To see the other types of publications on this topic, follow the link: Holy Year in art.
Journal articles on the topic 'Holy Year in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Holy Year in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Ivanova, Maria, and Michelle R. Viise. "Dissimulation and Memory in Early Modern Poland-Lithuania: the Art of Forgetting." Slavic Review 76, no. 1 (2017): 98–121. http://dx.doi.org/10.1017/slr.2017.13.
Full textAbstract:
The most well-known practitioner of dissimulation among early modern Christians of the Eastern Rite is Meletii Smotryts'kyi (ca. 1577–1633), the Orthodox archbishop of Polatsk (in modern-day Belarus), who was suspected of being a Uniate for several years before he was openly charged with apostasy during a council of the Orthodox hierarchy of Poland-Lithuania in August of 1628. For the previous year Smotryts'kyi had lived a double life, outwardly an Orthodox archbishop but secretly a Uniate, having formally accepted the Union with Rome on July 6, 1627. In this period of clandestine Uniatism and the years leading up to it, during which he flirted with conversion, Smotryts'kyi fulfilled his official duties, playing a leading role in Orthodox synods and risking exposure that would bring public disgrace and even physical harm. Smotryts'kyi had a positive reason for keeping his conversion secret: he argued that the Congregation of the Holy Office of the Inquisition should allow him to remain in office as an Orthodox bishop so that he might convene a council of the Orthodox hierarchy and elite and, “received as a schismatic [an Orthodox], would be able to set forth and to explain the twofold causes of the present discord of the Church & and to cause doubt for them in the schismatic faith (through the reasons that had taught him himself that there was no contradiction in thing [essence], only in words, between the holy Greek and Latin fathers).” Smotryts'kyi concluded his request for secrecy by comparing his situation with that of Jesuits engaged in mission work with non-Christians: “Wherefore, indeed, if the fathers of the Society of Jesus and the other priests in India can live with the heathens in secular habit, this should cause no one scandal, especially since, with God’s help, we will hope for the much greater fruit of holy Union from his hidden Catholicism & than if he were now known by all.”
2
Armstrong, David. "On revolutionary chickens and international eggs." Review of International Studies 27, no. 4 (2001): 669–74. http://dx.doi.org/10.1017/s0260210501006696.
Full textAbstract:
The fascination of revolutions is one shared by the worlds of scholarship and art and literature alike. For the latter, revolutions appear to hold out hope that a new order will sweep aside the decay, oppression and corruption they perceive as omnipresent in society. For the former, revolutions come tantalizingly close to the holy grail sought by social scientists for two hundred years, offering sequences of events and patterns of interaction that share sufficient similarities across continents and centuries to suggest the possibility of a true science of human affairs, including predictive hypotheses.
3
Watenpaugh, Keith. "“Opening the Doors” One Year Later: Reflections on the Iraq War and the Middle East Studies Community." Middle East Studies Association Bulletin 38, no. 1 (2004): 16–23. http://dx.doi.org/10.1017/s0026318400046381.
Full textAbstract:
Word began to trickle out of Baghdad in mid-April 2003 that the Iraqi National Library and Archives and the library of the Ministry of Holy Endowments and Religious Affairs (al-Awqaf) had been burned and looted during the paroxysm of aggravated mayhem that followed the collapse of the Baathist regime. Soon, it became clear that in addition to the damage to those libraries, universities, research centers and private institutions had also been harmed or destroyed, and that additional elements of Iraq's rich cultural heritage in the form of historic buildings, musical archives and contemporary art were at risk. These were moments of deep and profound sadness that ultimately gave way to conversations about ways to work to assess, rebuild and restore what had been lost.
4
Freiberg, Jack. "The Lateran Patronage of Gregory XIII and the Holy Year 1575." Zeitschrift für Kunstgeschichte 54, no. 1 (1991): 66. http://dx.doi.org/10.2307/1482516.
Full text
5
Mazurczak, Urszula. "List apostolski Duodecimum saeculum Ojca Świętego św. Jana Pawła II z okazji tysiąc dwusetnej rocznicy Soboru Nicejskiego II. Miejsce ikony w wierze i rozumieniu św. Jana Pawła II." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 57–71. http://dx.doi.org/10.18290/rh20684-4s.
Full textAbstract:
The letter of the Holy Father John Paul II written in Rome in 1987, in the tenth year of His pontificate, on December 4th, on the day of memorial of Saint John Damascene, the doctor of the Church, on the Twelfth Centenary of finishing the controversy over the icon, is of great importance for the Pope’s program of ecumenism. The Holy Father indicated various directions of the dialogue, however, the one of the utmost importance concerned the agreement with the Orthodox Church, which was confirmed in the letters and in His other documents quoted in this paper. The image used to be essential for religious practice, for illustrating the word of prayer and of the song, in order to preserve the tradition of the Church. The strict prohibition introduced by the iconoclasm depreciated not only the artistic tradition of paintings but also the basic dogmas of Christ’s Incarnation and the one which introduced Virgin Mary as the Theotokos (the God-bearer). The ban constituted a threat not only for the icons but also for the Christian faith. In His Letter, the Pope underlined the important role of the Second Council of Nicaea which reintroduced icons and maintained and deepened the meaning of the cult in the faith of believers. Furthermore, the Holy Father indicated the connection with the Second Vatican Council in understanding the function and form of images in contemporary Church. Contemporary trends are overwhelmed by the impotence of the spiritual expression of sacral art, which is a great concern for the Pope. The Letter is, therefore, a dramatic warning of the threats for religious art in contemporary time, expressed by the Holy Father with these words: ‘The rediscovery of the Christian icon will also help in raising the awareness of the urgency of reacting against the depersonalizing and at times degrading effects of the many images that condition our lives in advertisements and the media.’ (DS, 11).
6
Leone, Stephanie C., and Paul A. Vierthaler. "Innocent X Pamphilj's Architectural Network in Rome." Renaissance Quarterly 73, no. 3 (2020): 897–952. http://dx.doi.org/10.1017/rqx.2020.122.
Full textAbstract:
This study employs network analysis and microhistory to challenge the standard narrative about architecture and patronage in Baroque Rome, that of celebrity patron-artist relationships. It investigates the artists and artisans below this elite team and the plurality of relationships that developed among them. The subject is Innocent X Pamphilj's monumental works of art and architecture, at the Vatican, Piazza Navona, Campidoglio, Lateran, and Janiculum Hill, commissioned for the 1650 Holy Year. It argues that competent artisans and their relationships influenced the operation of building sites and presents Innocent X as the patron of an industrious architectural enterprise.
7
Kurniawan, Bagus Ananda, and Chusnul Abady. "Implementasi Kebijakan Pemerintah Kabupaten Sumenep Dalam Rangka Pengembangan dan Pelestarian Kesenian Musik Tradisional Tong - Tong." Kanal: Jurnal Ilmu Komunikasi 8, no. 1 (2019): 36–41. http://dx.doi.org/10.21070/kanal.v8i1.151.
Full textAbstract:
This qualitative descriptive research method is to describe and discuss a policy of the Sumenep Regency Government to implement the Sumenep Regency Government Policy in the Context of the Development and Preservation of Traditional Music Art of Tong-Tong Madura Island, East Java Province. At the beginning of the development of traditional Tong-Tong art music which was used as a sahur patrol music was played in waking people to perform the sahur worship in the holy month of Ramadan and Calling the Dwarf who wanted to go home to his cage. In accordance with the Sumenep Regent's Regulation No. 28/2008 concerning the duties and functions of the Regional Office, the Sumenep District Youth and Sports Culture Service, has the task and function of fostering and preserving the Tong-Tong Traditional Music culture in the Sumenep district. The Tong - Tong se Madura Music Contest and the Sumenep Regency Tong - Tong Festival from 2016-2018 is in the context of fostering efforts as well as preserving the cultural heritage of the ancestors which is held regularly every year starting. The cost of conducting the Tong - Ton Traditional Arts Music Kirab Music Festival, the Tong Se Madura Music Contest and the Tong-Tong Festival is annually charged to the Sumenep Regency Regional Revenue and Expenditure Budget (APBD). The aim is to hold the Tong Tong Se Madura Music Competition and the Tong-Tong Festival every year in Sumenep Regency to improve and develop Sumenep Regency tourism promotion and marketing through the Madura tong-tong music competition.
8
Litvinova, Olga. "BIBLE QUOTES AND IMAGES IN THE POETRY OF MARIA SHKAPSKAYA." Проблемы исторической поэтики 19, no. 2 (2021): 198–234. http://dx.doi.org/10.15393/j9.art.2021.9462.
Full textAbstract:
This article is the first to examine in detail the complete corpus of Biblical quotations in the poetry of Maria Shkapskaya, including unpublished handwritten texts. The article uses the material in books Mater dolorosa (1921), Chas vecherniy (1913—1917) (The Evening Hour (1913—1917), 1922), Baraban Strogogo Gospodina (The Drum of the Strict Master, 1922), Krov’-ruda (Blood-ore, 1922), Zemnye remyosla (The Earthly Crafts, 1925) and the poem “Yav’” (“Reality,” 1923), as well as texts from the notebooks of 1903—1907, 1913—1920 and Vcherashnee, a project of a book of poems (Yesterday, 1916) with a preface by Z. Gippius. The intention is to explain the role and significance of the biblical corpus of texts for the author's poetry. The task is to consider in chronological order all the poems by Maria Shkapskaya that are somehow related to the texts of the Holy Scripture, while clarifying the author’s basic principles of working with these texts. The thematic inversions characteristic of Shkapskaya’s poetry are revealed. The general thesis states that the nature of Shkapskaya’s appeal to the texts of Holy Scripture has changed over the years, and her attitude to them has consistently shifted from neutral-calm to a tense one that requires dialogue. Growing increasingly more conflicted and questioning over time, Shkapskaya’s quoting of biblical texts assumes the nature of a personal experience, which clearly indicates the author’s reflections in this direction and a deeply religious understanding of the surrounding reality and poetic creativity as such.
9
Веретенников, Макарий. "Holy Seven Youths of Ephesus." Theological Herald, no. 3(42) (October 15, 2021): 189–201. http://dx.doi.org/10.31802/gb.2021.3.41.011.
Full textAbstract:
В настоящей статье в контексте эпохи гонений на христиан при императоре Декии в III в. прослеживаются основные свидетельства события, описанного в жизнеописании христианских святых семи отроков, прославившихся в V в. в Ефесе при императоре Феодосии Младшем. Семь отроков, прячась от гонения, уснули в пещере и проснулись через несколько сотен лет. Приводится свидетельство свт. Филарета Черниговского о причинах чудесного успения. Рассказывается о разных аспектах богослужебного почитания святых семи отроков в греческой и русской церкви, а также описываются сохранившиеся памятники в христианском изобразительном и монументальном искусстве, у святых отцов и христианских поэтов. Завершается статья свидетельством игумена Даниила, совершившего в XII в. паломничество в Святую землю. In this article, in the context of the era of persecution of Christians under the emperor Decius in the III century traces the main evidence of the event described in the biography of the Christian saints of seven youths who became famous in the Vth century in Ephesus under the emperor Theodosius the Younger. Seven youths, hiding from persecution, fell asleep in a cave and woke up more than two hundred years later. The testimony of St. Filaret of Chernigov is given on the reasons for the miraculous dormition. It tells about different aspects of the liturgical veneration of the holy seven youths in the Greek and Russian churches, and also describes the surviving monuments in Christian visual and monumental art, among the holy fathers and Christian poets. The article ends with the testimony of hegumen Daniel, who committed in the XII century pilgrimage to the Holy Land.
10
Kuin, Roger. "Philip Sidney's Travels in the Holy Roman Empire." Renaissance Quarterly 74, no. 3 (2021): 802–28. http://dx.doi.org/10.1017/rqx.2021.101.
Full textAbstract:
After his stay in Paris in the summer of 1572, Philip Sidney (1554–86) spent nearly three years abroad, partly at the University of Padua and partly traveling through the Holy Roman Empire. His mentor Hubert Languet (1518–80) made him free of his large international network of friends and acquaintances, so that when the St. Bartholomew's Day Massacre forced him to leave France, the seventeen year old could count on a benevolent reception in many places. This essay shows the various politico-religious cultures and structures Sidney learned on his travels through the empire, and incidentally confirms the historical identity of his equestrian mentor Pietro Pugliano.
11
Van Minh, Nguyen. "Overview of the history of painting and lacquer art in Vietnam." Arts & Humanities Open Access Journal 5, no. 1 (2023): 47–53. http://dx.doi.org/10.15406/ahoaj.2023.05.00185.
Full textAbstract:
Traditional Vietnamese lacquer is recognized through professional and historical forms. First of all, decorative painted relics, associated with religious beliefs, have served in spiritual life through worshiping items in pagodas, temples, communal houses, and palaces. Architectural columns and horizontal lacquered board are applied in hammocks, couplets, animism, four holy creatures, flowers of the four seasons, eight precious items of Buddhism, Baguio, palanquin, hammock, long communal house, worshipping paintings, decorative paintings... Especially Vietnamese lacquer painting through actual labor, practical works, research, and application of traditional techniques in the artistic creation of artists, has formed the appearance of traditional Vietnamese lacquer art in the past over the course of more than two thousand years of history.
12
Melnik, Vladimir. "THE AGRAPHON “IN WHAT I FIND, IN THAT I JUDGE” IN W. SHAKESPEARE AND EARLY N. A. NEKRASOV." Проблемы исторической поэтики 20, no. 1 (2022): 134–48. http://dx.doi.org/10.15393/j9.art.2022.10482.
Full textAbstract:
The article provides the first detailed commentary on Nekrasov’s poem “Death”. Nekrasov’s first poetry collection “Dreams and Sounds” has barely been studied. Meanwhile, it entirely reflects the spiritual formation of the seventeen-year-old poet, his devotion to the ideals of Orthodoxy and youthful determination to lead a truly spiritual life. Religious poems in “Dreams and Sounds” (they comprise more than half of the poems in the collection) reveal unexpected spiritual experience in the young man. He confidently introduces the teachings of the Holy Fathers, elements of church preaching, etc. into his verses. In his poem “Death” he speaks of the “transition” of the human soul from the earthly world to the heavenly one and especially emphasizes the question of a moment of death that is favorable from the Christian point of view. The poem is a poetic realization of a well-known agraphon, a phrase attributed to Christ: “In what I find, in that I judge”. Nekrasov could hear this expression in church at a sermon, or in the family. But the immediate impetus for the creation of this poem was probably the reading of Shakespeare’s play “Hamlet” in N. Polevoy’s translation. “Hamlet”, who also knows the agraph “In what I find, in that I judge”, in the scene of Claudia’s prayer juxtaposes two states in which a person can be caught by death: a state of sin and being immersed in prayer. The young Nekrasov should have been struck by the skill with which Shakespeare transformed a familiar expression into a “pearl of creation”, which probably prompted him to write one of the best poems in “Dreams and Sounds”.
13
Drabsch, Bernadette, and Stephen Bourke. "Early Visual Communication: Introducing the 6000-Year-Old Buon Frescoes from Teleilat Ghassul, Jordan." Arts 8, no. 3 (2019): 79. http://dx.doi.org/10.3390/arts8030079.
Full textAbstract:
The collection of 5th Millennium BCE frescoes from the Chalcolithic (4700–3700 BC) township of Teleilat Ghassul, Jordan, are vital signposts for our understanding of early visual communication systems and the role of art in preliterate societies. The collection of polychrome wall murals includes intricate geometric designs, scenes illustrative of a stratified and complex society, and possibly early examples of landscape vistas. These artworks were produced by specialists using the buon fresco technique, and provide a visual archive documenting a fascinating, and largely unknown culture. This paper will consider the place these pictorial artefacts hold in the prehistory of art.
14
Иванова, С. В. "Angelic Trumpets in Medieval Christian Art." OPERA MUSICOLOGICA, no. 2022 (September 12, 2022): 46–63. http://dx.doi.org/10.26156/om.2022.14.3.003.
Full textAbstract:
В статье исследуются изображения духового музыкального инструмента, в который трубят ангелы; подобные изображения появляются в христианском искусстве с XI века. Это труба характерной формы, слегка изогнутая, с очень небольшим раструбом, она может быть как сравнительно небольшой, так и довольно значительного размера, бывает украшена резьбой или же инкрустацией. Сопоставление изображений позволяет сделать вывод, что перед нами шофар — особый библейский инструмент, труба, изготовленная из рога парнокопытных животных (диких и домашних баранов, козлов, антилоп). Шофары описаны в видениях ветхозаветных пророков и имеют огромное значение в библейской культуре. В христианском искусстве Западной Европы и Византии с XI столетия появляются произведения — фрески, барельефы, мозаики, иконы, миниатюры, — в которых шофары изображаются весьма правдоподобно. После XV века в западноевропейском искусстве значение шофара перестает осознаваться, вместо них начинают изображаться просто медные трубы, с характерным широким раструбом и бликами на металле. Понимание значения шофара объясняет роль духовых инструментов в иконографии христианских сюжетов, а также появление в искусстве эпохи Возрождения образов музицирующих ангелов. The article investigates a special music instrument of angels. This image is first reflected in the Christian art of the XI–XV centuries and is depicted as a Biblical instrument called a shofar, a pipe made from a ram’s horn. The pipe has a distinctive shape, slightly curved; with a small bell-mouth. The instrument varies in size and can be decorated with carvings or incrustations. Shofar is an instrument that was used only for ritual purposes and, being of great importance in the Biblical culture, is described in the visions of the Old Testament prophets. Besides the End of Time, shofar is also symbolically connected with the beginning of the Jubilee year, the holy time, proclaimed by the sounds of shofar. In Christian Art of Western Europe, beginning from XI century, one can see frescoes, mosaic, icons, miniatures, bas-relieves that depict shofar quite credibly. In the miniatures of the Western European manuscripts, one can often see two angels positioned differently: one blowing his horn over the condemned sinners, while the other — over the resurrecting righteous men. It would be right to state that the popularity of shofar in the Western European art fades away after XV century, it being replaced by simple copper pipes with wide openings and metallic glitter. Understanding of the symbolical meaning of the shofar, however, sheds some light onto the significance of these instruments in the scenes of the end of the world.
15
Vasileva, Svetlana. "COUNTER-REFORMATION IN GERMANY." Studia Humanitatis 16, no. 3 (2020): 28–37. http://dx.doi.org/10.15393/j12.art.2020.3621.
Full textAbstract:
The article studies the Counter-Reformation process in Germany and the neighboring European ter-ritories in a wider context as a complex of geopolitical, social and religious problems growing in Europe in the 15th and the 16th centuries. The study aims at finding connections between the Reformation processes launched by Martin Luther and the subsequent course of German history during the Counter-Reformation. The article focuses on the situation in Germany against a wider background of the developments in the Holy Roman Empire of the German Nation. This paper con-tinues the author’s previous article on the German Reformation and Martin Luther’s role in it. It ex-amines the consequences of the Reformation that brought Germany on the edge of a humanitarian disaster in the Thirty Years’ War. The course of the war, as well as its geopolitical causes and con-sequences for Germany and for the whole of Europe are also investigated. The author describes and analyzes a broad historical and political context which determined the circumstances and reasons for many European states’ participation in the Thirty Years’ War, as well as the consequences of the Peace of Westphalia.
16
Davenport, Nancy. "The Holy Spirit and the Soul as Revealed in Nature." Religion and the Arts 19, no. 3 (2015): 163–213. http://dx.doi.org/10.1163/15685292-01903001.
Full textAbstract:
The artist Anna Lea Merritt (1844–1930) was born in Philadelphia, Pennsylvania and spent most of her professional life in London and in a rural village in Surrey. She settled in England in 1871 and soon became a friend of the members of the Pre-Raphaelite Brotherhood in their mature years, the art critic John Ruskin, the late Victorian artists George Frederick Watts and Frederick, Lord Leighton, and others in the London artistic and literary community. In the milieu she had chosen, her intimate and spiritual relationship with nature and her sympathy for all mankind, ingrained in her in childhood among Unitarians and Quakers in Philadelphia, developed into paintings, murals, and etchings that were at once academic, naturalistic, and mystical. In re-introducing this little known woman artist today, this article focuses on her work as one that evokes the spirit and beauty of the natural world and sympathy for the plight of the suffering, both eloquent testimonials to the ideals and beliefs of her renowned friend and contemporary, John Ruskin and to late Victorian liberal sensibilities.
17
Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb." Ars Adriatica, no. 2 (January 1, 2012): 167. http://dx.doi.org/10.15291/ars.447.
Full textAbstract:
In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It is highly likely that these statues originally belonged to the altar of St James which mentioned by Augustino Valier during his visitation of the Church of St Francis of Assisi in 1579 as having a pala honorifica . Harmonious proportions, fine modelling of the heads, beautifully and confidently carved drapery of the fabrics, together with almost classical gestures, all point to a good master carver who, in this case, sought inspiration in Venetian painting of the 1520s and 1530s. When attempting to find close parallels in the production of Venetian wood-carving workshops from the first half of the sixteenth century, without a doubt the best candidates are two signed statues from the workshop of Paolo Campsa de Boboti: the statue of the Risen Christ from the parish church of St Lawrence at Soave in Italy, dated to 1533, and the statue of the Virgin and Child in a private collection in Italy, dated to 1534. To these one can add a statue from the Gianfranco Luzzetti collection at Florence, which has been attributed to Campsa’s workshop. Judging from all the above, the statues from St Francis’ might be dated to the 1540s. In the parish church of Holy Trinity at Baška is a wooden triptych which, according to a nineteenth-century record, was inscribed with Campsa’s signature and the year 1514. When Bishop Stefanus David visited the Chapel of St Michael at Baška in 1685, he described in detail this wooden and carved palla on the main altar dedicated to St Michael, noting that the altar is under the patronage of the Papić family who had founded it and made considerable donations to it. The high altar in the Church of St Mary Magdalene at Porat, also on the island of Krk, has a polyptych attributed to Girolamo and Francesco da Santa Croce. Until now, it has been dated to 1556 - the year of the dedication of the altar and the church. However, more frequently than not, a number of years could pass between the furnishing of an altar and its dedication. With this in mind and having re-analyzed the paintings, the polyptych can be dated as early as the previous decade. Until now, the Renaissance statue of St Mary Magdalene (105 x 25 x 13 cm), originally part of an altar predella but today housed in the Monastery’s collection, was not discussed in the scholarly literature save for its iconography. Based on the morphological similarities between the statue of St Mary Magdalene and the three statues at Krk, it can be concluded that they were carved by the same master carver. Written sources inform us that after 1541 Paolo Campsa was no longer alive. Great differences between the works signed by Campsa have already been the subject of scholarly debate and it is known that due to high demand, his workshop included a number of highly skilled wood carvers. In the case of Krk, perhaps the master carver was an employee at Campsa’s workshop who outlived him and who, after its closure, went his own way and was considered good enough to be hired by fellow painters from the Santa Croce workshop. Installing a statue in a predella was a rare occurrence in sixteenth-century Croatia and Venice alike. Even in the case of Campsa. Reliefs were used more frequently. However, this arrangement was customary on contemporary flügelaltaren in the trans-Alpine north. It ought to be considered whether this northern altar design might provide a trail which would lead to a more specific location of a possible master carver.
18
Hasan Majeed, Dr Rafid. "The rule: (There is no crime and no punishment except by the text) of a jurisprudential study through the Qur’an and Sunnah." Psychology and Education Journal 58, no. 1 (2021): 3378–92. http://dx.doi.org/10.17762/pae.v58i1.1276.
Full textAbstract:
Islamic Sharia is considered a complete and comprehensive law for all the requirements of life. The Holy Qur’an is the first fundamentals of Sharia, indicating its provisions and supported by the noble Sunnah, and it is the second source of Islamic law. Its sources, and the significance of the Holy Qur’an in its entirety, dedicated to its year and limitation to the absolute. It has a legal text, and the act or omission is not considered a crime unless this act is forbidden or imposed by divine legislation. This is because the legislator has to state what he is being punished for, and this meaning is mentioned in the rule: ((There is no crime or punishment without a text ((
 The main question in this paper is how did Islamic law deal with this rule?
 And the sub-questions: What is the meaning of the rule and its vocabulary? What are its evidence and its most important applications?
19
Vanzan, Anna. "The Holy Defense Museum in Tehran, or How to Aestheticize War." Middle East Journal of Culture and Communication 13, no. 1 (2020): 63–77. http://dx.doi.org/10.1163/18739865-01301004.
Full textAbstract:
Abstract In September 2013 the Iranian authorities inaugurated the Holy Defense Museum (Muzeh-i Dafa’-i Moqaddas) in the capital Tehran that also hosts a Martyrs’ Museum (Muzeh-i Shuhada) built in the early 1980s and later renovated. The new museum is part of a grandiose project to commemorate the sacrifice of Iranians during the war provoked by the Iraqi regime (1980–1988). The museum encompasses various aspects of the arts (visual, cinematic, photographic, literary, etc.) shaped to remember and celebrate the martyrs of that war. The 1979 Iranian Revolution and the following Iran-Iraq War produced an enormous amount of visual material; works produced during this crucial period that disrupted the balance of power, both regionally and internationally, constitute an important part of Iran’s recent history. Visual materials produced in that period not only constitute a collective graphic memory of those traumatic years, they also revolutionized Iranian aesthetics. The Islamic Republic of Iran (hereafter IRI) establishment has a long experience in molding contemporary art for political purposes and the Holy Defense Museum represents the zenith of this imposing project. In this paper, I present an analytic and descriptive reading of the museum in light of my direct experience visiting the museum, and I explore its role in maintaining the collective memory of the Iran-Iraq conflict, in celebrating the revolution and in aestheticizing war.
20
Dailey, Barbara Ritter. "The Visitation of Sarah Wight: Holy Carnival and the Revolution of the Saints in Civil War London." Church History 55, no. 4 (1986): 438–55. http://dx.doi.org/10.2307/3166367.
Full textAbstract:
Historians of English Puritanism concede that by the 1650s the revolution of the saints had run its course. The political activism of the Presbyterians, Independents, and radical sects during the war gave way in the Interregnum period to more private concerns of personal and collective piety. The pattern of changing popular mood in an unstable political environment is clear enough, but the social meanings of religion as devotional practice are more obscure. Lost in the historical analysis is the realization that piety is an expressive form of communication in the politics of social life. In times of militant controversy the public role of piety is more obviously ideological, and devotional literature achieves publicity in the sense of promoting sectarian reformation. From this perspective, I shall focus on Henry Jessey's The Exceeding Riches of Grace Advanced (London, 1647) and will place it in the context of the art of dying (ars moriendi) tradition and of factional pluralism in civil war London. The story of Sarah Wight's illness and conversion experience attempted to unify religious and political divisions in a crucial revolutionary year. Within a traditional framework of devotional literature, Jessey communicated a political message. Sarah Wight herself was not a passive recipient of ministerial advice, but an influential teacher of radical theology. In fact, it was the customary form of the artes moriendi tradition that allowed her conversion to become an occasion for lay preaching.
21
Холодкова, Нина Викторовна. "From the history of the Tsar's chambers at Trinity-Sergius Lavra during Soviet times." Церковный историк, no. 2(2) (August 15, 2019): 47–70. http://dx.doi.org/10.31802/chist.2019.2.2.003.
Full textAbstract:
Статья посвящена истории существования здания Царских чертогов Троице-Сергиевой Лавры в советский период - с момента национализации Лавры (1918 г.) до полной передачи его в ведение Московской Патриархии (1954 г.). За это время сооружение занимали самые различные организации: музей, военное ведомство, педагогический техникум, учительский институт, госпиталь, Академия художеств, городской театр, художественно-ремесленное училище. Данная статья - это первая попытка наиболее полно осветить бытование этих организаций в уникальном памятнике. Рассказ основан на документальных материалах с привлечением воспоминаний свидетелей событий тех лет. The article deals with the history of the existence of the building of the Holy Royal Rooms of the Holy Trinity-St. Sergius Lavra during the Soviet period, since the nationalization of the Lavra (1918) up to its complete transfer under the authority of the Moscow Patriarchate (1954). During this time the building was occupied by various organizations: a museum, a military department, a pedagogical technicum, a teachers' institute, a hospital, the Academy of Arts, a city theatre, and an art and crafts school. This article is the first attempt to give a fuller account of the existence of these organizations in a unique monument. The story is based on documentary material and the memories of eyewitnesses of those years.
22
Kwok, Marwan, Angelo Agathanggelou, Nicholas Davies, and Tatjana Stankovic. "Targeting the p53 Pathway in CLL: State of the Art and Future Perspectives." Cancers 13, no. 18 (2021): 4681. http://dx.doi.org/10.3390/cancers13184681.
Full textAbstract:
The p53 pathway is a desirable therapeutic target, owing to its critical role in the maintenance of genome integrity. This is exemplified in chronic lymphocytic leukemia (CLL), one of the most common adult hematologic malignancies, in which functional loss of p53 arising from genomic aberrations are frequently associated with clonal evolution, disease progression, and therapeutic resistance, even in the contemporary era of CLL targeted therapy and immunotherapy. Targeting the ‘undruggable’ p53 pathway therefore arguably represents the holy grail of cancer research. In recent years, several strategies have been proposed to exploit p53 pathway defects for cancer treatment. Such strategies include upregulating wild-type p53, restoring tumor suppressive function in mutant p53, inducing synthetic lethality by targeting collateral genome maintenance pathways, and harnessing the immunogenicity of p53 pathway aberrations. In this review, we will examine the biological and clinical implications of p53 pathway defects, as well as our progress towards development of therapeutic approaches targeting the p53 pathway, specifically within the context of CLL. We will appraise the opportunities and pitfalls associated with these therapeutic strategies, and evaluate their place amongst the array of new biological therapies for CLL.
23
Hrabovec, Emilia. "The Holy See and Czechoslovakia 1945—1948 in the Context of the Nascent Cold War." ISTORIYA 12, no. 8 (106) (2021): 0. http://dx.doi.org/10.18254/s207987840016710-0.
Full textAbstract:
The spectre of Communist expansion as a result of the Second World War represented for Pope Pius XII one of the greatest concerns. The unambiguously pro-Soviet orientation of the Czechoslovak government in exile and the crucial influence of Communists in the inner architecture of the restored state convinced the Holy See that Czechoslovakia was already in 1945 fully absorbed into the Soviet sphere of influence. This fact strengthened the Pope’s conviction of the necessity to resume relations with Prague as soon as possible and to send a nuncio there who would provide reliable information and protect the interests of the Church threatened both by open persecution and by propaganda manoeuvres in favour of a “progressive Catholicism”. The importance of the relations with Czechoslovakia stood out also in the international perspective, in which Czechoslovakia, in contrast to Poland or Hungary, seemed to be the last observatory still accessible to the Vatican diplomacy in the whole East-Central Europe. The year 1947 represented a caesura in the relations between the Holy See and Czechoslovakia. In the international context, this year was generally perceived by the Vatican as a definitive reinforcement of the Communist regimes in Eastern Europe. In the Czechoslovak framework, the greatest importance was ascribed to the political crisis in Slovakia in autumn 1947, during which the Communists definitively took over the political power in Slovakia. The lost struggle over the predominantly Catholic Slovakia, that for some time had been considered by the Vatican one of very few hopes for the defence of Christian interests in the Republic, was perceived by the Holy See as a dominant breakthrough on the way to the total Communist transformation of Czechoslovakia. While in the immediate post-war period the Holy See had tried to come to terms with Czechoslovakia also at the price of some compromises, in winter 1947/1948 the last hopes for a diplomatic solution vanished and were replaced by the conviction that in the confrontation with Communism not diplomatic, but spiritual weapons — prayer, testimony, martyrdom — were of crucial importance.
24
Hendry, Holly. "Amputated Architectures." Architectural Research Quarterly 18, no. 4 (2014): 396–402. http://dx.doi.org/10.1017/s1359135515000135.
Full textAbstract:
Holly Hendry is a sculptor based in London. Graduating from the Slade School of Art, University College London in 2013, Hendry was the inaugural Woon Fellow at Northumbria University, a significant prize for young and emerging artists. Hendry held a twelve-month residency at Baltic 39 in Newcastleupon-Tyne, culminating in her first solo-show at Gallery North, Hollow Bodies. Her work is concerned with the spatial, material and structural qualities of architecture and how space is experienced in historical and contemporary contexts. Currently in the first year of a two-year sculpture MA programme at the Royal College of Art, London, Hendry sat down with reviews and insight editor Ed Wainwright to discuss the intersections of art and architecture, the architecture of hollowness and the cut, and how her sculpture interrogates architecture for its silent symbolism.
25
Davidian, Vazken Khatchig. "Out of Sight, Out of Mind: In Search of the Missing Armenians of Turkish/Ottoman Art Historiography with a Decolonizing Eye." International Journal of Middle East Studies 54, no. 3 (2022): 576–82. http://dx.doi.org/10.1017/s0020743822000745.
Full textAbstract:
One late morning in June 2019 I sought refuge from the blazing sun within the magnificent structure of the 10th-century Church of the Holy Mother of God, better known as the cathedral of the medieval Armenian capital of Ani.1 The cathedral, the masterpiece of the celebrated architect Trdat, is located inside the walled city, today a sprawling site of ruins perched at the extreme edge of the modern Republic of Turkey on its still-closed border with neighboring Armenia. Despite having lost its dome to the ravages of time and to earthquakes, its edifice still stands monumental, with exterior and interior walls marked with hundreds of crosses and inscriptions in the distinct Armenian script, a history carved in stone. In its shade, I had stumbled into a group of two dozen Turkish tourists, who, visibly in awe of their surroundings, were attentively listening to their guide attribute the building to, and praise the splendors of, Seljuk architecture. The surreal experience took me right back to the travel writer Jeremy Seal's recollections of his visit, some twenty-five years prior, to the then-ruined (now renovated) Church of the Holy Cross on the island of Aghtamar (renamed Akdamar) near Van. Perplexed at the structure being described as Seljuk, Seal had confronted his companion-guide as to why the Seljuks, of Muslim faith, would have built themselves a church in that place, centuries before their arrival to the region. He recognized having been “taught a lesson in forgetting,” on how to airbrush “the awkward realities enshrined in this building.” “How had it come to this,” Seal wondered, “that decent Turks . . . could refashion the evidence of bricks and mortar so that their absolving view of national history might prevail?”2
26
Simush, Petr. "National Wartime Usefulness: How is it Sanctified by Eternity?" Philosophical anthropology 6, no. 2 (2020): 71–87. http://dx.doi.org/10.21146/2414-3715-2020-6-2-71-87.
Full textAbstract:
Wartime (1941‑1945) reveals an incomprehensible Russian usefulness three-quarters of a century later. The quality and properties of Russia are determined by its trajectory of two millennia, not one. Therefore, its meaning and mystery of the great Patriotic war can only be understood thanks to the Holy Scripture. N.V. Gogol insisted on this who saw the events of national history "clearer than day" through crimes "before God". In Gogol's words, "the last judgment of God" took place over the aggression of Germany. As a result, the great Victory will "wake up the present" [4]. The author's philosophical view is presented as a concept: the time of the great war is first studied in the light of the two-thousand-year trajectory of the Fatherland. It was started by St. Andrew the First-called. National usefulness treated after V.I. Dahl. The qualitative properties of "usefulness" generalizations can be traced in the concepts of "Russianness", "all-Russianness" and "Sovietness". Eternity sanctified wartime, which became the pinnacle of the sacred Spirit. The sanctity of war is considered comprehensively, based on history, science, religion, philosophy, and art.
27
Siemieniec, Anna. "Burzliwe losy ikonostasów projektu Adama Stalony-Dobrzańskiego oraz ikon Sotyrysa Pantopulosa wykonanych dla katedry prawosławnej pw. Narodzenia Przenajświętszej Bogurodzicy we Wrocławiu oraz cerkwi pw. Narodzenia Najświętszej Marii Panny w Gródku." Sacrum et Decorum 13 (2020): 81–105. http://dx.doi.org/10.15584/setde.2020.13.5.
Full textAbstract:
Contemporary Orthodox church art in Poland is an issue that influences many areas of research. Current research focuses both on the work of individual artists, as well as on new formal solutions used by them, and aimed at enriching the Orthodox tradition. Apart from Jerzy Nowosielski and Adam Stalony-Dobrzański, who contributed to the renaissance of Orthodox church art in Poland, the works of Sotyrys Pantopulos and their correct attribution also deserve more attention. Two sets of icons depicting the Pantocrator and the Virgin Mary painted in 1969 by Pantopulos for the iconostasis designed by Stalony-Dobrzański for the Orthodox Cathedral of the Nativity of the Most Holy Mother of God in Wrocław and the Orthodox Church of the Nativity of the Virgin Mary in Gródek near Białystok are examples of this. For many years their authorship was mainly attributed to Stalony-Dobrzański. Today, both pairs of icons found a secondary location as a result of the reconstruction of an iconostasis (Gródek, 1995) or its dismantling (Wrocław, 2019) – in this case, according to the opinion of the church’s custodians, as a structure that does not meet the requirements of the Orthodox liturgy. For that reason art historians have an urgent task to bring the importance of these works to public attention, and ultimately to have them entered into the heritage register. It appears that this is the only chance to preserve this legacy in an unchanged condition.
28
Burns, Robert. "Women in Crusader Valencia: A Five-Year Core Sample, 1265–1270." Medieval Encounters 12, no. 1 (2006): 37–47. http://dx.doi.org/10.1163/157006706777502569.
Full textAbstract:
AbstractThis study surveys the presence of women in the crown registers of the medieval Realms of Arago-Catalonia for the period 1265-1270. Approximately five hundred charters pertaining to the crusader kingdom of Valencia cover both the apogee of the reign of Jaume the Conqueror and the scandal created when he aborted his Holy Land crusade, purportedly because of a woman. While women's history may not seem an apt subject in this period of conquest and crusade, in fact these charters offer a suggestive sample of women, especially as landowners, not only in the Christian cities and courts but also in the parallel Jewish and Muslim communities. Women played active roles in this frontier society, as the crown sought to encourage Christian settlement in conquered lands. The charters shed light on the life of Jaume's formally inducted concubine and other women in the royal entourage. At the other end of the spectrum, information emerges about prostitutes and women prisoners. Several documents pertain to the economic lives of nuns, while others concern the rights of widows: notably, one whose son has "become a Saracen." Women played roles as settlers along the frontier between Christian and Muslim realms, with Christian women assuming obligations to reside on lands for a period of years, while Muslim women's lands are confiscated. Among businesswomen, several own baths. One Jewish woman is exempted from certain sumptuary laws. Other documents reveal that Jewish women, like men, paid taxes. Several women receive royal pensions. Women dog handlers appear; one, with her dog, receives the same pay as a fighting man.
29
El-Saleh, Majed Saleem, Imad Ibraheem Mostafa, and Waleed M. Shaheen. "The Effect of Listening to The Holy Qur’an on Improving Some Psychological and Physical Variables Among Yoga Practitioners." Academic Journal of Interdisciplinary Studies 10, no. 4 (2021): 286. http://dx.doi.org/10.36941/ajis-2021-0117.
Full textAbstract:
This study aims to identify the effect of listening to the Holy Qur’an on some psychological and physical variables among practitioners of yoga exercises among Al Ain University students. Where the study population consisted of male and female students of the Physical Health course in the first semester of the academic year 2020/2021, and the study sample was chosen by the deliberate method as it consisted of (80) students from the original study community, and in one experimental group to achieve the study objectives and its questions, where psychological measurements (mood, focusing attention) were performed during the practice of yoga exercises before and after listening to the Holy Qur’an and after performing a constant intensity (below the maximum) for the sample members, and the physical variables (heart rate ,muscle relaxation and flexibility) for all members of the study sample before and after listening to the Qur’an, the pulse was also measured, as the experiment was repeated a week after with listening to the Qur’an while performing yoga exercises, where the researchers used a headset connected to a personal phone and a smartwatch to calculate the intensity of the pulse individually for each player to listen to the Holy Qur’an. After collecting the data and using the necessary statistical treatments, the results of the study showed a clear improvement in the psychological and physical variables of the study sample during listening to the Holy Quran, and in light of the results, the researchers recommended that they prefer the use of listening to the Holy Qur’an while practicing yoga exercises, and in training sessions, especially curative ones, as well as conducting similar studies for players who show signs of anxiety before competition and after training for the purpose of recovery and calming down, and applying the study to different categories of athletes and in some sports.
 
 Received: 4 March 2021 / Accepted: 6 May 2021 / Published: 8 July 2021
30
Borozan, Igor. "Icon of the Holy Mandylion and representation of multi-layered visual identity of Bozidar Vukovic." Zograf, no. 39 (2015): 151–59. http://dx.doi.org/10.2298/zog1539151b.
Full textAbstract:
It was in the monastery of Saint Francis in Venice in the year 1520 when Bozidar Vukovic purchased the icon of the Holy Mandylion. By that particular acquisition, this prominent publisher originating from Zeta has visualized his new position in the sixteenth century Venice. The multi-layered identity of Bozidar Vukovic was manifested by the subsequent inclusion of the noble coat of arms of the House of Vukovic on the back of the icon. By the use of verbal and visual language the artificial initiation of Bozidar Vukovic within the distinguished members of Venetian society has been confirmed.
31
Burdick, John. "What Is the Color of the Holy Spirit? Pentecostalism and Black Identity in Brazil." Latin American Research Review 34, no. 2 (1999): 109–31. http://dx.doi.org/10.1017/s0023879100038590.
Full textAbstract:
AbstractFor the past twenty years, the organized black consciousness movement in Brazil has argued that Protestant Christianity is a highly assimilationist religion that pushes black converts to abandon their racial identity and seek incorporation into dominant white culture. The present study, based on a year of ethnographic fieldwork in Rio de Janeiro, challenges this view. By analyzing how Pentecostal churches address the issues of appearance, color, courtship, and womanhood, this research note argues that although evangelical Christianity involves a variety of beliefs that are incompatible with a strong ethnic identity, this religion also includes a range of ideas and practices that nourish rather than corrode black identity. The essay concludes by exploring the historic potential of several churches that have made the intersection of faith and race an explicit part of their agenda.
32
Filho, Marcílio Toscano Franca. "Westphalia: a Paradigm? A Dialogue between Law, Art and Philosophy of Science." German Law Journal 8, no. 10 (2007): 955–75. http://dx.doi.org/10.1017/s2071832200006118.
Full textAbstract:
On 23rd June 2007, after three years of uncertainty, European Union leaders agreed on relaunching the old idea of a Magna Charta for Europe (now called “the Reform Treaty”), a normative structure based on the old ideas of deference to national identities, sovereignty and equality. To many authors, the first time that juridical equality between states was solemnly stated was in the aftermath of the Thirty Years’ War (1618-1648), in the Westphalia Peace Treaties, representing the beginning of modern international society established in a system of states, and at the same time, “the plain affirmation of the statement of absolute independence of the different state orders.” In fact, under an Eurocentric conception of political ideas (which envisages England as an isolated island and Iberia as Maghreb, north of Africa), the modern state emerges with the Westphalia Peace Treaties. However, under a broader conception, the modern nation-state (under the form of absolute monarchy) emerged long before the Westphalia Peace Treaties, in Iberia and England. Nevertheless, it is in these documents which lies the “birth certificate” of the modern sovereignty nation-state, base of the present democratic state, and “founding moment” of the international political system. Far beyond this merely formal aspect, the importance of the Westphalia Peace Treaties is so great to the understanding of the notion of state that Roland Mousnier, in describing the 16th and 17th centuries in the General History of the Civilizations, organized by Maurice Crouzet, asserts that those treaties symbolized a real “constitution of the new Europe,” a multifarious Europe, plural and very distant from the religious unit of Christianity, from the political unit of the Holy Roman Empire, and from the economical unit of the feudal system. Constitutions are especially important because they establish the rules for the political authority, they determine who governs and how they govern: “[I]n codifying and legitimating the principle of sovereign statehood, the Westphalian constitution gave birth to the modern states-system.”
33
Silverman, Noah, and Marc Suchard. "PREDICTING HORSE RACE WINNERS THROUGH A REGULARIZED CONDITIONAL LOGISTIC REGRESSION WITH FRAILTY." Journal of Prediction Markets 7, no. 1 (2013): 43–52. http://dx.doi.org/10.5750/jpm.v7i1.595.
Full textAbstract:
Conditional logistic regression has remained a mainstay in predicting horse racing out- comes since the 1980’s. In this paper, we propose and apply novel modifications of the regression model to include parameter regularization and a frailty contribution that exploits winning dividends. Additionally, the entire model was fit using state-of-the art parallelization methods on commodity graphical processing units. (GPU) The model is trained using 4 years of horse racing data from Hong Kong, and then tested on a hold-out year of races. Simulated betting produces a return on investment significantly higher than any other published methods involving Hong Kong races.
34
Biró, Zsófia. "Foundations of the Uncodified Historical Constitution of Hungary." Studia Iuridica 80 (September 17, 2019): 39–58. http://dx.doi.org/10.5604/01.3001.0013.4782.
Full textAbstract:
The article examines the evolution of the Hungarian Public and Constitutional Law from 1301 until the Austro-Hungarian compromise in 1867. The topic is highly relevant, because the year 2017 marked the 330th anniversary of the 1st and 2nd Act of 1687, which state that the Habsburgs are the only and true heirs of the Hungarian throne; it also marked the 150th anniversary of the Austro-Hungarian Compromise. Furthermore the current Fundamental Law says that “We honour the achievements of our historical constitution and we honour the Holy Crown, which embodies the constitutional continuity of Hungary’s statehood and the unity of the nation”. The main chain of thoughts of the article presents the crown-ideology and the Doctrine of the Holy Crown, the Rákos field resolution of 1505, the Acts 2 and 3 of 1687, the Pragmatic Sanction, Acts 10 and 12 of 1790, the public law aspects of the April Laws of 1848, and the laws on the Austro-Hungarian Compromise. The article presents the fundamental documents of the Hungarian uncodified historical Constitution issued within the given period. Through their formation and historical background we can truly understand the Hungarian customary law and the legal traditions, which are still honoured by our present Fundamental Law.
35
Klaehn, Jeffery. "'I'll just say two words ‐ "East Timor"': An interview with Norm Breyfogle1." Studies in Comics 10, no. 2 (2019): 349–56. http://dx.doi.org/10.1386/stic_00009_7.
Full textAbstract:
Abstract Norm Breyfogle (27 February 1960‐24 September 2018) is widely recognized for his six years (1987‐93) spent illustrating various Batman titles for DC Comics, most notably Detective Comics, Batman and Batman: Shadow of the Bat. He also illustrated several prestige edition one-shots set within the Batman narrative universe, including Batman: Birth of the Demon (1992), which he hand-painted, and the 'Elseworlds' stories, Batman: Holy Terror (1991), Batman: The Abduction (1998) and Batman: Dreamland (2000). In this interview, undertaken in 2007, he discusses his approach to cover design and interior art; the comic industry; how he came to work on Batman; his collaborations with writer Alan Grant; reflections on the character of Anarky; details on an unpublished three issue Anarky storyline involving East Timor and US arms sales to Indonesia; how Batman has changed over the decades; as well as his thoughts on how Jim Aparo, Marshall Rogers and Frank Miller drew Batman.
36
Tsichla, Markella-Elpida. "Greek Revolution and Art. The protagonists on Marble. Illustrative and Typological Specimens." Advances in Social Science and Culture 3, no. 2 (2021): p26. http://dx.doi.org/10.22158/assc.v3n2p26.
Full textAbstract:
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.
37
Levy, Shimon. "‘How Are the Mighty Fallen’: Aspects of Contemporary Israeli Theatre." New Theatre Quarterly 6, no. 24 (1990): 382–94. http://dx.doi.org/10.1017/s0266464x00004966.
Full textAbstract:
Even at its most political, contemporary Israeli theatre tends to be self-referential – nowhere more so, suggests Shimon Levy, than in the theatre festivals held at Acre, where year by year over the past decade the plays selected seem to have reflected, more than coincidentally, the preoccupations of the nation, with its haunted past, its militaristic present, and a future full of uncertain or resented accommodations with neighbours for so long perceived as enemies. But Shimon Levy, who teaches in the Theatre Department at Tel Aviv University, also notes two exceptions in a generally gloomy theatrical scene: the exuberant entertainment Yanti Parazi – ‘a metaphor for the yearning for this screwed-up Holy Land’ – and a long-unperformed play on the ‘difficult’ subject of the West Bank occupation, Ephraim Returns to the Army, with its schitzoid title-character ‘deconstructing’ the conflicting elements of Israeli hopes and beliefs, for audiences not presumed to share the play's own progressive but unsentimentalized sympathies.
38
Dewi, Putri Maha. "DISTRIBUTION OF HERITAGE AND CULTURE IDDAH MINANG DIVORCE IN WHICH IMPLEMENTED IN THE LAW NUMBER 1 YEAR 1974 ON MARRIAGE." UNTAG Law Review 1, no. 2 (2017): 69. http://dx.doi.org/10.36356/ulrev.v1i2.599.
Full textAbstract:
<p>Divorce is the dissolution, which has been fostered by married couples caused by several things such as death and the decision of justice. In this case the divorce is seen as the end of an instability of marriage where married couples live apart and Seara then officially recognized by applicable law. In Act No. 1 1974, namely Article 11 (1) For a valid marriage that broke up the waiting period. (2) The period of time the waiting period of paragraph (1) shall be regulated further in a government regulation. In indigenous cultures also known'Iddah Minang, the waiting period for a woman whose divorce from her husband to be able to mate again, in order to know whether women are pregnant or not. If the woman was pregnant, then he is allowed to marry again after her son was born, when she was not pregnant, then she had to wait 4 months 10 days and if divorced because the husband dies or 3 times the holy of menstruation if life due to divorce. While traditional Minang cultural heritage division contrary to the division of inheritance according to Law No. 1 Year 1974 about marriage. In a culture known as the Minang traditional matrilineal system thus indirectly all the treasures bequeathed to the daughter. In Act No. 1 of 1974 on Marriage, inheritance is the joint property</p>
39
CHARLTON, REBECCA L., BARTIRA ROSSI-BERGMANN, PAUL W. DENNY, and PATRICK G. STEEL. "Repurposing as a strategy for the discovery of new anti-leishmanials: the-state-of-the-art." Parasitology 145, no. 2 (2017): 219–36. http://dx.doi.org/10.1017/s0031182017000993.
Full textAbstract:
SUMMARYLeishmaniasis is a vector-borne neglected tropical disease caused by protozoan parasites of the genus Leishmania for which there is a paucity of effective viable non-toxic drugs. There are 1·3 million new cases each year causing considerable socio-economic hardship, best measured in 2·4 million disability adjusted life years, with greatest impact on the poorest communities, which means that desperately needed new antileishmanial treatments have to be both affordable and accessible. Established medicines with cheaper and faster development times may hold the cure for this neglected tropical disease. This concept of using old drugs for new diseases may not be novel but, with the ambitious target of controlling or eradicating tropical diseases by 2020, this strategy is still an important one. In this review, we will explore the current state-of-the-art of drug repurposing strategies in the search for new treatments for leishmaniasis.
40
MORONEY, DAVITT. "Alessandro Striggio's Mass in Forty and Sixty Parts." Journal of the American Musicological Society 60, no. 1 (2007): 1–70. http://dx.doi.org/10.1525/jams.2007.60.1.1.
Full textAbstract:
Abstract It has been known for twenty-five years that Alessandro Striggio the elder, the most important composer at the Medici court in Florence in the 1560s and 1570s, wrote a setting of the Ordinary of the Mass in forty parts, with an Agnus Dei in sixty parts, but the piece has always been thought lost. This major artwork from the high Florentine Renaissance does in fact survive (F-Pn, Rés. Vmd. ms 52). Entitled Missa sopra Ecco sìì beato giorno, it is Striggio's most imposing composition, and underlines the early eminence of Florence in the art of massive polychoral writing. The last movement is indeed in sixty real parts. The Mass also appears to have been used by the Medici as a political tool in the art of cultural diplomacy. Offered in January 1567 to Holy Roman Emperor Maximilian II at exactly the moment when Cosimo de' Medici was seeking approval from Maximilian of a royal title (granted finally as “Grand Duke” by Pope Pius V in 1569), the Mass was also performed by Lassus's colleagues in Munich and under Striggio's direction at court in France, a few weeks before he visited the court of Queen Elizabeth I in London in June 1567. The links with Striggio's forty-part motet Ecce beatam lucem and with Thomas Tallis's Spem in alium, are discussed, as are the reasons why the source of the Mass remained unknown throughout the twentieth century.
41
AL-NAIMI, Fatma. "THE EFFORTS OF IMAM ABD AL-HAMID AL-FARAHI IN THE ARABIC LANGUAGE." International Journal of Humanities and Educational Research 03, no. 02 (2021): 1–11. http://dx.doi.org/10.47832/2757-5403.2-3.1.
Full textAbstract:
This research deals with the efforts of Imam Abd al-Hamid al-Farahi al-Hindi in the Arabic language, especially his book Jamahrat al-Balaghah, which is the sign of Arabic and interpretation, one of the veterans of the thirteenth and fourteenth centuries AH. Where he was born, may God have mercy on him, in the year 1280 AH in the village of Fariha - from the villages of the Directorate of the greatest hatred in India - and Ibn Khalil was the sign of the East and historian of Islam, Sheikh Shibli Al-Nu'mani - may God bless him with his mercy -. He died in the year 1349 AH, corresponding to 1930 CE. Al-Farahi called for establishing the art of rhetoric on foundations stemming from the Noble Qur’an and the words of the noble Arabs, so he wrote his book The Jamahiriya of Rhetoric in which he broke the basis on which the art of rhetoric is based in Aristoteles, which is the theory of simulation. Al-Farahi believes that the art of Arabic rhetoric was influenced by this theory. The importance of the research: In this paper, I explain the methodology of Imam al-Farahi in the community of rhetoric, then the influence of the rhetoric of the Ajam on the eloquence of the Arabs, and the concept of the rhetoric of the Arabs according to Imam al-Farahi, Aristotle and the theory of simulation, then the research leads us to an explanation of the impact of poetry and eloquent prose of Imam al-Farahi. Research objectives: The research aims to: Rapid review of the efforts made in serving the Arabic language in the countries of the Indian subcontinent through the centuries until the era of Imam Farahi. Brief introduction to some Indian scholars who have a great contribution to serving the Arabic language. The comprehensive definition of Imam Al-Farahi, and highlighting his scientific contributions in the field of Arabic language and Quranic studies, whether in Arabic or Urdu. Research methodology: The research is based on three approaches: inductive, analytical, and deductive. This, in turn, showed us the efforts of Imam Abd al-Hamid al-Farahi in the Arabic language, especially writing Jamah al-Balagha. I concluded at the end of the research that Al-Farahi, with his in-depth study of the Arabic language, its literature and its sciences, had become to have a wonderful linguistic sense and a fine Arabic taste like the play of sincerity, but with all these advantages that were embodied in his personality, another characteristic that overtook all of these advantages was the love of the Holy Quran, which was above all Something and the greatness of these two villages will not be felt except by those who are pure Arab
42
Аксенова, Г., G. Aksenova, Е. Сокольников, and E. Sokol'nikov. "Memorialization of the Spiritual Achievement of Confessors and New Martyrs of the Russian Orthodox Church of the twentieth century." Profession-Oriented School 7, no. 3 (2019): 44–57. http://dx.doi.org/10.12737/article_5cf77ec213cf67.03006375.
Full textAbstract:
The article reveals the features of the process of perpetuating the memory of the canonized in the last quarter of the century Holy ascetics, new martyrs and Confessors. The glorifi cation of almost two thousand saints demanded from the Church and the laity a lot of work related to the disclosure of the meaningfulness of the feats, the study of archival materials and printed sources. The fi rst step on the path of memorialization were painted icons and lives. Hagiographic work of researchers contributed to the writing of monographic research, articles, artistic and artistic-journalistic works, publication of collections of documents, memoirs, epistolary and other materials. The article states that at the present stage of development of society the Russian Orthodox Church continues to preserve and increase the ancient traditions associated with the glorifi cation of the spiritual feat of our people. This is expressed primarily in the construction of churches and chapels dedicated to those saints who remained faithful to Christ and his Church in the terrible years of persecution. The tradition of the installation of monuments and sculptural compositions to the ascetics of piety, which was established in Russia only in the XVIII century, is also actively developing. The awards established by the Church play an important role in revealing the signifi cance of the feat of the new martyrs. The article emphasized that the special role play memorial museums and memorial exhibitions in the composition of the regional, historical and art-historical museums. The article gives examples of complex work on perpetuating the memory of the new martyrs and Confessors of Russia — Grand Duchess Elizaveta Feodorovna, Hieromartyr Constantine Bogorodsky and holy hierarch Agafangel, abuna Yaroslavsky and Rostovsky.
43
Lehnertz, Andreas. "Dismantling a Monopoly: Jews, Christians, and the Production of Shofarot in Fifteenth-Century Germany." Medieval Encounters 27, no. 4-5 (2021): 360–86. http://dx.doi.org/10.1163/15700674-12340112.
Full textAbstract:
Abstract This essay presents a case study from Erfurt (Germany) concerning the production of shofarot (i.e., animal horns blown for ritual purposes, primarily on the Jewish New Year). By the early 1420s, Jews from all over the Holy Roman Empire had been purchasing shofarot from one Christian workshop in Erfurt that produced these ritual Jewish objects in cooperation with an unnamed Jewish craftsman. At the same time, two Jews from Erfurt were training in this craft, and started to produce shofarot of their own making. One of these Jewish craftsmen claimed that the Christian workshop had been deceiving the Jews for decades by providing improper shofarot made with materials unsuitable for Jewish ritual use. The local rabbi, Yomtov Lipman, exposed this as a scandal, writing letters to the German Jewish communities about the Christian workshop’s fraud and urging them all to buy new shofarot from the new Jewish craftsmen in Erfurt instead. This article will first examine the fraud attributed to the Christian workshop. Then, after analyzing the historical context of Yomtov Lipman’s letter, it will explore the underlying motivations of this rabbi to expose the Christian workshop’s fraud throughout German Jewish communities at this time. I will argue that, while Yomtov Lipman uses halakhic explanations in his letter, his chief motivation in exposing this fraud was to discredit the Christian workshop, create an artificial demand for shofarot, and promote the new Jewish workshop in Erfurt, whose craftsmen the rabbi himself had likely trained in the art of shofar making.
44
Munyayi, Farai K., and Brian E. van Wyk. "The Comparison of Teen Clubs vs. Standard Care on Treatment Outcomes for Adolescents on Antiretroviral Therapy in Windhoek, Namibia." AIDS Research and Treatment 2020 (October 27, 2020): 1–9. http://dx.doi.org/10.1155/2020/8604276.
Full textAbstract:
Background. Adolescents living with HIV (ALHIV) are challenged to adhere to antiretroviral therapy (ART) and achieve and maintain virologic suppression. Group-based adherence support interventions, such as adherence clubs, have been shown to improve long-term adherence in ART patients. The teen club intervention was introduced in 2010 in Namibia to improve treatment outcomes for ALHIV by providing adherence support in a peer-group environment. Adolescents who have completed the full HIV disclosure process can voluntarily join the teen clubs. The current study compared treatment outcomes of ALHIV receiving ART at a specialized paediatric HIV clinic between 1 July 2015 and 30 June 2017 in Windhoek, Namibia. Methods. A retrospective cohort analysis was conducted on routine patient data extracted from the electronic Patient Monitoring System, individual Patient Care Booklets, and teen club attendance registers. A sample of 385 adolescents were analysed: 78 in teen clubs and 307 in standard care. Virologic suppression was determined at 6, 12, and 18 months from study start date, and compared by model of care, age, sex, disclosure status, and ART regimen. Comparisons between adolescents in teen clubs and those receiving standard care were performed using the chi-square test, and risk ratios were calculated to analyze differences in ART adherence and virologic suppression. Results. The average clinician-measured ART adherence was 89% good, 6% fair, and 5% poor amongst all adolescents, with no difference between teen club members and adolescents in standard care ( p = 0.277) at 3 months. Virologic suppression over the 2-year observation period was 87% (68% fully suppressed <40 copies/ml and 19% suppressed between 40–999 copies/ml), with no difference between teen club members and those in standard care. However, there were statistically significant differences in virologic suppression levels between the younger (10–14 years) adolescents and older (15–19 years) adolescents at 6 months ( p = 0.015) and at 12 months ( p = 0.021) and between adolescents on first-line and second-line ART regimen at 6 months ( p = 0.012), 12 months ( p = 0.004), and 18 months ( p = 0.005). Conclusion. The teen club model delivering psychosocial support only did not improve adherence and virologic suppression levels for adolescents in a specialized paediatric ART clinic, neither were they inferior to standard care. Considering the limitations of this study, teen clubs may still hold potential for improving adherence and virologic suppression levels for older adolescents, and more robust research on adherence interventions for adolescents with higher methodological quality is required.
45
Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.
Full textAbstract:
The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.
46
GILKS, DAVID. "The Fountain of the Innocents and its place in the Paris cityscape, 1549–1788." Urban History 45, no. 1 (2017): 49–73. http://dx.doi.org/10.1017/s0963926816000791.
Full textAbstract:
ABSTRACTThis article analyses how the Fountain of the Innocents appeared and also how it was used and perceived as part of the Paris cityscape. In the 1780s, the plan to transform the Holy Innocents’ Cemetery into a market cast doubt on the Fountain's future; earlier perceptions now shaped discussions over reusing it as part of the transformed quarter. The article documents how the Fountain was dismantled in 1787 and re-created the following year according to a new design, explaining why it was created in this form. Finally, the article considers what contemporary reactions to the remade Fountain reveal about attitudes toward the authenticity of urban monuments before the establishment of heritage institutions and societies.
47
Honig, Floris, Steven Vermeulen, Amir A. Zadpoor, Jan de Boer, and Lidy E. Fratila-Apachitei. "Natural Architectures for Tissue Engineering and Regenerative Medicine." Journal of Functional Biomaterials 11, no. 3 (2020): 47. http://dx.doi.org/10.3390/jfb11030047.
Full textAbstract:
The ability to control the interactions between functional biomaterials and biological systems is of great importance for tissue engineering and regenerative medicine. However, the underlying mechanisms defining the interplay between biomaterial properties and the human body are complex. Therefore, a key challenge is to design biomaterials that mimic the in vivo microenvironment. Over millions of years, nature has produced a wide variety of biological materials optimised for distinct functions, ranging from the extracellular matrix (ECM) for structural and biochemical support of cells to the holy lotus with special wettability for self-cleaning effects. Many of these systems found in biology possess unique surface properties recognised to regulate cell behaviour. Integration of such natural surface properties in biomaterials can bring about novel cell responses in vitro and provide greater insights into the processes occurring at the cell-biomaterial interface. Using natural surfaces as templates for bioinspired design can stimulate progress in the field of regenerative medicine, tissue engineering and biomaterials science. This literature review aims to combine the state-of-the-art knowledge in natural and nature-inspired surfaces, with an emphasis on material properties known to affect cell behaviour.
48
Amitai, Reuven. "Mongol raids into Palestine (A.D. 1260 and 1300)." Journal of the Royal Asiatic Society of Great Britain & Ireland 119, no. 2 (1987): 236–55. http://dx.doi.org/10.1017/s0035869x0014064x.
Full textAbstract:
The year 1260 marks the beginning of a sixty year conflict between the Mongols of Persia and the Mamlūks of Egypt and Syria. Over this period several large-scale battles were fought in north and central Syria in the course of Mongol invasions of that country. In addition, throughout most of this period, a more or less continuous border war raged on both sides of the Euphrates River, in north Syria and south-west Anatolia. Twice the Mongols were successful in occupying most of Syria: in 658/1260 and 699/1299–1300. In both cases the Mongol conquest lasted for only a few months, but in each instance this was more than enough time to launch raids into what was then south-west Syria, also variously known as the Holy Land, Palestine and the Land of Israel. In the absence of any other central authority over the ma jority of this territory, it can be said that in a sense Palestine twice also enjoyed the “benefits,” again temporary, of Mongol occupation.
49
Pulido-Gaytan, Bernardo, Andrei Tchernykh, Jorge M. Cortés-Mendoza, et al. "Privacy-preserving neural networks with Homomorphic encryption: Challenges and opportunities." Peer-to-Peer Networking and Applications 14, no. 3 (2021): 1666–91. http://dx.doi.org/10.1007/s12083-021-01076-8.
Full textAbstract:
AbstractClassical machine learning modeling demands considerable computing power for internal calculations and training with big data in a reasonable amount of time. In recent years, clouds provide services to facilitate this process, but it introduces new security threats of data breaches. Modern encryption techniques ensure security and are considered as the best option to protect stored data and data in transit from an unauthorized third-party. However, a decryption process is necessary when the data must be processed or analyzed, falling into the initial problem of data vulnerability. Fully Homomorphic Encryption (FHE) is considered the holy grail of cryptography. It allows a non-trustworthy third-party resource to process encrypted information without disclosing confidential data. In this paper, we analyze the fundamental concepts of FHE, practical implementations, state-of-the-art approaches, limitations, advantages, disadvantages, potential applications, and development tools focusing on neural networks. In recent years, FHE development demonstrates remarkable progress. However, current literature in the homomorphic neural networks is almost exclusively addressed by practitioners looking for suitable implementations. It still lacks comprehensive and more thorough reviews. We focus on the privacy-preserving homomorphic encryption cryptosystems targeted at neural networks identifying current solutions, open issues, challenges, opportunities, and potential research directions.
50
Mikhaylova, Svetlana I. "Beautifiers of Russian Palestine: Vasily Paskhin." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 66 (2022): 333–52. http://dx.doi.org/10.37816/2073-9567-2022-66-333-352.
Full textAbstract:
Russian religious art of the 19th century in the Soviet years did not correspond to the official ideological direction, in connection with which many of these works were destroyed, and the names of their authors were forgotten. In this sense, those works of Russian artists that have been preserved in the churches and metochions of the Holy Land allow us to restore these names and fill the lacunae of domestic art. The paper represents an attempt to establish the facts of the creative biography of one of these artists — Vasily Filippovich Paskhin, whose icon-painting works were preserved at the Alexander Podvorie (Metochion) in Jerusalem. The author refers to the surviving documents of the Imperial Orthodox Palestinian Society (IOPS), to documentary descriptions of the lost church monuments of St. Petersburg, to the materials of restoration work carried out in 2006 at the Alexander Podvorie, and also analyzes the surviving works of Paskhin. Basing on the studies conducted, the author made a number of assumptions regarding the biography of the artist, the issue of his possible belonging to the famous St. Petersburg Peshekhonovs Icon Painting workshop, as well as the circumstances of ordering icons for the Alexander Podvorie and the participation of Archpriest Vasily Yakovlevich Mikhailovsky, an active member of the IOPS. Since the name of Paskhin is not found in the lists of the Academy of Arts, or in other lists of Russian professional artists, or in materials devoted to the study of the work of the Peshekhonovs workshop, the author suggests that Vasily Filippovich was a unique native talent that independently comprehended the heights of icon painting skill.