research is conducted using a qualitative approach. Organological studies are used to understand or explore the essence of the presence of each instrument. The researcher as the main instrument was in direct contact with the object of study. Various efforts such as in-depth interviews, documentation, direct involvement in art activities, and conducting in-depth dialogues with actors in this case are carried out to obtain thorough information related to the object of study.
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SZUBIELSKA, MAGDALENA, KATARZYNA PASTERNAK, MARZENA WÓJTOWICZ, and ANNA SZYMAŃSKA. "Ocena sztuki osób z niepełnosprawnością wzroku przez dzieci i dorosłych." Interdyscyplinarne Konteksty Pedagogiki Specjalnej, no. 22 (September 15, 2018): 167–83. http://dx.doi.org/10.14746/ikps.2018.22.10.
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Magdalena Szubielska, Katarzyna Pasternak, Marzena Wójtowicz, Anna Szymańska, Ocena sztuki osób z niepełnosprawnością wzroku przez dzieci i dorosłych [Evaluation of art of people with visual impairment by children and adults]. Interdyscyplinarne Konteksty Pedagogiki Specjalnej, nr 22, Poznań 2018. Pp. 167-183. Adam Mickiewicz University Press. ISSN 2300-391X. DOI: https://doi.org/10.14746/ikps.2018.22.10
The aim of the study was to determine whether the age of the audience of the exhibition influences the assessment of aesthetic preferences of artistic products made up by people with visual impairment. The research was conducted to give an answer if there are differences in the preferences of different categories of artworks created by artists who are blind or low vision. The research consisted in the evaluation of raised-line drawings, photographs, sculptures and the tactile picturebook. These artistic products were presented in the art gallery. The assessments were made on a 5-point scale, where the respondents indicated how much they liked the artworks they were watching. In the study participated 118 people, including 80 children and 38 adults. It turned out that age and type of art had an interactive impact on the aesthetic assessment. Age differences in aesthetic preference werefound in reference to drawings and picture books. The visual art created by people with sight impairment was evaluated very positively.
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Patz, Gerd-Peter. "10 Jahre Graphotek in der Stadtbibliothek Bremen." Art Libraries Journal 11, no. 3 (1986): 31–34. http://dx.doi.org/10.1017/s0307472200004788.
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Although the idea of lending works of art originated in Germany in 1885, the first library to actually do so was that of Newark, U.S.A., through the initiative of John Cotton Dana in 1903-4. Other countries followed suit - Britain before the end of the Second World War, Scandinavia by the late 1950s, and France, where in recent years over 30 picture libraries have been established with state support under Mitterand’s Minister for Culture, Jack Lang.While in East Germany there are over 100 picture libraries lending mainly reproductions, in West Germany there are 61, lending exclusively original works. The Graphotek in Bremen Public Library is the third largest of these, and all citizens over 16 can borrow from its collection of over 2,200 works for eight weeks at a time, choosing either directly or, at any of the six branch libraries, from colour slides and catalogues.The Bremen Graphotek has set out to build up a representative collection of German and international art from all periods, with special emphasis on contemporary art; prints make up the greater part of the collection, and reproductions are excluded. 720 artists are represented; 50% of funding is reserved for Bremen artists. Over 33,000 loans have been made in the Graphotek’s first ten years, with 75%-80% of the collection being out on loan at any given time. There has been a gradual trend towards more borrowing by schools, hospitals, etc.The Graphotek has promoted 88 exhibitions. The last of these, on the occasion of the Graphotek’s 10th anniversary, displayed work by 70 artists illustrative of new directions in art since 1970.The Graphotek also functions as a centre for information on art, artists, art galleries, etc., with reference books and art journals available for consultation.
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Burton, Anthony. "The information needs of the flea-market." Art Libraries Journal 12, no. 4 (1987): 37–43. http://dx.doi.org/10.1017/s030747220000540x.
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In industrial societies even the poorest people acquire artefacts to embellish their surroundings; such ‘bric-à-brac’ may in some cases be the detritus of a previous age or a more affluent environment, and in some cases is destined to become ‘collectable’ in time to come. Thus, bric-à-brac is of interest to those concerned with popular art and material culture (presumably it will be of interest to archaeologists in the future), and to professional designers, as well as to collectors and dealers and people of all kinds. Expertise resides in people themselves, notably collectors, but is also shared through a range of journals and other publications, some of which are elusive or ephemeral, and which may not be provided, or preserved, in libraries. Price guides comprise an important source of information, as do reference books which are often mines of detailed information. More scholarly works which would readily find a place in the art library are less common, but libraries should think carefully before rejecting the ‘literature of the flea-market’, for which there may be popular demand and without which serious study will be handicapped.
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Dall’Aglio, Stefano. "The great collector and his man in Rome." Journal of the History of Collections 32, no. 3 (December 12, 2019): 431–42. http://dx.doi.org/10.1093/jhc/fhz040.
Full textAbstract:
Abstract This article analyses the relationship between one of early modern Italy’s most illustrious collectors, Prince and Cardinal Leopoldo de’ Medici (1617–1675), and his principal agent in Rome, Ottavio Falconieri (1636–1675). It draws on an extraordinary new source: a volume containing 350 original letters sent by Leopoldo to Ottavio, never before seen by any other scholar. Letters written by Leopoldo are rare documents: they provide a unique insight into his expectations, instructions and reactions, showing the active role he always played in the collecting process. These new letters also demonstrate that Falconieri was far more than just an art agent: he was Leopoldo’s point of reference in Rome, a man with whom the cardinal shared many interests, ranging from literature to astronomy, from poetry to natural science, and Falconieri’s indefatigable collecting work went well beyond antiquities to include books, scientific instruments, curiosities and much more.
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Nees, Lawrence. "Ultán the scribe." Anglo-Saxon England 22 (December 1993): 127–46. http://dx.doi.org/10.1017/s0263675100004348.
Full textAbstract:
According to Aediluulf's poem De abbatibus, written in the early ninth century, the Irish priest Ultán was ‘a man called by a famous name’ (preclaro nomine dictus), who ‘could ornament books with fair marking’ (comptis qui potuit notis ornare libellos). Active during the first half of the eighth century in Aediluulf's otherwise unknown monastery located most probably in the area of what is today southern Scotland or northern England, Ultán has also won growing renown in modern art-historical writing, on the basis of Aediluulf's text, our only source for his life and work. Several of the older general reference works for artists include his name, Thieme-Becker terming him ‘Kalligraph und Miniator’, Bénézit ‘enlumineur et calligraphe’ and Bradley more cautiously ‘calligrapher’ while repeating the statement of the sixteenth-century antiquary John Leland, that Ultán was scriptor et pictor librorum optimus. In other words, these early sources agree in making Ultán not only a scribe but also a painter or illuminator.
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Price, Robert L. "Methods in Molecular Biology Series: Cell Imaging Techniques: Methods and Protocols. Edited by Douglas J. Taatjes and Brooke T. Mossman." Microscopy and Microanalysis 13, no. 6 (November 14, 2007): 517–18. http://dx.doi.org/10.1017/s1431927607070973.
Full textAbstract:
Methods in Molecular Biology Series: Cell Imaging Techniques: Methods and Protocols. Edited by Douglas J. Taatjes and Brooke T. Mossman. Human Press, Inc., Totowa, NJ; 2005, 512 pages. (Hardcover and e-book, U.S. $125.00) ISBN 978-1-58829-157-8Cell Imaging Techniques: Methods and Protocols, edited by Douglas J. Taatjes and Brooke T. Mossman, is Volume 319 in the long-standing Humana Press Methods in Molecular BiologyTM series. Unlike many of the books in the series that focus on a specific technology, growth factor, or cell type, this volume covers a wide range of technology and applications. As the editors state in the Preface, their goal is to “present an eclectic collection of what we consider some of the essential state-of-the-art methods for imaging cells and molecules.” While the editors have done a good job of collecting chapters that represent a range of cell imaging techniques, I believe this represents both the strength and the weakness of the work. In a situation such as a core facility where a wide variety of instrumentation and applications are being used, this will provide a reference text for a number of technologies. However, if an investigator is searching for a work focused on the study of a specific technology, cell type, or molecule, other volumes may be more applicable.
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Diodato, Virgil. "Duplicate entries versus see cross-references in back-of-book indexes." Indexer: The International Journal of Indexing: Volume 19, Issue 2 19, no. 2 (October 1, 1994): 83–87. http://dx.doi.org/10.3828/indexer.1994.19.2.2.
Full textAbstract:
When there is a choice, does a back-of-book indexer use a duplicate entry or a see reference? Guidelines suggest that it is preferable to use the duplicate entry if it would not add to the length or complexity of the index. The author studied 1,100 see references in 202 back-of-book indexes and concluded that 22% of the see references should have been replaced by duplicate entries. Failure to select a duplicate entry instead of a see reference occurs most frequently in science and technology books and in indexes with no subheadings.
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Varenov, Andrey V. "A Summary Research on the Rock Art of East Asia. Rev.: Rock Art in East Asia: A Thematic Study." Oriental Studies 20, no. 4 (2021): 200–203. http://dx.doi.org/10.25205/1818-7919-2021-20-4-200-203.
Full textAbstract:
This review is devoted to a brief discussion of the book ‘Rock Art in East Asia’, published in 2019. The general structure of the book is presented. The review reveals principles of preparing and summarizing data on the rock art of the regions comprising East and South-East Asia, set forth by the editors of the volume. The high quality of the work based on this approach concerning singular sites such as those in Korea, Japan and the Russian Far East is noted. At the same time, a critical analysis of the book’s shortcomings caused by the chosen scheme of description of the material when an attempt to describe a region rich in rock art sites inevitably leads to hasty tongue twisters, is given. For example, some chapters have minimum References or none at all. In summary, the reviewed book is a useful reference edition, though descriptions of certain sites or groups of sites from the regions of Mongolia and China adjacent to Central and South-East Asia, rich in rock art given in it should be treated with extreme caution.
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M. Marach, Oleksandr, Svitlana L. Panasyuk, Mariia I. Shurdak, Tatyana A. Krivitska, and Karyna R. Kinder. "ADDRESSING THE NOTION OF SOCIO-CULTURAL CONTINUUM SEEN THROUGH THE CHORAL ART AS IT DEVELOPED THROUGHOUT INDEPENDENCE OF UKRAINE: LITERATURE REVIEW." Humanities & Social Sciences Reviews 8, no. 3 (June 18, 2020): 965–71. http://dx.doi.org/10.18510/hssr.2020.83100.
Full textAbstract:
Purpose of the study: The purpose of the present study is to specify the notion of socio-cultural continuum seen through the choral art as it developed throughout independence in Ukraine and to identify its main tendencies as drivers of choral art development. In this regard, the research tasks are to investigate the meaning of the concepts of “continuum”, “socio-cultural continuum,” and to identify the main socio-cultural tendencies that, in our opinion, have the most significant influence on the development of choral art.
Methodology: This study used a meta-analysis approach to solve the issues raised in the research. Reference sources, peer-reviewed databases like Education Resources Information Centre (ERIC), Scopus, Arts & Humanities Database, the Choral Scholar (online journal), Google Scholar, together with open-source-published researches and books (published either in Ukrainian or English) were used to obtain the relevant information.
Main findings: It was found, that the socio-cultural continuum in Ukraine of the period of independence emerges as a complex hierarchical system of phenomena characterized by an inextricable link between the Spatio-temporal parameters of human beings, society, and culture.
Applications of this study: Interpreting this concept in relation to the development of choral art as an imaginary model of a single socio-cultural space-time in Ukraine (region) occurring throughout the independence period in all the continuous hierarchical multiplicity of its phenomena related to the functioning of choral art identified several major trends that, in our opinion, were influenced by the intensity and nature of such development. This period, as a transition period characterized by a change in outlook, the revival of previously forbidden traditions, and the emergence of new socio-cultural trends not only intensified the development but also caused several challenges that Ukrainian society faced.
Novelty/Originality of this study: This scientific exploration was an attempt to understand the theoretical essence of this continuum and its tendencies, which in the future will allow knowing more about their positive and negative orientations and ways.
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Sapfirova, N. "AN ECLECTIC TREND IN PRODUCTS OF JOZEPH MARSHAK'S JEWELRY FACTORY ON EXAMPLE OF A SILVER TEA AND COFFEE SET, EXIBITED AT THE ALL-RUSSIAN EXIBITION IN KIEV IN 1913." Innovative Solution in Modern Science 6, no. 42 (February 28, 2021): 204. http://dx.doi.org/10.26886/2414-634x.6(42)2020.12.
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The subject of research is the legacy of Joseph Abramovich Marshak – famous Kiev jeweler and owner of a jewelry enterprise, whose period of activity covers 1878–1918. Among the large number of jewelry made during the forty years of the factory's operation, it should be noted products that correspond to the stylistic trends of the era of historicism, in particular, the silver tea and coffee set, exhibited at the All-Russian Exhibition in Kiev in 1913. The main task of this work is to investigate artful language of eclecticism, expressiveness of which allowed artists of J. Marshak's era to combine decorative heritage and semantic interpretation from Antiquity to beginning of the 20th century. Methodology of this work is based on general scientific principles of historicism and an art history approach. They were realized through the use of following general scientific research methods: otnological, hermeneutic, semiotic, cultural, cross-cultural, iconographic, typologization and art history analysis. Scope of results application outlines teaching activities in specialized educational institutions in formation of plans for art and cultural disciplines, jewelry attribution by Kiev jewelers of marked period, writing scientific and popular scientific works, reference books, encyclopedias, textbooks. Main conclusion: features of jewelry artistic language, which were presented in the tea and coffee set, produced in eclectic style at the Joseph Marshak's factory are revealed. Importance of active exhibition activity and its connection with improvement of stylistic solutions in the jewelry production is displayed. It has been established that eclecticism was given priority in comparison with other stylistic directions at the basis of creative developments at J. Marshak's factory.Key words: jewelry, eclecticism, Joseph Marshak, late 19th – early 20th century.
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Raisch, Marylin J. "The Wide World of the World-Wide Web." International Journal of Legal Information 24, no. 1 (1996): 97–104. http://dx.doi.org/10.1017/s0731126500000111.
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A prominent jurist once described the law as a “seamless web.” This description of linked knowledge actually applies to all fields of scholarship and investigation, and it is not only lawyers who experience the need to move through the library constantly, each open text citing another or suggesting another avenue of inquiry. The pile of open books on the library table, and the constant recourse to catalogue and stacks, epitomize the image and the process of textual research, both for the advanced scholar and for the school-child writing her first essay. Computers clearly have the capacity to enhance the quality of our lives, but in my opinion their contribution to library reference work lies chiefly in this: to liberate us from the “up-and-down-and-fetch” mode of research as well as the “scissors-and-paste” method of text revision. This liberation is promised today in the hypertext features of all Windows-based or icon-clicking applications in use now, particularly with the incorporation of graphics and images, be they decorative or illustrative, from Netscape creatures to art, archaeology, or architecture.
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Lipiński, Filip. "Cinematic Art (History) and Mieke Bal's Thinking in Film." Artium Quaestiones 31, no. 1 (December 20, 2020): 5–37. http://dx.doi.org/10.14746/aq.2020.31.1.
Full textAbstract:
The article focuses on Mieke Bal’s theoretical considerations of art in terms of film and movement in general. This cinematic frame offers her a conceptual framework for “thinking in film”, a way to rethink not only diverse forms of art, moving and still images, but also, as I argue, methodological models for art history. The text begins with a general outline of the tensions and relations between art history and film/film studies, with a discussion of several cases of the theoretical application of film in the field of art history. Bal’s case, the main subject of the article, is perhaps the most consistent and theoretically advanced attempt at reconceptualizing diverse aspects of art in interdisciplinary, cinematic terms within a larger phenomenon which might called a theoretical dimension of the “cinematic turn”. While I acknowledge the importance and complementary nature of Bal’s artistic practice as a video artist with her theoretical work, due to the limited space of this article, the focus of my text is on her writing. I closely trace and discuss a variety of Bal’s texts, predominantly written over the last 20 years, in which she theorizes and analyzes works in which movement is either explicit, such as video or video installation or implicit, such as painting. In her crucial, relevant books, Thinking in Film. The Politics of Video Installation According to Eija-Liisa Athila (2013) or Emma&Edvard Looking Sideways: Loneliness and the Cinematic, Bal, referring to a number of scholars and thinkers, but most prominently and consistently to Henri Bergson, points to four kinds of movement: literal or represented movement of/in the image, movement related to perception, affective movement and, finally, its political dimension, all of which are discussed in this article. Video installation is an art form which for Bal becomes the best concretization (a contact space) of all of the above aspects of movement, activating “thinking in film”. This involves new reformulations of spatial and temporal dimensions of art, with such concepts as heterochrony and timespace. Moreover, with reference to video art, Bal coined the notion of “migratory aesthetics”, where migration not only literally concerns migrants and immigration but offers a platform to reflect on and renegotiate the issues of movement, stagnation, the everyday and their political dimensions. Last but not least, film, according to Bal, also offers a useful framework for analyzing the experience of art exhibitions. In discussing Bal’s work, I argue that her “cinematic”, conceptual travels in art offer a radical opening of a number of art historical categories and procedures, and I propose to regard her project of “thinking in film” as indicative of a larger changes across disciplines already visible in her earlier work in the 1990s, which involve the productive redefinition of historical and temporal experience, mobilization of perception and the body, relational mode of thinking and vision, affective dimension of experiencing art and the acknowledgment of agency both on the part of the viewer and the artwork.
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Lucey, Michael. "Aesthetic Apprehension and the Novel." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 404–9. http://dx.doi.org/10.1632/pmla.2010.125.2.404.
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Even Though the Range of Aesthetic Objects that Have Captured Leo Bersani's Attention Over the Years is Wide, The Novel remains one of the more privileged objects among them and could arguably be taken as the point of departure for many of his reflections. His attention has been on the modern French novel in particular, from Honoré de Balzac to Marcel Proust and Samuel Beckett—Proust and Beckett being two of the writers to whom Bersani has returned with the most frequency and inventiveness over the years. In the 1960s Bersani began elaborating a critical agenda for the reading of novels in books such as Marcel Proust: The Fictions of Life and Art (1965) and Balzac to Beckett: Center and Circumference in French Fiction (1970). His critical references in these books are also mainly French or francophone. He positions himself in various kinds of opposition to literary critics of the time like Jean Starobinski, Georges Poulet, and Jean-Pierre Richard, as well as the early Roland Barthes. This is also the moment when a certain number of other now familiar French thinkers were beginning to be read in the United States, and so Balzac to Beckett opens with a favorable reference to Michel Foucault, the author of The Archaeology of Knowledge, and Jacques Derrida, the author of Of Grammatology. Bersani notes that these two books represent “in recent years … the most brilliant analyses of the history and consequence of those habits of thought” that believe that “significance precedes experience, which is both expressive and deceptive and which therefore needs to be decoded or interpreted” (4). For Bersani it is a failure of critical imagination to assume that present experience comes to be meaningful solely or primarily in relation to prior structures of meaning, which are simply rehearsed or repeated, instantiated or exemplified, by way of new experience. One could do worse than imagine that at the core of all Bersani's work is an effort to challenge the priority or precedence given by many writers and critics to significance over experience, and it is in this light that an association with some of the critical impulses (impulses that strive after yet-to-be-determined futures) of Derrida and Foucault makes a certain sense. Starobinski, Poulet, and Richard are often grouped together as “phenomenological critics,” critics who view a literary work as the expression of the patterns and structures by means of which a particular consciousness apprehends the world and who view the critical task as that of revealing the patterns or structures of apprehension that characterize a particular artistic subjectivity and allow it to produce a particular image of the world. Bersani's disagreement with these critics had to do with their focus on the “secret thematic selves which inform the writer's work but which the language of the work does not explicitly express.” Thus, “the writer's self” is equated to the work's “principal theme,” and such criticism places an emphasis on “centers … from which particular performances ‘radiate’ and back to which the critic draws the work” (Balzac 16–17). Bersani's preference, in opposition to this “centripetal” critical impulse, has been for “centrifugal” forces, both in art and in criticism: “My commitment to … open-ended, projective, and self-contesting art … will be expressed by a critical emphasis on those occasions in fiction which tend to disintegrate theme” (19).
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Hanita, Hanita. "FASE ASPEK PERKEMBANGAN ANAK USIA DINI DALAM KAJIAN AL-QURAN DAN HADITS." JEA (Jurnal Edukasi AUD) 6, no. 1 (July 1, 2020): 28. http://dx.doi.org/10.18592/jea.v6i1.3523.
Full textAbstract:
Achievement of Education has the aim to form a good personality as an individual and social human being and become a servant of Allah SWT who devotes himself only to Him. Criteria about the abilities achieved by children in all aspects of development - growth consisting of aspects of religion and morals, physical - motor, cognitive, language, social - emotional, and art. The development of the child phase in Islamic religion pays attention to that. Every day activities are arranged and arranged in the study of Al-Quran and Sunnah. In Islam the religion explains that education must be given by humans from an early age. This research is a library research (library research), research that is examined through library research with qualitative data sources of information studied liters and books sources, data collection techniques using primary and secondary data. While the data analysis uses the deductive-inductive method, the comparative method and content analysis. Every aspect is developed in early childhood education with the aim of preparing children to become human beings who are able to carry out their community life well. Along with the book that was revealed by Allah SWT, that is the Koran and Allah also sent the Prophet Muhammad, as Rosullullah who provided guidance and examples for Muslims, all the things he did became a reference for Muslims which we call Al-Hadith. Al-Quran Allah revealed to show, guide, educate and teach humans, get guidance from the truths contained in the Al-Quran about humans.
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von Minnigerode, Elisa. ""Because No One Can Seize me from Behind": Sir Christopher Hatton's Double Portrait and Elizabethan Textual Paintings." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 4 (September 9, 2021): 325–40. http://dx.doi.org/10.30958/ajha.8-4-3.
Full textAbstract:
Many researchers have emphasised the special use of inscriptions and texts in Tudor paintings. Especially in Elizabethan times, emblematic images emerge and contain texts which present riddles to their audience, address an implicit or explicit beholder, and also give information about their own function. The enigmatic double-sided portrait of Christopher Hatton serves as an outstanding example of the various relations that texts and images form in this era. Two elements of its composition will be discussed here: the inscription and the depiction of Father Time, both on the verso-side. One, a textual element, forms a unit with the other, a pictorial element. On their own and in combination, both built up a reference to emblem books and sources outside the picture and contextualise themselves in humanistic discourses about opportunity and time. Thus, their exclusive presentation forms a dialogue with the beholder and opens up a meta-level of artistic expression. The ancient pictorial tradition of the God Kairos is addressed in the combination, while it labels itself as a depiction of time. Overall, the object briefly examined in this study is an outstanding example of Elizabethan artistic culture and remains a desideratum in art history.
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Weinberg, Bella Hass. "The body of a reference work in relation to its index: an analysis of Wordsmanship." Indexer: The International Journal of Indexing: Volume 20, Issue 1 20, no. 1 (April 1, 1996): 18–22. http://dx.doi.org/10.3828/indexer.1996.20.1.11.
Full textAbstract:
In Wordsmanship: a dictionary, common terms are headwords, and their rarefied synonyms are index entries; there is a complex network of cross-references among the headwords, but no references in the index. The compiler of the dictionary observes that use of the index will become unnecessary as the reader becomes familiar with the reference work. In the context of a serious analysis of the structure of this humorous book, general aspects of the design of a reference work in relation to its index are considered. It is concluded that indexers should be consulted at the design stage of reference books, as they may suggest reversal of the primary entries and the index entries, refine the cross-reference structure, revise locator notation, and select appropriate typography.
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Lin, Rui Lin. "A Study of Mixed Media Art Creation for Children’s Picture Books." Advanced Materials Research 213 (February 2011): 172–76. http://dx.doi.org/10.4028/www.scientific.net/amr.213.172.
Full textAbstract:
The purpose of this study is to create art media of picture books for children using mixed media coatings. In the beginning, through document analysis, the types, characteristics, and styles of current picture books were discussed as references for the creation. Then through interactive teaching with discussions, the teacher and students started to plan for the content and the storyboard of the picture book. And the graphic script had been discussed and revised several times. And delicate sketches were completed, scanned, and edited with the software Photoshop. Finally, the art creation for picture books using both hand drawings and computer graphing with mixed media was completed.
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Куланина, Е., and E. Kulanina. "Communicative Function of Calligraphy And Its Role In the Cultural-Valuable Interaction." Scientific Research and Development. Modern Communication Studies 6, no. 5 (September 13, 2017): 40–45. http://dx.doi.org/10.12737/article_59acfdfa204244.05947320.
Full textAbstract:
The article analyzes modern approaches to the study of calligraphy (art of handwriting) in terms of its communicative function. Taking into consideration the idea of form and content unity, historically calligraphy managed to form connectional traditions and was represented as one of the ways of transmitting cultural memory. So even after the invention of the printing press, the art of calligraphy was still used to create government documents, significant religious books. Thus, calligraphy is connected both with the creation and translation of certain communicative values. Ontologically, calligraphy represents reflective communication within the object-symbolic layer of culture, based on the special characteristics of the national cultural code. It connects cultural semantic layers and visual-based image categorizations, representing both a tool and a way of storing the principles of such connections, according to a particular culture. Therefore calligraphy implies its role in maintaining interpersonal and group connections, including contacts in the field of international relations. Moreover, the modern context requires taking into account the interaction of calligraphy with the new IT-technology, and the changes that are associated with the replacing calligraphy from the compulsory field for educated people, into an optional field. The article also analyzes the therapeutic role of calligraphy and its relevance to the educational process. With reference to the latest research, the author notes values of calligraphic handwriting for development significant motor skills and related intellectual abilities, despite the attempts of the modern education system to distance itself from the obligatory development of handwriting skills. This allows us to conclude that a comprehensive study of the communicative meaning of calligraphy in culture needs to be continued.
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Kurakina, I. "Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students." Voprosy kul'turologii (Issues of Cultural Studies), no. 6 (June 1, 2020): 40–53. http://dx.doi.org/10.33920/nik-01-2006-06.
Full textAbstract:
Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.
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Kurakina, I. "Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students." Voprosy kul'turologii (Issues of Cultural Studies), no. 4 (April 1, 2020): 44–54. http://dx.doi.org/10.33920/nik-01-2004-05.
Full textAbstract:
Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.
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Kurakina, I. I. "Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (August 1, 2020): 54–62. http://dx.doi.org/10.33920/nik-01-2008-06.
Full textAbstract:
Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.
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Kurakina, I. "Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students." Voprosy kul'turologii (Issues of Cultural Studies), no. 2 (February 1, 2020): 36–46. http://dx.doi.org/10.33920/nik-01-2002-05.
Full textAbstract:
Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.
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Kurakina, I. "Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students." Voprosy kul'turologii (Issues of Cultural Studies), no. 1 (January 1, 2020): 30–41. http://dx.doi.org/10.33920/nik-01-2001-05.
Full textAbstract:
Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.
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Sowden. "Exploring Appropriation as a Creative Practice." Arts 8, no. 4 (November 15, 2019): 152. http://dx.doi.org/10.3390/arts8040152.
Full textAbstract:
During the 1960s and 1970s, Ed Ruscha produced a series of 16 small, self-published books that became a catalyst for how artists could approach the book form. This reputation has grown through the subsequent decades, and his influence on book artists remains strong to this day to the extent that his books have been, and continue to be, appropriated across the world by successive generations of artists. Writing from a practitioner perspective, I will begin by looking at how Ruscha has become so influential to generations of book artists. I will look at what influenced him, and how he may possibly have appropriated the work of others. I will then focus in on the community of book artists who reference Ruscha’s books in their practice. The research of Ruscha’s books is embodied in each of these individual outcomes, but I will show that it is through the collective act and the bringing together of all of these books, through the community, that the work/s gain currency, strengthening both the Ruscha books and those that have come after.
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Lê, Mê-Linh. "Undergraduate Library Instruction in the Humanities Increases the Use of Books Over Journals." Evidence Based Library and Information Practice 7, no. 2 (June 11, 2012): 69. http://dx.doi.org/10.18438/b8wc91.
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Objective – To assess the impact of in-class library instruction sessions on the quantity, quality, and format of resources cited by undergraduate students.
Design – Citation analysis and literature review.
Setting – A public university in the United States with approximately 9,000 undergraduate students.
Subjects – Undergraduates in eight first-year Composition I classes and five upper-level Humanities classes at Florida Gulf Coast University (FGCU).
Methods – This study consisted of three components. In the first, first-year students with little to no academic library experience from eight classes of first-year Composition I were divided into two groups: those who received library instruction and those who did not. The instruction sessions were all taught by the same librarian, were one-hour hands-on classes held in a computer lab, and focused on basic library information, searching the catalogue, as well as searching journal databases. Later in the term, the citation pages from papers submitted by the students as a class assignment were analyzed by the authors who looked at the average number of citations employed in each paper, the frequency of scholarly citations, and the frequency of source/format type (e.g., book, article, website, etc.). SPSS was used for data recording, storage, and to calculate statistics (although it should be noted that the authors do not include any of the descriptive statistics that can be generated by SPSS). In the second component, which attempted to discern if there were any differences in the citations used by students from the different disciplines, the same form of citation analyses was performed on bibliographies from upper-level students enrolled in five History, Art History, Art, and English classes who had participated in a library instruction session in the past. The results of the two citation analyses (Composition I versus upper-level students) were then compared. The third component compared the results of the citation analyses to data extracted from five similar studies in order to determine if the FGCU findings were typical of undergraduate students or deviated from the norm.
Main Results – The comparison of citations from the Composition I students showed that students who received a library instruction session had more average citations per paper (5.3 to 3.2); used slightly more scholarly sources (51.7% to 49.4%); were much more likely to use books (25.6% vs. 6.3%) or magazines and newspapers (18.5% vs. 9.6%) as a source; and were less likely to cite journal articles (16.3% vs. 27.3%) than their counterparts who received no library instruction. Students who had not received instruction were more likely to use videos (5.4% vs. 2.8%) or course texts and handouts (11.7% vs. 0%). Both groups exhibited a preference for material that could be accessed online, and web sites were the most frequently cited source, accounting for nearly one-third of all citations.
When the results from the Composition I students who received library instruction were compared to upper-level students who had received instruction in the past, it was found that the average number of citations increased as the course level got higher (i.e., fourth year students used more citations than third year, who used more than second year, etc.). In general, the number of scholarly sources also increased as the course level did. The analysis also showed a strong preference for books over journal articles throughout all classes and course level. Preference for other formats (e.g., web sites, reference sources) varied a great deal and in many cases could be attributed to the nature of the assignments.
In order to determine whether the FGCU findings were typical of the undergraduate experience, the citation analyses were compared to five other institutions across the U.S. Results show that the FGCU findings were similar in some aspects; two other institutions also displayed a preference for books, but usage of journal articles in upper-level courses was either the same or lower at FGCU compared to other institutions.
Conclusion – For many academic liaison librarians, instruction is an important and time-consuming part of their job. The nature of many library instruction sessions – frequently one-time classes at the beginning of a semester – means instruction is often given without much attention to the impact of the session on the quality of students’ work. This study addresses this issue in order to determine whether library instructions sessions should continue at FGCU in their present format. The findings broadly indicate that library instruction has a large impact on the number of books used and the overall number of resources cited, and a very small impact on the number of scholarly sources cited. It appears that the increased reliance on books by students comes at the expense of journal articles, which were much more frequently used by students who had not received instruction. The study also found that as students progress in their studies, they cite more material and use more scholarly material. This finding is seen in a number of other citation analysis studies located through a literature search. Ultimately, the authors believe that this study demonstrates the usefulness of the library sessions to students, as it causes them to cite more sources, to cite a wider variety of sources, and to cite more books. It is possible that some of the negative findings of the study, specifically related to low journal usage, may be used to alter the structure or content of future library sessions offered by FGCU librarians.
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Bieser, Jan, and Lorenz Hilty. "Assessing Indirect Environmental Effects of Information and Communication Technology (ICT): A Systematic Literature Review." Sustainability 10, no. 8 (July 29, 2018): 2662. http://dx.doi.org/10.3390/su10082662.
Full textAbstract:
Indirect environmental effects of information and communication technology (ICT) are those effects of ICT that change patterns of production or consumption in domains other than ICT, or more precisely, the environmental consequences of these changes. Digitalization as the societal process of ICT-driven change has created increasing interest in the indirect environmental effects of this technology. Assessments of indirect effects face various methodological challenges, such as the definition of the system boundary, the definition of a baseline as a reference or the occurrence of rebound effects. Existing studies use various approaches or methods to assess a spectrum of ICT use cases in several application domains. In view of the large number of assessments that have been conducted, the choices made when applying assessment methods, and the variety of ICT use cases in different application domains investigated, we present a systematic literature review of existing assessments of indirect environmental effects of ICT. The review provides a state-of-the-art overview of the methods used in the research field and is intended to support researchers in designing sound assessments which yield significant results. We identified 54 studies in seven main application domains using 15 different assessment approaches. The most common application domains are virtual mobility (e.g., telecommuting), virtual goods (e.g., digital media), and smart transport (e.g., route optimization). Life-cycle assessment, partial footprint, and the “ICT enablement method” are the most common approaches. The major part of the assessments focuses on patterns of production (e.g., production of paper-based books vs. e-books), a smaller part on patterns of consumption (e.g., changes in media consumption). Based on these results, we identify as a research gap the investigation of ICT impacts on consumer behavior, which could, for example, focus on social practices, and account for the dynamic implications of change. Elaborating such an approach could provide valuable insights into ICT’s impact on society and the resulting environmental consequences.