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SPAID, SUE. "Revisiting Ventzislavov's Thesis: “Curating Should Be Understood as a Fine Art”." Journal of Aesthetics and Art Criticism 74, no. 1 (2016): 87–91. http://dx.doi.org/10.1111/jaac.12252.
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Wilsher, Mark. "The phantom ‘practice-only thesis’." Journal of Writing in Creative Practice 13, no. 2 (2020): 219–27. http://dx.doi.org/10.1386/jwcp_00005_1.
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As universities become accustomed to the complexities of their art and design faculties, a body of literature has emerged that explores some of the possibilities of a doctorate in the creative arts. In the area of fine art in particular, although not exclusively, there has been a drive towards a purely practice-based thesis. This article argues that the notion of the practice-only thesis is not only an unrealistic illusion that puts pressure on students, but also does not reflect contemporary professional practices. For an art practice to communicate any sort of specific knowledge it must be embedded in a pre-existing and continuously evolving flux of discourse produced through written and spoken language. The American artist Trisha Donnelly’s 2014 Serpentine Gallery exhibition is taken as an example. Critical writing in the art press produces an accepted interpretation, and this is what the artist ‘Trisha Donnelly’ comes to stand for. So artwork that might appear to be producing its meaning autonomously should be seen as a collaborative practice involving the artist together with their professional interpreters. Research students are required to produce a self-contained project which would seem to preclude the incorporation of writing or academic interpretation by others. But it is fundamentally unfair to demand a thesis without any written component since it does not exist in an expanded notion of the contemporary art world.
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Elpern, David J. "“Paper Teachers:”." International Journal of User-Driven Healthcare 4, no. 2 (2014): 51–56. http://dx.doi.org/10.4018/ijudh.2014040106.
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Physicians spend many years immersed (drowning?) in their professional literature. There is no way one can keep up with it and most of it is forgettable and sadly inaccurate. This paper's thesis is that the arts (literature, music, fine art, film) are vitally important to one's personal and professional development. They provide the Continuous Medical Inspiration that trumps Continuing Medical Education. Although they may not realize it, each of them has personal canon comprised of those works of art that guide them in their daily lives. Herein, thoughts on documenting one's personal canon are provided.
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Cleere, Eileen. "Dirty Pictures: John Ruskin, Modern Painters, and the Victorian Sanitation of Fine Art." Representations 78, no. 1 (2002): 116–39. http://dx.doi.org/10.1525/rep.2002.78.1.116.
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WHILE MY PROJECT IS BROADLY INTERESTED in the interdisciplinary work of what I will call sanitary art in nineteenth-century Britain, this essay is primarily concerned with a watershed moment in the production of that interdisciplinarity. In 1842, Edwin Chadwick published his Report on the Sanitary Condition of the Labouring Population; the following year, John Ruskin published the first volume of Modern Painters. Incomparable in subject, genre, and style, these texts would nonetheless participate in the same cultural project, producing between them a discourse of ''dirty'' art that challenged and eventually redefined nineteenth-century aesthetic standards. This essay argues that Ruskin employed the discourse and ideological necessity of sanitary reform from his earliest work, enforcing through his celebration of modern painters an aesthetic preference for the bright, clean colors of J.M.W. Turner and the Pre-Raphaelites over the pestilential tones and dark obscurity of the Renaissance Old Masters. Moreover, Ruskin's sophisticated preferences were circulated and popularized by a cultural event more generally accessible than Modern Painters. Isolating a mid-Victorian moment when the agitation for urban cleanliness began to dominate a variety of social discourses, this essay will also argue that Chadwick's powerful sanitary idea was channeled through a public controversy in the mid-forties about the aesthetic status of ''picture cleaning'' in the National Gallery at Trafalgar Square. When the dust from this debate finally settled, it was swept away along with the dirty aesthetic theories that had accumulated over previous centuries. Left in its place was the thesis of Modern Painters, and a new standard of aesthetic hygiene for Victorian art.
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Nikolić, Sanela. "Bauhaus Gestaltung as a New Philosophy of Life." Život umjetnosti, no. 106 (November 30, 2020): 52–67. http://dx.doi.org/10.31664/zu.2020.106.04.
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The thesis of this text is that the modernist paradigms of art —work of art, creation, and aesthetic experience—were reinterpreted by the Bauhaus idea of the Gestaltung of life. This unique conceptual foundation implied the theoretical and practical education meant to form ( gestalten) not only art and culture, but also life as a whole, as a dynamic organism consisting of two elements—the individual and the space of the individual existence. Bauhaus architecture and design of objects for everyday use were practiced as the Gestaltung of living space in a postwar world of industrial production. The practices of fine arts were developed to improve the human sensory potential and perceptive relations to space. Gestalt psychologists and the Bauhaus worked out the implications of two different meanings of Goethe’s original idea of the Gestalt. The Preliminary Course (Vorkurs) as well as the reflected-light compositions (Reflektorische Farbenlichtspiele), and the artistic solutions of László Moholy-Nagy and Oskar Schlemmer are considered as the concrete educational and artistic achievements of the Bauhaus Gestaltung.
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Dreon, Roberta. "Dewey After the End of Art." Contemporary Pragmatism 17, no. 2-3 (2020): 146–69. http://dx.doi.org/10.1163/18758185-01701154.
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This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” (lw 10, 12) in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past.
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Kuščević, Dubravka, Miroslava Ćosić, and Irena Mišurac. "Samoprocjena učiteljica o razini povezivanja likovnih i matematičkih sadržaja u nižim razredima osnovne škole." Magistra Iadertina 15, no. 1 (2021): 24–40. http://dx.doi.org/10.15291/magistra.3215.
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The theme of this thesis is a self-assessment of teachers about the linking of fine arts and mathematics in lower grades of primary school. The theoretical work defines correlation and self-assessment, science and art and their reflection on education. Correlation is the foundation of modern education, it allows creation of a complete harmonic image of knowledge. Self-assessment is one of the basic ways of assessing one’s own work, allowing teachers to recognize the advantages and disadvantages of their own work and to improve the teaching process. Science and art are important in the life of an individual, they are interdependent, and their co-existence is visible in education and upbringing. The survey was conducted on a sample of 199 teachers on the territory of the Republic of Croatia. The research has showed that teachers understand the importance of linking the content of these two subjects and that they feel competent and motivated, but they implement the correlation insuficiently. The research also suggests that the teachers were informed and educated about correlation on their own initiative.
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Nikitin, Andrii. "ART PROSPECTION OF YURI RUBASHOV." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 124–29. http://dx.doi.org/10.33838/naoma.28.2019.124-129.
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Rubashov — Honored Artist of Ukraine, Member of the National Union of Artists in Ukraine, Associ- ate Professor of the Department of Drawing the National Academy of Fine Arts and Architecture.Yurii Rubashov was born in Kyiv in 1947. After the end of the RCSU with the name of T. Shevchenko in 1965, he joined KSAI and till 1971 he studied in prominent Ukrainian graphists: V. Kasyana, I. Selivanov, V. Chebanyk.The artist turns to historical subjects and initiates graphic cycle, dedicated to the history of Kiev Rus and the activities of the kings who influenced the historical passing of events of that time.First of this thesis topic was a series of lithographs "Yaroslav the Wise" (1971), later — a series of graphic com- positions "Kiev Rus" (1979), a series of colored prints "Prince of Kiev", "Princess Olga, Svyatoslav, Vladimir, and Yaroslav the Wise (1992).The artist shows the greatest creative interest in landscape painting (cycles "On the Spain" (1982), "On the Sweden" (1985), "On the Jordan" (1983), "On the Armenia" (1983), "Roads of the Ukraine" (1996) and still life (Sweden Series, 2012–2013).It can be argued that Yu. Rubashov’s works absorbed the lyrics of landscapes with characteristic features of both southern and northern colors, and his still life is characterized by precise organization, a variety of styl- ized forms, which show confidence in the possession of the material and a balanced sense of compositional harmony. In the process of forming the author’s technique, he chooses the path of innovation and experiment, which in turn causes a peculiar interpretation of different technical means — a combination of materials and technologies of different nature. The artist exploits and applies multicolored pigments, oil pastels, watercolors and acrylic paints and the like, mixing everything with different solvents, which gives the opportunity to original express and crystallize a peculiar, author’s style.Drawing on the foundations of academic education, the artist experiments, seeks creative ideas and success- fully incorporates contemporary artistic problems into new imaginative solutions. This is a valuable example of growing skill and formation creative personality.In 2000 and 2015 he received first-degree diplomas All-Ukrainian Triennial of Graphic Arts, in 2012 — Di- ploma of the third stage of the exhibition-competition named G.Yakutovich.Yu. Rubashov fruitfully combines creative work with teaching. In the process of teaching his students, Yu. Rubashov not only lays the foundations of academic drawing, but also encourages to analyze creative material, to study and master the various drawing techniques and opportunities inherent in them.In the general process of contemporary search for an art, together with the academic pragmatism of the cur- riculum, the teacher, especially in the first courses of the Faculty of Fine Arts and Restoration, draws attention of the students in different artistic trends, teaches analytical and creative perception of natural objects and consciously approach the transformation of three-dimensional forms on a two-dimensional work plane of a paper sheet. These methodological principles meet the needs of modern times.The stylistic language of his works is recognizable and special. Not dwelling on what he has achieved, he im- parts his experience to the students, demonstrating the inexhaustible possibilities of drawing and the technical means of its implementation, including pastels. The high level of his works makes it possible to claim that Yu. Rubashov is a master of pastels and his contribution to the development of Ukrainian art is indisputable.
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McSheffrey, Shannon, Eyvind C. Ronquist, and Franziska Shlosser. "Concordia University." Florilegium 20, no. 1 (2003): 116. http://dx.doi.org/10.3138/flor.20.034.
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At Concordia University, Montréal, matters from the period called the Middle Ages are investigated and taught through a variety of disciplines. A Concordia B.A. thus provides excellent preparation for a student interested in medieval matters. There are large and viable programs in Classical Greek and Latin and in modern languages. Engaged researchers regularly offer courses on medieval subjects within programs that give training in the disciplines of theology, religious studies, philosophy, history, political thought, literary interpretation, fine arts, and art history. These disciplines permit familiarity with the questions and discourses of research that will open out new approaches to old materials, such as we have seen with enquiries of gender theory, methods of interpretation, memorialisation, or representation. Within some disciplines, then, it is possible to pursue advanced studies, with a possible thesis option for an M.A., and with a Ph.D. in History or an individual interdisciplinary Ph.D. in Humanities.
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Erim, Gonca, Ismail Tetikci, and Remziye Ersoy. "Technical experience with tempera paintings in a bachelor degree course in Turkey." International Journal of Evaluation and Research in Education (IJERE) 10, no. 1 (2021): 245. http://dx.doi.org/10.11591/ijere.v10i1.20667.
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<p><span>This article aims to understand the place of the tempera technique in art history, which is thought to be encountered for the first time by art education undergraduate students, and to determine the effects on the participants after the application. The study consists of the findings and results of the first and second research questions in the master thesis “Tempera technique and its use in the course of painting courses on undergraduate level.” In this study the “case study” pattern was used, and is one of the qualitative research approaches. The participants of the research are eight students studying in Bursa Uludag University, Faculty of Education, Department of Fine Arts Education in the 2018-2019 academic year. The data collection tools of literature review and two interview forms interview were used. The findings obtained were evaluated by thematic analysis technique. According to the findings obtained in the research, it was observed that the participants did not have prior knowledge about the tempera technique before oral presentation and application. It was concluded that there were differences in the levels of interest and knowledge after the teaching process, and that there were positive changes in their opinions regarding the technique.</span></p>
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Ayerbe Mafla, Virginia. "El dosier del artista = The artist’s dossier." ArDIn. Arte, Diseño e Ingeniería, no. 6 (October 31, 2017): 63. http://dx.doi.org/10.20868/ardin.2017.6.3592.
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ResumenSe quiere revelar en este artículo una serie de resultados gracias al estudio y análisis de datoslogradosenla tesis doctoral defendida por la autora en febrero de 2016 en la Facultad de Bellas Artes, de la Universidad Complutense de Madrid, dirigida por el Doctor Raúl Díaz-ObregónCruzado. La cual recoge una serie de estudios de casos llevados a cabo acerca del uso y desarrollo del dosier artístico en lasBellas Artes.Se expondrá esta información, debido a la importancia que se le atribuye al dosier como uno de los recursos de carácter perceptible que existe y se utiliza, para dar a conocer y valorar en una primera instancia el trabajo de los artistas en situaciones vinculadas con el Arte, donde no es posible presentar obras o proyectos artísticos reales.La tesis se planteó considerando las necesidades de los distintos individuos que participan tanto en los procedimientos de desarrollo del dosier, como en su utilización y en la posible valoración de sus contenidos,ya que no fue posible encontrar material especializado en su construcción y uso,que reuniera información sobre experiencias y conocimientos de aquellos que de forma cotidiana trabajancon el dosier del artista.AbstractThe purpose of this article is to reveal a series of results obtained from thestudy and analysis of data acquired from the doctoral thesis defended by the author in February 2016, in the Faculty of Fine Arts of the Universidad Complutense de Madrid, directed by Dr. RaúlDíaz-ObregónCruzado. It includes a series of case studies carried out on the use and development of the artistic dossier.This information will be exposed, due to the importance attributed to thedossier as one of the perceptible resources, used to support and allow others to know the value of the artistic work as first instance, in situations related to Art, where It is not possible to present real art works or projects.The thesis was planned considering the needs of different individuals involved in the procedures for developing the artistic document, as well as its use and in the possible appreciation of its content due to the inability to find specialized material referring to its construction and use, which could gather information about experiences and knowledge from those who work with it on a daily basis.
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Roitero, Kevin. "Cheap IR evaluation." ACM SIGIR Forum 54, no. 2 (2020): 1–2. http://dx.doi.org/10.1145/3483382.3483400.
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To evaluate Information Retrieval (IR) effectiveness, a possible approach is to use test collections, which are composed of a collection of documents, a set of description of information needs (called topics), and a set of relevant documents to each topic. Test collections are modelled in a competition scenario: for example, in the well known TREC initiative, participants run their own retrieval systems over a set of topics and they provide a ranked list of retrieved documents; some of the retrieved documents (usually the first ranked) constitute the so called pool, and their relevance is evaluated by human assessors; the document list is then used to compute effectiveness metrics and rank the participant systems. Private Web Search companies also run their in-house evaluation exercises; although the details are mostly unknown, and the aims are somehow different, the overall approach shares several issues with the test collection approach. The aim of this work is to: (i) develop and improve some state-of-the-art work on the evaluation of IR effectiveness while saving resources, and (ii) propose a novel, more principled and engineered, overall approach to test collection based effectiveness evaluation. In this thesis we focus on three main directions: the first part details the usage of few topics (i.e., information needs) in retrieval evaluation and shows an extensive study detailing the effect of using fewer topics for retrieval evaluation in terms of number of topics, topics subsets, and statistical power. The second part of this thesis discusses the evaluation without relevance judgements, reproducing, extending, and generalizing state-of-the-art methods and investigating their combinations by means of data fusion techniques and machine learning. Finally, the third part uses crowdsourcing to gather relevance labels, and in particular shows the effect of using fine grained judgement scales; furthermore, explores methods to transform judgements between different relevance scales. Awarded by: University of Udine, Udine, Italy on 19 March 2020. Supervised by: Professor Stefano Mizzaro. Available at: https://kevinroitero.com/resources/kr-phd-thesis.pdf.
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Campbell, Lee. "COLLABORATORS AND HECKLERS: Performative Pedagogy and Interruptive Processes." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (2017): 33–71. http://dx.doi.org/10.33178/scenario.11.1.5.
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Arguing for the positive disruptive nature of interruption, this paper concentrates on my current performative and pedagogic usage of interruption within my teaching as the means to achieve three aims: 1) develop aspects of practice discussed in my doctoral thesis ‘Tactics of Interruption: Provoking Participation in Performance Art’ (Campbell 2016) related to the focused usage of interruptive processes in contemporary art practice (Arlander 2009: 2) provide students with direct experience of how interruption may command immediate reaction and force collaborative means of working, i.e. collective survival tactics to deal with interruption; and 3) theorise, articulate and demonstrate how interruption relates to critical reflection (on the part of both student and teacher), extending the ideas of Maggi Savin-Baden (2007) to propose interruption as reflection. To achieve these aims, the paper discusses how I have implemented interruption into learning activity design and evidences how I have created activities that aim to help students understand collaborative learning in cross-disciplinary projects through an effective use of realia (interruption is part of real life). I discuss one first year teaching seminar at Loughborough University in March 2015 (and subsequent related iterations) combining performance, fine art and collaboration methodologies where students directly engaged in a range of activities not displaced from their own life experiences; there was heavy student engagement in digital technologies, and interruption. The main outcomes of the teaching session support and go beyond the aims by relating to: a) experiential learning related to the interplay between ‘collaboration’ and ‘interruption’; b) performative pedagogy and inclusion; c) the interplay between teaching, liveness and interruption; and d) performative pedagogy and the exchange of power relation.
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Vanderbeeken, Robrecht. "Relive the Virtual: an Analysis of Unplugged Performance Installations." New Theatre Quarterly 26, no. 4 (2010): 361–68. http://dx.doi.org/10.1017/s0266464x10000667.
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Can retro media make us relive the virtual from digital media? Following McLuhan's thesis that the proper characteristics of a medium are revealed through remediation, it could well be that retro media re-enacting digital media can make explicit what the concept ‘virtual’ entails. Two recent works analyzed in this article take as their starting point antique theatrical techniques (the ballet pulley, the panorama) to evoke optical illusions, not to stage another illusion but for other purposes. Both works, which have no actual connection with cyberspace, include non-narrative interplay with antiquated technological installations that generate a challenging experience for the contemporary spectator in a digital era. The performance-installation I / II / III / IIII by Kris Verdonck stages a repetition in time in which the viewer gets trapped. By reviving virtual features into real ones and presenting them in replay-mode, the viewer discovers how a variation of sameness can evoke significant differences, or how identity arises due to a repetition in time. Hans Op de Beeck's installation Location (6) displays an all-round view in a real but generic space that induces the spectator's performative power – like an avatar, able to dwell in the virtuality of personal imagination. Robrecht Vanderbeeken has published on a variety of topics, including metaphysics, philosophy of technology, and aesthetics. Formerly a researcher in the Theory Department of the Jan van Eyck Academy, he now teaches at the Royal Academy of Fine Art at University College Ghent (KASK), and is currently researching the philosophical implications of technological innovations in art and culture.
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Orel, Barbara. "Fusing the Fictional and the Real in the Contemporary Performing Arts." Nordic Theatre Studies 26, no. 1 (2018): 44–54. http://dx.doi.org/10.7146/nts.v26i1.109739.
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The exploration of the relationship between the fictional and the real in projects by ViaNegativa, a performance group from Slovenia, is based on the presumption that therecognition of what we experience as fictional or real is decisively influenced by the perceptualactivity of the spectator. The article argues that the exchange between the elements of fictionand reality takes place in two different concepts of representation: theatricality and absorption.These are two opposing notions used for defining the relationship between the imagerepresented and the spectator. Theatricality is the effect of the address that the image makes tothe spectators and thus makes them conscious of their own act of perceiving. Absorption, inturn, describes the context in which the image is put to view as a closed, self-sufficientsign-system establishing such conditions of perception that make the spectator focuscompletely upon the object represented; the audience is so overcome by the presented imagethat they experience this as if they were absorbed into the staged world. These two concepts areelaborated on the basis of Denis Diderot's essays on theatre and fine art. The essay provesuseful for the argumentation of the thesis since they testify that theatricality and absorption,each in their own way, include the spectator's personal investment into what comes across asfictional or real. A detailed analysis of selected performances by Via Negativa shows that thereal assuch (i.e. theauthenticity of the real that isconfirmed in the identity with its own self)is impossible to achieve. Under the gazeof the spectator, the real is always compelled to revealitself through some kind of representation. As also found by Alain Badiou, the authenticity ofthe real can only be presented through the role of semblance, mask or fiction.
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Fadlila, Hapsari, and Nunuk Nur Shokiyah. "KAJIAN SENI LUKIS KARYA DJOKO PEKIK DENGAN TEMA PERISTIWA SEPTEMBER 1965." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 12, no. 2 (2021): 109–20. http://dx.doi.org/10.33153/brikolase.v12i2.3357.
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Kajian Karya Seni Lukis Djoko Pekik dengan Tema Peristiwa September 1965, skripsi Hapsari Fadlila. Program Studi Seni Rupa Murni, Jurusan Seni Rupa Murni, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta. Skripsi ini meneliti tentang karya-karya Djoko Pekik dengan tema Peristiwa September 1965. Permasalahan yang akan di bahas adalah latar belakang penciptaan dan estetika karya seni lukis Djoko Pekik dengan tema Peristiwa September 1965. Metode penelitian yang digunakan adalah metode penelitian kualitatif dengan analisis interaktif dan interpretasi. Teori untuk membedah interpretasi tanda yang terdapat dalam lukisan menggunakan teori semiotika Charles S. Pierce yaitu klasifikasi tanda menurut obyek. Hasil dari penelitian ini adalah bahwa pada latar belakang penciptaan karya bertema Peristiwa September 1965, Djoko Pekik berusaha mengungkapkan pengalaman yang dirasakan ketika terjadinya peristiwa-peristiwa di bulan September 1965. Penelitian ini mengupas tiga karya Djoko Pekik yaitu Awal Bencana Di Lintang Kemukus 1965, Kali Berantas Bengawan Solo Luweng dan Sirkus Adu Badak. Karya-karya tersebut terdapat ikon, indek dan simbol merupakan visualisasi tentang kejadian yang dialami Djoko Pekik di tahun 1965. Dimulai dari kemunculan lintang kemukus, ketika Djoko Pekik menjadi tahanan dan awal memasuki Orde Baru.Kata kunci: Djoko Pekik, Seni Lukis, Peristiwa September 1965Study of Djoko Pekik Painting Artwork themed the September 1965 Incidents, Hapsari Fadlila's thesis. Pure Arts Study Program, Department of Fine Arts, Faculty of Art and Design, Indonesian Institute of the Arts Surakarta. This thesis examines the Djoko Pekik’s works themed the September 1965 Incidents. The issues that will be discussed are the background of the creating and aesthetics of painting by Djoko Pekik themed the September 1965 Incidents. The research method used is qualitative research with interactive and interpretation analysize. The theory for dissecting the interpretation of the signs which iscontained in the painting uses Charles S. Pierce's semiotic theory namely classification of signs according to objects. The results of this research are that in the background of creating this work themed the September 1965 incident, Djoko Pekik tried to express the experiences which he felt during the incidents in September 1965. This research explores three Djoko Pekik’s works, namely Awal Bencana Di Lintang Kemukus 1965, Kali Berantas Bengawan Solo Luweng and Sirkus Adu Badak.The works contained icons, indexes and symbols which are a visualization about the incidents experienced by Djoko Pekik in 1965. Begins from lintang kemukus, when Djoko Pekik became a prisoner and early Orde Baru. Keywords : Djoko Pekik, Painting Arts, September 1965 Incidents
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Wang, Ke, Guang Min Song, and Xing Wei Sun. "Dynamic Characteristics Design of the Grinding Machine Bed." Advanced Materials Research 503-504 (April 2012): 859–62. http://dx.doi.org/10.4028/www.scientific.net/amr.503-504.859.
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In order to analyzing the dynamic characteristics of the machine bed totally and grasping the dynamic parameters accurately, I make the use of conventional method to design fine-long rods machine firstly and research with FED dynamic property that machine in the processing . I use the FED method to find the region of defect and build the method of optimization. Dynamic property of Rib has affect bed of machine directly. The thesis would change and optimize rib. At the same time, they act as target of optimization and improve the dynamic property of bed with FED and achieve it. The thesis has offer evident of theory for changing bed.
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Khachatrian, Liernik. "SOUND IMAGE OF DUDUK IN CHAMBER‑SYMPHONIC WORKS OF A. TERTERYAN AND R. ALTUNYAN." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 129–43. http://dx.doi.org/10.34064/khnum1-58.08.
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Introduction. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Formulation of the problem. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Analysis of the latest publications on the topic. Metaphor is a rather unstable term in the perception of art and has many unstable categories. O. Dyachkova paid special attention to the aspect of artistic metaphor, and the knowledge of symbols in music through the understanding of metaphor and up to the metaphysics of images was carried out by Yu. Nikolaevska. Also in this article we rely on the study of themes in Armenian music (J. Zubaryan) and the role of duduk in modern music (M. Rukhmyan). The purpose of the article is to reveal the sound image of the duduk in the chamber-symphonic works of A. Terteryan and R. Altunyan through the selection of the category of timbre of metaphor. Methods. In order to realize this purpose, many general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussions. In this article it is offered to investigate the phenomenon of the timbre of metaphor through the sound image of a duduk on the example of symphonic works of today. A characteristic review of R. Altunyan’s symphonic works from the standpoint of using such an archaic instrument with a long history as a duduk is given. Symbolic programmaticity, sound aura, genre-stylistic signs, melody based on the Armenian monody are all business cards of A. Terteryan’s main works. An analytical thorough consideration of the Third Symphony of this composer has been made, where the great role of the timbre of the duduk, which closely interacts with the zurna, bells and other participants of this work, is evident. The connection between modern music making and the traditions of ancient times has been traced, which makes it impossible to exist without each other. We have to reveal the sound image of the duduk in the chamber-symphonic works of A. Terteryan and R. Altunyan through the selection of the category of timbre of metaphor. Metaphor is not a rare phenomenon in modern art. It is everywhere, from literature and painting to manifestations in architecture. Even in the music sphere, it is not possible without it and is used in different variations. O. Dyachkova for the first time systematized all existing theories of metaphor, considering it from different specific angles of musicology. Thus, we will consider metaphor as a general aesthetic principle of musical art, a phenomenon of re-intonation and as a special form of dialogue of the artist with the world. «Metaphor as a kind of artistic discovery depends on the intonation and semantic memory of the listeners». With this thesis, O. Dyachkova offers us to comprehend the full depth of this concept and to understand that metaphor is also closely connected with semantics and intonation, which directly explosively interacts with the timbre. Therefore, the derivation of the concept of «timbre of metaphor» has a very clear basis. It is further suggested to pay more attention to the duduk and its remarkable timbre possibilities in the zone of metaphorical phenomena. The timbre of the duduk occupied a high position in the art of cinema, as well as in small academic genres, especially songwriting. The weaving of a duduk into the score of a work, its figurative and semantic load in it, differs depending on the author’s intention. For example, in “Let the Field” for chamber string orchestra and bells with bagpipes by R. Altunyan, Armenian folk instruments seem to remind of themselves, cry out for the revival of their tradition. The composer, using an ensemble of four bagpipes (soprano, alto, tenor, baritone) and zurna, seeks to preserve the ancient traditions of the Armenian people, as he emerges from the situation of dying tradition, almost pictorially painting the “empty field” in which he, the composer, revives this tradition. Duduk performs a slightly different semantic load in A. Terteryan’s Third Symphony, composed in 1975. A. Terteryan’s work took an important place in the development of Armenian music in line with the modernist trends of the second half of the twentieth century. It became an example of the most radical combination of innovation and tradition and marked the beginning of a new stage in the development of Armenian symphony. This is largely due to the specifics of the composer’s thinking, which is based on the principle of connection and interaction of a kind of two “stylistic” poles – the musical art of West and East. Researchers consider A. Terteryan’s symphony from the point of view of neo-symbolism, which emerged in the art of the second half of the twentieth century, which defined “the scope and depth of cosmosophical concepts, the universalism of the musical language of symphonies”. They are based on the sonorous technique of writing, colorful undifferentiated layers of musical fabric. The atom of symphonic music is sound, which is “represented by the simplest primary element of music”; it also carries the main semantic load, is a “grain” from which the whole theme of the work can be grown. In A. Terteryan’s symphonies symbolic programmaticity is connected with genre-stylistic signs of “music of the past”, which activates the «memory of music». At the same time, it is the ancient folk instruments that bear this semantic symbolic load, which embodies the incorruptible images of the folk culture of Armenia. Thus, the duduk in A. Terteryan’s work connects modernity and gray antiquity, giving music special national features, distinguishing it from the general context of symphony of the twentieth century. Conclusions. The sound image of the duduk in the chamber-symphonic works of R. Altunyan and A. Terteryan reflects and explains the interpretation of the timbre of the metaphor, which is quite new for the perception of such a not entirely academic instrument by musicologists.
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MILLER, CAROLINE L. "Research in urban history: a review of recent theses." Urban History 34, no. 2 (2007): 353–66. http://dx.doi.org/10.1017/s0963926807004695.
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The writing of this review has been complicated this year due to the fact that it has had to be prepared rather earlier than in the past, which has somewhat skewed the careful construction of statistical comparisons that have been developed over previous years. The problem is compounded by the fact that last year's review was, in turn, also prepared earlier than in previous years, leading to a backlog on 2005 theses to be reported. The change of schedule also means that the British and Irish thesis list, the Index of Theses located at http://www.theses.com/, has not yet reported on the 2006 theses, while the American Dissertations International located at http://wwwli.umi.com/ dissertations has reported many of the 2006 theses. Thus this review is a slightly mixed offering in that it features theses from both 2005 and 2006, but it is hoped that this problem will have been overcome by 2008. It was, however, not difficult to find theses which fit the liberal definition of urban history that has always underpinned this review. For the first time it was necessary to cull severely the identified theses to produce a reasonable coverage of topics and a manageable number of theses to review. This suggests that urban history continues to be a vibrant and productive discipline.
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Sawicki. "Rediscovering Monasticism through Art." Religions 10, no. 7 (2019): 423. http://dx.doi.org/10.3390/rel10070423.
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Looking at modern monasticism and its role in society one can see how traditional monastic concepts or values find their new forms. On the other hand, art and artists willingly, though not always consciously, use or refer to some monastic themes. In this paper, on the base of texts of some authors open to the dialogue between monasticism and art, a reading of monasticism in the key of art is proposed, exclusively in reference to the Christian monasticism. Given its present cultural and social context, the thesis of this paper is that through the rediscovering of monasticism through art, one can and should refresh and save it in a more and more secularized society, what may be also a perspective of a new role of monasticism in the modern world.
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Foster, Raisa. "The Presence of Real Reality: Six Theses on Dance Animateuring." Nordic Journal of Dance 5, no. 2 (2014): 36–43. http://dx.doi.org/10.2478/njd-2014-0009.
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Abstract Tanssi-innostaminen® (‘dance animateuring’ in English) is an artistic and pedagogical method, which I have developed in order to empower both individuals and communities. By dance animateuring I refer to dance/ movement based activity, in which everyone can find their own way of moving and expressing by movement, but also reflecting the self and its connections to the other and the whole world. In this paper I will argue the six theses that define my approach to contemporary art making in dance animateuring practice: 1) The dancer should never aim to produce something specific but only to be present. 2) The performance shows that everyone can dance. 3) The performance is born from action, not from an idea. 4) The performance is multisensory and multidisciplinary artwork. 5) The performance is incomplete and ambiguous. 6) The performance challenges the conventional ways of seeing the world and people.
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Raykowski, Wes. "Is There Such a Thing as Orthogonyms?" Cognitive Semantics 5, no. 2 (2019): 201–23. http://dx.doi.org/10.1163/23526416-00502002.
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The article explores the cognitive semantics thesis that lexical expressions function as points of access to vast repositories of schematic concepts arising from embodied experience. By comparing various forms of communication, I find that expressions in art, science, and technology display a pattern in which expressions prompting the sense of intensity, magnitude and force are often combined into products with expressions that prompt the sense of extent, multitude and displacement. This pattern seems to be largely absent from natural language. I argue that lexical items activate the same pattern, though in a less direct way.
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Christina, Sherly, Enny Dwi Oktaviyani, and Buyung Famungkas. "Mendeteksi Plagiarism Pada Dokumen Proposal Skripsi Menggunakan Algoritma Jaro Winkler Distance." Jurnal SAINTEKOM 8, no. 2 (2018): 143. http://dx.doi.org/10.33020/saintekom.v8i2.68.
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The practice of plagiarism among students in working on their thesis might happen. Plagiarism is done considering to the limited workmanship and lack of motivation to try with their own ability. It is necessary to provide a tool to prevent the act of plagiarism among the students. In this research, we built an application to detect the plagiarism on the thesis proposal. 
 The application applies the Jaro Winkler Distance algorithm to detect the similarity from several documents. The first phase to detect the similarity of the thesis proposals is The text preprocessing phase of the document such as case folding, tokenizing, stopwords removal and stemming. Precision and Recall formula will be used to analyze the performance of the method in application. 
 The test result of the data set shows the application could find the 80% relevant data that indicated the similarity. It means the application could contribute to detect the plagiarism on the thesis proposal document.
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Belova, Ye D. "The image of Ukraine in the symphonic frescoes «Taras Bulba» by Sergey Turneev." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 27–44. http://dx.doi.org/10.34064/khnum1-57.02.
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Introduction. The choice of the researchtheme and material was determined by the fact that the author of the article played the percussion part in the performance of the symphonic frescos «Taras Bulba» by S. P. Turnieiev in 2016. A true creator seeks to unite in his work the subconscious, intuitive and conscious rational. Thence there is a need to conceptualize the performance of the piece in unity with the composer’s concept and present thought process in the form of scientific reflection. Theoretical Background. The theoretical basis of the research was the works representing three directions in the study of picturesque in musical art: 1) the picturesque principle of composition in an epic symphony: works by I. Alieksieieva, V. Valkova, N. Vynokurova; 2) genre of symphonic picturesque: research by O. Yendutkina (Shyriaieva); 3) history and typology of picturesque and pictorial images of music: Ph.D. thesis by N. Rybak. The purpose of the research is to identify the image features of Ukraine in the symphonic frescos «Taras Bulba» by S. P. Turnieiev in accordance with the specific embodiment of civic lyrics in the work. Methods. The epic drama «Taras Bulba» by L. Toma (after M. Hohol), for the performance of which S. P. Turnieiev wrote music and afterwards created symphonic frescos, is a dialogue in the ‘Great Time’ (Bakhtin’s concept). The proposed symphonic work reflects the national world picture. Therefore, the author of the article refers to the scientific model of I. Romaniuk, adapting it to the character of the musical piece. The latter represents the principle of the Synthesis of the Arts at the newest stage of cultural development. Results. The principle of picturesque in S. Turnieiev’s Symphonic Frescos joins reception of picturesque as a phenomenon and as a concept and manifests itself in different semantic connotations; 1) picturesque as an artifact of fine art (through the fresco of the Virgin, the visual series of the peice); 2) picturesque as an attribute of the performance (through the connection with the music for the drama performance); 3) the picturesque principle as a factor of establishing links between the visual and other types of art (through the poetic word and visual series expressed in music); 4) the picturesque principle of thinking and composition implemented in the epic symphony (interaction of “narration” and show) is implicitly present in the symphonic frescos; 5) the picture of the world in accordance with the definition of I. Romaniuk, who defines this concept in the chosen discourse. S. Turnieiev’s work is interpreted in the cultural context of the «Great Time». The development of culture is possible due to the continuity, which I. Romaniuk considers as a «criterion of the Ukrainian world picture». The formation of continuity in the perception of the national world picture by different generations of the Ukrainians (I. Romaniuk ‘s concept) is carried out through dialogue in the «Great Time» owing to the «Great Memory» of the people of Ukraine (Bakhtin’s concept). The image of Ukraine unites the perception of the homeland from two points of view: emotional and sensual, on the one hand, and social – as an awareness of the existential realities of the Ukrainians with their value assessments of everyday life and the inner entity of a person, on the other hand. Timpani (tulumbas) used to be an irreplaceable attribute of the Cossack’s troops. S. P. Turnieiev’s statement that the hero of the work is the Cossacks with Taras Bulba as one of them implies the personification of the protagonist by the timbre of the timpani. On the other hand, at a more generalized level of personalization, the role of the timpani can be defined as a symbolic embodiment of the whole Cossacks, rather than an individual representative. Conclusions. Thus, the picturesque in the analyzed work is manifested through the innovative embodiment of the concept of artistic synthesis and reproduction of the mental picture of the world. The latter is determined by the continuity of the Ukrainian cultural paradigm, its values and spiritual landmarks and at the same time it resonates with the civil lyrics of L. van Beethoven. The principle of show, illustration of the poetic word by music, is combined in S. Turnieiev’s work with a symphonic generalization, due to which the piece is perceived as akin to Beethoven’s concepts. The connection with the music for drama performance, which was the basis for the creation of the symphonic frescos, is maintained through thinking in pictures which make up the stage process. The work presents the sound images of percussion instruments extensively. In particular, the timpani play a meaningful conceptual role as expression of personification – the Cossacks as a community, on the one hand, and Taras Bulba as a victorious warrior, the protagonist of symphonic frescos, on the other hand. As a research prospect, the author of the article offers further investigation of the sound images of percussion instruments (in expressive and conceptual terms) in the works of modern Ukrainian composers.
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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy." European Journal of Social Science Education and Research 5, no. 3 (2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.
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Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.
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Đorđević, Jovana. "Studentsko planiranje situacija učenja likovnog vaspitanja: uticaj tematskog okvira na ispravnost definisanja likovnog problema i likovne teme za likovnu aktivnost." Узданица 18, no. 1 (2021): 287–301. http://dx.doi.org/10.46793/uzdanica18.1.287dj.
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This paper presents the results of an action pedagogical research, conducted within the course Methodical practicum of teaching art with students, future preschool teachers, at the Faculty of Education in Jagodina. The aim of the research is to enhance pedagogical practice regarding practical preparation of students for planning and performing art activities with preschool children. The main focus was on students’ compe- tencies for defining art theme and pedagogical art problem of the activity. The research was based on the assumption that students find it difficult to imagine and extract an art theme from the generalized thematic scope, given by preschool teachers ‒ mentors. By changing this variable, the research tested correctness of the assumption by analyzing quality and correctness of students’ work developed on the basis of art-themed scope, instead of generalized ones. The research took three months of the fall semester in 2020/2021 and included 73 students’ written plans for art activities. Based on this sample, supported with an additional survey students took part in, the analysis resulted in conclusion that imply different factors affecting students’ efficiency regarding their work within Methodical practicum of teaching art course, but evidently supporting primary thesis that art-themed scope of tasks results with significant number of correctly defined art activity themes and problems. The results of the research can be utilized in order to reevaluate and improve methods and approaches to developing students’ competencies to work in the field of art educa- tion with preschool children efficiently by understanding difficult points in students’ learning proces
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Lê, David. "The End of Art and the Non-End of Religion: Hegel on Aesthetics and Religion." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 26, no. 2 (2019): 1–25. http://dx.doi.org/10.1515/znth-2019-0013.
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Abstract While Hegel’s infamous “end of art” thesis states that art is “for us, a thing of the past” he insists that philosophy and, to a degree that is often underestimated by contemporary readers, religion endure within the structure of modern life. In this paper I aim to demonstrate how by focusing on Hegel’s claim that religion meets no end, we can come to a better understanding of how and why he thinks art does end. This will lead us away from common, but false, picture of Hegel as being indifferent (or even hostile) to art’s sensuous mode of intelligibility. Inasmuch as religion remains both necessarily sensuous and a component of social life that realizes freedom and divinity within modernity, the “problem” with art cannot be its sensuousness per se. What art ultimately finds itself unable to do, and what religion can do, is find a way to reconcile the destabilizing force of individual, subjective freedom with a jointly-held representation of who and what we are and what we value most, what Hegel calls “divinity” (das Göttliche). By countenancing the vital role of religion in Hegel’s thought, we can therefore better understand one of his most famous, and least understood philosophical claims.
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García-Buades, M. Esther, José M. Peiró, María Isabel Montañez-Juan, Malgorzata W. Kozusznik, and Silvia Ortiz-Bonnín. "Happy-Productive Teams and Work Units: A Systematic Review of the ‘Happy-Productive Worker Thesis’." International Journal of Environmental Research and Public Health 17, no. 1 (2019): 69. http://dx.doi.org/10.3390/ijerph17010069.
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The happy-productive worker thesis (HPWT) assumes that happy employees perform better. Given the relevance of teams and work-units in organizations, our aim is to analyze the state of the art on happy-productive work-units (HPWU) through a systematic review and integrate existing research on different collective well-being constructs and collective performance. Research on HPWU (30 studies, 2001–2018) has developed through different constructs of well-being (hedonic: team satisfaction, group affect; and eudaimonic: team engagement) and diverse operationalizations of performance (self-rated team performance, leader-rated team performance, customers’ satisfaction, and objective indicators), thus creating a disintegrated body of knowledge about HPWU. The theoretical frameworks to explain the HPWU relationship are attitude–behavior models, broaden-and-build theory, and the job-demands-resources model. Research models include a variety of antecedents, mediators, and moderating third variables. Most studies are cross-sectional, all propose a causal happy–productive relationship (not the reverse), and generally find positive significant relationships. Scarce but interesting time-lagged evidence supports a causal chain in which collective well-being leads to team performance (organizational citizenship behavior or team creativity), which then leads to objective work-unit performance. To conclude, we identify common issues and challenges across the studies on HPWU, and set out an agenda for future research.
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Mkhitarian, Liudmyla, and Tetyana Kresan. "Some aspects of translating abstracts of research art papers into English." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 30–36. http://dx.doi.org/10.33838/naoma.29.2020.30-36.
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English has become increasingly important for academic communication across the globe. Translating abstracts is among the necessary requirements for research papers as well as for theses and dissertations. Although Fundamentals of Translation are included into the curriculum of the Academy of Fine Arts and Architecture, the students still face difficulties while translating their abstracts. Making mistakes in scientific papers may result in decreased comprehension or even misinterpretation. Thus, this study’s objective was to reveal common mistakes and to suggest relevant translation models. For this purpose, some examples of English academic art writing were studied and the analysis of Ukrainian writers’ abstracts was conducted. The analysis of the ab- stracts revealed the most common grammar and vocabulary mistakes, which are mainly caused by differences between Ukrainian and English grammar, as well as by ignoring polysemy, poor understanding of context and «translator’s false friends». The article also provides a table of Ukrainian — English equivalents common in academic art writing. This study’s results can be used as the Academy’s curriculum supplement and may be of interest for both students and professors.
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Seloni, Lisya. "“I’m an artist and a scholar who is trying to find a middle point”: A textographic analysis of a Colombian art historian's thesis writing." Journal of Second Language Writing 25 (September 2014): 79–99. http://dx.doi.org/10.1016/j.jslw.2014.06.001.
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Mc Loughlin, Santiago, Uriel Fraidenraij, and Adrián O. Álvarez. "Programas de Optimización Perioperatoria, Enhanced Recovery y Fast-track: ¿Por qué están en auge? ¿Qué son realmente y cómo se implementan en la práctica?" Revista Argentina de Cirugía 113, no. 2 (2021): 159–68. http://dx.doi.org/10.25132/raac.v113.n2.eras02mcs.ei.
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From 2015 to date, the authors of this review have implemented several enhanced recovery periope- rative programs in Latin America. In the following article, we present a general introduction to the con- cepts of perioperative optimization and summarize our experience working in the region. Throughout this review, readers will also find the three fundamental elements of perioperative optimization. First, the creation and roles of a perioperative team. Second, the systematic and standardized registration of the surgical practice and its outcomes. And finally, the description of the continuous improvement cycle as a working method for adjusting daily practice based on the analysis of one’s own data.
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Srebnik, Anita. "Theo van Doesburg, Vladimir Tatlin en de constructivistische reis naar de vierde dimensie." Neerlandica Wratislaviensia 28 (June 26, 2019): 183–202. http://dx.doi.org/10.19195/0860-0716.28.14.
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Theo van Doesburg, Vladimir Tatlin and the constructivist journey to the fourth dimension The magazine De Stijl is considered a constructivist magazine with Theo van Doesburg at its centre, especially among writers. This article tries to find an answer to the question: which characteristics in van Doesburg’s poetry make him a literary constructivist, taking into account the premises of the original constructivism as it emerged in pre-revolutionary Russia at the beginning of the 20th century. This is done by analysing his poem entitled X-Beelden 1920 which could come close to constructivism. First, there follows a brief outline of some essential features of a constructivist work of art, explained by presenting an example from architecture, which at the time was considered the most important art also for literary constructivists. This idea was inspired by the non-Euclidean geometry and the theory of relativity. The new concept of time and space developed at the beginning of the 20th century was adopted by many artists, among them van Doesburg. Although he often reflected upon it in his programmatic essays, not enough evidence was found to prove the thesis that his poem X-Beelden 1920 could be constructivist and that the fourth dimension would find its way into his literary practice.
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Tsompanaki, Eleni. "A Comparative Study about Dance within Tertiary Education in England and in Greece." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 171–80. http://dx.doi.org/10.1017/s2049125500001060.
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Acknowledging the value of dance within education and as an art, this study examines teaching and learning experiences and their effect in the status and ethos of dance. The main focus of this study was to examine dance education and training in tertiary education (further and higher) in England and in Greece. The aim was to find similarities and differences in teachers' approaches in order to improve understanding of what affects students' learning experiences and future choices. Methodology is based on a comparative study, predominately qualitative, that focuses on individuals' experiences. The methods used were documentations, interviews, observations, and questionnaires from people who experience and teach dance within further education dance institutions. This study is part of a Ph.D. thesis.
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Lyu, Yin, Xue Yang, and Jiang Yao. "Comprehensive Evaluation and Analysis of Teaching and Research Performance of Art Majors." International Journal of Emerging Technologies in Learning (iJET) 15, no. 20 (2020): 241. http://dx.doi.org/10.3991/ijet.v15i20.17425.
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The growing popularity of art majors is overshadowed by the difficulty for art graduates to find a decent job. The teaching and research (T&R) performance of art majors should be evaluated comprehensively, such as to optimize resource allocation and improve teaching quality. Based on performance evaluation theory and input-output theory, this paper summarizes the features, problems and problem causes of performance evaluation for art majors. From the dimensions of teaching and research, a comprehensive index system was designed for T&R performance evaluation of art majors. On this basis, a performance evaluation model was constructed for art majors through principal component analysis (PCA). Finally, single-factor evaluation and comprehensive evaluation were conducted by our model on the T&R performance of the school of art design and school of industrial design in a university. The results show that: The performance evaluation of art majors is a small-scale yet complex and professional task, but the current evaluation methods lack sufficient attention, professionality, and targeted indices. The school of art design had a slightly higher ratio of excellent theses than the school of industrial design, reflecting the difference between the two schools in teaching results and quality. The school of industrial design invested much more than the school of art design. Both schools had improved the T&R outputs and comprehensive performance score since 2011, and the school of industrial design made the greater improvement in the comprehensive performance score. The research sheds new light on comprehensive evaluation of T&R performance in art majors.
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Falque, Emmanuel. "The Hidden Source of Hermeneutics: The Art of Reading in Hugh of St. Victor." Journal of French and Francophone Philosophy 25, no. 1 (2017): 121–31. http://dx.doi.org/10.5195/jffp.2017.798.
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It might be surprising to find in a journal of contemporary philosophy a text that is mostly about Hugh of St. Victor (1096-1141). The hermeneutic question, however, did not begin only yesterday. While this question has its actual sources in Origen (concerning the meaning of Scripture) and Saint Augustine (the firmament of Scripture), it is in the Didascalicon or The Art of Reading by Hugh of St. Victor that it first finds its clearest formulation and its most methodical development. This “hidden source of hermeneutics” allows for a questioning of the foundations of the hermeneutics of the text from its outset (in weighing the short route versus the long route), and also for a return of hermeneutics, or better to turn it, to its primordial origin: a hermeneutics of the “world” or of “creation” [liber mundi], rather than of the “text” and of “Scripture” [liber Scripturae]. A “Catholic” hermeneutics of “the body and the voice” should, in my opinion, take the place of the “Protestant” hermeneutics of “the meaning of the text” (Ricœur) and the “Jewish” hermeneutics of the “body of the letter” (Levinas). This thesis, which is stated and developed in my book Crossing the Rubicon, has its roots and justification in this historical essay on Hugh of St. Victor.
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Okorokov, Konstantin, and Elena Perevodchikova. "The 2013 Finds in the Context of the Animal Style of the Kurgan 1 of the Necropolis Filippovka 1." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 1 (July 2020): 28–45. http://dx.doi.org/10.15688/nav.jvolsu.2020.1.2.
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The article deals with the specimens of Scythian Animal Style found in 2013 during supplementary excavation of the kurgan 1 of the necropolis Filippovka 1 (previously it was called the 1st Filippovka kurgan) in 2013. The specimens of the Scythian Animal Style analyzed were found in a new excavated burial 2. There were found golden plaques of wooden vessels with zoomorphic handles, silver mirror with gilded handle. There are images of animals on the golden plaques for a dress, some pendants and finger rings. The works of Art described show many stylistic parallels with the specimens of the Animal Style previously found in the mound. Comparing the items we have found some specific features of Scythian Animal Style of the 1st Filippovka kurgan. Among new finds we see also unique ones. In recent years the figures of deer embroidered on sleeves of the dress were found by V.E. Tregubov and K.S. Okorokov. We present the first publication of the research results by K.S. Okorokov reconstructed these figures of deer. These figures also find stylistic parallels with the works of Art of the 1st Filippovka kurgan. Some works of Achaemenid Art contain elements of Scythian Animal Style. The Style of these items also shows some characteristics specific for Scythian Animal Style of the kurgan 1 of the necropolis Filippovka 1. Basing on this we can suggest they were made by Achaemenid craftsmen by order from Filippovka nomads. Our work confirms the thesis of stylistic unity of the works of Art found in the 1st Filippovka kurgan.
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Airini Batubara, Sonya. "Tinjauan Yuridis Terhadap Tindak Pidana Kepemilikan Senjata Api Tanpa Hak Oleh Masyarakat Sipil (Putusan Nomor : 79/PID.B/2016/PN.BLG)." Jurnal Hukum Kaidah: Media Komunikasi dan Informasi Hukum dan Masyarakat 18, no. 3 (2019): 40–58. http://dx.doi.org/10.30743/jhk.v18i3.1186.
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This study aims to find out how the criminal liability for abuse of firearms is. This study applies normative research method in which the research is conducted based on reading materials such as books, literature and legislation relating to the material to be discussed in this thesis. From the results of the study, it can be concluded that the act of abuse of firearms is that it has become a lifestyle, and causes a sense of self security because of the increasingly widespread circulation of illegal firearms in Indonesia. But the security of our society can actually be disrupted if they are unable to hold back their emotions and are less responsible. Keywords: Abuse, Firearms, Civil Society
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Oliva Mendoza, Carlos. "La permanencia del pasado: lo clásico en el tiempo." Theoría. Revista del Colegio de Filosofía, no. 7 (December 1, 1998): 79–98. http://dx.doi.org/10.22201/ffyl.16656415p.1998.7.211.
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The idea behind this text is to exhibit some of the characteristics of a form of actualization of the past; more precisely, the movement of the Classic in history. Following Gadamer on the role of tradition as an element of understanding and the configuration of the present, as well as Hegel's model of the Classic in the development of art and aesthetics, the paper claims that there is a movement in the constitution of the classic, through which the past remains by itself summoning the present. Thus, the past remains through its own beliefs and forms of representation. This thesis postulates a criticism of the omnipotence of Enlightenment and some of its immediate discourses: the configuration of the truth as objective knowledge; the unidimensional method; the constitution of determined historical subjects as the only authorities over the configuration of the world. The abovementioned thesis is sustained by a study of the characteristics of the culmination of the Classic. The central point is an attempt to demonstrate that while modern philosophical discourse historizes certain categories as simple descriptive elements of the past, a second argument, based on a proposal which always attempts to find the interpretive aperture, should discover the normative validity in esthetic categories of the present reality. In this view, the past interprets and transmits itself as Classic in the present and future perspectives. Hence, tradition —in its classic form— brings configurations into the present which constitute themselves in real life, while theoretical and methodological criticism on many occasions do not take them into account, but rather avoid or belittle them.
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Schafer, Josephine Gatti, and Caleb T. Gallemore. "Biases in multicriteria decision analysis: The case of environmental planning in Southern Nevada." Environment and Planning C: Government and Policy 34, no. 8 (2016): 1652–75. http://dx.doi.org/10.1177/0263774x16629675.
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Multicriteria decision analysis is a decision support aid touted for its ability to help participants overcome bias and make holistic assessments. However, few offer empirical tests of this thesis. This research examines the use of multicriteria decision analysis to implement the Southern Nevada Public Lands Management Act. The Act called upon federal, regional, and local agencies to develop a connected system of parks, trails, and natural areas throughout Nevada. The partners used multicriteria decision analysis to make decisions about which parks, trails, and natural areas projects to fund. We assess the extent of political and cognitive biases among the participants when using the multicriteria decision analysis process. We find no strong evidence of strategic behavior, a finding that highlights many of the celebratory claims made about multicriteria decision analysis. However, we also note a preference for projects adjacent to high-income areas as well as the presence of cognitive biases in the assignment of scores to projects.
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Marin, Francesca. "Il fine vita e l’attribuzione di responsabilità morale / The end of life and the ascription of responsibility." Medicina e Morale 66, no. 5 (2017): 617–32. http://dx.doi.org/10.4081/mem.2017.510.
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L’odierno dibattito bioetico sulle questioni del fine vita sembra ancora caratterizzato da alcuni nodi problematici in merito alla responsabilità morale. Per esempio, certi approcci di stampo utilitaristico conferiscono a un medico che pratica l’eutanasia la medesima responsabilità morale attribuibile a chi non avvia o sospende dei trattamenti di sostegno vitale. Chiamiamo questo come l’argomento della “sempre uguale responsabilità”. La prospettiva opposta alla precedente riguardo all’attribuzione di responsabilità ritiene invece che vi sia una differenza morale assoluta tra uccidere e lasciar morire. Si definisca tale tesi nei seguenti termini: “mai la medesima responsabilità”. Dopo aver sottolineato come l’argomento della “sempre uguale responsabilità” equipari erroneamente all’eutanasia il non avvio o la sospensione dei trattamenti, l’articolo evidenzia le implicazioni sull’attribuzione di responsabilità derivanti sia dal rifiuto sia dalla difesa incondizionata della distinzione uccidere/lasciar morire. Nello specifico, mentre la tesi della “sempre uguale responsabilità” conduce a un’iper-responsabilizzazione del medico, l’altro argomento (“mai la medesima responsabilità”) ottiene l’effetto opposto, cioè de-responsabilizza l’agente morale. Richiamando altre distinzioni morali, il paper suggerisce quindi un approccio intermedio che distingue da un lato la causa dalle condizioni, dall’altro i doveri negativi da quelli positivi. Infine, attraverso la distinzione tra lasciar morire colpevole e lasciar morire per il bene del paziente, si rileva come in alcuni casi il lasciar morire sia moralmente equiparabile all’uccidere. Di conseguenza, affrontare le questioni del fine vita per attribuire la responsabilità significa confrontarsi con la complessità dell’agire morale, ma, per evitare approcci riduttivi, è necessario mantenere tutte le distinzioni appena menzionate. ---------- Nowadays the bioethical debate on end-of-life issues seems to still be characterized by some problematic interpretations of moral responsibility. For example, within certain utilitarian approaches, the same moral responsibility is ascribed to a physician who practices euthanasia and to another who withholds or withdraws life-sustaining treatments. Let’s call this point of view “the always equal argument”. An opposite approach to the ascription of responsibility emerges from the thesis that there is an absolute moral distinction between killing and letting die. Let’s call this thesis “the never equal argument”. After showing that the always equal argument erroneously describes the act of withholding or withdrawing treatments such as euthanasia, the paper addresses the implications that both a rejection and an unconditional defense of the killing/letting distinction could have in the ascription of responsibility. To specify, it is argued that while the always equal argument calls for an over-responsibility of the physician, the never equal argument leads the agent to take less responsibility for his actions. By referring to other moral distinctions, the paper then suggests an intermediate position that addresses the relevance of the distinctions between cause and conditions and between negative and positive duties. Finally, by the distinction between morally culpable letting die and letting die for the patient’s good, it is argued that in some cases letting die is morally equivalent to killing. Ascribing responsibility at the end of life thus means struggling with the complexity of moral acting, but maintaining all these distinctions is necessary to avoid reductive approaches.
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Siahaan, Sabrina, Sonya Airini Batubara, and Noel Yoga Panggabean. "Tindak Pidana Peredaran Pemalsuan Obat Berdasarkan Undang-Undang Nomor 36 Tahun 2009 tentang Kesehatan." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 1 (2020): 252–59. http://dx.doi.org/10.34007/jehss.v3i1.221.
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The purpose of this research is to find out about the Regulations for the Crime of Drug Counterfeiting According to Law Number 36 Year 2009 concerning Health, How is the Responsibility for the Crime of Drug Counterfeiting According to the Criminal Code and Law Number 36 Year 2009 Regarding Health and Obstacles That Become BPOM's Obstacles in Handling Drug Counterfeiting Crime. Methods This type of research in writing this thesis uses normative juridical research. The data of this study are secondary data, the collection technique is aligned with the nature of the research. The nature of the research is normative legal research and research is analyzed qualitatively, meaning that the existing data is analyzed in depth, holistically and comprehensively. The conclusion of this research is that the regulation regarding the criminal act of drug counterfeiting in the Indonesian Criminal Code Article 386 Paragraph (1) is prohibited from selling, offering or delivering drugs known to be counterfeited, with a maximum imprisonment of 4 (four) years. Law Number 36 Year 2009 Concerning Health, namely Article 196, Article 197, Article 198, Article 199, Article 201. Law Number 36 Year 2009 Concerning Health, criminal responsibility lies with the individual or the person, the criminal responsibility is given to the form of a fine 3 ( three) times the penalty is imposed, as well as additional penalties in the form of administrative sanctions. The constraints faced are the intensity of supervision, lack of compliance with procedure requirements, limited human resources, limited laboratory testing equipment.
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Kowalczyk, Marcin. "Mózg jako nowy wszechświat – wokół Incepcji Christophera Nolana." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 207–20. http://dx.doi.org/10.14746/i.2020.37.12.
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 The article shows the growing interest of science fiction cinema in the human brain and related concepts, such as mind or consciousness. Nowadays, when distant space travel seems unreachable, artists find the exploration potential of the brain very promising. Thus, the main thesis of this analysis says that the brain has become for science fiction cinema the new universe. An excellent example of this paradigm shift is Inception (dir. Christopher Nolan, 2010). In the movie, the mind is depicted as a physical and accessible place, where we can find a lot of mysteries to solve. The characters travel to the deepest parts of subconsciousness because the processes inside the brain are the key to understanding and changing the real world. The article also shows how the director uses the achievements of science fiction cinema and, at the same time, that he postulates a new way of considering the issues relevant to modern neuroscience.
 
 
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Kennedy, A. G. "Disputes about bocland: the forum for their adjudication." Anglo-Saxon England 14 (December 1985): 175–95. http://dx.doi.org/10.1017/s0263675100001332.
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It is my purpose in this article to discuss one aspect of land tenure in Anglo-Saxon England. For good reason there has been little enduring agreement among scholars on fundamental tenurial questions, and opinion on issues of interest to legal historians has tended to be cyclical. There are no contemporary manuals on land law, and as legal documents the primary sources are intractable and opaque. It is hardly surprising, therefore, that scholars have held and continue to hold divergent views about the essential incidents that attached to bocland and folcland, the two types of tenure that are usually taken to be comprehensive of all independent landholding in the Anglo-Saxon kingdoms after the introduction of written title in the seventh century. At present the most popular explanations of these tenures derive in essence from the thesis set out by Sir Paul Vinogradoff nearly a hundred years ago. Vinogradoff argued that folcland was so called because it was subject to folcriht, the general communal law of the land, and that bocland was land freed by the royal act embodied in the diploma (OE boc) from the constraints and burdens which folcriht imposed. The diploma was thus a kind of private statute in favour of the grantee. The thesis has its difficulties, and few have accepted it without reservation, but alternative views have similarly failed to find wholehearted support.
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Antosa, Zariul. "PENDEKATAN KEARIFAN LOKAL UNTUK MENINGKATKAN KEMAMPUAN APRESIASI SENI MAHASISWA PGSD FKIP UNIVERSITAS RIAU." Journal of Education Research and Evaluation 1, no. 4 (2017): 241. http://dx.doi.org/10.23887/jere.v1i4.12252.
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The problem inthis studyis the lack ofability to appreciate the art work on PGSD FKIP-UR students who can be seen insymptoms symptoms of inability to distinguish works of craft and art works, the low ability students explain the function and meaning of craft objects in public life in accordance with the local culture local. Lack of student awards both morally and materially to the creation of creative crafts. lack of abilityin the understanding of concepts, reasoning, and problem solving, artcrafts. Based on the problems it is necessary to find away to solve the problem. Among themis to change the methods of teaching. For that in this study the researcher will apply local knowledge in the learning approach. This research was conductedasa classaction two cycles each cycleconsisted of two meetings. The application of local wisdom approach in volvesa conscious effort to engage students actively and creatively. Subjects in this study were students PGSD FKIP-UR fourth semester. Research data collection instruments consisted of observation activity sheets and sheets of faculty and students to replay the end of thetest cycle. The study was a classroom action research (CAR), this study aims to increase art appreciation fourth semester students PGSDFKIP-UR. The results of this study indicate that the application of local wisdom approach can improve student art appreciation PGSD FKIP-UR, with the average value of the initial value of 58.41 into a 84.75 in the second cycle. The average value of faculty activity also increased from an average of68.15 into 94.75. Student Activities also increased from an average of 63.24% in the first cycle to 89.80%. Thus,the research hypothesis when applied local wisdom, the ability to approa chart appreciation PGSD FKIP-UR students increased, proven
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Butnaru, Andrei-Mădălin. "Machine learning applied in natural language processing." ACM SIGIR Forum 54, no. 1 (2020): 1–3. http://dx.doi.org/10.1145/3451964.3451979.
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Machine Learning is present in our lives now more than ever. One of the most researched areas in machine learning is focused on creating systems that are able to understand natural language. Natural language processing is a broad domain, having a vast number of applications with a significant impact in society. In our current era, we rely on tools that can ease our lives. We can search through thousands of documents to find something that we need, but this can take a lot of time. Having a system that can understand a simple query and return only relevant documents is more efficient. Although current approaches are well capable of understanding natural language, there is still space for improvement. This thesis studies multiple natural language processing tasks, presenting approaches on applications such as information retrieval, polarity detection, dialect identification [Butnaru and Ionescu, 2018], automatic essay scoring [Cozma et al., 2018], and methods that can help other systems to understand documents better. Part of the described approaches from this thesis are employing kernel methods, especially string kernels. A method based on string kernels that can determine in what dialect a document is written is presented in this thesis. The approach is treating texts at the character level, extracting features in the form of p -grams of characters, and combining several kernels, including presence bits kernel and intersection kernel. Kernel methods are also presented as a solution for defining the complexity of a specific word. By combining multiple low-level features and high-level semantic features, the approach can find if a non-native speaker of a language can see a word as complicated or not. With one focus on string kernels, this thesis proposes two transductive methods that can improve the results obtained by employing string kernels. One approach suggests using the pairwise string kernel similarities between samples from the training and test sets as features. The other method defines a simple self-training algorithm composed of two iterations. As usual, a classifier is trained over the training data, then is it used to predict the labels of the test samples. In the second iteration, the algorithm adds a predefined number of test samples to the training set for another round of training. These two transductive methods work by adapting the learning method to the test set. A novel cross-dialectal corpus is shown in this thesis. The Moldavian versus Romanian Corpus (MOROCO) [Butnaru and Ionescu, 2019a] contains over 30.000 samples collected from the news domain, split across six categories. Several studies can be employed over this corpus such as binary classification between Romanian and Moldavian samples, intra-dialect multi-class categorization by topic, and cross-dialect multi-class classification by topic. Two baseline approaches are presented for this collection of texts. One method is based on a simple string kernel model. The second approach consists of a character-level deep neural network, which includes several Squeeze-and-Excitation Blocks (SE-blocks). As known at this moment, this is the first time when a SE-block is employed in a natural language processing context. This thesis also presents a method for German Dialect Identification composed on a voting scheme that combines a Character-level Convolutional Neural Network, a Long Short-Term Memory Network, and a model based on String Kernels. Word sense disambiguation is still one of the challenges of the NLP domain. In this context, this thesis tackles this challenge and presents a novel disambiguation algorithm, known as ShowtgunWSD [Butnaru and Ionescu, 2019b]. By treating the global disambiguation problem as multiple local disambiguation problems, ShotgunWSD is capable of determining the sense of the words in an unsupervised and deterministic way, using WordNet as a resource. For this method to work, three functions that can compute the similarity between two words senses are defined. The disambiguation algorithm works as follows. The document is split into multiple windows of words of a specific size for each window. After that, a brute-force algorithm that computes every combination of senses for each word within that window is employed. For every window combination, a score is calculated using one of the three similarity functions. The last step merges the windows using a prefix and suffix matching to form more significant and relevant windows. In the end, the formed windows are ranked by the length and score, and the top ones, based on a voting scheme, will determine the sense for each word. Documents can contain a variable number of words, therefore employing them in machine learning may be hard at times. This thesis presents two novel approaches [Ionescu and Butnaru, 2019] that can represent documents using a finite number of features. Both methods are inspired by computer vision, and they work by first transforming the words within documents to a word representation, such as word2vec. Having words represented in this way, a k-means clustering algorithm can be applied over the words. The centroids of the formed clusters are gathered into a vocabulary. Each word from a document is then represented by the closest centroid from the previously formed vocabulary. To this point, both methods share the same steps. One approach is designed to compute the final representation of a document by calculating the frequency of each centroid found inside it. This method is named Bag of Super Word Embeddings (BOSWE) because each centroid can be viewed as a super word. The second approach presented in this thesis, known as Vector of Locally-Aggregated Word Embeddings (VLAWE), computes the document representation by accumulating the differences between each centroid and each word vector associated with the respective centroid. This thesis also describes a new way to score essays automatically by combining a low-level string kernel model with a high-level semantic feature representation, namely the BOSWE representation. The methods described in this thesis exhibit state-of-the-art performance levels over multiple tasks. One fact to support this claim is that the string kernel method employed for Arabic Dialect Identification obtained the first place, two years in a row at the Fourth and Fifth Workshop on NLP for Similar Languages, Varieties, and Dialects (VarDial). The same string kernel model obtained the fifth place at the German Dialect Identification Closed Shared Task at VarDial Workshop of EACL 2017. Second of all, the Complex Word Identification model scored a third-place at the CWI Shared Task of the BEA-13 of NAACL 2018. Third of all, it is worth to mention that the ShotgunWSD algorithm surpassed the MCS baseline on several datasets. Lastly, the model that combines string kernel and bag of super word embeddings obtained state-of-the-art performance over the Automated Student Assessment Prize dataset.
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Almughni, Opel, Edward Edward, and Mohammad Fauzi. "Breadwinner’s Propaganda within the English Foreign Movie’s Depiction of Middle-East." Elsya : Journal of English Language Studies 2, no. 2 (2020): 30–34. http://dx.doi.org/10.31849/elsya.v2i2.4929.
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Film is one of media products whose development as art product that have free-expression, it is also one of the mainstream media. The presence of a film provides its own color in other media mass competition to benefit for many people. This study deals with an analysis of propaganda by film techniques used in The Breadwinner film. The purpose of this study is to find out the types, the meanings and the functions of Propaganda used in The Breadwinner film. The data are taken from the script of The Breadwinner, Angelina Jolie as A Producer released on 8th September 2017 and directed by Nora Twomey. The data analysing technique used in this study is descriptive qualitative research with a document or content analysis as the research type. This thesis categorizes and analyses of Propaganda that found in The Breadwinner film. From the analysis, there are 7 types of propaganda by film techniques, this study focused on analysing in Glittering generalities techniques. The findings show that there is some propaganda that used in The breadwinner that had been analysed into functions propaganda especially glittering generalities.
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Kołtan, Jacek, and Anna Sobecka. "Martwa natura Philippa Sauerlanda i narodziny nowoczesnej podmiotowości." Porta Aurea, no. 19 (December 22, 2020): 96–113. http://dx.doi.org/10.26881/porta.2020.19.04.
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The Allegory of Transience by Philipp Sauerland (Gdańsk 1677 – Wrocław 1762), an artist specializing in still life and animal painting, was purchased in 2015 by the National Museum in Gdańsk. The painting allows us to deepen our knowledge of Sauerland’s artistic roots, as well as the interpretation of the painting in the socio-cultural context of the development of Europe in the early 18th century.
 In the paper a thesis is put forward about the Leiden sources of Sauerland’s work, which are connected with the painting tradition of the so-called fijnschilders, especially the work of Willem van Mieris. In the first decade of the 18th century, Sauerland painted The Young Woman in the Kitchen Interior, surrounded by perfectly rendered victuals, showing a similar gesture as in the famous painting by Van Mieris The Mouse Trap. In the signed painting from a private collection in New York, Sauerland chose historical themes. He presented a rare scene of David Giving Uriah a Letter to Joab. The painting refers to two famous works by Pieter Lastmann, but it is placed in an architectural set design analogous to Van Mieris’s paintings. An important element of the Allegory of Transience, in turn, is the relief visible by sliding down a carpet. This motif is also taken from the work of Van Mieries, but the iconography of the sculptural representation refers to Gerard de Lairesse’s print showing Chronos prevented by Prudence from destroying the statues. Sauerland is therefore close to the artists from Leiden in terms of the choice of themes, motifs, and the way they are painted. He also usually used a similar format of paintings. Like Van Mieris, the artist from Gdańsk signed his works with longer inscriptions. Although references to the Leydians are obvious in Sauerland’s early works, he does not make copies of their works, but focusing on the still life genre, he transforms them in his own style.
 The second thesis of our essay is related to the transformation of vanitas motifs, which in Sauerland’s work reveal their secularized character. The traditional symbolism of transience, which draws on religion, is replaced by the ideas of rationalism, accompanied by the idea of reason that opens a possibility of overcoming sensual and emotional limitations. The work becomes an expression of emancipatory processes that take place at the turn of the 17th and 18th centuries in European culture. Referring to the philosophical work of Baruch Spinoza (notion of knowledge), we interpret Sauerland’s work as an expression of the emerging modern ideal of freedom, which was based on a rationalistic paradigm. It is thanks to wisdom (sapientia) that the subject is able to transcend the reality of the sensual guise.
 In the last part of the text we point to the important role of practical wisdom (prudentia) and art (ars) in the process of liberalization that accompanied the social changes of the time. Using illusionism, Sauerland proposes an interpretative key to the viewer: the meaning of life is complemented by art: by making art, understanding art, or collecting artworks, the rational man can free himself from the fear of his own finiteness. The function of this still life is not to remind us of death, but to point out that contemplation of art is an intellectual and spiritual exercise that allows us to find the right attitude to life.
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Gibson, Jane. "The Social Construction of Whiteness in Shellcracker Haven, Florida." Human Organization 55, no. 4 (1996): 379–89. http://dx.doi.org/10.17730/humo.55.4.d492q65653237k44.
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This article examines the ways in which socially constructed racial categories are operationalized. It challenges popular and scholarly representations of the meanings of "whiteness" and considers processes of identity formation in the production of white poverty. The primary thesis is that poor whites, exemplified in a case study of Shellcracker Haven, Florida, are racially denigrated in the context of the historically specific, social, political, and economic processes that pauperize them. These processes are necessarily unique because, unlike visible minorities whose distinctive physiognomy facilitates socially constructed differentiation, the distancing and devaluation of poor whites require other tactics. These include construction of stereotyped images, behaviors, and values which create social distance, and "explain" white poverty. A secondary thesis holds that racial denigration of poor whites intensifies racism. Racism acts as a unilateral (and seldom reciprocated) assertion of membership in privileged white society. It also blocks identification with others who, by way of historically specific and parallel paths, also find themselves poor and disenfranchised. By promoting racism aimed at non-white social groups, racism aimed at poor whites protects the status quo of the distribution of power and privilege in the U.S.
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Kryeziu, Sazan. "The Unsayable Mystery of the Holy: Hölderlin’s Late Poetry." Ars & Humanitas 13, no. 1 (2019): 318–38. http://dx.doi.org/10.4312/ah.13.1.318-338.
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Being is given many designations in Hölderlin’s poetry, but we will focus on the question of Being as the holy. Being as the holy bespeaks the poet in a message to which he responds by articulating the address in words. Following Heidegger’s thought that poetry (poiesis) is the essence of language and of all arts, and juxtaposing it with Wittgenstein’s view of language, we will find out that to trace the mystery of language back to its origin means placing ourselves outside of the world, passing thus into the realm of silence. Drawing an analogy between Hölderlin’s idea of the holy as the immediate and Wittgenstein’s conception of the mystical, my thesis assumes that language is precisely what poetry cannot name.
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Kryeziu, Sazan. "The Unsayable Mystery of the Holy: Hölderlin’s Late Poetry." Ars & Humanitas 13, no. 1 (2019): 318–38. http://dx.doi.org/10.4312/ars.13.1.318-338.
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Being is given many designations in Hölderlin’s poetry, but we will focus on the question of Being as the holy. Being as the holy bespeaks the poet in a message to which he responds by articulating the address in words. Following Heidegger’s thought that poetry (poiesis) is the essence of language and of all arts, and juxtaposing it with Wittgenstein’s view of language, we will find out that to trace the mystery of language back to its origin means placing ourselves outside of the world, passing thus into the realm of silence. Drawing an analogy between Hölderlin’s idea of the holy as the immediate and Wittgenstein’s conception of the mystical, my thesis assumes that language is precisely what poetry cannot name.