Relevant bibliographies by topics / Stone-carvers

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Stone-carvers'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Stone-carvers"

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Yahnke, R. E., and R. E. Roush. "The Stone Carvers." Gerontologist 37, no. 6 (December 1, 1997): 843–44. http://dx.doi.org/10.1093/geront/37.6.843a.

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Eff, Elaine, Marjorie Hunt, and Paul Wagner. "The Stone Carvers." Journal of American Folklore 99, no. 391 (January 1986): 121. http://dx.doi.org/10.2307/540870.

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Barmina, Nadezhda I. "Tombstones of the Cemetery at the Basilica of Mangup." Античная древность и средние века 48 (2020): 327–48. http://dx.doi.org/10.15826/adsv.2020.48.021.

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The basilica located atop Mangup plateau in the south-western highland is one of the Christian monuments of the Crimea which research provided abundant archaeological materials. Especially interesting to historians are the data related to the investigations at the Christian cemetery which developed in different chronological periods within the basilica and around it. Supplementary excavations of the basilica (1967–2005) uncovered a series of carved tombstones, which featured the architectural properties different from early slab covering of the graves. The tombstones in question testify to the flourishing of the art of stone carving in Taurica in the fourteenth and fifteenth century. From their description and analysis, it is possible to draw the conclusions concerning the stone-carving art forms development in the mediaeval Crimea. It has been remarked that the Mangup stone-carvers considered the religion of the persons who lived there and paid especial attention to the decorative design of the monuments. In the making of the tombstones for the Christian cemetery at the basilica, the local stone-carvers applied artistic techniques taken from various styles (Byzantine, Seljuk, North Caucasus), which resulted in the appearance of specific “Mangup” style of architectural ornamentation. The local craftsmen re-worked decorative and carving techniques borrowed from foreign stone-carvers. The local products featured brevity and restrained manner.
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Abbas, Hussein Ali. "SILENCE IN JANE URQUHART’S THE STONE CARVERS." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 03 (2022): 88–94. http://dx.doi.org/10.37648/ijrssh.v12i03.007.

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Silence is traditionally recognized as a space of time in which words are not articulated and meaning is not convened. But, silence emerges to have a variety of meanings in literary texts, and that meaning is determined by the context within which silence is placed. The treatment of the theme of silence in 19th century fiction is associated with social injustice and war violence. As shown in the writings of that century, silence replaces feelings and ideas that the authors and/or their characters cannot find the words which can express the victims’ profound pain. In The Stone Carvers (2001), Canadian novelist Jane Urquhart introduces silence as moments of unspoken language, each moment produces two, or more, oppositional meanings, which may affect the characters differently. This research sheds light on the moments of silence that are shown in Urquhart’s novel.
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Bennett, Linda. ": The Stone Carvers . Marjorie Hunt, Paul Wagner." American Anthropologist 88, no. 4 (December 1986): 1047–48. http://dx.doi.org/10.1525/aa.1986.88.4.02a01070.

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Shodell, E. "Hunt and Wagner, The Stone Carvers (Film)." Oral History Review 16, no. 1 (March 1, 1988): 198–200. http://dx.doi.org/10.1093/ohr/16.1.198.

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Htun, Zaw Z., Yi Y. Win, Aung M. Myat, and Soe M. Naing. "Lung Function Impairment and Workplace Control Measures among Marble Stone Carvers in Sa-Kyin Village, Madayar Township, Myanmar." International Journal of Occupational Safety and Health 11, no. 1 (April 3, 2021): 25–30. http://dx.doi.org/10.3126/ijosh.v11i1.34972.

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Introduction: Marble rocks, composed of dust containing calcium carbonate and silica particles, predispose to a higher prevalence of occupational lung diseases. This study aimed to assess workplace control measures and lung function impairment among marble stone carvers. Methods: A cross-sectional descriptive study was conducted among 120 marble stone carvers in Sa-Kyin Village, Madayar Township in May 2019. Information about existing control measures in the workplace was assessed using a pre-tested structured questionnaire and participants’ lung function using spirometry. Respirable dust measurements in twelve randomly selected workers were performed by personal air sampling pumps. Results: It was found that 9.2% of marble stone carvers used disposable or cloth masks throughout the working time, but no one was found using appropriate devices like respirators. No one reported about regular medical checkup and provision of health education at the workplaces. Spirometry testing showed 55.8% had lung function impairment. Concentrations of respirable dust ranged from 7.19 to 10.13 mg/m3, significantly higher than the recommended Threshold Limit Value (3 mg/m3). In multivariable logistic regression analysis, development of lung function impairment was associated with age [adjusted Odds Ratio (aOR) = 2.84; 95% CI = 1.02,7.91] and use of face mask (aOR = 0.11; 95% CI = 0.01,0.91). Conclusion: The working environment was found dusty, and a significant proportion of workers had lung function impairment. It is essential to adopt proper dust control measures in stone carving workplaces. Preventive measures like medical surveillance and health education program are vital to reduce the burdens from occupational lung diseases.
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Morrison, Alice Reed, and Marjorie Hunt. "The Stone Carvers: Master Craftsmen of Washington National Cathedral." Journal of American Folklore 115, no. 457/458 (2002): 502. http://dx.doi.org/10.2307/4129210.

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Antão, Vinícius Cavalcanti dos Santos, Germania Araujo Pinheiro, Jorge Kavakama, and Mário Terra-Filho. "High prevalence of silicosis among stone carvers in Brazil." American Journal of Industrial Medicine 45, no. 2 (January 15, 2004): 194–201. http://dx.doi.org/10.1002/ajim.10331.

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Morrison, Alice Reed. "The Stone Carvers: Master Craftsmen of Washington National Cathedral (review)." Journal of American Folklore 115, no. 457 (2002): 502–3. http://dx.doi.org/10.1353/jaf.2002.0043.

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Dissertations / Theses on the topic "Stone-carvers"

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Andersson, Agneta Helen. "Everything Is Connected to Everything Else : An Ecocritical and Psychological Approach to Jane Urquhart's The Stone Carvers." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-23394.

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Nature is everywhere. Every day we have contact with it. Still, many of us do not realize how important it is for our survival. Descriptions of nature have always been present in novels. However, recently the aspect of nature in literature, as well as in other disciplines, has been dealt with in a slightly different way. As a result, an ecocritical approach to literature has been favoured. This essay shows nature's impact on the characters in Jane Urquhart's The Stone Carvers. Using this novel as an example, I start by studying how the concept of nature is often constructed through opposition. I then move on to show how stereotypical boundaries between nature and human beings may be challenged. Finally I study how nature function as a healing agent in The Stone Carvers. In my studies I combine the theories of ecocriticism with a psychoanalytical perspective through the concept of abjection.
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Källström, Magnus. "Mästare och minnesmärken : Studier kring vikingatida runristare och skriftmiljöer i Norden." Doctoral thesis, Stockholms universitet, Institutionen för nordiska språk, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6864.

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The aim of this study is to determine what can be known about the people who were able to write runes during the Viking Age. The investigation is based on the runecarvers’ own statements about themselves and their work, which is normally found in the signature or the carver formula of the inscriptions. The material comprises all carver formulas known from primarily Scandinavian Viking-age runic inscriptions, but since most of the inscriptions are found on rune-stones, there is a focus on runecarvers who worked in this material. In the study the form and content of these carver formulas are closely analyzed in different ways. It can for example be shown that the choice of verbs in a carver formula is primarily determined by chronology, which is also reflected in the geographical distribution of different verbs in the material. The study also shows that the carver formula is normally positioned finally in the text, and that the examples of other positions might be determined by the content of the rest of the inscription. In some cases the runic monument is signed by more than one name, which has been interpreted as indicating the existence of workshops. Even if this is true for parts of the material, many of the co-signed stones seem to be the products of carvers who only worked occasionally. An investigation of the personal names and the use of attributes such as patronymic, titles or bynames, shows no difference from the normal Viking-age population, which indicates that the rune-carvers were not members of a special social class. The latter part of the study deals with the relationships between the rune-carver and the sponsor of the runic monument. Special attention is paid to some local carvers in the Mälar Valley in order to determine their social status and the extent of their production of rune-stones. The study shows that some of these carvers belonged to a wealthy group of land-owners with contacts abroad, and many of them have executed about ten rune-stones, often in the vicinity of their own dwellingplace. In conjunction with this, there is also an attempt to see to what extent the writing habits of these local carvers are influenced by more productive and presumably professional carvers. This investigation leads to a re-evaluation of one of the most famous carvers in the district, Åsmund Kåresson, which also has some implications for the picture of how the rune-stone custom was introduced into central Sweden at the beginning of the 11th century.
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Dupuis, Michele. "The art of giving : cooperation, reciprocity and household economic strategies among soapstone carvers in Qimmirut (Lake Harbour). NWT." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56931.

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This thesis examines soapstone carving among Inuit in Lake Harbour, NWT, as a socially adapted form of employment. A time allocation diary, participant observation and informal interviews were implemented. The empirical evidence reveals two important aspects of soapstone carving. First, carving acts as an important source of income for the mostly part-time carvers and their families in Lake Harbour. As such, carving functions as part of a household economic strategy that serves to capitalize the harvest of country food. Second, it notes that Inuit often produce carvings collectively, usually with the help of family members. Also, the returns from the carvings are shared not only among those who participate in the production of the sculpture, but among members of the extended family as a whole, following the patterns of kinship-based food-sharing. Thus, not only is carving an important supplement to other forms of income, it is an integral part of the existing social forms of Inuit society, most notably generalized reciprocity.
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Chen, Ya-Lin, and 陳雅琳. "Ergonomic Hazards Assessment of Luo-Hsi Ink-stone Carvers." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/05934042158887983328.

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碩士
高雄醫學大學
職業安全衛生研究所
96
The Luo-hsi Ink-stone is very famous in the Chinese culture area. The ink-stone carver is a special occupation. Most carvers, are artists and owner of the workshops, have exposed many ergonomics potential hazards in their workplaces. The aim of this study was to evaluate the occupational exposure of ergonomic factors for the workers. The methods were to survey the musculoskeletal disorder symptoms by NMQ (Nordic Musculoskeletal Questionnaire), to observe in the work field and to analysis by ergonomics checklists, to measure EMG and manual material lifting evaluative function. The results of worker self-reported showed that the high occurring rates of musculoskeletal disorder symptoms were in the segments of wrist (76.7 %), low back/waist (70 %) and neck (66.7 %). The results of BRIFE revealed that neck, left and right shoulder, left and right hand/wrist and back in all operations got 2 score that means all of them were the high risk region; the results of RULA were show that every process got 7 score and need to investigate further and change soon. The results of EMG showed that in the three lifting postures the muscle activities of biceps muscle were the maximum, but the triceps muscle were the minimal. The muscle activities of stoop posture for biceps muscle, triceps muscle and longissimus thoracis were higher than other postures. The muscle activities of multifidus muscle in the stoop posture were bigger than other postures. The loading for muscle activities was more effective than lifting posture. And the influence of lifting postures for the back muscle just was in loading 25kg. In the results of manual material lifting evaluative function showed that in the three lifting postures the minimal requirement of the L5/S1 was stoop posture and the maximum requirement was the semi-squat posture. Among the results, as the loading was 25kg the L5/S1 pressure of squat (3686N) and semi-squat (4044N) was overstepped the standard. Results showed that the task of the Lou-hsi ink-stone carvers have potential ergonomics hazards result in occurring musculoskeletal disorders. For decreasing and preventing the hazard risks, we recommend adjusting the worktable and taking more break times. This study can be used to assist in finding and eliminating the main risk factors and to understand the occupational ergonomics hazards for the ink-stone carvers.
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Edmunds, Alison J. "What's not set in stone : Labrador carvers' views on the cultural and market aspects of Inuit art." 2002. http://hdl.handle.net/1993/18933.

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Van, Stone Mark. "Aj-Ts’ib, Aj-Uxul, Itz’aat, & Aj-K’uhu’n : classic Maya schools of carvers and calligraphers in Palenque after the reign of Kan-Bahlam." Thesis, 2005. http://hdl.handle.net/2152/29852.

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Ancient Maya inscription carvers at the city of Palenque in what is now Chiapas, Mexico worked in teams to complete large and complex stone tablets. Like artists everywhere, they each had developed idiosyncratic habits which the modern connoisseur can learn to discern, in order to identify which parts of a particular monument were sculpted by one or another artist. The author scrutinized several eighth-century CE inscriptions, panels in stucco and limestone, analyzing how many artists worked on each, to wit: the Temple XVIII Stuccos, the Temple XIX Platform, the Temple XIX Stuccos, the Temple XIX Panel, the Panel of the 96 Glyphs, the Lápida de la Creación and associated fragments, the Palace Tablet and its associated fragmentary panels, and the Tablet of the Slaves. The ensemble whose main components are the Panel of the 96 Glyphs and the Lápida de la Creación are all by one hand, and the Tablet of the Slaves was the work of four carvers, but the Temple XIX Platform surprisingly employed fourteen carvers, and the Palace Tablet over a score. Their territories were not divided textually, and display idiosyncratic spellings of glyph compounds as well as carving habits. The conclusion discusses possible reasons for these findings, relating them to the unusual Maya practice of never correcting mistakes in monumental inscriptions. A likely reason seems to be that the ancient Maya considered these texts not merely as a permanent record, but as ongoing, living repetitions of the ritual in question, and had to be completed in a very short time.
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Books on the topic "Stone-carvers"

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Urquhart, Jane. The stone carvers. Waterville, Me: Thorndike Press, 2003.

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Urquhart, Jane. The stone carvers. London: Bloomsbury, 2001.

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Urquhart, Jane. The stone carvers. Toronto: McClelland & Stewart, 2001.

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Urquhart, Jane. The stone carvers. London: Bloomsbury, 2002.

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Chu, Quang Trứ. Tìm hiẻ̂u làng nghè̂ thủ công điêu khá̆c cỏ̂ truyè̂n. Hà Nội: Nhà xuá̂t bản Mỹ thuật, 2000.

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Trứ, Chu Quang. Tìm hiẻ̂u làng nghè̂ thủ công điêu khá̆c cỏ̂ truyè̂n. Hué̂: Nhà xuá̂t bản Thuận Hóa, 1997.

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Haller, Bent. Stenens mester: Et portræt af billedhuggeren Sven Bovin. [Frederikshavn]: Malurt, 1990.

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Schneider, Madeleine. Mubārak al-Makkī: An Arabic lapicide of the third-ninth century. Manchester: University of Manchester, 1985.

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Celia, Winter-Irving, ed. Phillip Kotokwa: My life in stone sculpture in Zimbabwe and beyond. Harare [Zimbabwe]: P. Kotokwa, 2004.

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Hunt, Marjorie. The stone carvers: Master craftsmen of Washington National Cathedral. Washington: Smithsonian Institution Press, 1999.

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Book chapters on the topic "Stone-carvers"

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Bhat, Suraj, Naman Doshi, Chetanya Dev Bharadwaj, S. N. Singh, Younus Patel, and Subir Kumar Saha. "Design of a Low-Cost Full-Face Mask for Stone Carvers." In Design Science and Innovation, 279–85. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6435-8_20.

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Shuman, Amy. "1.5 Narrative and the Transmission of Traditions: Informal Learning Among Italian Artisan Stone Carvers." In International Handbook of Interpretation in Educational Research, 185–208. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9282-0_10.

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"The Stone Carvers." In Capitol Story, third edition, 113–24. SUNY Press, 2014. http://dx.doi.org/10.1515/9781438456416-015.

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Van Horn, Jennifer. "Portraits in Stone." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0004.

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Elite residents of Charleston, South Carolina, sought a unique means of memorializing their dead: gravestones embellished with bust-length depictions of the deceased. Commissioned from stone carvers in Boston, these portrait gravestones reimagined the small, ivory form of the portrait miniature at a public scale suitable for the cemetery. This chapter examines why Charlestonians patronized this type of memorial, tying the gravestones to residents’ horror at the savagery unleashed upon corpses by putrefaction and to their desire to preserve bodies’ former politeness. Considering portrait gravestones along with mourning rituals and coffin construction illuminates the stones’ role as protective containers that kept savagery at bay, an important function given Charleston’s high death rate and steamy climate. Recognizing the memorials’ similarity to boundary markers, such as those erected to mark the Mason Dixon line, illuminates how the gravestones demarcated a space of colonial control. By erecting stone portraits of civil persons, Charlestonians created a social network with incredible permanence.
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Filipczak, Dorota. "“Alternative Selves” and Authority in the Fiction of Jane Urquhart." In The Woman Artist: Essays in memory of Dorota Filipczak, 61–75. Wydawnictwo Uniwersytetu Łódzkiego, 2024. http://dx.doi.org/10.18778/8331-397-9.05.

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The article engages with “alternative selves,” a concept found in The Stone Carvers by a Canadian writer, Jane Urquhart. Her fiction is first seen in the context of selected texts by Lucy Maud Montgomery, Margaret Laurence and Alice Munro, who explore the clash between female characters’ conventional roles and their “secret” selves. My analysis was inspired by Pamela Sue Anderson’s A Feminist Philosophy of Religion, which stresses the need for “reinventing ourselves as other” in the face of biased beliefs and dominant epistemology. In particular, my article refers to Anderson’s concern with Kant’s imaginary from The Critique of Pure Reason, where “the territory of pure understanding” is projected on the island, while desire, chaos and death are identified with the sea. Seen through the prism of a feminist reading of the philosophical imaginary, the sea becomes the female beyond. Urquhart’s three novels: Away, The Stone Carvers and A Map of Glass dissolve Kantian opposition between island and water, by showing how reason is invaded by desire and death, and how the female protagonist embodies the elements that have been repressed. The article ends with the analysis of a Homeric intertext in A Map of Glass, where Sylvia identifies with Odysseus “lashed to the mast” so that he would not respond to the call of the siren song. Reading Homer’s passage on the siren song, one realizes that the use of the Kantian imaginary turns Ithaca into the island of truth, and the sea into the stormy beyond, identified with desire, death and femaleness. While the Odyssey suppresses the dangerous message of the siren song, Urquhart’s fiction rewrites it and reclaims it as positive inspiration for the female protagonist.
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"Voices From the Edge: De-Centering Master Narratives in Jane Urquhart’s The Stone Carvers." In The Great War in Post-Memory Literature and Film, 411–26. De Gruyter, 2014. http://dx.doi.org/10.1515/9783110363029.411.

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Barry, Peter. "The word among stones." In Extending Ecocriticism. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994396.003.0007.

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In this chapter Peter Barry explores poems about stones, on stones and as stones. He shows how our ancestors had a special regard for stones particularly those that seemed out of place, such as glacial erratics. The Ringing Stone on Tiree is one such, bearing numerous cup marks from Neolithic times. He considers how poems have been placed in the environment on trails and paths, sometimes with a didactic purpose as part of an environmentalist interpretive scheme. Some of these have taken advantage of the expressive potential of the stones themselves, and of letter carvers who blend this with their own artistic heritage. Collaborations between carver and poet can make best use of the space between the words that come closest to Barry’s interest in avant-gardeorneo-modernist poetry(especially ‘concrete’ and ‘visual’ poetries). Barry also considers poems in urban settings, in projects involving close collaboration with councils, NGOs and communities, where the words have been incised on bridges, monuments, paths, or pavements, as by Alyson Hallett in Bath, Lemn Sissay in Manchester, Bill Herbert near Darlington, and Menna Elfyn and Gillian Clarke in Tonypandy.
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Zelenskaya, Galina M. "Tale of the Consecration of the Great Stone Church in the Resurrection Monastery of New Jerusalem January 18, 1685." In Hermeneutics of Old Russian Literature. Issue 23, 518–68. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. http://dx.doi.org/10.22455/horl.1607-6192-2024-23-518-568.

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The article examines the Tale about the consecration of the “great church” of the Resurrection of Christ, erected near Moscow in the image of the Church of the Holy Sepulchre in Jerusalem. This written source has never been the subject of special study; this work represents it in a church-historical and artistic context. The monastic buildings of the 1680s are characterized, the development of their semantics and symbolism is traced, the questions of the authorship of the Tale are touched upon. It is established that the creators of the decoration of the Resurrection Cathedral were carvers, carpenters, icon painters and other masters of church art from the Armory, the Gold-Painting Workshop of the Embassy Order, the Iversky Valdai and the Resurrection monasteries. Attention is paid to the benefactors of the New Jerusalem: the ruler, Princess Sofia Alekseevna, Princess Tatiana Mikhailovna and the head of the Embassy Order, Prince V.V. Golitsyn. The list of participants in the consecration of the “great church” is given: the royal synclite and the clergy, their attitude to Patriarch Nikon and his iconic work is determined. The author analyzes the royal decree on the compilation of a detailed Inventory of the Resurrection Monastery “in memory of descendants.” As a result of the research, the Tale appears as a chronicle of the most important church-state event of the regency of Tsarevna Sofia. The document testifies to the desire to restore the symphony of the spiritual and secular authorities in Russia and preserve their historical continuity. The consecration of the “great church” preceded significant spiritual and political events: the conclusion of “Eternal Peace” with the Polish-Lithuanian Commonwealth and the subordination of the Kiev Metropolia to the Moscow Patriarch. The completion of the construction of the cathedral church of the New Jerusalem established Great, Small and White Russia as a spiritually unified center of Universal Orthodoxy.
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