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Journal articles on the topic 'Arts, europe'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Kleinschmidt, Harald, and Sydney Anglo. "The Martial Arts of Renaissance Europe." Journal of Military History 65, no. 2 (April 2001): 481. http://dx.doi.org/10.2307/2677174.

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Sunshine, Glenn S., and Sydney Anglo. "The Martial Arts of Renaissance Europe." Sixteenth Century Journal 33, no. 1 (2002): 317. http://dx.doi.org/10.2307/4144328.

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3

Sheppard, P. "The Martial Arts of Renaissance Europe." Notes and Queries 49, no. 2 (June 1, 2002): 274–76. http://dx.doi.org/10.1093/nq/49.2.274-a.

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4

Sheppard, Philippa. "The Martial Arts of Renaissance Europe." Notes and Queries 49, no. 2 (June 1, 2002): 274–76. http://dx.doi.org/10.1093/nq/490274a.

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Kovarovic, David J. "The Martial Arts of Renaissance Europe." History: Reviews of New Books 29, no. 2 (January 2001): 77. http://dx.doi.org/10.1080/03612759.2001.10525781.

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6

Dummett, Ann. "Europe? Which Europe?" Journal of Ethnic and Migration Studies 18, no. 1 (October 1991): 167–75. http://dx.doi.org/10.1080/1369183x.1991.9976291.

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7

Carter, Tina. "Contemporary street arts in Europe: aesthetics and politics." Research in Drama Education: The Journal of Applied Theatre and Performance 18, no. 4 (November 2013): 418–20. http://dx.doi.org/10.1080/13569783.2013.838342.

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8

Borg, Alan. "The Martial Arts of Renaissance Europe, Sydney Anglo." English Historical Review 116, no. 465 (February 2001): 206–7. http://dx.doi.org/10.1093/enghis/116.465.206.

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9

Bennett, Susan. "Contemporary Street Arts in Europe: Aesthetics and Politics." Performance Research 18, no. 6 (December 2013): 154–56. http://dx.doi.org/10.1080/13528165.2013.908075.

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10

Borg, A. "The Martial Arts of Renaissance Europe, Sydney Anglo." English Historical Review 116, no. 465 (February 1, 2001): 206–7. http://dx.doi.org/10.1093/ehr/116.465.206.

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11

Bowe, N. G. "The Arts and Crafts Movement in Central Europe." Journal of Design History 18, no. 4 (January 1, 2005): 399–401. http://dx.doi.org/10.1093/jdh/epi061.

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12

Feinstein-Thompson, Heide S., and Míchéal Thompson. "Europe in the American liberal arts college curriculum." History of European Ideas 19, no. 1-3 (December 1994): 543–51. http://dx.doi.org/10.1016/0191-6599(94)90258-5.

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13

Dade, Penny. "Arts and disability: the European information network." Art Libraries Journal 15, no. 4 (1990): 4–8. http://dx.doi.org/10.1017/s0307472200006970.

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Since the mid-1980s, a number of initiatives in Europe and the United Kingdom have sought to promote the participation of the disabled in artistic activities. A focal point for a European network linking organisations and individuals throughout Europe is provided by a European Resource Centre, based at Hertfordshire College of Art and Design in the United Kingdom, which publishes the journal Atria and which maintains the European Arts and Disability Database. Some other organisations publish their own newsletters, while certain other databases can provide relevant information.
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14

Otte, Marcel. "Mobile Paleolithic Arts: long distances withesses." Bulletin of Kazakh Leading Academy of Architecture and Construction 79, no. 1 (March 30, 2021): 103–10. http://dx.doi.org/10.51488/1680-080x/2021.1-14.

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The meaning of statuettes appearance across Paleolithic Europe has changed a lot. Different processes can explain their variations. The «creation» from nothing apparently but imitating certain aspects of the natural world (animals). The «transfer» process from one tradition to the other inside early Upper Paleolithic people. The «movement» of both statuettes and people when recolonizing the northern plains. The «drift» process, when different cores are following the same stylistic variations. The «diffusion» process, where we can see the movements affecting Central and Eastern Europe, from the west to the East. All these processes require specific ways of treatment and of understanding. They should not be confused, nor forgotten in any Paleolithic art study.
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15

Little, Charles T., Timothy B. Husband, Barbara Drake Boehm, and Daniel Kletke. "Medieval Europe." Metropolitan Museum of Art Bulletin 51, no. 2 (1993): 24. http://dx.doi.org/10.2307/3269020.

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16

Evans, Helen C., Charles T. Little, and Barbara Drake Boehm. "Medieval Europe." Metropolitan Museum of Art Bulletin 56, no. 2 (1998): 14. http://dx.doi.org/10.2307/3269042.

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17

Boehm, Barbara Drake, Charles T. Little, Helen C. Evans, Peter Barnet, and Timothy B. Husband. "Medieval Europe." Metropolitan Museum of Art Bulletin 58, no. 2 (2000): 17. http://dx.doi.org/10.2307/3269093.

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18

Chapuis, Julien, Peter Barnet, Charles T. Little, and Timothy B. Husband. "Medieval Europe." Metropolitan Museum of Art Bulletin 61, no. 2 (2003): 11. http://dx.doi.org/10.2307/3269114.

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19

Wixom, William D., Timothy B. Husband, Charles T. Little, Helen C. Evans, and Katharine R. Brown. "Medieval Europe." Metropolitan Museum of Art Bulletin 50, no. 2 (1992): 3. http://dx.doi.org/10.2307/3269243.

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20

Pyhrr, Stuart W., William M. Griswold, Keith Christiansen, Jayne Wrightsman, Walter Liedtke, Andrea Bayer, James David Draper, et al. "Renaissance Europe." Metropolitan Museum of Art Bulletin 50, no. 2 (1992): 24. http://dx.doi.org/10.2307/3269244.

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21

Brown, Katharine R., Helen C. Evans, Barbara Drake Boehm, William D. Wixom, and Timothy B. Husband. "Medieval Europe." Metropolitan Museum of Art Bulletin 53, no. 2 (1995): 22. http://dx.doi.org/10.2307/3269255.

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22

Little, Charles T., Jane Hayward, and Timothy B. Husband. "Medieval Europe." Metropolitan Museum of Art Bulletin 52, no. 2 (1994): 18. http://dx.doi.org/10.2307/3258871.

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23

Little, Charles T., Timothy B. Husband, Barbara Drake Boehm, Peter Barnet, and Julien Chapuis. "Medieval Europe." Metropolitan Museum of Art Bulletin 59, no. 2 (2001): 17. http://dx.doi.org/10.2307/3258899.

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24

Little, Charles T., Peter Barnet, Barbara Drake Boehm, Helen C. Evans, and Timothy B. Husband. "Medieval Europe." Metropolitan Museum of Art Bulletin 57, no. 2 (1999): 14. http://dx.doi.org/10.2307/3259911.

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25

Husband, Timothy B., and William D. Wixom. "Medieval Europe." Metropolitan Museum of Art Bulletin 54, no. 2 (1996): 19. http://dx.doi.org/10.2307/3262706.

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26

Boehm, Barbara Drake, Melanie E. Holcomb, and Helen C. Evans. "Medieval Europe." Metropolitan Museum of Art Bulletin 60, no. 2 (2002): 11. http://dx.doi.org/10.2307/3263905.

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27

Figueiredo, Abel A., Wiesław Błach, Zbigniew Bujak, Roland J. Maroteaux, and Wojciech J. Cynarski. "Martial Arts Tourism of the “Europe—Far East” Direction, in the Opinion of Grand Masters." Sustainability 12, no. 21 (October 25, 2020): 8857. http://dx.doi.org/10.3390/su12218857.

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Martial arts tourism is a form of cultural, sports and educational tourism that requires special recognition; particularly important is knowledge about martial arts. The sources of this practical knowledge are especially high-ranking masters. The scientific problem raised here involves the issue of high-ranking martial arts teachers taking trips for their own studies (to acquire knowledge and skills) and teaching others. Some of the questions addressed include how often the trips occur (single, sporadic, or multiple, regular), what their effects are, and what their meaning is—in the opinion of these experts. The “Martial Arts Tourism” questionnaire was addressed to N = 12 people, masters/teachers of high-rank in martial arts (level 7–10 dan/toan) who live and teach in Europe and the USA, but come from Europe. They are the holders of the highest degrees in Chinese, Japanese and Korean styles. Further questions were asked through direct correspondence. The collected statements were usedby means of qualitative analysis—as in the method of ‘expert courts’/’competent judges’. The respondents in most cases undertook trips from Europe to East Asia for their own learning. They teach themselves mainly in their own countries and in Europe. Stays rarely lasted over two weeks. The respondents are convinced of the legitimacy of this type of trip, and believe that the trips are very helpful on the way to mastery. None of the respondents mentioned the material forms of cultural heritage pertaining to martial arts as motives for the trips. Therefore, the ability to visit historic places is a marginal concern. The trips were directly linked to a career path and self-improvement in martial arts, learning or teaching.
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28

Bashkin, Orit. "The Fruit of the Arts and the Mob." Comparative Studies of South Asia, Africa and the Middle East 41, no. 3 (December 1, 2021): 404–12. http://dx.doi.org/10.1215/1089201x-9407949.

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Abstract This essay considers accounts of the Dreyfus Affair published in the newspaper Thamarat al-Funun (founded 1875) during 1898 to demonstrate how Arab writers addressed the rights of minorities in Europe and examined failed emancipatory projects. Writing about the Dreyfus Affair allowed intellectuals in the Levant to reverse the power relationship between themselves and Europe and to comment on the kinds of politics that would ensure the equality before the law of the Jewish minority in Europe. These debates further illustrate that even before the shift to electoral politics in the Ottoman Empire (after 1908) and in postwar Arab nation-states, Arab writers were preoccupied with the relationship between statecraft and majority-minority relations. They argued that democratic institutions such as parliaments and courts of law were the best venues to safeguard the rights of religious communities whose mere existence was defined as a problem. Bashkin shows how Thamarat al-Funun pointed to phenomena that endangered religious communities, such as fanaticism, racism, abuse of power by the police and the military, and mob politics.
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29

Twitchin, Mischa. "Letters from Europe." Performance Research 23, no. 4-5 (July 4, 2018): 453–55. http://dx.doi.org/10.1080/13528165.2018.1506379.

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30

Song, Sungsoo. "A Brief History of Liberal Education in Ancient and Medieval Europe－Focusing on the Formation and Evolution of Liberal Arts." Korean Association of General Education 16, no. 3 (June 30, 2022): 45–58. http://dx.doi.org/10.46392/kjge.2022.16.3.45.

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This paper examined the history of liberal education in ancient and medieval Europe, focusing on the formation and evolution of liberal arts using materials concerning the history of education, history of university, history of philosophy, and history of science. The elementary form of liberal education emerged at Greece in the fourth century BC. The philosophers’ tradition and the orators’ tradition made two approaches to liberal education. Greek scholarship was accepted in the form of encyclopedic publications in the Roman era, and <i>Disciplinarium libri novem</i>, the first work which contained the idea of liberal arts, was written in the first century BC. In the early medieval ages, so called dark ages, secular scholarship maintained its existence through the medium of liberal arts. In the fifth century, liberal arts became actualized into the seven liberal arts through <i>De nuptiis Philologiae et Mercurii</i>. Since the sixth century, the seven liberal arts were divided into trivium and quadrivium. In the Renaissance of the twelfth century, ancient writings were extensively translated including Aristotelian works, and the attempt to relate Greek philosophies and the seven liberal arts was tried. Circa 1250, some universities were set up in the major cities of Europe, and medieval universities were mostly organized with the faculties of arts, theology, law, and medicine. Since the late thirteenth century, the arts faculty extended the scope of liberal arts by adding three philosophies to the existing seven liberal arts: natural philosophy, metaphysics and ethics. Based on the above examination, this paper showed that the scope of liberal arts was not fixed but continuously changed, and that humanities and science were not separated in ancient and medieval Europe.
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31

Bottomore, Stephen. "Travelling cinema in Europe: Sources and perspectives/Wanderkino in Europa." Early Popular Visual Culture 7, no. 2 (July 2009): 226–27. http://dx.doi.org/10.1080/17460650903011277.

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32

James, Stuart. "Hungary Arts Directory2000298Hungary Arts Directory. London: Visiting Arts 1999. 416 pp, ISBN: 1 902349 15 6 £15.00 Visiting Arts Central Europe Regional Arts Profile series." Reference Reviews 14, no. 6 (June 2000): 32–33. http://dx.doi.org/10.1108/rr.2000.14.6.32.298.

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33

Tajtáková, Mária, Janka Kopaničová, and Zuzana Francová. "Cross-border Cultural Tourism in Europe: Drivers for Cross-border Travels for the Performing Arts." Studia commercialia Bratislavensia 3, no. 9 (January 1, 2010): 118–26. http://dx.doi.org/10.2478/v10151-010-0004-6.

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Cross-border Cultural Tourism in Europe: Drivers for Cross-border Travels for the Performing Arts The aim of this paper is to examine the drivers for cross-border tourist exchanges between the two closest capitals in Europe - Bratislava (Slovakia) and Vienna (Austria). We focus on the field of cultural tourism in view of the cross-border visits to two major performing arts institutions - the Slovak National Theatre in Bratislava and the Staatsoper in Vienna. The basic question raised by the study is: What makes tourists travel for the performing arts? The paper presents partial results of a bigger research analyzing intercultural differences in perception of cultural products among different audiences.
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34

Majer, Michele M., Olga Raggio, Clare Le Corbeiller, Jessie McNab, Laurence Libin, Stuart W. Pyhrr, William Rieder, et al. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 51, no. 2 (1993): 38. http://dx.doi.org/10.2307/3269022.

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35

Stein, Perrin, Johanna Hecht, Wolfram Koeppe, Stuart W. Pyhrr, Laurence Libin, Clare Le Corbeiller, Jessie McNab, et al. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 56, no. 2 (1998): 31. http://dx.doi.org/10.2307/3269044.

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36

Rieder, William, Stuart W. Phyrr, Perrin Stein, Colta Ives, Gary Tinterow, Sabine Rewald, Malcolm Daniel, et al. "Europe 1700 - 1900." Metropolitan Museum of Art Bulletin 58, no. 2 (2000): 32. http://dx.doi.org/10.2307/3269095.

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37

Koeppe, Wolfram, Katharine Baetjer, Jeffrey H. Munger, James David Draper, Perrin Stein, Elizabeth E. Barker, Andrew Bolton, Gary Tinterow, Michiel C. Plomp, and Colta Ives. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 61, no. 2 (2003): 23. http://dx.doi.org/10.2307/3269116.

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38

Mules, Helen B., James David Draper, Clare Le Corbeiller, James Parker, William Reider, Clare Vincent, Katherine Baetjer, et al. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 50, no. 2 (1992): 34. http://dx.doi.org/10.2307/3269245.

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39

Raggio, Olga, Garry Tinterow, Colta Ives, Jessie McNab, Laurence Libin, Clare LeCorbeiller, Everett Fahy, James David Draper, Malcolm Daniel, and Jennifer A. Loveman. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 53, no. 2 (1995): 38. http://dx.doi.org/10.2307/3269257.

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40

Griswold, William M., William Rieder, James David Draper, Laurence Libin, Gary Tinterow, Clare Le Corbeiller, Malcolm Daniel, et al. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 52, no. 2 (1994): 36. http://dx.doi.org/10.2307/3258873.

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41

Kisluk-Grosheide, Daniëlle O., Jeffrey H. Munger, Wolfram Koeppe, Elizabeth E. Baker, James David Draper, Gary Tinterow, Stewart S. Pollen, et al. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 59, no. 2 (2001): 32. http://dx.doi.org/10.2307/3258901.

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42

Koeppe, Wolfram, Clare LeCorbeiller, Emily Martin, Perrin Stein, William Reider, Gary Tinterow, Colta Ives, et al. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 57, no. 2 (1999): 34. http://dx.doi.org/10.2307/3259913.

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43

Rieder, William, Katharine B. Baetjer, Jennifer A. Loveman, Clare Le Corbeiller, Perrin Stein, Laurence Libin, Wolfram Koeppe, et al. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 54, no. 2 (1996): 32. http://dx.doi.org/10.2307/3262708.

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44

Baetjer, Katharine, Wolfram Koeppe, Johanna Hecht, Jeffrey H. Munger, James David Draper, Gary Tinterow, Colta Ives, Herbert Heyde, Malcolm Daniel, and Susan Alyson Stein. "Europe 1700-1900." Metropolitan Museum of Art Bulletin 60, no. 2 (2002): 23. http://dx.doi.org/10.2307/3263907.

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45

Neef, Sonja. "M/Othering Europe." Journal of Visual Culture 6, no. 1 (April 2007): 58–76. http://dx.doi.org/10.1177/1470412907075069.

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46

Birringer, Johannes. "A New Europe." PAJ: A Journal of Performance and Art 25, no. 3 (September 2003): 26–41. http://dx.doi.org/10.1162/152028103322491665.

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47

Anderson, Sheila, Tobias Blanke, and Stuart Dunn. "Methodological commons: arts and humanities e-Science fundamentals." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 368, no. 1925 (August 28, 2010): 3779–96. http://dx.doi.org/10.1098/rsta.2010.0156.

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The application of e-Science technologies to disciplines in the arts and humanities raises major questions as to how those technologies can be most usefully exploited, what tools and infrastructures are needed for that exploitation, and what new research approaches can be generated. This paper reviews a number of activities in the UK and Europe in the last 5 years which have sought to address these questions through processes of experimentation and targeted infrastructure development. In the UK, the AHeSSC (Arts and Humanities e-Science Support Centre) has played a coordinating role for seven projects funded by the Arts and Humanities e-Science Initiative. In Europe, DARIAH (Digital Research Infrastructure for the Arts and Humanities) has sought to develop a deeper understanding of research information and communication in the arts and humanities, and to inform the development of e-infrastructures accordingly. Both sets of activity have indicated a common requirement: to construct a framework which consistently describes the methods and functions of scholarly activity which underlie digital arts and humanities research, and the relationships between them. Such a ‘methodological commons’ has been formulated in the field of the digital humanities. This paper describes the application of this approach to arts and humanities e-Science, with reference to the early work of DARIAH and AHeSSC.
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48

Collins, E. John. "Symbolic Arts and Rituals in the African Middle Stone-Age." Utafiti 13, no. 1 (March 18, 2018): 1–22. http://dx.doi.org/10.1163/26836408-01301002.

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Since the 1950s the huge amount of archaeological research done in Africa has shown that Homo sapiens originally came from Africa rather than Western Eurasia as was previously thought. Nevertheless, some Western scholars retain a Eurocentric bias by suggesting that humans only became fully intelligent after they migrated out of Africa and settled in Europe where, during the ‘Upper Palaeolithic Transition’ around 45,000 years ago, there was an abrupt advance in human neural wiring. Their evidence is the relatively sudden change from Middle Palaeolithic to more advanced Upper Palaeolithic tools and the appearance of the spectacular figurative cave art of Europe. This mental revolution was initially believed to have occurred in ‘Cro-Magnon Man’ who lived in Europe and Western Eurasia 45,000-40,000 years ago and was considered to be the first human to have the cross-domain cognition and enhanced memory necessary for a sophisticated language and symbolic behaviour. In short, although after the 1950s archaeologists generally have acknowledged that prehistoric Africa was the cradle of mankind, some still insist that prehistoric Europe was the cradle of human intelligence. New research on the African Middle Stone Age (MSA), that itself goes back 300,000 years, is challenging this view. This paper provides some examples of symbolic, ritual and artistic behaviour, and indeed advanced tool making that took place during this period and up to around 60,000 years ago, long before the appearance of Cro-Magnon Man.
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49

Appignanesi, Richard. "Lost in Europe." Third Text 32, no. 5-6 (November 2, 2018): 769–74. http://dx.doi.org/10.1080/09528822.2018.1548833.

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50

Hammond, Andrew. "Through Savage Europe." Third Text 21, no. 2 (March 2007): 117–27. http://dx.doi.org/10.1080/09528820701272994.

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