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1
Abreu, José Guilherme, Salomé Carvalho, Rui Bordalo, and Eduarda Vieira. "THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS." ARTis ON, no. 9 (December 26, 2019): 74–85. http://dx.doi.org/10.37935/aion.v0i9.240.
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A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.
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Miralrio, Alan, and Araceli Espinoza Vázquez. "Plant Extracts as Green Corrosion Inhibitors for Different Metal Surfaces and Corrosive Media: A Review." Processes 8, no. 8 (August 6, 2020): 942. http://dx.doi.org/10.3390/pr8080942.
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Natural extracts have been widely used to protect metal materials from corrosion. The efficiency of these extracts as corrosion inhibitors is commonly evaluated through electrochemical tests, which include techniques such as potentiodynamic polarization, electrochemical impedance spectroscopy, and weight loss measurement. The inhibition efficiency of different extract concentrations is a valuable indicator to obtain a clear outlook to choose an extract for a particular purpose. A complementary vision of the effectiveness of green extracts to inhibit the corrosion of metals is obtained by means of surface characterizations; atomic force microscopy, scanning electron microscopy, and X-ray photoelectron spectroscopy analysis are experimental techniques widely used for this purpose. Moreover, theoretical studies are usually addressed to elucidate the nature of the corrosion inhibitor—metal surface interactions. In addition, calculations have been employed to predict how other organic substances behave on metal surfaces and to provide experimental work with fresh proposals. This work reports a broad overview of the current state of the art research on the study of new extracts as corrosion inhibitors on metal surfaces in corrosive media. Most constituents obtained from plant extracts are adsorbed on the metal, following the Langmuir adsorption model. Electron-rich regions and heteroatoms have been found to be responsible for chemisorption on the metal surface, whereas physisorption is due to the polar regions of the inhibitor molecules. The plant extracts compiled in this work obtained corrosion inhibition efficiencies above 60%, most of them around 80–90%. The effect of concentration, extraction solvent, temperature, and immersion time were studied as well. Additional studies regarding plant extracts as corrosion inhibitors on metals are needed to produce solutions for industrial purposes.
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wood, d. "Second Sight: The Art of Joan Steiner." Gastronomica 5, no. 1 (2005): 9–12. http://dx.doi.org/10.1525/gfc.2005.5.1.9.
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Feast for the Eye Joan Steiner has created a series of children’s picture books, entitled Look-Alikes, based on her observations that some objects look like others. Each book consists of about 10 illustrations intended as puzzles; readers are invited to enumerate the substitutions of look-alikes for their real counterparts. A barn, for instance, is a green metal toolbox and its silo is an aerosol can with toy train tracks as its ladder. The high incidence of food and food-related items in her work flaunts our expected purpose for and context of edibles. Steiner’s inventiveness is reminiscent of the Italian mannerist painter Arcimboldo whose portraits also employ food substitutions.
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Phanichphant, Sukon, and Chanitpa Khantha. "Composition of Kaew Angwa by X-Ray Fluorescence Spectroscopy (XRF)." Key Engineering Materials 702 (July 2016): 103–7. http://dx.doi.org/10.4028/www.scientific.net/kem.702.103.
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The ancient glass, “Kaew Angwa” is a kind of materials used in decorative art work with colored glass casted on metal. The common Kaew ANgwa can be found in green, blue, colorless and yellow. Brown and red Kaew Angwa are rather scarce. Thin sheet of colored glass is tightly bonded to the metal which cracks when it is bent but still stays intact. Kaew Angwa can reflect lights to the colors of the colored glasses beautifully. Kaew Angwa can be cut with scissors which make it’s easiness for ornament.In this presentation, composition of Kaew Angwa will be examined by X-Ray Fluorescence Spectroscopy (XRF). The colored glass will be identified and shown that the insertion of transition metals (iron, manganese, and copper) into the crystal structure of silica causes Kaew Angwa to be colored.There is no known method to fabricate Kaew Angwa to be exactly like the ancient one. The results from this work will give the general idea on the composition of colored glasses. Several trials have been performed on how to bond colored glass and metal, for example silver mirroring on cover glass and sealed with epoxy for protection. Further experiments will be performed on thin colored glass
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Sakellariou, Maria, Panagiota Strati, and Polyxeni Mitsi. "Tackling Learning Difficulties With the Art of Dance and Movement in Preschool Age in the Greek School." International Research in Higher Education 5, no. 1 (February 9, 2020): 1. http://dx.doi.org/10.5430/irhe.v5n1p1.
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One of the main problems in the recent years that have been a matter of concern not only to teachers but also to other parties close to school life, is the treatment of children with learning disabilities. These difficulties act as an inhibiting factor in the educational progress of students and can even lead to social problems. This research work deals with the case study of students attending an integration section within a general class and their diagnosis’ states: Mixed Developmental Disorders, Hyperactivity and Dyspraxia of subtle and agile mobility. The survey was conducted in a kindergarten of the Region of Epirus during the school year 2017-2018. Dance, movement, musical and kinetic games as forms of artistic expression according to the New Curriculum of the Kindergarten, were used as tools throughout all of the Cognitive Domains of the programme. Our purpose was the development of corporal consciousness, strengthening self-confidence and self-esteem, preventing and addressing mental, emotional and psychosomatic problems, reducing hyperactivity and dyspraxia of subtle and agile mobility. Through choreographies, musical performances, taking on a role or contacting diverse materials, the pupil is free to express himself/ herself and has the ability and flexibility to move any way he/she desires. Body movement, motion coordination, and body image thematics can help achieve the developmental goals.
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Herlekar, Mihir, Siddhivinayak Barve, and Rakesh Kumar. "Plant-Mediated Green Synthesis of Iron Nanoparticles." Journal of Nanoparticles 2014 (October 2, 2014): 1–9. http://dx.doi.org/10.1155/2014/140614.
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In the recent years, nanotechnology has emerged as a state-of-the-art and cutting edge technology with multifarious applications in a wide array of fields. It is a very broad area comprising of nanomaterials, nanotools, and nanodevices. Amongst nanomaterials, majority of the research has mainly focused on nanoparticles as they can be easily prepared and manipulated. Physical and chemical methods are conventionally used for the synthesis of nanoparticles; however, due to several limitations of these methods, research focus has recently shifted towards the development of clean and eco-friendly synthesis protocols. Magnetic nanoparticles constitute an important class of inorganic nanoparticles, which find applications in different areas by virtue of their several unique properties. Nevertheless, in comparison with biological synthesis protocols for noble metal nanoparticles, limited study has been carried out with respect to biological synthesis of magnetic nanoparticles. This review focuses on various studies outlining the novel routes for biosynthesis of these nanoparticles by plant resources along with outlining the future scope of work in this area.
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Caraiane, Aureliana, Vasilica Toma, Gheorghe Raftu, Mihaela Debita, Alina-Ramona Dimofte, and Cristina Iordache. "Aesthetic Rehabilitation of the Teeth using Single Fixed Prostheses." Revista de Chimie 70, no. 2 (March 15, 2019): 714–17. http://dx.doi.org/10.37358/rc.19.2.6991.
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Dental aesthetics has always been an integral part of practical dentistry despite the fact that only in the last decade it has benefited from an objective critical analysis. Initially, aesthetics is regarded as an art - synonym for subjective, romantic and sentimental sensations. At a time when the basic aesthetic principles were based on Greek and Roman mathematics, the painters studied the aesthetics in order to create the painting, reflected in the depths of our soul. One can have an everlasting discussion about the two facets of dental-scientific and subjective aesthetics. It can be difficult to differentiate dental aesthetics from distinct units because all components are closely interrelated and interdependent. Complete and complex oro-dental treatments should be performed in such a way as to give back the patient both the masticatory functional skills, the feeling of comfort and the aesthetically lost aspect. The general trend in dental medicine focuses on replacing materials that, while meetingfunctional requirements, are not aesthetically pleasing. Thus, new generations of composite materials or integral ceramics take precedence over metal alloys used in dental treatments, from amalgam alloys to metal prosthetic restorations, including even gold ones. The database includes selection, examination and prosthetic resolution of 38 cases in the University of Galati University Prosthetic Clinic in the period 2016-2018. The possibility of creating unidirectional prostheses is a plus in the realization of true to nature works. Prosthetic variants, like dental faces, through which changes in shape, colour and even slight position can be made, with minimal invasiveness, or even non-invasive in the case of no-prep facets are a real advantage to aesthetics. From a biological point of view, the IPS e.max Press ceramic whole system is superior in that it is chemically inert, has a dental-like hardness, therefore it does not produce abrasion, the lack of metal avoids gingival changes colour, galvanic phenomena, and also a possibility of treatment for allergic persons in different components of the metal structure; the biocompatibility of these materials is clearly superior.
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Khartanovich, Margarita F., and Maria V. Khartanovich. "Museum of Classical Archeology of the 19th-century Imperial Academy of Sciences: The history of organizing and transferring collections to the Imperial Hermitage." Issues of Museology 12, no. 1 (2021): 13–27. http://dx.doi.org/10.21638/spbu27.2021.102.
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The Museum of Classical Archeology of the Imperial Academy of Sciences is the successor to the 18th-century Kunstkamera of the Academy of Sciences in term of collections of classical antiquities. This article discusses in detail the stages of development of the Museum of Classical Archaeology as an institution within the structure of the Academy of Sciences through the Cabinet of Medals and Rarities, Numismatic Museum, and the Museum of Classical Archaeology. The fund of the museum consisted of ancient Greek and Roman coins, ancient Russian coins, coins from oriental cultures, ancient Greek vases, antiquities from ornamental stone, glass, precious metals, impressions of medals and coins, items from archaeological excavations and treasures, manuscripts, drawings of objects and photographs. Special attention is paid to the correlation of the possibilities of museum collections of the Academy of Sciences and the Imperial Hermitage in terms of storage, exhibition, research, and promotion of archaeological collections in the second half of the 19th century. The reasons for the very active transfer of the Academy of Sciences’ archaeological collections to the Hermitage in the 19th century and the types of compensation received by the Academy for the collections are discussed. The first archaeological collections donated from the Academy of Sciences to the Hermitage on the initiative of the chairman of the Imperial Archaeological Commission S. G. Stroganov were the “Siberian collection” of Peter I and the Melgunov treasure. The collection of the Museum of Classical Archeology also attracted the attention of art critic I. V. Tsvetaev when arranging funds for the new Museum of Fine Arts at Moscow University. The article introduces into scientific circulation archival documents, showing the state of the museum work in the 19th century in the institution of the Academy of Sciences, documents depicting the structure of the Museum of Classical Archaeology, and the composition of collections.
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Bilal, Muhammad, Shahid Mehmood, Tahir Rasheed, and Hafiz M. N. Iqbal. "Bio-Catalysis and Biomedical Perspectives of Magnetic Nanoparticles as Versatile Carriers." Magnetochemistry 5, no. 3 (July 2, 2019): 42. http://dx.doi.org/10.3390/magnetochemistry5030042.
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In recent years, magnetic nanoparticles (MNPs) have gained increasing attention as versatile carriers because of their unique magnetic properties, biocatalytic functionalities, and capabilities to work at the cellular and molecular level of biological interactions. Moreover, owing to their exceptional functional properties, such as large surface area, large surface-to-volume ratio, and mobility and high mass transference, MNPs have been employed in several applications in different sectors such as supporting matrices for enzymes immobilization and controlled release of drugs in biomedicine. Unlike non-magnetic carriers, MNPs can be easily separated and recovered using an external magnetic field. In addition to their biocompatible microenvironment, the application of MNPs represents a remarkable green chemistry approach. Herein, we focused on state-of-the-art two majorly studied perspectives of MNPs as versatile carriers for (1) matrices for enzymes immobilization, and (2) matrices for controlled drug delivery. Specifically, from the applied perspectives of magnetic nanoparticles, a series of different applications with suitable examples are discussed in detail. The second half is focused on different metal-based magnetic nanoparticles and their exploitation for biomedical purposes.
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Gill, David W. J. "Expressions of wealth: Greek art and society." Antiquity 62, no. 237 (December 1988): 735–43. http://dx.doi.org/10.1017/s0003598x00075189.
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In the 2nd century AD Pausanias (i.2.4-15.1) walked through the agora at Athens describing some of the statues and naming the artists; at least 35 of the statues were of bronze, yet not a single one survives intact today (Mattusch 1982: 8-9). Thinking only of the extant marble sculpture does an injustice to the civic art of Athens. This problem is commonplace; almost any classical site has numerous stone bases for bronze statues which have long gone into the melting-pot. Yet so often in modern scholarship stone sculpture is given a privileged position. Although modern histories of Greek art pay much attention to the marble sculpture of the Parthenon, ancient authorities were not so impressed; Pausanias (i.24.5-7) provides the briefest of descriptions to the marble sculpted pediments and omits to mention the frieze. For many scholars today the frieze has become an example of what ‘unlimited money can do’ (Ashmole 1972: 116), yet, as R. Osborne has recently pointed out, it merely helped the viewer to process to the east end of the temple where he or she would have been confronted by the great chryselephantine cult-statue of Athena: ‘this is what the temple was built to display, this is the object towards which worship is directed, and this is what the procession was all about’ (Osborne 1987: 101). And this is what Pausanias describes in detail, the great work of art and expression of Athens’ wealth which no longer survives.
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Peña Benavente, Karen. "Art Echo: María Zambrano and the Kouroi Relief." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 5 (May 1, 2013): 94. http://dx.doi.org/10.12681/syn.17433.
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The aim of this paper is to examine the role of early Greek thought in the work of María Zambrano, a Spanish critic and philosopher who lived most of her life in exile (1939-1984). Zambrano incorporates Greek concepts into her writing as a means to question conventional Philosophy, not as an aim or télos, but as an uncomfortable dwelling that paradoxically leads into suspension and doubt. Key concepts and artistic figures emerge in her seemingly illogical reasoning (razón poética) such as those arising from her work on the Greek Kouroi. Zambrano refuses fixity in Philosophy, where logic and method can be rigorously apprehended. She gracefully takes another turn: by elucidating ancient wisdom through allusive metaphors and ancient ruins, she resists direct pathways into History and Truth. Her style takes after her thinking and can often meander into the realms of enigma, mysticism, and other unconventional forms of thought such as intuition and dreams.
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Lopes, Antonio Orlando Dourado. "Heracles's weariness and apotheosis in Classical Greek art." Synthesis 25, no. 2 (December 31, 2018): e042. http://dx.doi.org/10.24215/1851779xe042.
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In this paper, I propose a general interpretation of images showing the physical exhaustion and apotheosis of Heracles that were produced during the Classical period. These images appear on or take the form of coins, jewels, vase paintings, and sculptures. Building on the major scholarly work on the subject since the late 19th century, I suggest that the iconography of Heracles shows the influence of new religious and philosophical conceptions of his myth, in particular relating to Pythagoreanism, Orphism, and mystery cults, as well as the intellectual climate of 5th century Athens. Rather than appearing as an example of infinite toil and excess in the manner of earlier literary and iconographic representations, Heracles is presented in the Classical period as a model of virtue and self-restraint and a symbol of the triumph of merit over adversity and divine persecution.
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Kitchell, Kenneth F. "Seeing the Dog: Naturalistic Canine Representations from Greek Art." Arts 9, no. 1 (January 30, 2020): 14. http://dx.doi.org/10.3390/arts9010014.
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This study attempts to demonstrate that ancient Greek authors and vase painters (mostly of the late sixth and early fifth centuries) were well attuned to the many bodily gestures and positions exhibited by dogs in real life and utilized this knowledge in producing their works. Once this is clear, it becomes evident that the Greek public at large was equally aware of such canine bodily gestures and positions. This extends the seminal work on gestures of Boegehold and Lateiner to the animal world and seeks also to serve as a call for further study of similar animals throughout ancient Greek times.
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Kontossi, Sofia. "Transition of Greek art song from the national school to modernism." Muzikologija, no. 8 (2008): 27–44. http://dx.doi.org/10.2298/muz0808027k.
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This study presents the different ways in which two Greek composers, Leonidas Zoras and Jani Christou, viewed modernism. The songs of Zoras are typical example of the gradual withdrawal from the aesthetic framework of the National School which dominated during the first decades of the twentieth century. In contrast, Jani Christou, who spent his childhood in Alexandria and received an exclusively Western-type education, remained untouched by Greek traditional music or the Greek National School. His work was moulded by the ancient Greek philosophical belief in the elation of the listener through the transcendental power of Art. By his Six T. S. Eliot Songs Christou offered some of the best examples of twentieth-century expressionistic vocal music.
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Walshe, Nicola, Elsa Lee, and Millie J. Smith. "Supporting Children’s Well-being with Art in Nature: Artist Pedagogue Perceptions." Journal of Education for Sustainable Development 14, no. 1 (March 2020): 98–112. http://dx.doi.org/10.1177/0973408220930708.
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There is increasing concern about children’s mental well-being and an urgent need for research into how to support positive mental health; including as part of the United Nations Sustainable Development Goals (SDGs). Alongside this is the heightened awareness about diminished access to green spaces and diminished exposure to the arts for children. Our research aims to show the potential for addressing these three issues in tandem through a qualitative case study exploring the work of one charity, Cambridge Curiosity and Imagination (CCI). The charity undertakes arts-based projects in nature with children. In particular, this article considers the implications of CCI artist pedagogues’ perceptions of their nature-based practice for children’s well-being. The research comprised a ‘talk and draw’ focus group followed by individual interviews with CCI artists. Findings show artist pedagogues’ work has the potential to support aspects of children’s well-being through promotion of agency, developing confidence and providing inspiration to support creativity.
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Charles, Freeland. "The Origin of the Work of Art." MANUSYA 4, no. 2 (2001): 40–62. http://dx.doi.org/10.1163/26659077-00402004.
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The following was presented at the Fourth Collegium in the Humanities held at Thammasat University on January 4 and 5, 2001. The paper is intended as an introduction to Heidegger’s important essay, "The Origin of the Work of Art". In the course of the paper, I discuss the following themes:Heidegger’s questioning of the concept of truth in terms of Aletheia, the self disclosing and concealing of Being, as the setting for a radical revaluation of techne, (the Greek word for art, as a practical, productive knowledge (Wissen)), in which techne will now be conceived as not only a way of kno wing that stands alongside theoria, but even more, as a decisive site for the disclosure of Being. The actuality of art, its "thingly" character, will not be seen as a static object, therefore, but as energeia, activity or "being-at-work". Techne will be thought as event, an event of Being, the site for the happening of Truth (Aletheia) This culminates in Heidegger’s delimitation, or definition, of art as the site or place (topos, Orter; in the German word Heidegger uses) of truth’s setting-itself-to- work. This is art’s "activity", its "actuality". Finally, the significance of this is.in the way it opens a new questioning of the European experience of nihilism as the "death of God", or withdrawal of gods, and the related triumph of knowledge in the form of scientific technicity, the calculative thinking of a techne that demands, challenges, provokes, and sets up Being as an object and conceives of earth , for example, as a "natural resource" to be exploited. The work of art, as the techne in which "truth (Aletheia) sets itself to work", what Heidegger might call "great art", is then to be seen as a possible way of overcoming (Verwindung) of nihilism and of questioning the essence of technology and calculative thinking. Through a questioning of the origin of the work of art, philosophical thinking will go beyond a mere "aesthetics" toward the more fundamental questioning of the "end of metaphysics". Through a return to an archaic Greek world opened in and by the temple, and through a thinking of all that is still yet to be thought, or that is still held in reserve in that experience, Heidegger seeks the possibility of a new beginning for the European, especially the Germanic, historical destiny. No doubt the revaluation of techne, not only in terms of the work of art, but in terms of the political and the founding of a nation and the opening of the destiny of a people, which is Heidegger’s way of thinking the actuality of the work of techne, are all crucial and deeply related themes. But, due to limitations of time and space in this paper, both the links of thi s with Heidegger’s meditations on the poetry of Holderlin, and the political dimensions of this work and Heidegger’s relation to National socialism during the 1930s, are not considered.
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Helyer, Nigel, John Potts, and Mark Patrick Taylor. "Heavy Metal: An Interactive Environmental Art Installation." Leonardo Music Journal 28 (December 2018): 8–12. http://dx.doi.org/10.1162/lmj_a_01032.
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This article discusses Heavy Metal, an interactive installation work by Nigel Helyer. The authors situate this work within the context of a collaboration among environmental science, art and media theory, a three-year research project entitled When Science Meets Art: An Environmental Portrait of the Shoalhaven River Valley.
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Van De Wetering, Ernst. "Verdwenen tekeningen en het gebruik van afwisbare tekenplankjes en 'tafeletten'." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 210–27. http://dx.doi.org/10.1163/187501791x00128.
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AbstractIt is a recognized fact that the majority of the many drawings produced in the 16th and 17th centuries have been lost. It is quite likely that a great deal of these lost drawings were the work of aspiring artists, done for practice during their training. Written sources, so-called 'Tekenboeken' and pictures of studios give us some idea of what such drawing exercises looked like. Series of eyes, noses, mouths, hands and feet, etc. served as preliminary exercices. Although these were recognized as very difficult assignments, their great advantage was that a single glance, even that of the young draughtsman himself, could establish whether the task had been done well, because 'mistakes are generally evident and can be seen and judged by everybody: for who is so dull and blind as not to notice whether someone has a deformed face, a twisted hand or a crooked foot?' (note 8). One duly wonders at the total absence of such drawings in Gerard Ter Borch senior's large collection of work by his sons Gerard junior, Harmen and Mozes. Apparently Ter Borch père was more selective than assumed by Alison Kettering in her introduction to the catalogue of the Ter Borch estate. Of the earliest drawings done by the young pupils in their first years, he seems to have concentrated on preserving drawings done from life and the young artists' own invention. As for drawings after prints, only copies of complete compositions were apparently worth saving. One could surmise that such practice drawings were executed on carriers which could be erased or re-used in some other way. The making of such carriers from box or palm wood and also from parchment is described in Cennino Cennini's 'Il Libro dell'Arte' (ca. 1400). The replaceable primer that was applied to such carriers consisted of ground white bone-ash mixed with saliva. According to Cennini, parchment 'tavolette' were also used by merchants to do their calculations on. The use of such parchment tablets is moreover confirmed by an early 16th-century recipe from Bavaria. The question arises as to whether erasable carriers were only used by beginners, as Cennini's text suggests, or by fully developed artists as well. This might provide a possible explanation for the total or virtually total absence of drawings in the oeuvres of some artists. Another question is how long this type of carrier remained in use. Research was sidetracked by the frequent occurrence of young artists drawing on blocklike boards or planks, notably on title-pages of 17th-century books of drawing models. In 16th-century iconography such boards appear to indicate the term 'usus' or 'practice'. They also refer to a Pliny text according to which drawing on boxwood boards was a fixed item in the education of well-born Greek children. The depiction of young draughtsmen with such drawing boards may therefore not represent actual studio practice but allude to the aspired high status of drawing and of the art of painting in general. The very nature of erasable carriers means that traces of them are rare. Those boards that have survived (Meder had published a number) are not acknowledged as such apart from the wax tablets intended for re-use in Classical Antiquity, and in the Middle Ages too. There are sporadic references in written sources. Karel van Mander, for instance, uses the term 'Tafelet' twice, the first time in connection with Albrecht Dürer who - significantly in this context is said to have portrayed Joachim Patinier on a slate (the ideal erasable carrier) 'or a tafelet'. Van Mander subsequently mentions a 'tafelet' in his biography of Goltzius, who was asked to do a portrait on a 'tafelet' in preparation for a print. The very strong likelihood that the term 'tafelet' was used to indicate a carrier suitable for re-use is endorsed by a recipe by Theodore de Mayerne (ca. 1630), who suggests two ways of making a 'tablet à papier' for writing on with a metal stylus: strong and well glued paper is spread with a paste of ground bone-ash, not mixed with saliva this time but with a weak gum solution. To prepare the tablet for re-use it could be cleaned with a wet brush. When the paper had suffered too much from this repeated treatment, it could be varnished, according to de Mayerne, after which it could be written on again with a pen, washed off again etc. Although de Mayerne recommends this 'tablet à papier' for practising writing, no distinction was made between carriers for writing and drawing (cf. Cennini above). We shall probably never know to what extent erasable carriers were used, but the foregoing remarks may shed a fresh light on a group of works of art, drawings with silver or other metal styluses on prepared parchment or paper. Instead of resorting to one of the highly specialized and expensive drawing methods which are often cited, for example in connection with Rembrandt's portrait of Saskia in Berlin with silver stylus on prepared parchment, such drawings may have been done on tablets which were not intended to be preserved. Goltzius' portraits with metal stylus as a rule were executed as drawings which served solely as the basis for a print. From a text in P. C. Hooft's Warenar (1616) we learn, that a 'tafelet' or 'taflet' was a booklet used as a scrap book and habitually carried in the pocket. A few of such booklets have survived. One is a booklet with fourteen prepared paper pages which belonged to Adriaen van der Wcrff. In it, writing with a silver stylus, he kept a record of the number of days he spent on his paintings. The first four pages of the book were prepared for re-use. The traces of earlier inscriptions can still be vaguely discerned under the new layer of primer. A second tafelet - originally containing twelve pages - was identified in the collection of the Rijksprentenkabinet (note 41). It was used around 1590 by a young painter who practised in it by copying fragments of prints.
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Haug, Steven. "The Artworks in Heidegger’s “Origin of the Work of Art”." International Philosophical Quarterly 60, no. 1 (2020): 57–74. http://dx.doi.org/10.5840/ipq20206017.
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Three artworks are discussed in detail by Heidegger in his lecture “Origin of the Work of Art.” Prioritizing one work above the others affects what is understood to be the overall project of the lecture. Because of this, we need to attend closely to the debate in the literature about the most important work of art in Heidegger’s “Origin of the Work of Art.” This article explores the debate by looking at three positions. I examine each of these positions independently. In the final section I side with those scholars who take the ancient Greek temple to be the most important work in Heidegger’s lecture. I argue that the reason why the temple is the most important is its ability to disclose community.
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Pulakis, Nik. "Post in the 'modern': Greek film music and the work of Nikos Mamangakis." Muzikologija, no. 8 (2008): 77–89. http://dx.doi.org/10.2298/muz0808077p.
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This article is focused on Nikos Mamangakis, one of the most ambiguous art-popular composers in Greece. His compositions for cinema are also quite provocative. Mamangakis' cooperation with Finos Film (the major Greek film production company in post-war era) and, on the contrary, his collaboration with Nikos Perakis (one of the most well-known contemporary film directors) vividly illustrate the transformation of film music from the so-called Old to the New Greek Cinema. Through an overall analysis of two of Mamangakis' most important film scores, I hope to reveal the transition process from a realistic modernist perspective to a postmodern one. A second goal is to present critically the general ideological shift in Greek socio-cultural sphere following the seventies change of polity. This paper underlines the perception of Greek music culture as a special case of Western music, which however holds its very distinct stylistic idioms, cultural practices and ideological functions.
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Sparkes, Brian A. "Greek Bronzes." Greece and Rome 34, no. 2 (October 1987): 152–68. http://dx.doi.org/10.1017/s0017383500028102.
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When I first began to study Greek art, back in the mid 1950s, a book on Greek sculpture had recently been published in Germany and in England that did much to encourage my interest. It was Reinhard Lullies and Max Hirmer's big picture book, Greek Sculpture, since enlarged and running into three German and two English editions. Its basic idea was not totally novel but was rare for its time and never previously done so well. It presented large, clear photographs of original Greek works (by Hirmer) with a scholarly commentary to each piece (by Lullies); it omitted anything that was known, or considered, not to be original. In doing so, it provided a strong contrast to the sort of book with which I had already come into contact, the sort best characterized perhaps by Ernest Gardner's Six Greek Sculptors of 19252which contains not one single original piece by the six chosen sculptors and in which all the photographs are seen through a glass darkly. Gardner's title and approach, with heavy emphasis on literary evidence and Roman copies, accompanied by a sprinkling of original, unattributed pieces for ballast, was typical of a traditional line of study-that of Kopienkritik, an approach not dead yet by any means and in fact one which must continue to be pursued, though nowadays it is tackled with more caution than earlier. But until one incontrovertible example of a named sculptor's work is found, all attributions must be arguable approximations.
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Siopsi, Anastasia. "Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk." Muzikologija, no. 5 (2005): 257–67. http://dx.doi.org/10.2298/muz0505257s.
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The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.
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Buxton, Richard. "Imaginary Greek mountains." Journal of Hellenic Studies 112 (November 1992): 1–15. http://dx.doi.org/10.2307/632149.
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It is hardly controversial to assert that recent work on Greek mythology is methodologically diverse. However, there is one body of writing which seems to have become a reference point against which scholars of many persuasions–not excluding orthodox positivist philologists and adherents of psychoanalysis–feel the need to define their own position. I mean structuralism. G.S. Kirk and, later, W. Burkert have conducted their dialogues with it; C. Segal and more unreconstructedly R. Caldwell have tried to accommodate Lévi-Strauss and Freud under the same blanket; a glance at bibliographical citations in studies of tragedy over the last twenty years will show how J.-P. Vernant and P. Vidal-Naquet have moved from the periphery to the centre (much as Finley did some time ago in ancient history). The polemical attitudes being struck by M. Detienne (from within the movement) and C. Calame are directly generated by over-confident structuralist attempts to map out the mental territory they claimed as their own.
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Thumiger, Chiara. "A History of the Mind and Mental Health in Classical Greek Medical Thought." History of Psychiatry 29, no. 4 (August 13, 2018): 456–69. http://dx.doi.org/10.1177/0957154x18793592.
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This book on ancient medicine offers a unique resource for historians of medicine, historians of psychology, and classicists – and also cultural historians and historians of art. The Hippocratic texts and other contemporary medical sources have often been overlooked when it comes to their approaches to psychology, which are considered more mechanical and less elaborated than contemporary poetic and philosophical representations, but also than later medical works, notably Galenic. This book aims to do justice to early medical accounts by illustrating their richness and sophistication, their links with contemporary cultural products, and the indebtedness of later medicine to their observations. The ancient sources are read not only as archaeological documents, but also in the light of methodological discussions that are fundamental in the history of psychiatry and the history of psychology.
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Tsichla, Markella-Elpida. "Greek Revolution and Art. The protagonists on Marble. Illustrative and Typological Specimens." Advances in Social Science and Culture 3, no. 2 (March 18, 2021): p26. http://dx.doi.org/10.22158/assc.v3n2p26.
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The Greek Revolution of 1821 was one of the most important issues in Europe of the early 19th century on a political and military level. The outbreak of the Greek Revolution was not supported by the Great Powers of the time, since as a liberation struggle it violated the terms of the Holy Alliance (1815), however it managed to prevail thanks to the support of the people of Europe as they regarded this an effort of a small nation to claim its freedom and oppose to slavery and authoritarianism. After all, we are in the time of Romanticism and this kind of struggle enjoyed the support of intellectuals, collectives, and different groups of citizens. Philhellenism was on the rise, and painters like Delacroix made a huge impact with works that made a strong impression on Europe. After the success of the Revolution, many foreign artists came to Greece, some on their own initiative as travelers and others carrying out their King’s orders. Some of them were painters (both amateur and professional) that painted live portraits of the leading figures of the Revolution, leaving behind a remarkable oeuvre when seen from a historical, factual, and artistic point of view. And since at that point in Greece there could be no room for domestic artistic creation, the work of these artists is considered particularly important in terms of portraiture, history, facts, and artistic value. The most important out of the painters that were in Greece at that critical time are the Bavarians Karl Krazeisen and Peter von Hess, who painted portraits of Greek fighters and these portraits have since become the blueprints that other artists, painters, and sculptors based their work on resulting in the perpetuation of the historical memory.It is worth mentioning that in the 200 years of independence these works remain of enduring value when paying tribute and respect to the first martyrs of the Greek Struggle.
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Harmalkar, Suchitra. "THE ART OF DANCE COMBINATION - CHOREOGRAPHY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3506.
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Choreography literally means Dance writing It is derived from the Greek word xopeia. The common meaning of choreography is - group structure, and the person, dancer or performer who performs this work is called a choreographer. We do not get any scriptural consensus or information about choreography but today this word is very popular in the context of dance. is .
कोरियोग्राफी का शाब्दिक अर्थ है Dance writing यह ग्रीक भाषा के शब्द xopeia से लिया गया है । कोरियोग्राफी का सामान्य अर्थ है- समूह संरचना, और जो व्यक्ति, नर्तक या कलाकार इस कार्य को करता है , उसे कोरियोग्राफर कहा जाता है कोरियोग्राफी के विषय मे कोई शास्त्र सम्मत विधान या जानकारी हमें प्राप्त नहीं होती किन्तु आज नृत्य के संदर्भ में यह शब्द बहुप्रचलित है ।
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Lusher, Andrew. "Greek Statues, Roman Cults and European Aristocracy: Examining the Progression of Ancient Sculpture Interpretation." Journal of Arts and Humanities 6, no. 12 (December 31, 2017): 25. http://dx.doi.org/10.18533/journal.v6i12.1313.
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<p>In 1747 Frederick II of Prussia acquired a rare and highly valuable statue from antiquity and gave it the description of Antinous (the ill-fated lover of the Roman Emperor Hadrian). Although the bronze statue had always been accepted as an original from ancient Greece, the statue eventually assumed the identity of the Roman Antinous. How could Frederick II, an accomplished collector, ignore the blatant style and chronological discrepancies to interpret a Greek statue as a later Roman deity? This article will use the portraiture of Antinous to facilitate an examination of the progression of classical art interpretation and diagnose the freedom between the art historian and the dilettante. It will expose the necessary partition between the obligations of the art historian to provide technical interpretations of a work within the purview of the discipline with that of the unique interpretation made by individual viewers. This article confirms that although Frederick II lived before the transformative scholarship of Winckelmann, the freedom of interpreting a work is an abiding and intrinsic right of every individual viewer. </p>
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Hajdú, Attila. "Lukianos és Kallistratos műtárgyleírásai: szöveg és hagyomány." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 21–40. http://dx.doi.org/10.14232/antikren.2018.1.21-40.
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Lucian of Samosata’s descriptions of works of art are invaluable for the studying of the Classical and post-Classical Greek sculpture. The Second Sophistic author does not only give accurate and detailed descriptions about Greek sculptures and paintings, but as a real connoisseur of art he also judges them from the perspective of aesthetics. In the first main part of my paper, I will focus on the characteristics of his descriptions by analyzing the nude figure of Aphrodite of Cnidus made by Praxiteles and the ‘eclectic’ portrait of Panthea. The aim of the second part of my paper is to present the essential features of Ekphraseis of the sophist Callistratus who lived in Late Antiquity (IV–Vth century AD). It has been disputed if Callistratus’ work inspired by the rhetorical exercises has any art history values. This paper also raises the question how the tradition of both Lucian and Callistratus could influence the description of the sculpture ‘Apollo Belvedere’ included in Winckelmann's epoch-making Art History.
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Stampoulidis, Georgios. "Stories of resistance in Greek street Art: A cognitive-semiotic approach." Public Journal of Semiotics 8, no. 2 (September 23, 2019): 29–48. http://dx.doi.org/10.37693/pjos.2018.8.19872.
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In line with cognitive semiotics, this paper suggests a synthetic account of the important but controversial notion of narrative (in street art, and more generally): one that distinguishes between three levels: (a) narration, (b) underlying story, and (c) frame-setting. The narrative potential of street art has not yet been considerably studied in order to offer insights into how underlying stories may be reconstructed from the audience and how different semiotic systems contribute to this. The analysis is mainly based on three contemporary street artworks and two political cartoons from the 1940s, involving the same frame-setting, which may be labeled as “Greece vs. Powerful Enemy.” The study is built on fieldwork research that was carried out during several periods in central Athens since 2014. The qualitative analyses with the help of insights from phenomenology show that single static images do not narrate stories themselves (primary narrativity), but rather presuppose such stories, which they can prompt or trigger (secondary narrativity). Notably, the significance of sedimented socio-cultural experience, collective memory and contextual knowledge that the audience must recruit in order to reconstruct the narrative potential through the process of secondary narrativity is stressed.
Author BiographyGeorgios Stampoulidis, Centre for Language and Literature, Division for Cognitive Semiotics, Lund University, Sweden
Georgios Stampoulidis is a PhD candidate at the Division for Cognitive Semiotics at Lund University. His research interests are in the fields of polysemiotic communication and multimodality, narrative and metaphor, and urban creativity. His work focuses on street art as a cross-cultural medium of meaning-making, cultural production and political intervention in urban space, and thus, he has previously conducted fieldwork in Athens, Greece. His most recent publications are “A Cognitive Semiotic Exploration of Metaphors in Greek Street Art” (Cognitive Semiotics, 2019) and “Urban Creativity in Abandoned Places. Xenia Hotels Project, Greece” (Nuart Journal, 2019). Currently, he is research fellow at Urban Creativity Lund and Scandinavian Metaphor networks.
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Vervain, Chris, and David Wiles. "The Masks of Greek Tragedy as Point of Departure for Modern Performance." New Theatre Quarterly 17, no. 3 (August 2001): 254–72. http://dx.doi.org/10.1017/s0266464x00014767.
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In this article, David Wiles and Chris Vervain stake out the ground for a substantial programme of continuing research. Chris Vervain, coming from a background in visual and performance art, is in the first instance a maker of masks. She is also now writing a thesis on the masks of classical tragedy and their possibilities in modern performance, and, in association with the University of Glasgow, working on an AHRB research programme that involves testing the effect of Greek New Comedy masks in performance. David Wiles, Professor of Theatre at Royal Holloway, University of London, has published books on the masks of Greek New Comedy and on Greek performance space, and lectured on Greek masks. Most recently, his Greek Theatre Performance: an Introduction (Cambridge University Press, 2000) included an investigation of the classical mask and insights provided by the work of Lecoq. He is now planning a book on the classical Greek mask. Wiles and Vervain are both committed to the idea that the mask was the determining convention which gave Greek tragedy its identity in the ancient world, and is a valuable point of departure for modern practitioners engaging with the form. They anticipate that their research will in the near future incorporate a symposium and a further report on work-in-progress.
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Sushynskyi, Oleksandr. "Austro-Greece: Parafiction and Myth-Making Mechanisms of Hyperstition." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 118–27. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235231.
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The paper analizes the phenomenon of “Austro-Greek Empire” — a collective art-research project that includes ethno-cultural, social-political, and artistic frames. The fictional dimension of this “work-in-progress” project becomes its substantial part due to the topical issue of the post-truth phenomenon and conspiracy theories that are prevailing the media space. The importance of fictionalization methods in post-conceptual art is analyzed and demonstrated, given the possibility of constructing a metaposition in a situation of historical and political uncertainty. The “Austro-Greek Empire” is an emblematic project for the contemporary Ukrainian art process, as it aggregates a series of key issues, one of which is still the problem of identity. The article uses various methodological approaches, in particular, the optics of “parafiction” by C. Lambert-Beatty, psychoanalysis of J. Lacan, post-structuralist analysis of the mythology by R. Barthes and fictionalization of P. Osborne.
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Fernández García, Aurelio J. "El huevo en los antiguos alquimistas griegos: un acercamiento al origen del concepto «huevo filosófico»." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas, no. 32 (2020): 143–56. http://dx.doi.org/10.25145/j.fortunat.2020.32.09.
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There are numerous materials and substances that the ancient alchemists used as their raw material. One of these is the egg, which has an emblematic or symbolic significance since the first Greek alchemical texts. In this sense, it is worth mention three: Λεξικὸν κατὰ στοιχεῖον τῆς Χρυσοποιίας (Alphabetical Lexicon of the Crisopea), Περὶ τοῦ ὠοῦ οἱ παλαιοί φασιν οὕτως (What the ancients say about the egg) andὈνοματοποΐα τοῦ ὠοῦ・ αὐτὸ γάρ ἐστιν τὸ μυστήριον τῆς τέχνης (The nomenclature of the egg: this is the mystery of art). In these texts, of which a translation is offered in this work, in addition to the Greek text, a whole allegorical nomenclature is enclosed, unknown to the uninitiated in alchemy.In the last part of this work, a possible origin of the concept of «philosophical egg» will be discussed, based on one of the passages in the text The nomenclature of the egg: this is the mystery of art
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Dinu, Dana. "Ancient Greek Military Theory and Practice. Aeneas Tacticus (I)." International conference KNOWLEDGE-BASED ORGANIZATION 23, no. 2 (June 25, 2017): 281–86. http://dx.doi.org/10.1515/kbo-2017-0128.
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AbstractThe intention of this article is to present the oldest surviving work of military art of the Greek antiquity written in the mid-fourth century B.C. by of the author known today as Aeneas Tacticus. In 1609 Isaac Casaubon, its first editor, gave it the Latin title Commentarius de toleranda obsidione, How to Survive under Siege. Aeneas Tacticus was an experienced general on the battlefield, and had an equally solid theoretical training based on treatises of warfare which undoubtedly existed before his own, but were less fortunate and have not reached us. The study of this manual reveals that Aeneas Tacticus wrote or designed to write at least five books on military themes and information exists from other sources that he might have written three more books on the subject. Thus, all these works could have formed a Corpus Aeneanum, comparable in value to Clausewitz’s famous work On War. Aeneas’s work was highly appreciated and extremely useful for commanders and strategists of the Antiquity and the Middle Ages and was used and cited by all the authors of treatises on siege until the era of pre-modern warfare.
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Stefanou, Maria-Ioanna, and Sophia Peloponnissiou-Vassilacos. "Angelos Katakouzenos (1902–1982): A Lifework of Neurology and Art." European Neurology 80, no. 3-4 (2018): 217–22. http://dx.doi.org/10.1159/000496352.
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Angelos Katakouzenos, a Greek neurologist and prolific medical writer at the beginning of the 20th century, belonged to a group of artists and scholars that formed the “generation of the 30s,” a cultural movement that emerged after World War I and introduced modernism in Greek art and literature. Born in 1902, Katakouzenos studied medicine in France at the Universities of Montpellier and Paris, where he trained in neurology and psychiatry under Georges Guillain, Henri Claude, Jean-Athanase Sicard, Pierre Marie, Clovis Vincent and Théophile Alajouanine. In Paris, he attended to Freud’s patients, collaborating with the psychoanalyst Marie Bonaparte, while he was introduced to the contemporary avant-garde movements of this time, developing long-lasting friendships with artists and intellectuals, including Marc Chagall and Tériade. Although Professor of Neurology and Psychiatry at the University of Paris, Commandeur of the Légion d’honneur and founder of the first neuropsychiatric clinics in Greece, Katakouzenos lived far from the limelight. Despite his numerous publications, his scientific work remained largely unacknowledged. Yet, as a psychoanalyst he gained international fame and treated patients including William Faulkner who later would write, “To the wise scientist, the in-depth judge of the human soul, my friend Dr. Katakouzenos, who has helped me like no one else to redeem myself from the tortuous questions that troubled me for years – from the depths of my heart, many, very many thanks”. In this paper, the rediscovery of Katakouzenos’s remarkable work in the field of neuroscience aims to tell the story of a great physician whose lifework in bridging art and science may, in retrospect, reinstate him as one of the most captivating neurologists of the 20th century.
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CORTÉS GARCÍA, Manuel. "Algunas consideraciones sobre estética musical árabe." Revista Española de Filosofía Medieval 6 (October 1, 1999): 131. http://dx.doi.org/10.21071/refime.v6i.9665.
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At the beginning, the poetry was considered as the genesis of the arabic art, and after then the prose of adab, both of them appeared with the idea of the "beauty science". This idea would be projected on the music. On the other hand, the greek heritage of the classic arabic philosophy legacy was reflected during the first manuscripts of the arabic philosophers and musical theoreticians as al-Kindf (s.IX) and al-Farabf (s.X), as a result appeared a new conception of the "beauty" and "aesthetic". By this way, taking as a point of reference the greek classical world, the new parameters would appear as an result of this own reality and idiosyncrasy. Their poetry and musical legacy, joined to the philosopher and religious mind would complete the work of the "aesthetic musical art". The study of the arabic middle music prove that the harmony in the poetry, lingüistic and rhitmycal contents, go in parallel with the melodic content until it reached a harmonic relation and in definitive cosmic, and as a result an "aesthetic ideal". This ideal was based on "beauty" and the "aesthetic emotion" produced by the art and all that as reflet to the harmonic until the corp and the spirit and oriented to the spherical work and to the divinity.
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Barnard, Jody A. "The “Erasmian” Pronunciation of Greek." Erasmus Studies 37, no. 1 (2017): 109–32. http://dx.doi.org/10.1163/18749275-03701004.
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In 1635 the Dutch scholar Gerardus Vossius (1577–1649) published a work on the Art of Grammar where he makes reference to the circumstances in which Erasmus wrote his Dialogue on the Correct Way of Pronouncing Latin and Greek (1528). Vossius quotes an account from 1569 which explains how Erasmus fell foul of a practical joke by which he was fooled into thinking that a new and more correct pronunciation of Greek had been discovered, and, wanting to appear the inventor of the matter, Erasmus quickly composed and published his Dialogue, only to discover later that the whole story was in fact a hoax. This account of the origins of Erasmus’ Dialogue has largely been taken at face value by those concerned, but I argue that it is a most unlikely explanation with several serious flaws. Although the practical joke could have taken place, it seems that it was subsequently misconstrued as the incentive for Erasmus’ Dialogue. On the contrary, I argue that the Dialogue was intended as a sincere popularization of an ongoing academic inquiry, but that the hypothetical Greek pronunciation therein has been misunderstood as a cue to replace the traditional (native) pronunciation. This article shows that the so-called “Erasmian” pronunciation of Greek at large today is not only un-Greek, but also un-Erasmian, for it has little to do with Erasmus and contradicts his example and counsel.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 65, no. 2 (September 17, 2018): 266–69. http://dx.doi.org/10.1017/s0017383518000219.
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Passion. Nowadays everything must be done with passion. No ‘personal statement’ for university admission is complete without some sentiment of passionate motivation; you purchase a sandwich and learn that it has been ‘made lovingly’. So is there anything wrong with studying classical archaeology passionately – with the engagement of emotions, or ‘intensity of feeling’ (OED)? The question arises from the very title of a festal volume devoted to a (some would say, the) historical pioneer of the discipline, J. J. Winckelmann: Die Kunst der Griechen mit der Seele suchend. Since it is conventional to translate die Seele as ‘the soul’, immediately we encounter the problem of mind–body dualism, and the question of where passions are to be located in human biology. But let us accept the sense of the phrase as it is being used here. It is, as Goethe recognized in Winckelmann's work, and celebrated accordingly, an ‘awareness’ (Gewahrwerden) of Greek art that was at once intuitive and reasoned; spontaneous, yet developed by patient study (conducted with ‘true German seriousness’ – so deutsch Ernst). Pious remembrance of Winckelmann has been maintained in his homeland virtually ever since his premature death (a ‘thunderbolt’ of awful news, as Goethe described it) in 1768. This year is the 250th since that loss, and will be widely marked. Meanwhile the recent anniversary of Winckelmann's birth – 1717, as a cobbler's son, in Brandenburg – occasions fresh hagiography, and attendant exhibitions, perhaps most notably a show at the Capitoline Museums, documenting an important part of Winckelmann's intense and eventually glorious activity in Rome.
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Balaskas, Bill. "Liberating Speculation: Art, the Currency of Capitalism and the Death of Currencies." Journal of Visual Culture 14, no. 2 (August 2015): 155–60. http://dx.doi.org/10.1177/1470412915592861.
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Speculation constitutes one of the major structural components of Data Capitalism, as well as one of the most important factors that led to the global financial crisis of 2007–2008. Since the outbreak of the crisis, several artists have been aiming to propose through their work alternatives to the dominant capitalist model, thus adopting the role of ‘speculators’. In the 55th Venice Bienniale of 2013, Greek artist Stefanos Tsivopoulos presented a multi-part installation that addressed this volatile socioeconomic context by focusing on the role of currencies and the falsification of value that lies at the core of money’s nature. This article proposes a basic theoretical framework within which we could locate not only Tsivopoulos’s practice, but also the work of other politically and socially engaged artists who are interested in the exploration of alternative economic systems.
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Singh, Jai. "Women in Public Space: Socio-cultural and Political Undertones in Sudraka’s Mrcchakatika." Literary Studies 34, no. 01 (September 2, 2021): 47–56. http://dx.doi.org/10.3126/litstud.v34i01.39523.
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Any work of art directly or indirectly is a product of contemporary society. Sudraka’s Mrcchakatikais an amalgam of the extremely complex socio-cultural circumstances, economic relations of their society, and cross-cultural influences of Greek presence in India. This confluence of various forces is visible in Sudraka’s delineation of women characters especially Ganikas. Construction of woman persona i.e. Vasantasena is as per the theories of art and popular notions prevalent in those days however she does not conform to the tradition wholly, in many respects she challenges the accepted norm of the women prevalent in those days.
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Helal, Aasif, Muhammed Naeem, Mohammed Fettouhi, and Md Hasan Zahir. "Fluorescein Hydrazide-Appended Metal–Organic Framework as a Chromogenic and Fluorogenic Chemosensor for Mercury Ions." Molecules 26, no. 19 (September 23, 2021): 5773. http://dx.doi.org/10.3390/molecules26195773.
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In this work, we prepared a fluorescein hydrazide-appended Ni(MOF) (Metal–Organic Framework) [Ni3(BTC)2(H2O)3]·(DMF)3(H2O)3 composite, FH@Ni(MOF). This composite was well-characterized by PXRD (powder X-ray diffraction), FT-IR (Fourier transform infrared spectroscopy), N2 adsorption isotherm, TGA (thermogravimetric analysis), XPS (X-ray photoelectron spectroscopy), and FESEM (field emission scanning electron microscopy). This composite was then tested with different heavy metals and was found to act as a highly selective and sensitive optical sensor for the Hg2+ ion. It was found that the aqueous emulsion of this composite produces a new peak in absorption at 583 nm, with a chromogenic change to a pink color visible to the naked eye upon binding with Hg2+ ions. In emission, it enhances fluorescence with a fluorogenic change to green fluorescence upon complexation with the Hg2+ ion. The binding constant was found to be 9.4 × 105 M−1, with a detection limit of 0.02 μM or 5 ppb. This sensor was also found to be reversible and could be used for seven consecutive cycles. It was also tested for Hg2+ ion detection in practical water samples from ground water, tap water, and drinking water.
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Ferdous, Mafruha. "Reading Homer’s The Iliad in 21st Century." Advances in Language and Literary Studies 8, no. 2 (April 30, 2017): 101. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.101.
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Homer's Iliad refers to an epic story written by the ancient Greek poet Homer, which makes an account of the most significant events that earmarked the very last days which defined the Trojan War and the Greek siege of the city of Troy. Troy was also known as Ilium, Ilion, or Ilois in the past. Having made to center around the events of the Trojan War, Homer’s Iliad is a work of art that paints to all of us interested in literature, what really happened in the past. The paper purposes to provide invaluable insights regarding the significance of Homer’s Iliad today and what it teaches us about poetry and the ancient culture of the Greeks.
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Cope, Karin. "Becoming Animal, Becoming Others: What We Make with Art and Literature." American, British and Canadian Studies Journal 20, no. 1 (June 1, 2013): 121–38. http://dx.doi.org/10.2478/abcsj-2013-0013.
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Abstract What is poetry for? How does poiesis or making - the Greek root of the words poetry and poetics - succeed in moving us, in getting under our skins? “Becoming Animal” argues that art and literature are crucial zones of play, transformative modes that work by mixing up self and other, inside and out, human, animal and other matter. The essay moves from a consideration of D.W. Winnicott’s psychoanalytic discussion of the relationship between play and creativity, self and other, to Howard Searles’ investigation of transference and counter-transference as possible models for engaged and sensuously attuned critical stances. The last section of the essay offers an account of the “transgenic” work of Eduardo Kac, which literally mixes genetic material as art. The essay concludes by arguing that art, as poiesis, works by engaging us in constant contact with what is not ourselves as a process of becoming ourselves; it argues that such ‘self-estrangement’ is the way we sort out how to live an ontologically rich and ethically meaningful life.
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Leonidas, Gerry. "Enabling Modernity: Innovation in Original Modulated Greek Typefaces, 1998–2007." Philological Encounters 3, no. 4 (November 27, 2018): 412–40. http://dx.doi.org/10.1163/24519197-12340055.
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Abstract This article discusses the associations with tradition, modernity, innovation, and revivalism contained within, and enabled by, three seminal Greek typefaces for continuous reading in a modulated style, developed from 1998 onwards outside Greece. It starts with an analysis of the historical model of types cut by Firmin Didot; this style was later adopted by the Monotype Corporation for hot-metal composition, and survived across technologies well into the digital era. It provides a reference point for subsequent work, and informed new digital typefaces, starting with Adobe Systems’ Minion Pro (1998). The article discusses Adobe’s programme of developing large typographic families with Greek complements, which explicitly pushed the design envelope with each iteration. It examines the approaches taken for features such as the first pairing of monotonic and polytonic diacritics, the pioneering of functionally correct diacritics over small capitals, and their impact on wider practice. Parallel efforts that reinforced this trend by Microsoft, as well as notable independent work, are referenced in the context of active explorations of the relationship between Latin and Greek styles by non-Greek designers. The article concludes that the period between 1998–2007 has been revolutionary for Greek typefaces for continuous text.
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Camilleri, Anna. "Byron and Antiquity, ‘Et Cetera - ’." Byron Journal 48, no. 2 (December 1, 2020): 145–56. http://dx.doi.org/10.3828/bj.2020.20.
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Byron’s interest in the classical past is manifest throughout his life and work. Alongside citations from and references to a remarkable catalogue of writers, thinkers, and historical figures, we also have extensive poetic responses to classical places, classical architecture, and to Greek and Roman art and sculpture. Yet it is clear that Byron’s classical pretentions are by no means underpinned by a thorough grasp of classical languages. His Greek in particular was extremely poor, and his Latin compositions barely better than the average eighteenth-century schoolboy’s. As I shall go on to demonstrate, this does not mean that attending to those moments when he does stray into classical allusion or composition is uninteresting, but it is Latin and not Greek that Byron engages with most frequently. Specifically, Byron’s less than proper Latin becomes a means by which he negotiates less than proper subject matter in his poetry.
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Enemark, Nina. "Jane Ellen Harrison and a Ritual Aesthetic: The Early 20th Century Turn Towards Materiality, Embodiment and Performativity in the Arts." Literature and Theology 34, no. 1 (December 24, 2019): 41–63. http://dx.doi.org/10.1093/litthe/frz040.
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Abstract This article considers the classicist Jane Ellen Harrison’s ritual theory of art as part of an intellectual, cultural and aesthetic zeitgeist occurring at the beginning of the 20th century. While centred on ancient Greek culture and art, Harrison’s work is directly connected to her concerns with religion and art in her own time. Her theory posits ritual as the forgotten origin of art and theology and sees in the modern period a return to this source in both religion and art. I argue that her theory implies a particular aesthetic which speaks to key shifts happening concurrently across the arts in Europe and America, and that the scope of her theory, incorporating insights from a range of fields of study, makes it a useful and unique lens through which to contextualise and view important developments in the arts during this period. Leading examples of these developments are considered from the fields of visual art, literature, theatre and particularly dance.
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Brancaccio, Pia, and Xinru Liu. "Dionysus and drama in the Buddhist art of Gandhara." Journal of Global History 4, no. 2 (July 2009): 219–44. http://dx.doi.org/10.1017/s1740022809003131.
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AbstractThis essay examines the relationships existing between Dionysian traditions of wine drinking and drama that reached the easternmost part of the Hellenistic world, and the Buddhist culture and art that flourished in Gandhara (Eastern Afghanistan and Northern Pakistan) under the Kushan kings between the first and third centuries CE. By piecing together archaeological, artistic and literary evidence, it appears that along with viniculture and viticulture, Dionysian rituals, Greek theatre and vernacular drama also became rooted in these eastern lands. Continuous interactions with the Graeco-Roman world strengthened these important cultural elements. At the beginning of the Common Era Dionysian traditions and drama came to be employed by the Buddhists of Gandhara to propagate their own ideas. The creation of a body of artworks representing the life of the Buddha in narrative form along with the literary work of Ashvaghosha, may be an expression of the same dramatic format that developed locally along with a strong Dionysian ritual presence.
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Betancourt, Michael. "A Taxonomy of Abstract Form Using Studies of Synesthesia and Hallucinations." Leonardo 40, no. 1 (February 2007): 59–65. http://dx.doi.org/10.1162/leon.2007.40.1.59.
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The author proposes a taxonomy of abstract form anchored in an examination of the history and theory of synesthesia and abstract art. The foundations of this taxonomy lie in empirical psychological studies of “form-constants” found in cross-modal synesthetic visions and hallucinatory states, specifically the work of Heinrich Klüver in his examinations of mescaline and the mechanisms producing visual hallucinations. While the proposed taxonomy is limited only to synesthesia-inspired abstraction, it has suggestive possibilities when considered in relation to other forms of non-synesthetic abstraction such as Islamic Art, the geometric forms found on classical Greek vases, and other kinds of decorative abstract patterns.
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Maksimovic, Svetlana. "Olivier Messiaen's quartet for the end of time, secret of form: Movement VI." Muzikologija, no. 5 (2005): 307–12. http://dx.doi.org/10.2298/muz0505307m.
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Knowing that Messiaen's early period, especially The Quartet for the End of Time, got so many written comments and discussions and from renowned critics, musicologists and composers it is hard to believe that anything different could possibly come out about the structure, form or concept in his work. Still, another look at these works would be valuable, since the concept of form is far from explored. The focal point of this text is the sixth movement from the Quartet and its concept of form. It unveils the relation between Messiaen's music ideas and the ancient Greek tragedy and the depth of the influence that Greek art had on his concept of form. The influence goes as far as the "suggestion of ring composition".
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Magee, Paul. "Quartet: On the Theme of to Portray is to Betray." Cultural Studies Review 10, no. 1 (September 2, 2013): 105–17. http://dx.doi.org/10.5130/csr.v10i1.3526.
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Art does not deceive its readers with an illusion of reality, as the common-sense notion has it, but rather pretends to deceive them. For the communicative power of the work of art lies precisely in the fact that we recognise its artificiality, its status as a work within a given genre, following certain conventions, set in a particular frame. What the work really points to, beyond the page, is the existence and actions of a creative consciousness, as that consciousness works through a given set of symbols to express itself. For reading is all about experiencing another’s mind. In the lack. Which makes it a matter of desire. My purpose in the following is to use literature to crack open the everyday, to write about neurosis and psychosis, how they write their way into the real world around us, the dinner table, this novel, a Greek tragedy, I mean Oedipus complex.
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Barber, R. L. N., and Kenneth A. Sheedy. "John M. Cook (1910–1994): A Bibliography." Annual of the British School at Athens 92 (November 1997): 441–46. http://dx.doi.org/10.1017/s0068245400016774.
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The bibliography is intended as a tribute to Cook and his work, and as an aid to researchers in similar fields. Its main subdivisions reflect his interests—Asia Minor: archaeology, topography and history; Greece: archaeological and topographical studies; Attic Geometric and Protoattic pottery; Greek art (and other topics). Books, articles, and reviews are presented separately. The academic bibliography is preceded by references to material on the life of J. M. Cook, and succeeded by a list of obituary notices.