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Journal articles on the topic 'Hunt Museum'
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Cherry, John, and Alan Johnston. "THE HUNT DEKADRACHM." Antiquaries Journal 95 (August 26, 2015): 151–56. http://dx.doi.org/10.1017/s0003581515000451.
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This paper describes a Syracusan silver dekadrachm (ten-drachma) coin of c 400 bc, now in the Hunt Museum, Limerick, that is set in a gold ring with a text in elaborate Lombardic letters of early fourteenth-century date identifying it as one of the thirty pieces of silver for which Christ was betrayed by Judas. It is an unusual and early example of this type of relic.
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Hall, T., and L. Bannon. "Co-operative design of children'sinteraction in museums: a case studyin the Hunt Museum." CoDesign 1, no. 3 (September 2005): 187–218. http://dx.doi.org/10.1080/15710880512331392362.
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Kline, T. R. "Wiesenthal Centre Challenges Hunt Museum on Looted Art Issues." KUR - Kunst und Recht 8, no. 4 (2006): 99. http://dx.doi.org/10.15542/kur/2006/4/6.
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Stokes-Rees, Emily, Blaire M. Moskowitz, Moira Sun, and Jordan Wilson. "Exhibition Review Essay and Reviews." Museum Worlds 7, no. 1 (July 1, 2019): 238–61. http://dx.doi.org/10.3167/armw.2019.070115.
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Exhibition Review Essay:Exhibition without Boundaries. teamLab Borderless and the Digital Evolution of Gallery Space by Emily Stokes-Rees Exhibition Reviews:The Colmar Treasure: A Medieval Jewish Legacy. The Met Cloisters, The Metropolitan Museum of Art, New York by Blaire M. MoskowitzShanghai Museum of Glass, Shanghai; Suzhou Museum, Suzhou; and PMQ, Hong Kong by Moira SunThe Story Box: Franz Boas, George Hunt and the Making of Anthropology. Exhibition at the Bard Graduate Center Gallery in New York City (14 February–7 July 2019) and the U’mista Cultural Centre in Alert Bay, British Columbia (20 July–24 October 2019) by Jordan Wilson
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Kornelaki, Athina Christina, and Katerina Plakitsi. "Thunderbolt hunt. Educational Program for Students from 5 to 9 Years Old in the Archaeological Museum of Ioannina." World Journal of Education 8, no. 4 (August 5, 2018): 87. http://dx.doi.org/10.5430/wje.v8n4p87.
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The present study aims to improve the quality and the effectiveness of Science Education in early grades along withthe goals of UNESCO’s emerging agenda for sustainable development and the 4th goal about quality in education. Itexamines the interaction between formal and non-formal education in designing and organizing complete educationalprograms directly connected with science education curriculum and utilizing innovative tools targeting to anattractive and rich context for science education. According to the second Science Centre World Summit (SCWS,2017), museums promote scientific knowledge which is considered a pure cultural component and as such it isstudied under the prism of cultural historical activity theory. Activity Theory is used in this research as a theoreticalframework for the design and analysis of educational activities, with an emphasis on active and interactive learningprocesses. It is a predominantly socio-cultural theory offering a broad scope of design and implementation forlinking science with culture and society. The educational program developed, “Thunderbolt hunt”, is different fromthe usual educational programs offered because, although it cultivates scientific method skills, it is implemented inthe Archaeological museum of Ioannina which constitutes a non-formal learning environment of general interest.The process of designing such programs is based on a number of principles and on numerous fields: thesocio-cultural theory of activity, the science education and the museum education. The museum thus becomes afacilitator of scientific knowledge while at the same time functions as a dynamic meeting place for students withtheir social, cultural and historical environment. The preliminary results of the study are presented in this paper.
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CHAN, YING-KIT. "Manly Civilization in China: Harry R. Caldwell, the ‘Blue Tiger’, and the American Museum of Natural History." Modern Asian Studies 53, no. 05 (May 21, 2019): 1381–414. http://dx.doi.org/10.1017/s0026749x17001147.
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AbstractThis article examines the transplantation of America's ‘manly’ civilization to 1920s Fujian, China, through the experiences of Harry R. Caldwell (1876–1970), a Methodist missionary whose hunting was central to his social evangelism. With his rifle, Caldwell protected Chinese villagers from man-eating tigers, taught them how to hunt tigers effectively, and enabled them to reconceptualize their relationships with tigers and nature. By engaging the American Museum of Natural History in his specimen collection and hunt for the mythical ‘Blue Tiger’, Caldwell introduced an economy of natural expeditions to the villagers who were hired to support the hunt. This article argues that Caldwell's experiences as both a missionary and a hunter in Fujian was an extension, or negotiation, of his rugged masculinity, which was fostered in his Tennessee home town. He identified as both a Christian and a hunter, and he did not see these parts of himself as distinct. A comparison between Caldwell and his contemporary, the British naturalist Arthur de Carle Sowerby (1885–1954), accentuates America's rugged masculinity by suggesting different national approaches to hunting and the growing professionalization of the naturalist.
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Kornelaki, A. C., and K. Plakitsi. "Educational Program “Thunderbolt Hunt»: An Analysis with the “Experimental-Genetic Method”." Cultural-Historical Psychology 16, no. 3 (2020): 38–46. http://dx.doi.org/10.17759/chp.2020160305.
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This paper attempts to transfer L.S. Vygotsky’s experimental-genetic method in Science Education and, furthermore, into non-formal settings. The nature of Science Education in early school grades as well as the flexibility and the need to some extent of incorporating arts in Science Education indicate that experimental-genetic method may be applied as a useful tool of analysis which will provide in-depth insights about the learning process. The method was applied to the data, collected from the implementation of the educational program «Thunderbolt hunt» at the Archaeological Museum of Ioannina, Greece. Unlike many other courses, this educational program is based on the museums’ exhibits and introduces concepts of science as well as cultivates scientific method. In this paper a meta-analysis of the implementation of the program to a first grade of a public primary school is presented. The data analysis shows explicitly the relation between the formation of the concept of air and the social relations and interactions between the students. The combination of transcending the misconceptions about air, conducting experiments and trying to adapt a new way of working result in a lot of contradictions while at the same time give space for reflection which altogether create «the dramatic character of the organized interaction».
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paggett, taisha. "Performance on the Eve of Negro Spring." TDR/The Drama Review 58, no. 4 (December 2014): 2–3. http://dx.doi.org/10.1162/dram_a_00391.
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taisha paggett’s work includes individual and collaborative investigations for the stage, gallery, and public sphere, which question the body, agency, and the phenomenology of race and gender. Her work has been presented widely, including the Studio Museum in Harlem, Danspace Project, and the Whitney Museum (NY); Defibrillator (Chicago); The Off Center (SF); Public Fiction and LACE (LA); and BAK (Utrecht). She has worked with David Roussève, Stanley Love Performance Group, Fiona Dolenga, Vic Marks, Kelly Nipper, Meg Wolfe, Ultra-red, and with Ashley Hunt on their project On Movement, Thought and Politics. paggett is on the dance faculty at UC Riverside, and is co-instigator of itch dance journal.
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Whiteley, Louise, Karin Tybjerg, and Bente Vinge Pedersen. "Displaying the Researched Body: Growing Cell Portraits in a Medical Museum." Leonardo 50, no. 1 (February 2017): 86–87. http://dx.doi.org/10.1162/leon_a_01358.
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In Heirloom, artist Gina Czarnecki and scientist John Hunt grow portraits of the artist’s daughters from the daughters’ own cells onto glass casts of their faces. This required the development of novel scientific techniques to allow the growth of human cells in a gallery. Heirloom was exhibited at Medical Museion as a part of the EU Creative Europe project Trust Me, I’m an Artist. Here, the authors discuss three key issues raised by the artwork and its curation; (1) consent and ownership with regard to bodily materials, (2) biological portraiture and identity, and (3) DIY and depicting the future.
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Alfayé Villa, Silvia, and Gonzalo Fontana Elboj. "Palabras para un envidioso: una nueva inscripción latina del África romana." Emerita 86, no. 1 (May 4, 2018): 163. http://dx.doi.org/10.3989/emerita.2018.09.1707.
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El propósito del presente trabajo es dar a conocer un epígrafe latino desconocido hasta la fecha. Se trata de un texto inciso sobre un clavo de bronce, hoy depositado en The Hunt Museum, Limerick (Irlanda). El epígrafe así como la propia pieza que le da soporte habían sido asignados a un contexto masónico o tabernario propios de época moderna. Sin embargo, consideramos que se trata de un texto mágico de carácter profiláctico procedente de la provincia romana de Africa, compuesto en latín vulgar y datable en los siglos IV-V d. C., y destinado a repeler a los envidiosos.
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Sheard, Julie K., Nathan J. Sanders, Carsten Gundlach, Sämi Schär, and Rasmus Stenbak Larsen. "Monitoring the influx of new species through citizen science: the first introduced ant in Denmark." PeerJ 8 (April 8, 2020): e8850. http://dx.doi.org/10.7717/peerj.8850.
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Climate change and invasive species threaten biodiversity, yet rigorous monitoring of their impact can be costly. Citizen science is increasingly used as a tool for monitoring exotic species, because citizens are geographically and temporally dispersed, whereas scientists tend to cluster in museums and at universities. Here we report on the establishment of the first exotic ant taxon (Tetramorium immigrans) in Denmark, which was discovered by children participating in The Ant Hunt. The Ant Hunt is a citizen science project for children that we ran in 2017 and 2018, with a pilot study in 2015. T. immigrans was discovered in the Botanical Garden of the Natural History Museum of Denmark in 2015 and confirmed as established in 2018. This finding extends the northern range boundary of T. immigrans by almost 460 km. Using climatic niche modelling, we compared the climatic niche of T. immigrans in Europe with that of T. caespitum based on confirmed observations from 2006 to 2019. T. immigrans and T. caespitum had a 13% niche overlap, with T. immigrans showing stronger occurrence in warmer and drier areas compared to T. caespitum. Mapping the environmental niches onto geographic space identified several, currently uninhabited, areas as climatically suitable for the establishment of T. immigrans. Tetramorium immigrans was sampled almost three times as often in areas with artificial surfaces compared to T. caespitum, suggesting that T. immigrans may not be native to all of Europe and is being accidentally introduced by humans. Overall, citizen scientists collected data on ants closer to cities and harbours than scientists did and had a stronger bias towards areas of human disturbance. This increased sampling effort in areas of likely introduction of exotic species naturally increases the likelihood of discovering species sooner, making citizen science an excellent tool for exotic species monitoring, as long as trained scientists are involved in the identification process.
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Zevulun, U., and I. Ziffer. "Back from the Hunt: A Pictorial Tell el-Yahudiyeh Juglet in the Eretz Israel Museum, Tel Aviv." Ägypten und Levante 22-23 (2014): 431–47. http://dx.doi.org/10.1553/s431.
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Fedotova, A. A. "Bison bonasus bonasus as a museum exhibit in the 18th – early 20th centuries." Proceedings of the Zoological Institute RAS 322, no. 2 (June 25, 2018): 160–84. http://dx.doi.org/10.31610/trudyzin/2018.322.2.160.
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The paper discusses the Białowieża bison (Bison bonasus bonasus) as a museum exhibit in the 18th – early 20th centuries, basing on the analysis of archival documents, mainly from St. Petersburg. One of the last remnants of extinct megafauna once roaming through Europe, by the Early Modern time it had been eliminated in the most part of its previous range. In the 16th–18th century, it had the status of a natural curiosity and an exclusively royal game. In the 18th century, the carcasses of the European bison from the imperial menageries went into the cabinets of curiosities where they became the objects of study for naturalists. By the late 18th century, the last population of the European lowland bison had survived in Białowieża Primeval Forest, which became a part of the Russian Empire with the Third partition of Poland. The attention of the Imperial family, which preserved the system of protection of the European bison and the forest where they lived, ensured the survival of the species till WWI. The development of zoology and zoological collections provided a new status to the Białowieża bison – the status of a valuable gift of the Russian Tsar to a scientific community. To receive such a precious gift, a scientific community had to use its diplomatic and bureaucratic channels, to recruit a naturalist willing to travel to Białowieża, to organize a hunt, to process the skin and bones, and finally, to deliver this massive package to a museum. Nevertheless, throughout the second half of the 19th century, most requests made by European and Russian naturalists were granted and the majority of zoological museums received the European bison from Białowieża, either in form of a stuffed animal, a skeleton, or at least a skull. The transformation of the 17–18th century Kunstkammern into research zoological institutions and the development of taxidermy went in parallel with the transformation of the European bison as a museum exhibit. Stuffed animals became anatomically accurate; new expositions included habitat groups, and some institutions amassed extensive collections for comparative study. The presence of the European bison almost in every major European museum made them well known for wider public. In 1919, the last Białowieża bison was killed in the wild, but the popularity of this species helped the restitution of the animal. Nowadays, the “old” specimens are of interest not only from a historical point of view, but also as a source of samples for genetic research.
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Shelburne, Edward. "Pokémon Day at the Sternberg: Using Pop-Culture to Teach Principles of Evolution." Biodiversity Information Science and Standards 2 (June 15, 2018): e25988. http://dx.doi.org/10.3897/biss.2.25988.
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Pop culture has great potential as a tool for communicating science to the public. The Sternberg Museum of Natural History (FHSM) hosted a public, all-ages outreach event utilizing Pokémon to illustrate common principles of evolution and highlighting the confluence of pop-culture and science. Pokémon is a multi-billion dollar multimedia franchise centered on the training and combat of small monsters, called Pokémon, which grow stronger and ‘evolve’ over time as they bond with their trainer. While ‘evolution’ in the Pokémon franchise is more akin to the process of metamorphosis in the real world, with weaker forms transitioning into stronger ones, principles of mutation, adaptation, and descent with modification are regularly evoked within the series. This close association between Pokémon ‘evolution’ and Darwinian evolution provides an invaluable opportunity to use a popular franchise to explain evolutionary principles through basic comparison, as well as clarifying public misperceptions of evolution by drawing attention to inaccuracies portrayed in the franchise. Tables were placed around the Museum where fossils and illustrated graphics highlighted similarities between Pokémon designs and their extinct counterparts, while teaching the principles of adaptation, descent with modification, and island biogeography. Guests were encouraged to use self-directed learning to interact with Museum staff who explained the evolutionary principles outlined at that table and the inferences that can be made regarding the biology and ecology of the organisms the Pokémon represent. A scavenger hunt was also implemented to encourage exploration of the museum; younger guests were tasked with seeking additional Pokémon hidden throughout the museum. This interactive activity rewarded exploration of both event-specific displays and traditional exhibits with a small bag of candy upon completion. Arts-and-crafts related to Pokémon and evolution were available for very young guests. The event took place over five hours on a Saturday; normal admission fees were required. Principles learned from this Pokémon Day event can be used by the FHSM and other institutions to further refine engaging and informative public outreach events in the future, utilizing different pop-culture franchises to teach scientific principles to the public.
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Busciglio-Ritter, Thomas. "‘Covetable pictures’." Journal of the History of Collections 32, no. 1 (December 13, 2018): 73–90. http://dx.doi.org/10.1093/jhc/fhy059.
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Abstract Born in 1820, John Taylor Johnston is a pivotal figure in the history of American collecting. A pioneer in transatlantic art collecting, his numerous visits to Europe helped him develop his taste, enrich his possessions, and build a reliable network of artists and dealers. He then re-injected this experience into a rising New York art market, becoming the first collector to enjoy success through the weekly public opening of a domestic art gallery. Here he displayed his highly-praised collection of European and American paintings, comprising works by Vernet, Gérôme, Meissonier, Homer and Church. Along with his brother James, Johnston also founded the very first edifice in the United States devoted entirely to housing artists – the Tenth Street Studio Building, designed by architect Richard Morris Hunt. His reputation as a collector eventually led to his appointment as first president of the newly formed Metropolitan Museum in 1871.
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Kruse, Frigga. "Catching up: the state and potential of historical catch data from Svalbard in the European Arctic." Polar Record 53, no. 5 (September 2017): 520–33. http://dx.doi.org/10.1017/s0032247417000481.
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ABSTRACTSvalbard in the European Arctic has a well-documented history of natural resource exploitation. Since its discovery in 1596, the archipelago has witnessed phases of commercial whaling, sealing, fur hunting and fishing. Scientists, trophy hunters and miners have also added to the depletion of wildlife. The magnitude, scale and speed of the hunt, however, remain largely unknown. This paper collates historical catch data of five selected species of game animal from published written and archaeological sources. These species include the bowhead whale, the Atlantic walrus, the polar bear, the Arctic fox and the Svalbard reindeer. The paper thereby aims to quantify the anthropogenic pressure on Svalbard's ecosystems over more than four centuries. This quantification is only moderately successful. The incomplete record prevents the use of this catch data as a suitable indicator of human-induced ecosystem change. To advance the state of knowledge, the paper recommends a return to the primary sources across international archives, libraries and museum collections, and outlines steps with which to arrive at the much needed time-depth in Svalbard historical ecology.
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Burn, Lucilla. "Hunt Collections. Wealth of the ancient world: the Nelson Bunker Hunt and William Herbert Hunt Collections, Kimbell Art Museum, Fort Worth, etc., 1983. By D. von Bothmer [and others]. Photography by A. Daneman. Ed. J. Firth Tompkins. [Exhib. cat.] Fort Worth: Kimbell Art Museum. 1983. Pp. 329, numerous illus. (incl. plates (16 col.), text figs, folding maps). Price not stated." Journal of Hellenic Studies 106 (November 1986): 257. http://dx.doi.org/10.2307/629727.
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Soshkin, Evgeny. "Unknown play by Vladimir Bogoraz-Tan." Literary Fact, no. 15 (2020): 8–41. http://dx.doi.org/10.22455/2541-8297-2020-15-8-41.
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Vladimir Germanovich Bogoraz (1865–1936, pseudonyms: Tan, Tan-Bogoraz, Bogoraz-Tan), the famous ethnographer, linguist, religious scholar, and researcher of Northern peoples, was also a prolific and popular fiction author, in particular, a prominent representative of the so-called prehistoric fiction, i.e. fiction about prehistoric times. This is the first publication of Bogoraz’s play “Dragon Victims” which is a revision of his prehistoric novel under the same name (1909, “Sons of Mammoth” in English translation of 1929), commissioned in 1920 by the Section of Historical Pictures at the Petrograd Theater Department of the People's Commissariat of Education, after Bogoraz, at that time an employee of the Petrograd Museum of Anthropology and Ethnography, had been invited by the Section to write an introduction for the upcoming paleophantastic play “Rhino Hunt” by N.S. Gumilev. The text of Bogoraz’s play “Dragon Victims”, preserved in the archive (St. Petersburg Department of the Russian Academy of Sciences Archives), is published according to the typescript with author’s handwritten corrections. In a detailed introductory article, the publisher clarifies the dating, the history of creating, and the literary characteristics of the play as compared to the novel, as well as the programmatic nature of the encouraging attitude to composing plays on prehistoric themes that came from A.M. Gorky, the founder and head of the Section.
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Watanabe, Chikako E. "The “continuous style” in the narrative scheme of Assurbanipal's reliefs." Iraq 66 (2004): 103–14. http://dx.doi.org/10.1017/s0021088900001698.
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As we walk through the Assyrian galleries in the British Museum, we may observe curious depictions amongst Assurbanipal's reliefs. A scene from the king's lion hunt, for example, shows a lion emerging from a cage, a lion being shot by an arrow in the back and dashing forward in anger, and a lion leaping at the king (Fig. 1). Our eyes follow these images naturally, from right to left, as a series of movements that conclude on the left of the scene. It was E. Unger who first observed this characteristic feature and named it kinematographische Erzählungsform. J. Reade also noted it in his study of narrative composition in Assyrian sculpture, where the style is called the “strip-cartoon effect”. It appeared sporadically throughout the Neo-Assyrian period but became prominent under Assurbanipal. The identification of these animals as the same lion is established by a text on the far left, beyond this scene. This part of the relief only survives in the form of a drawing. It shows the king grasping the lion by the throat and thrusting a sword into the animal's stomach. The epigraph states that a lion was released from a cage in order to be shot with arrows by the king. The lion did not die, however, so he stabbed it with an iron dagger in order to kill it.
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Watanabe, Yuuki Y., Eugene A. Baranov, and Nobuyuki Miyazaki. "Ultrahigh foraging rates of Baikal seals make tiny endemic amphipods profitable in Lake Baikal." Proceedings of the National Academy of Sciences 117, no. 49 (November 16, 2020): 31242–48. http://dx.doi.org/10.1073/pnas.2014021117.
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Understanding what, how, and how often apex predators hunt is important due to their disproportionately large effects on ecosystems. In Lake Baikal with rich endemic fauna, Baikal seals appear to eat, in addition to fishes, a tiny (<0.1 g) endemic amphipodMacrohectopus branickii(the world’s only freshwater planktonic species). Yet, its importance as prey to seals is unclear. Globally, amphipods are rarely targeted by single-prey feeding (i.e., nonfilter-feeding) mammals, presumably due to their small size. IfM. branickiiis energetically important prey, Baikal seals would exhibit exceptionally high foraging rates, potentially with behavioral and morphological specializations. Here, we used animal-borne accelerometers and video cameras to record Baikal seal foraging behavior. Unlike the prevailing view that they predominantly eat fishes, they also huntedM. branickiiat the highest rates (mean, 57 individuals per dive) ever recorded for single-prey feeding aquatic mammals, leading to thousands of catches per day. These rates were achieved by gradual changes in dive depth following the diel vertical migration ofM. branickiiswarms. Examining museum specimens revealed that Baikal seals have the most specialized comb-like postcanine teeth in the subfamily Phocinae, allowing them to expel water while retaining prey during high-speed foraging. Our findings show unique mammal–amphipod interactions in an ancient lake, demonstrating that organisms even smaller than krill can be important prey for single-prey feeding aquatic mammals if the environment and predators’ adaptations allow high foraging rates. Further, our finding that Baikal seals directly eat macroplankton may explain why they are so abundant in this ultraoligotrophic lake.
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Sobecka, Anna. "Świat zwierząt Daniela Schultza." Porta Aurea, no. 17 (November 27, 2018): 33–61. http://dx.doi.org/10.26881/porta.2018.17.02.
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Daniel Schultz (1615–1683) was one of the most important painters of his time, highly regarded among the Polish nobility and patricians of his native city of Gdańsk. Schultz’s game and animal pieces resemble works of Flemish artists. His earliest animal picture Trophies in the Pantry is perhaps most Southern Netherlandish in character. Fred G. Meijer attributed to Schultz a painting on the subject of hunting, bearing the monogram “DS” and dated 1649. Schultz also executed a smaller painting, which is a depiction of a fox (or rather a dog) head shown in profile and a bunch of grapes, with some killed birds. Furthermore, two other animal paintings by Schultz are known from the National Museum in Gdańsk. In 2014, a pair of pendant paintings of dead birds appeared on the art market. Their similarity to the Medicean Trophies led the experts of the Artcurial auction house to ascribe them to Schultz. As one compares them with some other works by the Gdańsk artist, the resemblance is even more pronounced. Both paintings are now in a Polish private collection. In the Museum of Fine Arts in Gent there are two other paintings attributed to Frans Snyders and Jan Fyt which could have been painted by Daniel Schultz. The focus on perfectly studied animals, framing of the composition, and a summary treatment of the background are characteristic of him. The ‘Ds 16__’ monogram bears the painting from the Kuscovo Palace (Moscow), which depicts A Heron, a Bittern and a Rabbit. Schultz was the first artist in the territories associated with the Polish-Lithuanian Commonwealth to create independent animal and still life paintings. Possibly a pupil of Elias Vonck, the Amsterdam master active in Prussia, Schultz was also influenced by Antwerp masters such as Frans Snyders and Johannes Spruyt. Schultz’s interest for animal themes and still life may have been connected with characteristic features of the culture of Gdańsk, such as, for instance, a penchant for hunting, viewed both as a pastime and a subject for art. Gdańsk citizens enjoyed the right to hunt as of 1588, earlier than any other European bourgeoisie. Most signed works by Schultz are his depictions of animals. Tis could be an indirect suggestion about the identity of the recipients of Schultz’s depictions of the animal world. As stated above, the Gdańsk citizens had a predilection for hunting pieces; they also cared more than courtiers about the fact that such representations were authored by a Gdańsk artist.
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TORRENS, HUGH, and MADELEINE GILL. "JOHN PLAYER'S ‘GEOLOGICAL OBSERVATIONS’ OF 1764–1766, AND HIS CONTRIBUTIONS TO THE SOCIETY OF ARTS JOURNAL MUSEUMRUSTICUM ET COMMERCIALE." Earth Sciences History 37, no. 2 (January 1, 2018): 247–65. http://dx.doi.org/10.17704/1944-6178-37.2.247.
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It had been discovered, by 1975, that an eighteenth-century manuscript on English strata written by a John Player had been donated to a museum in Bath, England in 1857. The hunt for this, lost since some time after 1879, led in 1991 to the realization that an earlier MSS version had survived in private hands. This paper is the result of a collaboration between Madeleine Gill, historian and lineal descendant of the Gloucestershire Quaker John Player (1725–1808), Hugh Torrens, an historian of English geology. We first investigate, and publish part of, Player's MSS ‘Observations on the Strata of the Earth’ of 1765/1766. Its content is highly complex, because of the lack of any adequate terminology which would have allowed Player to describe the many lithologies he had encountered, coupled with his failure to give any place names to the localities at which he had found them. The later history of this MSS is next discussed, and how it came to the attention in 1801 of the circle which then surrounded William Smith at nearby Bath. But this was clearly too late to have influenced Smith directly. It was next discovered that Player had also been the author of a series of articles between 1764 and 1766 in the journal Museum Rusticum, which was an early publishing outlet in support of the work of the Society of Arts, founded in London in 1754. Player wrote these articles under the pseudonym of “Ruricola Glocestris”. His first article, which gave “easy-to-be-known signs by which to direct the search for Coal”, gave us a second, printed, source by which we could investigate his early investigations of English strata. It became clear that his main interest was in helping the discovery of unknown deposits of coal, outside the known coal fields, which were fuelling the nascent ‘Industrial Revolution’ here, and which now surrounded Player as he worked, first as a farmer, and later as a significant land surveyor, widely away from his Gloucestershire base. The final parts of our paper discuss the history of the English study of strata. Here we reject Martin Rudwick's claim that this had owed much, or anything, to German geognosy. We support this by pointing out that Player had been preceded by John Strachey, whose earlier work on such strata we also discuss, as we do that of Player's contemporary, John Michell. Finally, we urge the importance of coal, which fuelled the world's first ‘Industrial Revolution’ in Britain, and which historians now point out has provided the ‘key break in the history of humanity’. We hope this paper will inspire others to examine more the effects that coal and its ‘Revolution’ have had on the rise of the new science of geology.
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Fernstrom, Katharine W. "Archaeology of the Lapita Cultural Complex: A Critical Review. Patrick V. Kirch and Terry L. Hunt, editors. Research Report No. 5. Thomas Burke Memorial Washington State Museum, Seattle, 1988. iv + 181 pp., references. $17.00 (paper)." American Antiquity 56, no. 1 (January 1991): 181. http://dx.doi.org/10.2307/281008.
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Tybjerg, Tove. "George Hunt: en kwakwaka’wakw livshistorie." Religionsvidenskabeligt Tidsskrift, no. 68 (September 14, 2018): 64–74. http://dx.doi.org/10.7146/rt.v0i68.109109.
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ENGLISH ABSTRACT: Inspired by Armin W. Geertz’ research into Hopi religion and culture, I focused on the religion of another Native American people, the Kwakwaka’wakw (Kwakiutl) on the American Northwest Coast for the seminar celebrating Geertz’ 70-year birthday. The material on Kwakwaka’wakw is heavily influenced by George Hunt (1854-1933), who worked as a consultant for both Franz Boas and Edward Curtis, but is also to be regarded as an anthropologist in his own right. I choose to concentrate on the ritual aspects of George Hunt’s life story and touch on Hunt’s performance at the Chicago World’s Fair 1893, his participation in the production of Edward Curtis’ feature-length, narrative, ethnographic film In the Land of the Head Hunters(1914), and Hunt’s work as collector for museums and text-editions in collaboration with Franz Boas. In the last part of the paper, I discuss the autobiographical text on his initiation as a shaman “I Desired to Learn the Ways of the Shamans”, published by Boas in 1930, and made famous by Lévi-Strauss in the article “Le sorcier et sa magie” (1949)/ “The Sorcerer and His Magic” (1963) under the initiate’s shaman-name, Quesalid.
DANSK RESUME: Med inspiration i Armin W. Geertz’ forskningsindsats inden for hopireligion og -kultur søgte jeg i mit indlæg til Geertz’ 70-års fødselsdags-seminar at belyse nogle kultiske aspekter af religionsudviklingen hos et andet af Amerikas oprindelige folk, kwakwaka’wakw (kwakiutl) på den amerikanske Nordvestkyst. Materialet er stærkt præget af George Hunt (1854-1933), som var konsulent for både Franz Boas og Edward Curtis, men tillige må betragtes som antropolog i sin egen ret. Jeg har valgt at fokusere på de rituelle aspekter af George Hunts livshistorie og berører hans optræden ved verdensudstillingen i Chicago 1893, hans medvirken i produktionen af Edward Curtis’ etnografiske spillefilm In the Land of the Head Hunters1914 og hans meget omfattende indsamling til museer og tekstudgivelser i samarbejde med Franz Boas. Artiklen munder ud i en drøftelse af den selvbiografiske beretning om hans indvielse til shaman “I Desired to learn the Ways of the Shamans”, en tekst, som Boas udgav i 1930, og som Lévi-Strauss gjorde kendt under hovedpersonens shaman-navn, Quesalid, i artiklen “Le sorcier et sa magie” (1949)/“The Sorcerer and His Magic” (1963).
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Ledford, Heidi. "Museums hunt for relics from genomics’ early days." Nature 504, no. 7478 (December 2013): 20–21. http://dx.doi.org/10.1038/504020a.
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Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.
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The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.
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Coruh, Levent, and Eda Ocak Karakus. "Developing 3D graphics software as educational material for museum education course (The case of hunat social complex)." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 657–66. http://dx.doi.org/10.18844/gjhss.v2i1.1006.
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Lachapelle, Richard, Thibault Zimmer, and Anita Sinner. "The Professional Training of Museum Educators in Canada / La formation professionnelle en éducation muséale au Canada." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 1 (January 29, 2019): 101–12. http://dx.doi.org/10.26443/crae.v46i1.64.
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Abstract: A review of museum training programs was undertaken to assess the current state of professional museum education training in Canada. Out of 18 post-secondary museum studies programs, four programs include one museum education course and two programs include two courses. We found no evidence of museum education content in any of the eight Canadian curatorial practice programs. In terms of specialized programs, a Masters of Museum Education program has existed at UBC since 2012. Another Canadian university is currently examining the possibility of setting up a program. We conclude that the offer of professional museum education training in Canada is slowly improving. Keywords: Museum Education; Museum Education Training; Post-secondary Professional Education; Professionalization of Museum Education. [1] This research has been made possible by a grant from the Social Sciences and Humanities Research Council of Canada.Résumé : Une analyse des différents programmes de formation muséale a été menée pour déterminer l’état actuel de la formation muséale professionnelle au Canada. Quatre des dix-huit programmes d’études muséales postsecondaires proposent un seul cours d’éducation muséale tandis que deux programmes en offrent deux. Nous n’avons trouvé aucune trace de contenu d’éducation muséale parmi les huit programmes canadiens de pratique des conservateurs. En ce qui concerne les programmes spécialisés, l’Université de la Colombie-Britannique propose depuis 2012 un programme de maîtrise en éducation muséale. Une autre université canadienne étudie présentement la possibilité de mettre sur pied un tel programme. Il semblerait donc que la formation professionnelle en éducation muséale offerte gagne lentement du terrain.Mots-clés : éducation muséale, formation à l’éducation muséale, formation professionnelle postsecondaire, professionnalisation de l’éducation muséale.[1]Cette recherche a bénéficié d’une subvention du Conseil de recherches en sciences humains du Canada.
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James, N. "The Acropolis and its new museum." Antiquity 83, no. 322 (December 1, 2009): 1144–51. http://dx.doi.org/10.1017/s0003598x00099427.
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The new Acropolis Museum was opened in June 2009 with worldwide fanfare. For this was for the Athenian acropolis – the Acropolis. After two lower galleries, visitors reach the top floor and find what is now the world's most exciting coup of archaeological presentation – a sudden view of the Parthenon. We stand there in the middle of a gallery that sets out the temple's sculpted pediments, metopes and friezes according to the original plan. They are hung on a framework that matches the Parthenon's colonnades at the same orientation and scale and on the same plan as the great temple itself (Figure 1); so that, walking along the gallery, we can imagine ourselves in the temple by just looking out at it on the Acropolis.
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SHEA, GLENN M., and FRED KRAUS. "A list of herpetological type specimens in the collections of the Papua New Guinea National Museum and Art Gallery and University of Papua New Guinea." Zootaxa 1514, no. 1 (June 25, 2007): 37–60. http://dx.doi.org/10.11646/zootaxa.1514.1.2.
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A catalogue of the amphibian and reptile type specimens in the collections of the Papua New Guinea National Museum and University of Papua New Guinea is provided, with collection data obtained from the registers of each collection, and comments on the current condition and whereabouts of the type specimens and discrepancies between data from different sources. A list of missing type specimens is appended. Primary type specimens of 43 species and secondary type specimens for 89 species are held in these collections. Litoria hunti Richards, Oliver, Dahl & Tjaturadi, 2006 is emended to Litoria huntorum, in accordance with the Code of Zoological Nomenclature.
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Graham, Robert. "War/Photography: Images of Armed Conflict and Its Aftermath, The Museum of Fine Arts, Houston, (11 November 2012–3 February 2013), The Annenberg Space for Photography (23 March– 2 June 2013), Corcoran Gallery of Art (29 June–29 September 2013), Brooklyn Museum (8 November 2013–2 February 2014) Anne Wilkes Tucker and Will Michels, with Natalie Zelt; with contributions by Liam Kennedy, Hilary Roberts, John Stauffer, Bodo von Dewitz, Jeff Hunt, and Natalie Zeldin, War/Photography: Images of Armed Conflict and Its Aftermath, The Museum of Fine Arts, Houston, 2012. Distributed by Yale University Press, 612 pp., 179 colour and 364 b/w illustrations, $90, ISBN: 9780300177381." RACAR : Revue d'art canadienne 39, no. 2 (2014): 113. http://dx.doi.org/10.7202/1027754ar.
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Grześkowiak, Radosław, and Jakub Niedźwiedź. "Unknown Polish Subscriptions to the Emblems of Otto van Veen and Herman Hugo: A Study on the Functioning of Western Religious Engravings in the Old-Polish Culture." Terminus 21, Special Issue 1 (2019): 1–29. http://dx.doi.org/10.4467/20843844te.19.024.11285.
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The Seweryn Udziela Ethnographic Musem in Cracow holds an impressive collection of old engravings, among which there are also copperplates by Cornelis Galle. He used selected prints from Amorum emblemata (1608) and Amoris divini emblemata (1615) by Otton van Veen and Pia desideria (1624) by Herman Hugo to create his own emblematic cycle on metaphysical relations between the Soul and Amor Divinus. The drawings from the works of Veen and Hugo were very popular in the seventeenth century and inspired numerous poets and editors around Europe. In the Polish-Lithuanian Commonwealth, it was Hugo’s Pia desideria that aroused particular interest. The cycle was imitated and translated by e.g. Mikołaj Mieleszko SJ, Zbigniew Morsztyn, Aleksander Teodor Lacki, and Jan Kościesza Żaba. On three of Galle’s prints stored in the Cracow museum, an anonymous author wrote epigrams, unknown until now, that accompany the images taken from the cycle by Veen (no. 8 and 21) and by Hugo (II 5). This emblematic microcycle was, with all probability, written down at the end of the seventeenth or at the beginning of the eighteenth century by a nun or a monk in one of the Lesser Polish convents or monasteries. Possibly, the origins of the cycle may be linked with the Carmelite convent in Cracow. And whether it is the actual place where the cycle was created or not, it is a good point to begin studies on the employment of emblematic practices in Catholic convents and monasteries in the Polish-Lithuanian Commonwealth from the sixteenth to the eighteenth century. Imported copperplates and woodcuts were a typical piece of the equipment of a cell. They were hung on the cell walls or were simply collected in sets of prints and often exchanged as gifts among nuns or monks, e.g. on the occasion of the New Year (an example of such a gift from 1724 is given in this paper). It was a common practice to write notes of diverse character on the reverse side of such prints, e.g. autobiographic details, short prayers or excerpts from sacred texts and religious literature. Still, the main purpose of the emblems was their application in everyday meditations and other forms of personal prayers. The three subscriptiones in the Ethnographic Museum in Cracow are also prayers of this kind, combining word and image.
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Goldstein, Ilana, and Beatriz Caiuby Labate. "ENCONTROS ARTÍSTICOS E AYAHUASQUEIROS: REFLEXÕES SOBRE A COLABORAÇÃO ENTRE ERNESTO NETO E OS HUNI KUIN." Mana 23, no. 3 (September 2017): 437–71. http://dx.doi.org/10.1590/1678-49442017v23n3p437.
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Resumo Recentemente, trabalhos de Ernesto Neto ganharam destaque em museus de arte em Bilbao, São Paulo e Viena. Tiravam parte de sua força do fato de remeterem a rituais de cura com ayahuasca dos Huni Kuin (Kaxinawa). Observa-se certo paralelismo entre essa conquista de espaço para a presença indígena no sistema das artes e a chegada dos índios ao circuito urbano da ayahuasca. A circulação de novas formas de xamanismo, de consumo da ayahuasca, de objetos artísticos e performances, em redes nacionais e internacionais, atesta o vigor e a capacidade de adaptação das práticas culturais indígenas, além de representar possibilidades para diálogos transculturais. Ao mesmo tempo, esbarra em desafios espinhosos, como as proibições legais relativas ao uso da ayahuasca, a dificuldade de proteger a propriedade intelectual tradicional e a potencial reificação de identidades. O presente texto partirá da colaboração de Neto com os Huni Kuin para refletir sobre estas e outras questões.
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Fragnito, Gigliola. "Possessing Nature: Museums, Collecting, and Scientific Culture in Early Modern Italy. Paula Findlen , Victoria E. Bonnell , Lynn Hunt." Journal of Modern History 68, no. 4 (December 1996): 1006–8. http://dx.doi.org/10.1086/245423.
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Dal Lago, Francesca. "The “Global” Contemporary Art Canon and the Case of China." ARTMargins 3, no. 3 (October 2014): 77–97. http://dx.doi.org/10.1162/artm_r_00095.
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This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of canonization performed at the expenses of other contemporaneous artistic forms—ink and academic painting—whose culturally and historically specific nature de facto excludes them from a concept of art globalization still largely determined and rooted by Euro-American modernism.
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Dyson, Stephen. "Museums and the market in antiquities - JAMES CUNO (ed.), WHOSE CULTURE? THE PROMISE OF MUSEUMS AND THE DEBATE OVER ANTIQUITIES (Princeton University Press 2009). Pp. xii + 220, figs. 38. ISBN 978-0-691-13333-1. - CHRISTOPHER WHITEHEAD, MUSEUMS AND THE CONSTRUCTION OF DISCIPLINES: ART AND ARCHAEOLOGY IN NINETEENTH CENTURY BRITAIN (Gerald Duckworth & Co., London 2009). Pp. 160, figs. 7. ISBN 978 0 7156 3508 7. - JASON FELCH and RALPH FRAMMOLINO, CHASING APHRODITE. THE HUNT FOR LOOTED ANTIQUITIES AT THE WORLD'S RICHEST MUSEUM (Houghton Mifflin Harcourt, Boston 2011). Pp. 375, figs. 18. ISBN 978-0-15-101501-6." Journal of Roman Archaeology 25 (2012): 1004–7. http://dx.doi.org/10.1017/s1047759400002257.
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Arkawi, A. "TITLE: VISION OF THE RECONSTRUCTION OF DESTRUCTED MONUMENTS OF PALMYRA (3D) AS A STEP TO REHABILIATE AND PRESERVE THE WHOLESITE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 41–48. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-41-2017.
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Syria is one of the world’s most impressive Cultural Heritages in terms of the number and historical significance of its monuments. Palmyra lies in the heart of Syria, an oasis in the midst of the arid desert.it could be considered as a part of this human heritage. In1980 was registered on the world and national heritage list for its huge historical importance. In addition, it was the focus of many studies and researches in the fields of restoration. Then the disaster happened, many monuments were demolished, temple of Ba’al, temple of Bael-shameen, Arch of triumph and the Castle. Lately the Tetrapylon and the Stag. Every Syrian was hurt, the whole world was hurt. The destruction of the city caused its people to become homeless and Palmyra was no longer the oasis we know. We felt pain, so we wanted to make a move, a step forward, to present a work that expresses our love for Palmyra, we organized Palmyra workshop to provide a vision for the reconstruction and revival of the historic site importance. Visions with using new idea & new technology. Palmyra historical areas are considered a large open museum for heritage through history, which is the reason to treat these area as a historical protection precinct and give a vision, ideas, suggestions to the future of Palmary as a first step to preserve the historical buildings& the archeological park.
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Choi, Jaewan, Jangjon Lee, and Boyeon An. "Scientific Analysis on the Accessory Ornament of Woolen Tapestry Curtain in Seoul Museum of Craft Art." Journal of Conservation Science 37, no. 4 (August 31, 2021): 402–10. http://dx.doi.org/10.12654/jcs.2021.37.4.09.
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Woolen tapestry curtains possessed by the Seoul Museum of Craft Art were used to hung on the wall or used for carpets in the winter season in the late Joseon dynasty. Since similar artifacts were only used for the curtain as functional aspects, woolen tapestry curtains were a rare case. In this study, scientific analysis on the accessory ornament of woolen tapestry curtains such as components of metal accessories and frame bar were conducted with the microscope, p-XRF, and SEM. Result of frame bar pigments, organic pigments such as ink stick were likely been used in woolen tapestry curtain 1. In woolen tapestry 2, lead red (Minium) was used in the frame bar. The result of metal parts, copper, and zinc were analyzed by p-XRF. This suggests that metal accessories were crafted using brass. Frame bar of woolen tapestry curtain 2 was made of soft pine (Pinus spp.) analyzed with the scanning electron microscope. Artifacts like woolen tapestry curtains are rare in Korea and scientific analysis databases were scarce, so it is important to construct components analysis data of woolen tapestry curtains. It is expected that additional scientific analysis and interpretation on the artifact’s crafting technique can be merged with the analytical data gathered in this study to be utilized on the conservation and restoration of not only woolen curtains but curtain artifacts of the late Joseon dynasty in general.
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Yano, Christine R. "“Obama no Obama” – Knowledge as Exhilaration: A Curator’s Exhibition Report." Journal of American-East Asian Relations 20, no. 4 (2013): 340–48. http://dx.doi.org/10.1163/18765610-02004003.
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This article describes my experience as a widely published academic scholar in organizing an exhibit for the public titled “Obama no Obama (Obama’s Obama): One President, Two Countries, A Myriad of Goods.” The exhibit, at a local museum, the Japanese Cultural Center of Hawai`i, presented the souvenirs and paraphernalia from Obama, the Japanese beach town in Fukui province, which celebrated Barack Obama, the 44th president of the United States. Inside the doors of the exhibit hung display after display of goods from Japan and the United States focused on President Obama, particularly during his campaign days of 2008 and 2009 when Obama-mania was at its peak throughout many parts of the world. Obama town garnered headlines throughout Japan and beyond, adopting familiar slogans, “Yes we can!” as banners of support for the candidate and publicity for the town itself. I decided to turn my research interest in the topic into an event that could examine image-making, celebrity, and commodification that surrounds public figures in the United States and Japan – and do so in a very public manner.
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Schaefer, William. "Exhibiting Experimental Art in China. By Wu Hung. Chicago: Smart Museum of Art, University of Chicago, 2000. 224 pp. $40.00 (paper)." Journal of Asian Studies 61, no. 1 (February 2002): 234–37. http://dx.doi.org/10.2307/2700228.
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Ahmad, Asy Syams Elya. "KRITIK SEJARAH BATIK SIDOARJO." Gorga : Jurnal Seni Rupa 10, no. 1 (June 9, 2021): 137. http://dx.doi.org/10.24114/gr.v10i1.24626.
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The popular historical narrative of the batik Sidoarjo needs to be reexamined based on historical methodology so that there is no historical bias based only on oral stories of the general public. Many studies are trapped in an inaccurate understanding of local historicity. As a result, these various studies have failed to fit batik Sidoarjo into its full context, instead it has become a kind of narrative standardization on its characteristics and history. This study aims to criticize the historical construction that has been popular in relation to the basic understanding of batik Sidoarjo and to explain the position of batik Sidoarjo in the cultural framework of its people. This article is the author's attempt to provide an analysis or explanation that is different from the historical narrative of batik Sidoarjo which is commonly used in various discussions. This research is classified as a qualitative research, using the historical method which consists of four stages, namely heuristics, source criticism, interpretation, and historiography. This research uses historical and sociological approaches to collect, select, and critically examine historical sources of Sidoarjo batik, resulting in historical facts. The results showed that the historicity of batik Sidoarjo refers to the batik activities in the areas of Kedungcangkring, Jetis, Sekardangan, Gajah Mada St. (Peranakans), and Tulangan, all of which have a direct relationship with both Peranakans nor indigenous. Batik Sidoarjo is not framed by traditional rituals, nor is it under the control and domination of the royal aristocracy. Its growth is based on the factor of the economic needs of the supporting community, which tends to be a trading commodity. The presence of other groups of people or nations such as Peranakan Chinese, Indo-European, Dutch, Arabic contributed to the birth of Sidoarjo batik. Keywords: batik, Sidoarjo, historical criticism.AbstrakNarasi sejarah batik Sidoarjo yang populer perlu dikaji ulang dengan didasari metodologi sejarah sehingga tidak terjadi bias sejarah yang hanya berdasar pada cerita lisan masyarakat umum. Banyak penelitian yang terjebak dalam pemahaman historisitas setempat yang kurang tepat. Akibatnya, berbagai kajian tersebut tidak berhasil mendudukkan batik Sidoarjo sesuai dengan konteksnya secara utuh, malah menjadi semacam standardisasi narasi pada karakteristik maupun sejarahnya. Penelitian ini bertujuan untuk mengkritisi konstruksi sejarah yang telah populer terkait pemahaman dasar tentang batik Sidoarjo serta menjelaskan kedudukan batik Sidoarjo dalam kerangka budaya masyarakatnya. Artikel ini merupakan upaya penulis untuk memberikan analisis atau paparan yang berbeda dari narasi sejarah batik Sidoarjo yang umum dilakukan pada berbagai pembahasan. Penelitian ini tergolong dalam penelitian kualitatif, dengan menggunakan metode sejarah yang terdiri atas empat tahap, yaitu heuristik, kritik sumber, interpretasi, dan historiografi. Penelitian ini menggunakan pendekatan historis dan sosiologis untuk mengumpulkan, menyeleksi, dan menguji secara kritis sumber-sumber sejarah batik Sidoarjo, sehingga menghasilkan fakta sejarah. Hasil penelitian memperlihatkan bahwa historisitas batik Sidoarjo merujuk pada aktivitas pembatikan yang ada di wilayah Kedungcangkring, Jetis, Sekardangan, Jl. Gajah Mada (China Peranakan), dan Tulangan yang kesemuanya saling terkait memiliki hubungan langsung baik itu pembatikan China peranakan maupun pribumi. Batik Sidoarjo tidak dikerangkai oleh ritual adat, juga tidak di bawah kendali dan dominasi aristokrasi kraton. Pertumbuhannya didasari faktor kebutuhan ekonomi masyarakat pendukungnya, sifatnya cenderung merupakan komoditas dagang. Hadirnya golongan masyarakat atau bangsa lain seperti China Peranakan, Indo-Eropa, Belanda, Arab turut berpengaruh melahirkan batik Sidoarjo.Kata Kunci: batik, Sidoarjo, kritik sejarah. Author:Asy Syams Elya Ahmad : Universitas Negeri Surabaya References:Abbas, Irwan. (2014). Memahami Metodologi Sejarah antara Teori dan Praktek. ETNOHISTORI: Jurnal Ilmiah Kebudayaan dan Kesejerahan, 1(1), 33–41.Abdurrahman, Dudung. (1999). Metode Penelitian Sejarah. Yogyakarta: Logos.Ahmad, Asy Syams Elya. (2013). Kajian Estetik Batik Sidoarjo. Tesis. Tidak Diterbitkan. Bandung: Program Studi Magister Desain, Institut Teknologi Bandung.Anas, Biranul, Hasanuddin, Ratna Panggabean, Yanyan Sunarya. (1997). Indonesia Indah-Buku ke 8; “Batik”. Jakarta: Yayasan Harapan Kita/BP 3 TMII.Anshori, Yusak & Kusrianto, Adi. (2011). Keeksotisan Batik Jawa Timur. 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Pendekatan Ilmu Sosial dalam Metodologi Sejarah. Jakarta: Gramedia.Khasanah, Uswatun. (2018, Juni 8). Batik Asli Sidoarjo.https://doi.org/ 10.31227/ osf.io/zdka8 (diakses tanggal 17 April 2021).Kuntowijoyo. (2013). Pengantar Ilmu Sejarah. Yogyakarta: Tiara Wacana.Listanto, Virgiawan. (2019). “Batik Sebagai Representasi Produk Indsutri Kreatif di Sidoarjo Reinvensi Pragmatis untuk Inovasi Industri Kreatif Berbasis Budaya Visual Nusantara." Prosiding Seminar Nasional Seni dan Desain 2019, 465–469. Surabaya: Universitas Negeri Surabaya.Majlis, Brigitte Khan. (2000). “Javanesse Batik: An Introduction” dalam Rudolf G. Smend, Batik from The Courts of Java and Sumatra. Singapore: Periplus.Masadmin, (2016, Oktober 3). Batik Jetis Sidoarjo. Badan Perpustakaan dan Kearsipan Provinsi Jawa Timur. https:// jawatimuran.disperpusip. jatimprov.go.id/2016/10/03/batik-jetis-sidoarjo/ (diakses tanggal 17 April 2021).Maxwell, Robyn. (2003). Textiles of Southeast Asia: tradition, trade and transformation. 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Kraiński, Maciej, and Mirosław Piotr Kruk. "Ikona św. Mitrofana z Woroneża w zbiorach Muzeum Tradycji Szlacheckiej w Waplewie." Porta Aurea, no. 19 (December 22, 2020): 158–73. http://dx.doi.org/10.26881/porta.2020.19.08.
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In the collection of the Museum of the Noble Tradition in Waplewo, a branch of the National Museum in Gdańsk, there is an icon of St Mitrofan (Russ. Митрофан; Greek Μητροφάνης), Bishop of Voronezh (1632–1703), of Russian provenance, a quite exotic work in the artistic landscape of Gdansk Pomerania. Images of Saint Mitrofan of Voronezh spread in the first half of the 19th century, undoubtedly in connection with his canonization in 1832. His connection with this event is indicated by the date of the goldsmith’s stamp ‘1835’ under the hallmark ‘НޞД’ (Nikolai Lukič Dubrovin, d. 1862), a Moscow sampling master active in 1822–1855. The contractor was ‘A T’ (Afanasij Tikhonov), a Moscow goldsmith active in 1820–1839. It was marked in Moscow (stamp of St George piercing the dragon), silver test: ‘84’. Mitrofan belonged to a group of monks devoted to a harsh life in isolation, ‘holy elders’ whose lives and instructions were to strengthen the faith of laymen and clergy through asceticism, prayer, fasting, and penance. The icon of St Mitrofan preserved in Waplewo is one of the unique and very early testimonies to the newly canonized monk depicted without a nimbus in the icon. The clergy costume indicates the highest third level of the life of the monk, so - -called the great schimnik, so in an extremely ascetic version, without any signs of episcopal dignity, in which even the cross hung on his neck was obscured by a gesture of his hands folded in prayer. From the information recorded on the back of the icon, corrected on the basis of the oral tradition, it follows that the icon had successively been in possession of the representatives (essentially women) of five generations of Polish families: Branicki, Potocki, and then Ogończyk -Sierakowski, the owners of the Waplewo residence from 1759 to 1933. However, the first owner of the icon seems to have been Aleksandra Wasiliewna Engelhardt (1754–1838), wife of Franciszek Ksawery Branicki (1730–1819), Hetman (Commander) of the Great Crown, and the alleged daughter of tsarina Catherine II, who probably gave it to her daughter Zofia.
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Kereszty, Éva Margit. "Cadaver related patients’ rights and their issues in the Hungarian law." Orvosi Hetilap 153, no. 9 (March 2012): 330–38. http://dx.doi.org/10.1556/oh.2012.29316.
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In the Hungarian law, non-burial interventions on cadavers are regulated only by the health law and, therefore, other scientific examinations are theoretically not allowed. Only the international ethical code of museums is used in certain cases. Numerous cultures consider this practice as the mutilation of the cadaver. Beyond this and the criminal forms of mutilation, the medical interventions (trial and training) are also appropriate to hurt the dignity of the dead. As a counterweight, the consent of the patient or his/her relatives is needed for post-mortem interventions. This study presents the Hungarian legislation in which the deceased is a ‘patient’, and the special enforcement of patients’ rights takes place in relation to the body. The relatives have many rights concerning autopsy, and the anatomy institutes are also regulated. The presumption of opting-out is used for organ harvesting; objection is accepted only from the patient. Medical data of the deceased are strictly protected, but there are no obstacles to the interests of the relatives. The graduate and postgraduate education pays only small attention to these issues, and the legislation is not in line with the present expectations and possibilities, so that it would be advisable to reconsider the full spectrum of the problem. Orv. Hetil., 2012, 153, 330–338.
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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.
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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).
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Larsen, Peter Nørgaard. "Kristus i de dødes rige - et maleri og dets kontekst." Grundtvig-Studier 52, no. 1 (January 1, 2001): 94–114. http://dx.doi.org/10.7146/grs.v52i1.16399.
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Joakim Skovgaard: Christ in the Realm of the DeadBy Peter Nørgaard LarsenWithout in any way pretending to envelop Joakim Skovgaard’s huge painting Christ in the Realm o f the Dead (1891-94) in an exhaustive monograph, the article attempts, in three main sections, origin, meaning, reception, to approach an understanding of the art-historical models and inspirations for the work, its possible meaning, and, finally, its reception and its chequered course through the history of Danish art.OriginThe encounter with the archaic, .austere style. in both architecture, scuplture and in vase painting was of crucial significance for Skovgaard’s work. The simplicity in both the composition, the movements and expressions of the figures and also the frieze-like coordination of the figures characteristic of the .austere style. and to a large extent of the early Italian Renaissance - another important source of inspiration for Skovgaard’s art - has left crucial traces in Christ in the Realm o f the Dead. It can be seen in the grandiose simplicity of the composition, in its gesticulations and expressive power and in the powerful balance struck between the vertical and the horizontal, between figure and space. Joakim Skovgaard was very reticent with regard to lifting the veil on the thoughts and choices behind his magnum opus. Thus, the picture receives only few mentions in the artist’s letters. And here as in later interviews his virtually sole comment is that the motif was taken from his mother’s favourite hymn, Grundtvig’s rewriting from 1837 of Caedmon’s Anglo-Saxon poem, .The Harrowing of Hell: This night there was a knocking on the gates of Hell..MeaningOne thing that constantly makes itself felt is the vast size of the painting (351,5 x 489 cm). Had it been a commissioned work, most likely in the form of an altarpiece, this would explain the format. But as the painting was done on the artist’s own initiative and at his own expense, we can talk of a unique project in Danish art.Skovgaard clearly conceived of his work as an artist as a calling, and the task was to make great art work as convincingly as possible for God and the spreading of Christianity.As a deeply rooted personal testimony and as a reply to the materialism and and religious doubt of the time and the profanation of the figure of Christ, Skovgaard was re-installing Christ as the almighty, awesome power that can fight titanic battles for the sake of mankind. Skovgaard managed not only to create a picture with a rare power of conviction, but also to let his hero stand as a statement of how, on the threshold of the modern world, art is still able to generate an artistic statement that is both contemporary and relevant. The realm of the dead with the anonymous host of corpse-like beings, who after an age spent in spiritless darkness are forcing their way forward towards a liberating light, is perhaps Skovgaard’s allegory of the time’s doubt and uncertain groping for a spiritual base in the historical transition between tradition and modernity.ReceptionAmong most young artists and critics, Skovgaard’s painting was pointed out as a milepost in Danish art, which set new standards for the strivings and potential of Danish art. The critics of the painting maintained that the work was unrealistic. The figures were far too rough and stiff and the out-pouring of emotion too overwhelming.After it had been moved around for several years, spending a short time in the Immanuel Church in Copenhagen, being accorded an enthusiastic reception in the Paris World Fair in 1900, and subsequently hanging in St.Olai Church in Helsingør (Elsinore), Statens Museum for Kunst decided to purchase the painting in 1911.The painting was exhibited in Statens Museum for Kunst until 1965, when, as a result of the re-building of the museum, it was rolled up and moved out along with the rest of the collection. When the museum reopened in 1970 it was not included among the works hung. Instead it was condemned to obscurity, i.e. kept rolled up in storage. Here it remained for 30 years until a major conservation project in 2000 gave the public and the art historians an opportunity to join in the debate on this epoch-making and much discussed painting.
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Sorensen, Clark W. "Koreanischer Schamanismus: Eine Einführung [Korean shamanism: An introduction]. By Hung-Youn Cho. Hamburg: Im Selbstvertrag Hamburgisches Museum fur Volkerkunde. Wegweiser zur Volkerkunde, Heft 27. 1982. 129 pp. Pictures, Glossary, Bibliography, Index. N.p." Journal of Asian Studies 46, no. 4 (November 1987): 929–30. http://dx.doi.org/10.2307/2057126.
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Timothy Jull, A. J. "Meteoriten-Meteorites: Zeitzeugen der Entste- hung des Sonnensystems/Witnesses of the origin of the solar system, edited by F. Brandstätter, L. Ferrière, and C. Köberl. Lammerhuber: Verlag des Naturhistorisches Museum Wien, 2013, 270 p., €35 (ISBN 978-3-9." Meteoritics & Planetary Science 48, no. 10 (October 2013): 2071–72. http://dx.doi.org/10.1111/maps.12210.
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Martens, Didier. "Un disciple tardif de Rogier de la Pasture: Maître Johannes (alias Johannes Hoesacker?)." Oud Holland - Quarterly for Dutch Art History 114, no. 2-4 (2001): 79–106. http://dx.doi.org/10.1163/187501701x00406.
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AbstractThe triptych which has hung above the main altar of Our Lady of the Immaculate Conception at Maria-ter-Heide (Brasschaat, near Antwerp) since the nineteenth century unfolds a highly unusual iconographical programme. The representation on the central panel is a 'Holy Kinship' with Saint Anne; the left and right shutters show a 'Tree of Jesse', and the 'Kinship of Effra and Ismeria' respectively. This unusual combination of themes, and the coat of arms of the abbey at Tongerlo on the staff of the kneeling donor on the left shutter, enable us to identify the triptych from an old description, predating 1615, of the art treasures in the abbey at Tongerlo. As early as 1888 canon Van Spilbeek was able to demonstrate on the basis of two entries in the abbey's ledgers that the retable was made around 1513-1515. It was commissioned by the then abbot of Tongerlo, Antonius Tsgrooten. The painter's name appears on both bills of payment of 1513-1515. He was called Johannes, and he was married to Marie Hoesacker. His apparent lack of a surname might intimate that he was a foundling. Hitherto, the triptych in Maria-ter-Heide was the only known work by 'Johannes'. The author suggests that he also painted the monumental triptych with scenes from the lives of Christ and Mary which has been on loan to the museum at Àvila since 1971 from the Provincial Council. In 1968 Karel G. Boon attributed this work to an anonymous North-Netherlandish painter. According to Boon the same artist painted two wings with John the Baptist and Saint Agnes (Paris, private collection) and a 'Baptism of Christ' (Madrid, private collection). 'Johannes' could be the maker of these three works. What is more, the painter of the triptych in Maria-ter-Heide could be credited with two retable wings which have been in the Museo de Santa Cruz in Toledo since the 19608. Their subjects are 'Saint Andrew with Saint Francis' and 'Saint James with Saint Antony of Padua'; on the back of these panels is a 'Visitation'. Judging by the numerous figures he borrowed from Rogier van der Weyden, 'Johannes' seems to have been fascinated by the great Brussels master. His interest in Van der Weyden's art and the fact that he worked for the abbot of Tongerlo suggest that he was active in Brabant. The Dutch elements which Boon claimed to recognise on the Àvila triptych are quite inconspicuous, proving how dangerous it is to determine an artist's provenance solely on the basis of aesthetic impressions. The iconographic programme on the triptychs in Maria-ter-Heide and Avila and the retable wings in Toledo is highly unusual. This indicates that they were not made for the open market on the painter's own initiative, but were ordered specially. Perhaps 'Johannes' ability to convert such iconographic programmes into pictures was one of the reasons for his success a success which, in view of the presence of two of his works in Castile, assumes an international dimension.
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Van Den Donk, Hesther. "Een Middelburgs tapijt aan de vergetelheid ontrukt: The last fight of the Revenge, 1598." Oud Holland - Quarterly for Dutch Art History 108, no. 2 (1994): 87–97. http://dx.doi.org/10.1163/187501794x00378.
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AbstractSix tapestries depict the resistance of Zeeland's Sea Beggars to the Spaniards during the Eighty Years' War. Between 1572 and 1576 the fight for freedom was waged in the Scheldt delta. In 1591 the Estates of Zeeland ordered the first tapestry, a representation of the battle of Bergen op Zoom, from Francois Spierinx, a weaver in Delft. When it arrived in 1595, the Estates decided to have a series of tapestries made for the Prinsenlogement, or royal apartments, in Middelburg Abbey. The five tapestries were woven in the De Maecht workshop in less than ten years. Four of them, representing naval engagements, were designed by Hendrick Cornelisz. Vroom: The Battle of Rammekens, The Battle of Lillo, The Battle of Zierikzee and The Battle of Den Haak. The fifth, the Arms Tapestry, was woven after a design by Carel van Mander. Lord Charles Howard of Effingham, Earl of Nottingham (1536-1624) ordered from Spierinx a series of ten tapestries depicting the English victory over the Spanish Armada. These tapestries, which had hung in the House of Lords since 1650, were destroyed in a fire at the Houses of Parliament in 1834. Vroom based his designs for the Armada tapestries on maps by Robert Adams, engraved by Augustine Ryther. Compared with the Armada series, the composition of the Zeeland tapestries is fluent and vigorous. Vroom had actually visited Zeeland and spoken with eye-witnesses such as Joos dc Moor. The silhouettes of the towns are rendered in detail. Lord Thomas Howard ordered The Last Fight of the Revenge, dated 1598, from the De Maecht workshop in Middelburg. This fairly unknown tapestry, in a private collection since 1934, was on show at the Armada exhibition in the National Maritime Museum at Greenwich in 1988. It was erroneously presumed to have been woven by Spierinx in Brussels. Spierinx, however, came from Antwerp, and moved to Delft in 1591. In view of the dating and an art-historical comparison, an attribution to the Dc Maccht workshop is more likely. Hendrick Vroom designed The Revenge. It bears a marked resemblance to the Zierikzee and Den Haak tapestries in the Zeeland series; the border, too, is similar. Wool, silk, gold and silver thread were used. The latter were costly materials and rarely used in North Netherlandish tapestry production. The tapestry may have been ordered to commemorate Sir Richard Grenville's valiant action. On August 31 1591 Admiral Howard led his fleet to the Azores, off Pico island. His intention was to intercept a Spanish treasure fleet on its return voyage from the West. However, the English were taken by surprise by Armada ships. Howard ordered the retreat, but Grenville, vice-admiral and commander of the Revenge, ignored these orders. He engaged in battle with the attackers, was wounded and died on the Spanish flagship. The composition, a bird's-eye view, of the Revenge tapestry, bears a strong resemblance to the Zierikzee (1599-1603) and Den Haak (1600-1602) tapestries, both of which were woven under the supervision of Hendrick de Maecht, Jan de Maecht's successor. The borders of the tapestries woven in Middelburg echo Spierinx's Bergen op Zoom. The colours in the Bergen op Zoom tapestry are bright and soft, the figures are plastic and the surround merges harmoniously with the representation. Unfortunately this cannot be said of the Zeeland borders. Various alterations in the border of the Revenge mar the harmony and symmetry. The word 'Anno' and the year in the top corners are in the wrong order. In view of the woven rendering of the composition, the use of dark colours and the rather clumsy borders, The Last Fight of The Revenge is more likely to have come from Hendrick de Maecht's studio than from Jan de Maecht's. The latter's products are distinguished by the use of lighter colours and more accurate weaving, as is particularly evident in De Battle of Rammekens and to a lesser extent in The Battle of Lillo.
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Takooshian, Harold. "Book Review." Society & Animals 1, no. 1 (1993): 101–6. http://dx.doi.org/10.1163/156853093x00181.
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AbstractThe aim of the book is to "capture the movement's moral vision and sense of mission, with sensitivity to its concerns but also an awareness of some of its excesses" (book jacket). It is a brave book in its attempt to provide a dispassionate account of what has become (along with abortion) one of the most passionate controversies of our era. The authors are two sociologists currently at New York University, with long and prolific careers writing about the interface of science and social values. Jasper has written widely on nuclearism, technology, and social change, and Nelkin on genetic engineering, biotechnology, AIDS, nuclearism, ecology, and job safety. Regarding animals, apparently their only two prior studies were co-authored presentations at recent sociology meetings (Jasper & Poulsen, 1989; Jasper, Nelkin, & Poulsen, 1990). Seven of the 12 chapters analyze the nature of the movement. Over the centuries, several social forces (urbanization, industrialization, democratization) have caused a shift in humans' view of animals, from instruments to be used for food, clothing, and farm work to companions to be cherished - pets given a name and family status. It has led to what the authors term "sentimental anthropomorphism," people's attribution to animals of human sentiments such as the abilities to feel emotions and communicate, and to form social relationships. Borrowing tactics from other reformist movements, animal advocates have become more effective in several ways - protests, litigation, boycotts, lobbying, and public relations. Since the 1970s, philosophers like Peter Singer and Tom Regan have honed a notion of "animal rights," providing an important ideological base that has further accelerated the movement. The remaining five chapters focus on five specific themes of the crusade: Regarding "animals in the wild," strong protests have been mounted against large-scale seal hunts, dolphin-safe tuna, trapping, and hunting. "From rabbits to petri dishes" describes the dramatic drop in industrial testing of cosmetics, drugs and toiletries since 1980, to the point where the once-routine Draize and LD-50 tests are now viewed by many as obsolete. "Test tubes with legs" documents the dramatic rise in biomedical research after World War II, and the effectiveness of protests challenging this- reportedly more easily at some labs (Cornell, Berkeley, Museum of Natural History) than at others (New York University, Stanford). "Animals as commodities" concludes that the crusade has persuasively made moral issues of factory farming, humane slaughter, and fur production (both wild and ranch). Finally, in "Animals on display," earlier protests against pit bull and cock fighting have now expanded to rodeos, circuses, Hollywood films, zoos, and animal shows, with only partial impact. Jasper and Nelkin present an overview of the evolution of the animal rights movement by dividing the movement into three parts: (1) Since the 1860s, the original SPCA "welfarists" were part of a larger humanitarian tradition of helping others; (2) Since the 1970s, more assertive "pragmatists" like Henry Spira have demanded "animal rights," using stronger methods in order to force negotiation with those who violate these rights; (3) Since the 1980s, "fundamentalists" like People for the Ethical Treatment of Animals (PETA) have sought to protect animal rights without "hobnobbing in the halls with our enemy" (p. 154) or compromising. Even in the 1990s, welfarist groups like the HSUS and SPCA remain the largest in both membership and funding. Yet there has been a meteoric rise of the crusader factions, eclipsing the welfarists - pragmatists like Spira's Animal Rights International, Joyce Tischler's Animal Legal Defense Fund, Cleveland Amory's Fund for Animals, as well as fundamentalists like PETA, Trans-Species Unlimited, and the Animal Liberation Front. Moreover, the achievements of the crusader groups are telling. For instance PETA grew from its two founders in 1980 to 300,000 in 1990 (p. 31), and between 1980-87 much of the cosmetics industry had come to pledge an end to all animal testing and allocated $5,000,000 for research on alternatives (p. 2). Some of this strength comes from alliance with parallel movements against pollution, racism, sexism, nuclearism, agribusiness, even cholesterol.