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Journal articles on the topic 'Historiography and photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Blanchard, Antoine. "Microhistoire des portraits composites: Le cas Arthur Batut (1846-1918)." REVISTA DE HISTORIOGRAFÍA (RevHisto) 27 (November 27, 2017): 287. http://dx.doi.org/10.20318/revhisto.2017.3975.

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Résumé: A partir d’une enquête portant sur le cas du photographe francais Arthur Batut (1846-1918) qui s’est emparé de la technique du composite portraiture de Francis Galton, nous révélerons dans un premier temps l’importance considérable du portrait photographique dans la constitution, à la fin du XIXe siècle, d’une nouvelle image de soi particulière correspondant à une identité “physicalisée”. Pour ce faire, nous mettrons à l’épreuve les questions et la méthode de la microstoria. Dans un second temps, nous envisagerons la possibilité que la technique historiographique de la microstoria elle

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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in whi

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Acar, Sibel. "Photography as a means of architectural (re)presentation and (re)production." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (2018): 24–33. http://dx.doi.org/10.18844/prosoc.v5i6.3692.

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Architecture and photography have closely interacted with each other since the invention of the photography. Through the 20th century, architectural photographs were utilised for documentation, preservation, historiography, presentation and as a tool of design. Until the turn of the 21st century, the dissemination of architectural photographs was limited by the accessibility of printed media. Today, owing to the digital communication technologies, architectural photographs are being disseminated and circulating rapidly in an unprecedented way. Therefore, not only architectural photographs prod

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Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the se

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Behdad, Ali. "On Photographic Monumentalism: Nineteenth-century Representations of Architectural and Historical Sites." Journal of Material Cultures in the Muslim World 4, no. 2 (2024): 153–69. http://dx.doi.org/10.1163/26666286-12340044.

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Abstract This article addresses the intertwined history of photography and architectural historiography in the nineteenth century. Focusing on European photography of Egyptian antiquity and Palestine’s biblical sites, it elaborates how a commemorative form of historiography deploys photographic images of what came to be known as the “historic monument” to construct notions of patrimony, historical heritage, national identity, and imperial mission. The second part of the essay discusses photographic monumentalism in Qajar, Iran, and Ottoman Turkey as different responses to Orientalist represent

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Lityagina, Alla V. "Photography Business in Urban Western Siberia in the Second Half of the XIX – Early XX Century." SibScript 25, no. 3 (2023): 379–92. http://dx.doi.org/10.21603/sibscript-2023-25-3-379-392.

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Photographic studios provide an excellent example of entrepreneurial activity, as well as a deep insight into the routine and innovations in West-Siberian cities and towns during the modernization period. This article describes the development of photography business in Western Siberia in the second half of the XIX – early XX century. The historiography analysis of this issue showed a rather poor scientific coverage. The study covered the regions of Tomsk, Tyumen, Novosibirsk, Kemerovo, Omsk, and Altai. The article introduces unpublished archival documents and photographs. Archival cases showe

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Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.

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For over a century, press and magazine photography has influenced how Australians have viewed society, and played a critical role in Australia's evolving national identity. Despite its importance and longevity, the historiography of Australian news photography is surprising limited. This article examines the history of press and magazine photography and considers its genesis, the transformative technological innovations, debates about images of violence, the industrial attitudes towards photographers and their treatment, the use of photographs and the seismic recent changes. The article argues

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Hamann, Christoph. "Indeks, ikona i symbol. O stosunku fotografii, historii (czasu) i pamięci." Kultura i Społeczeństwo 55, no. 4 (2011): 107–27. http://dx.doi.org/10.35757/kis.2011.55.4.6.

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The Author starts with a thesis that photography and modern historiography developed at the same time, and then tries to look for relationships between the two. He starts from analyzing a specificity of a photograph which — as a medium — not only represents the past, but can be an energizing impulse both in the presence and the future. By referring to the semiotic classification of Charles Sanders Peirce, the Author describes the importance of a photograph to historical research as an index, an icon and a symbol. This helps understand the way of using a collective resource of photographs and t

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Cozea, Angela. "Proustian Aesthetics: Photography, Engraving, and Historiography." Comparative Literature 45, no. 3 (1993): 209. http://dx.doi.org/10.2307/1771502.

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Turner, Stephen. "The Parasitical Historiography of Ann Shelton's Photography." Australian and New Zealand Journal of Art 15, no. 1 (2015): 37–51. http://dx.doi.org/10.1080/14434318.2015.1047815.

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Strandroth, Cecilia. "The »New« History? Notes on the Historiography of Photography." Konsthistorisk Tidskrift/Journal of Art History 78, no. 3 (2009): 142–53. http://dx.doi.org/10.1080/00233600903326136.

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Aleksey, Glushaev. "Catch a Sight of "Church": Amateur Photographs as a Window into the Life of Evangelical Christians of the USSR." TECHNOLOGOS, no. 1 (2021): 66–75. http://dx.doi.org/10.15593/perm.kipf/2021.1.06.

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It is known that the documents from the State archives concerning the history of religious life in the USSR had the primary importance and they are remained the same. However, a significant part of historical documents are kept by believers. Film and photo documents are of particular interest. The “visual turn” in the historiography of the beginning of 2000s opened up new opportunities for studying film sources and photographic documents. The attention of historians has focused on the symbolic and linguistic systems of transmission of film and photographic messages, on the visualization of eth

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Flores, Teresa Mendes. "Maria Pia fecit / By Maria Pia: the observed and the observer. Some reflections on gender issues considering the case of Queen Maria Pia, the photographer." Comunicação e Sociedade 32 (December 29, 2017): 123–45. http://dx.doi.org/10.17231/comsoc.32(2017).2754.

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his article discusses some aspects of the status of women amateur photographers during the turn of the 19th to 20th centuries, considering the case of the Portuguese Queen Maria Pia of Savoy (1847-1911). We acknowledge the difficulties of making the historiography of women photographers in Portugal, due to the scarcity of sources and archives, and the lack of questions about these absences and their reasons. These facts have contributed to a history of photography in Portugal that consists of a succession of male names of “great photographers”. Asking questions about “the other half”, as well

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Suazo, Antonio. "A new method for using historical street photography collections as a primary source for cartographic production." Abstracts of the ICA 2 (October 8, 2020): 1–2. http://dx.doi.org/10.5194/ica-abs-2-24-2020.

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Abstract. The production of historical cartographies with the aid of digital tools has become in recent years a very active field of study, especially in urban heritage research. In this way, contributions from disciplines such as computer vision or remote sensing allow today to integrate data from various documentary records, enriching the available urban historiography, and enabling new readings on the relationship between historical cartography and contemporary sources of information. Despite this, little attention has been paid to the use of urban street photography, which continues to be

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Allina, Eric. "“Fallacious Mirrors:” Colonial Anxiety and Images of African Labor in Mozambique, ca. 1929." History in Africa 24 (January 1997): 9–52. http://dx.doi.org/10.2307/3172017.

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African historiography has over the past decade begun to pay increasing attention to photographs as a source for African history. A growing body of work has raised a number of methodological and theoretical questions about how scholars can and should work with images. From their experience with written documents, historians are aware of the ideologically charged conditions under which colonial knowledge was produced. This awareness has armed scholars with a skepticism to look beyond the image itself and examine the physical and technological environment in which photographers worked. Posed stu

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Sossa, Rostyslav, Serhii Bortnyk, and Victor Lozynskyi. "GEODESY, CARTOGRAPHY AND AERIAL PHOTOGRAPHY." GEODESY, CARTOGRAPHY AND AERIAL PHOTOGRAPHY 97,2023, no. 97 (2023): 70–78. http://dx.doi.org/10.23939/istcgcap2023.97.070.

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The purpose of the paper is to determine the state of research on the peculiarities of mapping and cartographic works of Lviv and, on this basis, to develop tasks for continuing such research on systematic foundations using GIS technologies. Methodology. The theoretical and methodological basis of the research was formed by modern ideas about the significance of a map as an important document of geospatial information and about cartography as a crucial method of recording the state of events and phenomena. The research methodology is based on the principles of historicism, objectivity, systema

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Brunet, François. "Nationalities and Universalism in the Early Historiography of Photography (1843–1857)." History of Photography 35, no. 2 (2011): 98–110. http://dx.doi.org/10.1080/03087298.2010.516587.

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Balaschak, Chris. "Between Sequence and Seriality: Landscape Photography and its Historiography inAnonyme Skulpturen." Photographies 3, no. 1 (2010): 23–47. http://dx.doi.org/10.1080/17540760903561090.

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Caldas Malqui, Mario. "Reflexiones en torno a la celebración de los 180 años del nacimiento de la fotografía." Tradición, segunda época, no. 18 (January 9, 2020): 123–30. http://dx.doi.org/10.31381/tradicion.v0i18.2666.

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ResumenEl presente ensayo reflexiona acerca del desarrollo y trascendencia de la fotografía con motivo de celebrarse el próximo 19 de agosto los 180 años de su nacimiento (1839- 2019). Las polémicas del siglo XIX acerca del papel y el valor de la fotografía explican a partir de la fundamental ambigüedad del hecho fotográfico, y del carácter que la distingue de todo tipo de imágenes (de la tradicional iconografía pictórica). La fotografía tiene la capacidad de cortar y guardar un fragmento de la realidad que lo vincula en el Aquí y el Ahora del acontecimiento pasado, categorías que fundamentan

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de Chadarevian, Soraya. "Chromosome Photography and the Human Karyotype." Historical Studies in the Natural Sciences 45, no. 1 (2014): 115–46. http://dx.doi.org/10.1525/hsns.2015.45.1.115.

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In 1956, Joe Hin Tjio and Albert Levan published a paper in which they suggested that the number of human chromosomes was 46 and not 48. The story of the recount has been the subject of numerous studies and debates. In this essay I propose to revisit the 1956 paper and the questions surrounding it by considering the chromosome images it contained. Paying attention to the images, including especially the photomicrograph that has come to represent the new chromosome count, offers the opportunity to study the history of an iconic image of genetics. In the course of this history the image moved fr

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Lessard, Bruno. "The Refracted Moment: Photographing Chinese History in the Making." Journal of Chinese Humanities 1, no. 1 (2014): 170–93. http://dx.doi.org/10.1163/23521341-01010009.

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Abstract This article examines the way in which both Western and Chinese photographers have documented Chinese history in the making by focusing on the photographic documentation of two key events in the formation of Chinese society: the 1911 Revolution that laid the foundation for the birth of the republic and the “energy revolution” that was the Three Gorges Dam project (1994-2012). The major difference between the two revolutions is that the latter was documented by the Chinese themselves. No longer relying upon images made by Westerners exclusively, as was the case in 1911, the Chinese app

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Coates, Oliver. "New Perspectives on West Africa and World War Two." Journal of African Military History 4, no. 1-2 (2020): 5–39. http://dx.doi.org/10.1163/24680966-00401007.

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Abstract Focusing on Anglophone West Africa, particularly Nigeria and the Gold Coast (Ghana), this article analyses the historiography of World War Two, examining recruitment, civil defence, intelligence gathering, combat, demobilisation, and the predicament of ex-servicemen. It argues that we must avoid an overly homogeneous notion of African participation in the war, and that we should instead attempt to distinguish between combatants and non-combatants, as well as differentiating in terms of geography and education, all variables that made a significant difference to wartime labour conditio

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Fehér, Krisztina, Imre Takács, and Ákos Török. "Stone materials of the late twelfth-century incrustation works of Esztergom." Acta Historiae Artium 63, no. 1 (2023): 177–91. http://dx.doi.org/10.1556/170.2022.00004.

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The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert Cathedral and the Royal Palace of Esztergom from King Béla III’s era. All of the four examined objects (two fragments from the Porta speciosa and two throne arm-rests) have incrustations with red limestone basement and other colourful stone pieces. As red limestone is a well-known material in Hungarian art history with a rich historiography, the paper focuses on the findings of the analyses of other stone materials of the incrustations. The research contains several non-destructive analytical meth

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Poluektova, Tatiana A. "Phototextuality as a Poetological Category of the English Novel: Stating the Problem." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 100–110. http://dx.doi.org/10.17072/2073-6681-2021-4-100-110.

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The article deals with phototextuality as a poetological category of the modern English novel. An attempt is made to define the term ‘phototextuality’. A brief historiography of the issue is presented. The focus is basically on photographic ecphrasis, which we define as a description of a photograph being the subject of the character’s reflection or a result of cooperation of the photographer and the model. The article introduces two differentiating terms: protophotonekphrasis, which has a real photoprototype in the culture, and a notional photoekphrasis, created exclusively by the author’s im

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Sarró, Ramon, and Ana Temudo. "The Lives and Deaths of an Ethnographic Museum: History, Violence and Curatorial Collaborations in Guinea-Bissau." Museum and Society 19, no. 3 (2021): 369–81. http://dx.doi.org/10.29311/mas.v19i3.3825.

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This article discusses the history of the National Ethnographic Museum of Guinea-Bissau (West Africa) and an exhibition we curated about it in Bissau in 2017, which serendipitously led to its reopening. The Museum, which was created in 1988, had ceased to exist because of a civil war in 1998-99. Thanks to a reconstruction of contact prints in the archives of Bissau, we were able to organize an exhibition and to conduct research on the history of the museum. Methodologically, the article illustrates the potential of photography in museum historiography and revitalization. Thematically, it exemp

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Abilova, Ramina O., and Tatiana P. Krasheninnikova. "Journey of the USA Citizen Frank Whitson Fetter to the USSR: History of the Foreign Photographic Collection in the Duke University Library (1930)." Herald of an archivist, no. 4 (2020): 1184–200. http://dx.doi.org/10.28995/2073-0101-2020-4-1184-1200.

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The article presents the results of studying the Whitson Fetter (1899-1991) photo collection on Fetter’s visit to the Soviet Union in the summer of 1930. He spent six days in Moscow and six weeks in Kazan, then took a trip down the Volga River and the Caspian Sea. In his journey, Frank W. Fetter took about 330 photographs, which are currently stored in the David M. Rubenstein Rare Book & Manuscript Library, Duke University (Durham, North Carolina, USA). The article reconstructs the origin of the photographic collection (USSR, June-August 1930) and its life in the family archive of Frank W.

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Allen, Ruth. "Peter Schultz and Ralf Von den Hoff (eds). Structure, Image, ornament: architectural sculpture in the Greek world." Journal of Greek Archaeology 1 (January 1, 2016): 492–94. http://dx.doi.org/10.32028/jga.v1i.682.

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Greek (and Roman) architectural sculpture has frequently suffered reductive treatment from scholars. Either it has been broken up into stand-alone artworks divorced from their original display-contexts and studied only for what they can tell us of the development of style and subject, or it has been treated as ancillary to the building, or, in the case of temples, preparatory to the worshipper’s experience of the statue inside. This is in part a matter of historiography: the removal and display by Grand Tourists of sculptural features such as the Parthenon and Bassai friezes only encourages th

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Khamidullin, Sairus R., Aidar M. Gainutdinov, Iskander I. Gainullin, Khalim M. Abdullin, and Alexey V. Kasimov. "Historiography of the Study of Bulgarian-Tatar Epigraphic Monuments in the Zakazanye region and Modern Research Methods." Golden Horde Review 12, no. 1 (2024): 79–90. http://dx.doi.org/10.22378/2313-6197.2024-12-1.79-90.

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The purpose of the study is to trace the historiography of the study of the Bulgarian-Tatar epigraphic monuments in the vast Zakazanye region of the Republic of Tatarstan, as well as to show the possibilities of modern research methods in this matter. Research materials: Bulgarian-Tatar epigraphic monuments (tombstones) of the 13th–17th centuries. The work also involves extensive data from the historiography of the study of Bulgarian-Tatar epigraphic monuments and the results of modern methods of studying epigraphic monuments. Results and novelty of the research: In chronological order, a revi

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Kazaryan, Armen. "Architecture of Medieval Armenia as a Field of Research for Russian and Italian Scholars: Comparative Analyses of the Historiography." Arts 12, no. 6 (2023): 238. http://dx.doi.org/10.3390/arts12060238.

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For the first time in the literature, this study provides an analysis of the activities of two major architectural–archeological missions that investigated the architectural heritage of the Armenian Highlands: the Russian Ani Archaeological Expedition (1892–1893 and 1904–1917) and the Italian academic programs of the Universities of Rome and Venice and that of Milan Polytechnic (from 1966 to the 1980s). In this article, the results of the conducted research are compared, and their contribution to the development of the history of medieval architecture is evaluated. The differences in the resul

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Pagnotta, Sarafina. "Curating Community behind Barbed Wire: Canadian Prisoner of War Art from the Second World War." Genealogy 8, no. 2 (2024): 54. http://dx.doi.org/10.3390/genealogy8020054.

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Though often under-represented in the official and national narratives and in Canadian military historiography more broadly, the intimate and personal lived experiences of Canadian prisoners of war (POW) during the Second World War can be found in archives, photography collections, and collections of war art. In an attempt to see past the mythologised versions of POWs that appear in Hollywood films, best-selling monographs, and other forms of popular culture, it is through bits of ephemera—including wartime log books and the drawings carefully kept and sent home to loved ones along with handwr

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Romakina, Maria A. "Kaleidoscope Aesthetics in Visual Media." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 48–56. http://dx.doi.org/10.17816/vgik8348-56.

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The author analyzes the special type of imagery, that is kaleidoscopic image, and investigates its evolution in photography, video and multimedia from the first vortograph (photo, taken through the prism of the mirrored glasses in 1917 by Alvin Langdon Coburn) until nowdays. The author combines empirical methods with the theoretical analysis. For the first time in the humanitarian historiography a huge package of kaleidoscopic photos, video and multimedia images was collected and systematized. The collection includes works of several dozens artists, some of them interviewed by the author of th

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Abilova, Ramina O., and Tatiana P. Krasheninnikova. "“Scenes in the Soviet Russia. Summer of 1930”: Frank Fetter`s Film about His Soviet Trip in 1930." Herald of an archivist, no. 4 (2022): 1025–41. http://dx.doi.org/10.28995/2073-0101-2022-4-1025-1041.

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The article presents results of studying the amateur film “Scenes in the Soviet Russia. Summer of 1930” by the American economist Frank Whitson Fetter (1899–1991) filmed in the Soviet Union in the summer of 1930. Firstly, it reviews historiography of amateur cinema and notes methods used in the research on Fetter's film. The section “Context of creation” reconstructs conditions of filming the movie in the USSR and circumstances of its currency. Fetter came to the country with intention of becoming expert in Soviet economics. He came well prepared: he had a Leica camera, a 16 mm Bell & Howe

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Pollen. "“Historians in Two Hundred Years' Time Are Going to Die for That!”: Historiography and Temporality in the “One Day for Life” Photography Archive." History and Memory 25, no. 2 (2013): 66. http://dx.doi.org/10.2979/histmemo.25.2.66.

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Fleming, Tyler, and Toyin Falola. "Africa's Media Empire: Drum's Expansion to Nigeria." History in Africa 32 (2005): 133–64. http://dx.doi.org/10.1353/hia.2005.0008.

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Publishing in Africa remains so difficult an enterprise that many publishers have collapsed, their dreams disappearing with them. This is especially true of the print media, particularly newspapers and magazines. During the past century, many magazines and newspapers failed to establish a loyal readership, keep costs down, insure wide circulation, or turn a huge profit. Consequently, not many African magazines can be viewed as “successful.” Drum magazine, however, remains an exception.In 1951 Drum, a magazine written for and by Africans, was established in South Africa. Drum enjoyed a great de

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Aldea Hernández, María José, and Iñaki Bergera. "Miradas exploratorias. Fotografías inéditas del viaje a Italia de Asís Cabrero." VLC arquitectura. Research Journal 4, no. 1 (2017): 31. http://dx.doi.org/10.4995/vlc.2017.7011.

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<p><em>As was the case in not just a few of his contemporaries, Francisco Cabrero's modern advent is centred on his initial trip, in this case the one made to Italy in 1941. The historiography of Spanish architecture in general and the specific studies on the architect have shown the impact and the scope of this two-month trip on his later career. Fleeing the ruling academicism in Spain, Cabrero 'discovers' in Italy the rationalist and abstract expression of monumentality. Nevertheless, the access to a wide photographic reportage —unpublished up to now— accomplished by the architec

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Tsourgianni, Despoina. "Issues of Gender Representation in Modern Greek Art." Aspasia 13, no. 1 (2019): 31–64. http://dx.doi.org/10.3167/asp.2019.130105.

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There is a recent trend, mainly in the field of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns written (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora-Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits.

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Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 85. http://dx.doi.org/10.25038/am.v0i19.316.

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This paper presents a criticism of the performance Merci Beaucoup, Blanco! by Michelle Mattiuzzi and the self-reflection on it published in the 32nd Biennial of São Paulo – “Live Uncertainty” (2016) – entitled Written Performance Photography Experiment. To this end, we emphasize the performance’s formal elements alongside aspects of the history of racist practices and theories in Brazil, in addition to the official historiography concerning the black population, which contextualize the feelings of pain and horror impregnating both the artist’s personal experience and her performance.Accordingl

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Grigas, Algimantas. "Architectural Criticism in the Soviet Lithuania 1958-1988: Vision of the New Architecture in the Specialized Periodicals." Journal of Sustainable Architecture and Civil Engineering 33, no. 2 (2023): 58–71. http://dx.doi.org/10.5755/j01.sace.33.2.33419.

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Architecture criticism of Soviet Lithuania has not been properly addressed in scientific research. The novelty of the work relates to the branch of architecture criticism as part of the history of arts, particularly in the context of the historiography of 20th- century modern architecture. This paper is to uncover the various forms of architectural criticism and its agents among the vocational and scientific publications aimed at other architects of the Lithuanian SSR. Using a systematic approach and qualitative research methods, a database of 100 critical articles is constructed. The phenomen

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Iker, Annemarie. "Photographs of the “Dust of the Highway”: Georgiana Goddard King’s Way of Saint James." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 27–52. http://dx.doi.org/10.5195/contemp.2016.149.

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This article explores the use of photography in American art historian Georgiana Goddard King’s Way of Saint James (1920), a genre-defying book on the Camino de Santiago that intertwines art history with anthropology, literature, history, geography, and narrative. Despite King's groundbreaking scholarship on medieval Spain her legacy has been overshadowed by subsequent art historians, chief among them Arthur Kingsley Porter. Here, it is suggested that King’s emphasis on personal experiences of the pilgrimage—both historical and contemporary—diminished the value of her work, especially when com

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Zolkos, Magdalena. "The Nocturnal Order of Visuality: Images, Dreams, and Uprisings in Didi-Huberman." Journal of Continental Philosophy 2, no. 2 (2021): 379–400. http://dx.doi.org/10.5840/jcp20223933.

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Didi-Huberman conceptualizes images as unstable and incongruent events in disagreement with the art historiographic discourses that reduce visuality to the contents of representation. I analyze the link between Freud’s dream-theory and Didi-Huberman’s philosophy of images, focusing on the notion of dreams and images as instance of (up)rising against repression and erasure. Didi-Huberman does not simply “apply” psychoanalysis to disrupt the dominant art historiography; his interpretation of the dream book speaks to his originality as a reader of Freud who brings to the fore the importance of vi

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Nazarkulova, Nodira. "THE HISTORIOGRAPHY CONCERNING THE HISTORY OF KOREAN WOMEN: A CRITICAL EXAMINATION." American Journal of Interdisciplinary Innovations and Research 6, no. 4 (2024): 25–29. http://dx.doi.org/10.37547/tajiir/volume06issue04-05.

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The advent of modern technologies during the era of globalization has significantly expanded the array of sources available for historical research. Visual materials, encompassing various forms of pictorial media such as photographs, phonographs, and video images, stand out due to their diversity and capacity to directly convey information. Concurrently, there is a growing scholarly emphasis on investigating the roles and experiences of women in historical contexts. In this context, the utilization of visual materials in studying the history of Korean women during the late 19th and early 20th

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Danbolt, Matias. "Bølgebrydning. At tune ind på queerfeministisk historie med FRANKs Voluspå." Periskop – Forum for kunsthistorisk debat, no. 19 (May 30, 2018): 10–27. http://dx.doi.org/10.7146/periskop.v0i19.114001.

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2013 marked the centenary celebration of the suffragettes’ fight for the right to vote in parliamentary elections in Norway. The article “Breaking the Waves: Tuning into Queer History with FRANK’s Voluspå” analyses the Norwegian queer feminist platform FRANK’s response to the centenary, which included the artist book Voluspå (2013) and the exhibition Marie Høeg Meets Klara Lidén (2013–14), where photographs by the Norwegian suffragette and photographer Marie Høeg (1866-1949) were brought in dialogue with Swedish contemporary artist Klara Lidén. Through an analysis of FRANK’s “performative hist

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Tseti, Angeliki. "Historiography in Photo-textuality: The Representation of Trauma in W. G. Sebald’s The Emigrants." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 8 (December 1, 2015): 99. http://dx.doi.org/10.12681/syn.16215.

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This paper springs from the issues raised with reference to the historiographical representation of limit events and the challenges presented in the attempt to address collective trauma, and wishes to contend that fictional works of photo-textuality —in other words novels which consist of verbal as well as visual (photographic) components—carry the potential to place such ‘unrepresentable’ or ‘indescribable’ events among the historically narratable. While focusing predominantly on word-image interactions, this paper reads W. G. Sebald’s photo-text The Emigrants (1992) as an example of photolit

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Мануилова, Е. А., О. В. Хотылев, С. В. Ольховский, А. О. Хотылев, А. А. Майоров, and Ф. С. Щепелев. "THE PALEOHYDROGRAPHIC NETWORK OF THE TAMAN PENINSULA BASED ON REMOTE SENSING DATA." Краткие сообщения Института археологии (КСИА), no. 272 (May 20, 2024): 457–72. http://dx.doi.org/10.25681/iaras.0130-2620.272.457-472.

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Локализация древнегреческих поселений, основанных на берегах Керченского пролива в ходе Великой греческой колонизации, уже более века является предметом научной дискуссии. Преобладает мнение, что причиной заметных изменений ландшафта Таманского полуострова в последние 2500 лет стали колебания уровня моря. Однако, по нашему мнению, главенствующая роль в процессе перестройки рельефа принадлежит тектоническому фактору. В связи с этим созданные к настоящему времени палеогеографические реконструкции нуждаются в верификации и уточнении. Данная статья посвящена изучению гидросети региона. В результат

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Watkins, Liz. "The Politics of Nostalgia: Colorization, Spectatorship and the Archive." Comparative Cinema 9, no. 17 (2021): 123–45. http://dx.doi.org/10.31009/cc.2021.v9.i17.07.

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Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, pra

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Balsoy, Gülhan. "Gendering Ottoman Labor History: The Cibali Régie Factory in the Early Twentieth Century." International Review of Social History 54, S17 (2009): 45–68. http://dx.doi.org/10.1017/s002085900999023x.

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SummaryThis article examines the “mutual distancing” between Ottoman labor history and women’s and gender history. For this purpose, I first summarize the scholarship produced by each field and scrutinize the ways in which both fields have remained unresponsive toward one another. I then offer a specific way to make women visible to labor history in the particular setting of the Cibali Régie Factory in the early decades of the twentieth century. Using photographic images of the factory and an approach which applies gender as a conceptual tool of historical analysis, I discuss the social condit

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Lomakin, Dmitry, and Elena Aibabina. "The Mosque in the Village of Sheikh-Koi (Davydovo) According to the Photographs from A. L. Rogach Personal Collection in the Central State Archive of Literature and Art." Materials in Archaeology, History and Ethnography of Tauria, XХVII (December 15, 2022): 685–710. http://dx.doi.org/10.29039/2413-189x.2022.27.685-710.

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This article addresses the history of researches on the ruined mosque located on the outskirts of the village of Davydovo (Simferopol district, Republic of the Crimea). For the first time this monument called attention in the late 1920s, when a preliminary study was conducted under the supervision of B. N. Zasypkin, and Osman Akchokrakli translated the inscription placed above one of the entrances and showing the date of 1358, which later became the main argument (due to a large number of spoliae, probably erroneous) for a number of researchers to date the construction of the mosque. The main

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Andreev, Kirill. "The Battle of Smolensk in 1941 in Soviet and Modern Historiography." Izvestia of Smolensk State University, no. 3(63) (December 19, 2023): 145–61. http://dx.doi.org/10.35785/2072-9464-2023-63-3-145-161.

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The article analyzes the state of historiography of the Battle of Smolensk in 1941. Although this issue has already been studied in Soviet historiography, a number of new studies have been published over the past two decades, and the active use of previously closed archival documents, both Soviet and German, has begun. Photographic materials have become an important source of studying the battle. The author paid special attention to the analysis of the works of recent years. It was revealed that in modern historiography several approaches to the assessment of the Battle of Sm

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Potyl’chak, Oleksandr, and Vladyslav Herasymenko. "PRAGUE GROSCHEN IN THE RESEARCH OF CZECH NUMISMATICS." Ukrainian Numismatic Annual, no. 5 (December 30, 2021): 281–98. http://dx.doi.org/10.31470/2616-6275-2021-5-281-298.

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The aim of the article is a comprehensive analysis of the formation, development and current state of research in Czech numismatics of the XIX - early XXI centuries in the context of coinage, penetration and use of Prague groschen as a means of payment in Central and Eastern Europe in the late Middle Ages and early modern times. The research methodology is outlined by the principles of scientificity, historicism, objectivity, and the main methods used in the study were historiographic analysis and historiographic synthesis, as well as general scientific methods of generalization and systematiz

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Porras Payea, September. "Selection from "Una Iglesia Desaparecida: The End of an Era for the Chilean Catholic Church"." Swarthmore Undergraduate History Journal 2, no. 2 (2021): 103–16. http://dx.doi.org/10.24968/2693-244x.2.1.8.

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This article aims to investigate the changing political alignment of the Chilean Catholic Church following the fall of the dictatorship in the early 1990’s. The author brings together a primary source collection of new articles, photographs, and interviews, as well as a secondary source collection of sociological surveys and historiography, to interrogate the process and outcome of this political transition. The article maintains that desires for hierarchical control and a rejection of past, progressive theology motivated Church leaders to transition the Church away from community based leader

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