Pour voir les autres types de publications sur ce sujet consultez le lien suivant : Art publishing Art Periodicals.
Articles de revues sur le sujet « Art publishing Art Periodicals »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleurs articles de revues pour votre recherche sur le sujet « Art publishing Art Periodicals ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les articles de revues sur diverses disciplines et organisez correctement votre bibliographie.
1
Allen, Gwen L. « Art Periodicals and Contemporary Art Worlds (Part I) : A Historical Exploration ». ARTMargins 5, no 3 (octobre 2016) : 35–61. http://dx.doi.org/10.1162/artm_a_00157.
Texte intégralRésumé :
This essay explores the role of art periodicals in art worlds past and present. It examines the histories of Artforum and October within the context of the North American art world of the 1960s and 1970, and contextualizes these publications within a larger field of publishing practices, including self-published Salon pamphlets, little magazines, and artists' periodicals. It explores how the distribution form of the periodical affects the politics of art criticism, and considers how art magazines have served as sites of critical publicity, mediating publics and counterpublics within the art world. It also reflects on the role of magazines and newer online media in the contemporary, globalized art world.
2
Eşanu, Octavian, et Angela Harutyunyan. « Introduction : Art Periodicals Today, Historically Considered ». ARTMargins 5, no 3 (octobre 2016) : 3–10. http://dx.doi.org/10.1162/artm_e_00155.
Texte intégralRésumé :
The Introduction to the Special Issue entitled Art Periodicals, Historically Considered sketches an outline of the advent of periodicals in the context of the Enlightenment demand for the public use of reason, and situates the emergence of art periodicals in the context of the advent of autonomous art since the 19th century. The article introduces the contributions to the Special Issue and opens up a way to reposition the question of critique in today's art publishing.
3
Isomäki, Irmeli. « Documenting art in Finland ». Art Libraries Journal 13, no 1 (1988) : 20–22. http://dx.doi.org/10.1017/s0307472200005514.
Texte intégralRésumé :
Literature on Finnish art can be sought via the national bibliography and periodicals indexes and a bibliography of Finnish history; these bibliographies are available as databases as well as in printed form and on microfiche. A working party on art libraries is looking into ways of widening bibliographical control of art literature. The publications themselves, and unpublished information, can be found in libraries and archives of several kinds, from the Library of Helsinki University to the libraries and archives of colleges of art and architecture, museums, and artists’ associations. Many of these organisations are active in gathering and publishing information. The Fine Arts Academy of Finland administers the Art Musum of the Ateneum, Finland’s national gallery, and maintains extensive collections of visual resources, exhibition catalogues, periodicals, and press clippings.
4
Melnik, N. D. « The Magazine “Zolotoe runo” (1906–1909) as a Reflection of the Artistic Life of Russia at the Beginning of the 20th Century ». Vestnik NSU. Series : History and Philology 20, no 6 (11 août 2021) : 62–73. http://dx.doi.org/10.25205/1818-7919-2021-20-6-62-73.
Texte intégralRésumé :
Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, publications in the periodical press, as well as outcomes of modern research, the author argues that the magazine “Zolotoe runo”, providing its pages to outstanding writers and publishing works of iconic artists and articles about their works, became one of the most influential periodicals about art in Russia.Conclusion. This research shows that, having said a new word in art and journalism, the magazine “Zolotoe runo” became a worthy reflection of the artistic life of Russia at the beginning of the 20th century.
5
Hansen, Catherine. « Surrealism Is a Thing : Rubrics and Objectivation in the Surrealist Periodical, 1924–2015 ». ARTMargins 5, no 3 (octobre 2016) : 62–81. http://dx.doi.org/10.1162/artm_a_00158.
Texte intégralRésumé :
What links the existing international surrealist movement—a network of groups who publish their essays and collective experiments in an array of print and online periodicals—to the 20th-century Surrealism of art history textbooks is, to a large extent, its periodical publishing practices. This article pays particular attention to the periodical rubric (defined as a heading or category under which a certain kind of text or image serially appears) and contextualizes its surrealist use within a broader poetics of “objectivation.” In Surrealism, objectivation is the creation of a “thing,” which is to say a form of doing or thinking that acquires a name and locus around which a social collectivity can coalesce. The article explores this process as it becomes manifest in the various rubrics used in surrealist periodicals past and present.
6
Mattos, Aliomar Lino, José Carlos Tiomatsu Oyadomari et Fernando Nascimento Zatta. « Pricing Research : State of the Art and Future Opportunities ». SAGE Open 11, no 3 (juillet 2021) : 215824402110321. http://dx.doi.org/10.1177/21582440211032168.
Texte intégralRésumé :
The most commonly used pricing approaches adopted by companies worldwide are based on costs, customer value, and competition. The purpose of the present study is to review the current status of publications on pricing globally with the addition of Brazilian literature, identify the most cited authors and highest publishing institutions, and outline further research opportunities. To this end, we use the bibliometric method to analyze relevant publications from the following four databases: Web of Science, Emerald, Elsevier, and Spell. A total of 286 papers from 195 periodicals and 31 journals (primarily from marketing, accounting, economics, and production engineering) are reviewed. The findings show that pricing is a complex and multifaceted topic involving far more than merely establishing selling prices, and that pricing managers face substantial challenges. The results also reveal that the cost-based pricing approach is superior to the perceived customer-value-based and the competition-based approaches. Finally, the findings show that pricing remains an underresearched topic, and is thus a fertile ground for further investigation.
7
Kosmaty, Piotr. « Odpowiedzialność redaktora za przestępstwo prasowe (art. 49a) ». Problemy Prawa Karnego 27, no 1 (10 décembre 2017) : 119–31. http://dx.doi.org/10.31261/ppk.2017.01.05.
Texte intégralRésumé :
The main aim of the article is to discuss the issue of the liability of an editor for a press offence, according to Article 49a of the press law. The analysis begins with a historical overview which shows the evolution of liability for offences committed in print by press outlets. To this end, the author introduces the concepts of the right of anonymity or the responsible editor. These two institutions, characteristic of the interwar period, performed two extremely different functions. The former allowed to conceal the identity of the author of the printed material, while the latter was instituted in order to ensure that the victims were sufficiently protected. The analysis of the current provisions of the press law showed that the legislator introduced two separate legal definitions: that of an editor and that of an editor in chief. The following part of the article discusses those two categories in more detail, paying particular attention to the decoding of their definitions as introduced in the press law from a practical standpoint. Moreover, it has been emphasized that each editor in chief is also an editor, but not vice versa, since some regulations are addressed specifically to the editor in chief. Bearing in mind that assigning liability for a press offence is dependent on determining the moment from which a person can be considered an editor in chief, the author discusses the registration system for journals and periodicals. As a result, the author determines three distinct periods of time which determine the possibility of considering a particular person as an editor in chief. The last part of the article is devoted to the rules and circumstances of prosecution of the editor for publishing a press article. The author points to the differences which stem from assuming a different subject party of the offence. In the cases of assuming negligence, it results in liability under Article 49a of the press law, whereas in the cases of assuming intentionality results in liability for an intentional offence of another type committed in complicity.
8
Boitunova, S. I., S. V. Maksimova et O. V. Shlykova. « BOOK CULTURE AND ART IN YAKUTIA ». Arts education and science 1, no 1 (2021) : 164–71. http://dx.doi.org/10.36871/hon.202101019.
Texte intégralRésumé :
The work reveals the specific features of book art, which integrates the achievements of artistic means and forms, as well as scientific research. The authors focus on the regional Arctic locus of book art. The article traces the origin of Yakut book illustrations from the first attempts of amateur artists on the pages of the periodical press in the 1920s to the activities of various institutions: the scientific research society "Sakha kehskileh" (1925–1930), the cultural and educational societies "Manchaary" and "Sakha omuk" (1920–1930) and The Union of Soviet Artists of Yakutia (since 1940s), that pioneered the accumulation of cultural practices and development of art trends in the region. The characteristics of the first Yakut artists-illustrators are presented: P. P. Romanov, who created illustrations to the image of the heroic Olonkho epos "Byudyuryubet Myuldzu Bege" and G. M. Turalysov, who illustrated the collection of poems and songs by Ilya Chagylgan "The Rise", thus initiating the development of professional graphic art in Yakutia. The creation of the art school in Yakutsk in 1945, the emergence of publishing houses became a new page in the development of the book graphics in the works of the first graduates of the school — E. Shaposhnikov, E. Shestakov, M. Lukin, O. Kovalevsky, V. Petrov and others. Special attention is paid to creativity of E. S. Sivtsev, the founder of Yakut prints. The First (1958) and The Second (1963) All-Union Exhibitions of prints opened to the public the names of Yakut illustrators. Later A. P. Munkhalov exhibited his series of engravings "My North" at the International Exhibition "Intergraphy — 67" in Berlin, and his engraving "Listening to the World" was included in the German school textbooks. The article also reveals the modern stage in the development of book art, from the activities of "Bichik" publishing house to graduate projects of The Arctic Institute of Culture and Arts and The Yakutsk School of Art.
9
Grilli, Elisa. « Funding and the Making of Culture : The Case of the Evergreen (1895–1897) ». Journal of European Periodical Studies 1, no 2 (31 décembre 2016) : 19. http://dx.doi.org/10.21825/jeps.v1i2.2638.
Texte intégralRésumé :
Sourced mostly by documents from Patrick Geddes’s archive at Strathclyde University (SUA, Glasgow), including accounts and rough drafts, this article reveals the backstage organization of the Evergreen, a Northern Seasonal (Edinburg and London, 1895-97), as well as the financial and commercial concerns the amateur editors an aesthetic magazine had to face. The economics of publishing and the various stages through which the production of the Evergreen moved are explored. Three aspects, given the original editors’ project, inform the final product: the publishing venture (printing and financial aspects); the aesthetic medium (format, lay-out and artwork, as well as the magazine’s circulation); promoting culture (a Celtic Revival through international networks). Cultural activities related to the magazine served as platform for dialogue between literature, art, science, life, tradition, and modernity. A so-called ‘little magazine’ seen from the business perspective helps better understand the networks of periodicals’ diffusion and reception and the role they may play in a cultural marketplace. As methodology, this clarifies the compromises made under the hardbound cover of an aesthetically appealing magazine, and shows how the editors adapted their aesthetic and political ideals to material matters.
10
Ismajylov, Nadir I. « The Development of Azerbaijan Bibliography in the late XIX - early XX century ». Bibliotekovedenie [Library and Information Science (Russia)], no 4 (28 août 2015) : 88–91. http://dx.doi.org/10.25281/0869-608x-2015-0-4-88-91.
Texte intégralRésumé :
The article investigates an important stage in the development of Azerbaijan bibliography at the end of XIX - the beginning of XX century. It was a period of rapid development of book publishing, periodicals issuing, development of scientific and professional societies in Azerbaijan. All that processes were accompanied by the development of bibliographic activities. In the latter half of the XIX century there took place intensive accumulation of Oriental manuscripts and printed sources in the Russian cultural centers, particularly in St. Peterburg, Moscow and Kazan. A lot of valuable culture and art objects came to Russia from Azerbaijan. Despite the significant advance in the development of bibliographic resources of Azerbaijan, the work on their formation did not become a systematic activity. It was caused primarily by the lack of state policy in that area. There was also lack of the potential personnel, engaged in library and bibliografic activities at the professional level.
11
Muzychko, O. « THE BEGINNING OF HISTORICAL AND ARTISTIC PERIODIC IN ODESSA AT THE END OF THE XIX CENTURY ». Library Mercury, no 1(25) (22 juin 2021) : 58–69. http://dx.doi.org/10.18524/2707-3335.2021.1(25).231469.
Texte intégralRésumé :
The purpose of this article is to cover one of the episodes in the initial stage of publishing Odessa almanacs or collections, the authors of which tried to raise to a new professional level the study of the history and theory of art and methods of familiarizing with public art. The object of our study is the collection “From the world of art and science”. Despite the general failure of the project as a periodical, two issues of the collection “From the world of art and science” should be considered a bright phenomenon of cultural development in Odessa during the era of modernization. In this case, the modernization was reflected in the desire of A. O. Matveev to lay the foundations of scientific art history in Odessa, which N. P. Kondakov did at the highest scientific level at the same time in this city, and combined it with the tasks of popularizing and teaching methods of art. The insufficiently defined collection’s character, either as a purely scientific, or as a popularizing and pedagogical one, probably did not attract representatives of the Scientific Humanitarian elite of Odessa, professors of Novorossiysk University – N. P. Kondakov, literary historian A. I. Kirpichnikov, byzantinist F. I. Uspensky, whose works could raise it to a higher level. The collection helped to familiarize first of all Odessa residents with the latest achievements of Art History thought in Western Europe at that time, because A. A. Matveev richly saturated the text with numerous references to the works of Western European scientists, the presentation of their thoughts. The collection is a source for learning about the development of art history pedagogy in Odessa, because some of its articles were lectures by teachers of the Odessa Drawing School. The elegantly published collection is one of the testimonies about the development of printing in Odessa, the experience of highquality publication of art works. The editor’s interdisciplinary approach and desire to integrate various but related branches of art and Science (History, Art History, Literary Studies, musicology) have not lost their relevance.
12
Salama, Ashraf M. « EDITORIAL : NEW DEVELOPMENTS AND NEW DISCOURSE ON ARCHITECTURE AND URBAMISM ». International Journal of Architectural Research : ArchNet-IJAR 8, no 1 (3 mars 2014) : 06. http://dx.doi.org/10.26687/archnet-ijar.v8i1.363.
Texte intégralRésumé :
Over the past seven years and since Archnet-IJAR has published its first issue in March 2007 the journal has managed to position itself on the map of web publishing in architecture and urbanism. Following a comprehensive process of academic review of articles and research work submitted to the journal, it has succeeded to secure its position in various databases. One of the unique features of the Archnet-IJAR was, and still is, the voluntary work nature of its editors and reviewers where no funds are involved at all in managing or reviewing or editing the submissions before publishing. Another unique feature is that the journal since the beginning was, and still is, made available for free without subscription fees or publishing fees. A third feature of Archnet-IJAR is the opportunity it offers to young academics, PhD scholars, reaching across the boundaries of cultures and regions.Key highlights in the past seven years are important to note. In qualitative and quantitative terms the journal has made significant achievements. In terms of quality the journal became part of important data and index bases including Avery index to Architectural Periodicals, EBSCO-Current Abstracts-Art and Architecture, INTUTE, Directory of Open Access Journals, Pro-Quest, Scopus-Elsevier and many university library databases. In terms of quantity 20 issues were published in 7 volumes (Figure 1). The 20 issues combined include 283 papers categorized in two categories: 237 original research articles and 46 book reviews and trigger articles. I should mention here that the issues produced by Archnet-IJAR cover almost every corner of the globe whether in terms of the context that they address or in terms of its authors’ affiliations and cultural backgrounds.
13
Dolgushin, Dmirty V. « Educational Periodicals in the “Court Pedagogy” of Mikhail Muravyov and Vasily Zhukovsky. Article One ». Tekst. Kniga. Knigoizdanie, no 23 (2020) : 5–21. http://dx.doi.org/10.17223/23062061/23/1.
Texte intégralRésumé :
In 1829–1831, Vasily Zhukovsky, a mentor to the heir to the throne, published two pedagogical journals Sobiratel’ [The Collector] (1829) and Muraveynik [The Ant Hill] (1831). Zhukovsky’s publishing project was greatly influenced by the traditions of court pedagogy associated with the name of Mikhail Muravyov, who taught Russian literature, Russian history and moral philosophy to Grand Dukes Alexander and Konstantin Pavlovich for many years. Muravyov wrote many prose works of an artistic and didactic nature, which were printed in a small number of copies in the Imperial printing house. One of all these publications is important: “Obitatel’ Predmestya, Periodicheskiye Listy” [The Inhabitant of the Suburbs, Periodical Sheets] (1790); it was published weekly and is the closest analogue to the court pedagogical journals of Zhukovsky. The publication is part of a prose cycle—a trilogy which also includes “Bernovskie Pis’ma” [Bernovo Letters] and “Emilievy Pis’ma” [Emil’s Letters], that Muravyov used in pedagogical practice. Muravyov tried to create a kind of a friendly community with his students, a small circle in which the sentimentalist model of communication of souls was to be realised. His prose was intended to contribute to the formation of this group space and therefore was saturated with the circle semantics. The latter particularly manifested itself in the correlation of the image of the main child character of the trilogy, Vasinka, with the personality of one of Muravyov’s students— Grand Duke Konstantin Pavlovich. Vasinka in “Emilievy Pis’ma” is an improved version of Konstantin. Vasinka has the same advantages as Konstantin and successfully fights with his shortcomings. However, the message of the trilogy is not so straightforward as to be limited by the boundaries of the circle. On the contrary, it tends to maximise universality, creating a kind of an encyclopedia of the universe, which includes people, nature, and works of art. There is no room only for urban civilisation. The diversity of the world in the trilogy is brought to the common denominator of the village idyll. Therefore, the plot of Muravyov’s narrative is weakened, because the idyll is essentially eventless. This is not a chain of events, but a series of images. This is what provides not only didactic “visibility”, but also the potential “mediality” of the text, gives the text the ability to be distributed in issues and integrate into life, merge with its chronological and everyday flow. The idyllic pictures of “Emil’s cycle” are brought together by the axiomatic level of the text. It is most clearly articulated in the conversation of the inhabitant of the suburb with Ilanov—a religious and philosophical discourse in which ethics is combined with metaphysics and cosmology. All these features of “Emil’s trilogy” were further continued and developed in Zhukovsky’s pedagogical journals. The following article will be devoted to a detailed analysis of this continuity.
14
Kobryn, Nataliia. « The Ukrainian periodicals of Galicia on Ostap Nyzhankivskyi’s musical activities in the 1880s ». Proceedings of Research and Scientific Institute for Periodicals, no 10(28) (janvier 2020) : 110–25. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-8.
Texte intégralRésumé :
The paper aims to analyze the areas of Ostap Nyzhankivskyi’s musical activities in the 1880s via a prism of the publications in «Dilo» and «Zorya» press publications. Their content and main topics as well as the aspects of his music career have been systematized and analyzed. Research methodology. The historiographical, chronological, comparative and analytical methods are employed to analyze the publications on musical topics in «Dilo» and «Zorya», as well as to explore the early stage of Nyzhankivskyi’s musical activities. Findings. The first musical performances of O. Nyzhankivskyi in Lviv were featured in the «Dilo», specifically, in the reviews. These were the evening event at «Academic Brotherhood» in December 1884 and the concert in honor of Olexandr Konyskyi in January 1885. He was distinguished immediately as a choir conductor as well as a composer with his own choral works. At this decade Ostap Nyzhankivskyi was a conductor of the choir «Akademichne Bratstvo», worked with the society «Zorya». Additionally, he participated in the concerts of Academic Gymnasium and Theological Seminary as a conductor and a composer. Some music critics compared performance skills of the choir under the direction of Ostap Nyzhankivskyi to the most famous choral society of Lviv «Lutna». We know about many concerts Ostap Nyzhankivskyi participated in, and of his rich repertoir as a conductor. Specifically, from the press reports we learned about active concert activities of O. Nyzhankivskyi, considerable conductor’s repertoire and almost annual premiers of his new compositions ― choirs, solo performances and vocal duets. As a conductor he popularized works of the Ukrainian composers, specifically, such Galician ones as M. Lysenko and P. Nishchynskyi. According to listeners and musical critics, the most effective and resonant of his own works were the choral piece «Hulyaly» on Y. Fedkovych poetry and the vocal duet «Do lastivky» on the poetry by Volodymyr Navrotskyi. The authors of in-depth critiques on early Nyzhankivskyi orks were P. Bazhanskyi and V. Matyuk. Some press reports were on topic of functioning of the first Ukrainian musical publishing house in Galicia «Muzychna bibliotheka» cofounded by Ostap Nyzhankivskyi. It edited 17 volumes of the Ukrainian musical works during the period of 1885―1892s. One of the first musical critiques authored by O. Nyzhankivskyi was dedicated to the memory of the Ukrainian composer Denys Leontovych. Conclusions. We conclude that the versatile musical and creative activities of O. Nyzhankivskyi became one of the decisive drivers of the intensive development of national music in the Western Ukraine. It promoted a rise of the Ukrainian national consciousness and intensified a cultural life of the Galician Ukrainians. Keywords: Ostap Nyzhankivskyi, Ukrainian periodicals, music art, musical critics, concerts.
15
Okada, Connie. « Art Periodicals ». Serials Librarian 14, no 1-2 (26 juin 1988) : 129–34. http://dx.doi.org/10.1300/j123v14n01_13.
Texte intégral
16
Ļaksa-Timinska, Ilze. « Oskara Rihtera „Meži šalc” – pirmais latviešu sociālistiskā reālisma romāns ». Aktuālās problēmas literatūras un kultūras pētniecībā : rakstu krājums, no 25 (4 mars 2020) : 64–73. http://dx.doi.org/10.37384/aplkp.2020.25.064.
Texte intégralRésumé :
In the 1920s–1930s a significant number of Latvians lived in the USSR (the number of Latvians in the USSR ranged from 120,000 to 200,000 in these decades). The USSR Latvian diaspora had a small contact with the Latvian population in Latvia, but despite this, a separate, unique Latvian culture was formed – a network of Latvian schools, technical schools, periodicals, theatres, publishing houses, etc. Literature was also of great importance – it helped to improve the Latvian language, as well as intellectually unite the wide-spread Latvian diaspora in the USSR. The choice of Latvians to live in the USSR rather than in Latvia in the 1920s–1930s, could be interpreted as submission to the Soviet regime and even betrayal of Latvia, therefore, even today, the life of Soviet Latvians, and especially literature, has been relatively under-researched. In the 1930s in the USSR, there were six novels published in Latvian. They were written in the context of the totalitarian rule when the process of literary control was intensified, so writers had to be subject to the principles of socialist realism. The focus of the research is on the last Soviet Latvian novel issued in the 1930s –“Meži šalc” (1936) by Oskars Rihters (1898–1938). In the analysis of the novel, attention is drawn to its creation, perception, cultural, and historical context, as well as its artistic structure and value. The novel is an apology of Marxist-Leninist ideology. “Meži šalc” has similarities with canonical Russian texts (for example, “How the Steel Was Tempered” (Как закалялась сталь, 1934) by Nikolai Ostrovsky (Николай Островский, 1904–1934)). The novel represents the USSR trend in art not only thematically, but also in compositional form. Hence, this novel should be regarded as the first consistent novel of socialist realism in the history of Latvian literature.
17
Kharamurza, Daria. « Typological Particularities of the Newspaper “Literaturа Plіus” ». Scientific notes of the Institute of Journalism, no 1 (78) (2021) : 74–85. http://dx.doi.org/10.17721/2522-1272.2021.78.6.
Texte intégralRésumé :
The main objective of the study is to characterize the newspaper “Literaturа plіus” as an example of high-quality literary and art periodicals, to determine typological particularities of the newspaper. Methodology. The research was conducted using the following methods: historical and descriptive methods as well as analysis, synthesis, content analysis and generalization. With the help of these methods, the dynamics of changes of the newspaper “Literature plіus” were studied during the whole period of its existence, its content was analyzed and its comprehensive description was given. Results. The newspaper “Literaturа plіus” informed its readers about the new books, published the texts of Ukrainian postmodernists, and gave a qualitative analysis of the modern processes at the literary, cultural, and socio-political life of the country. The audience of the newspaper was the intellectual community of Ukraine that was open to critical dialogue and thirsty for change. The content analysis of the newspaper allowed ascertaining that division according to subject headings was formed according to genre-thematic principle. Its publication frequency was changed a few times. “Literaturа plіus” highlighted the following topics – the modern Ukrainian literature, the world literary process, the literary criticism, the book publishing, the concepts of literary theory, the problems of literary history, the feminist and gender studies, the phenomena of modern culture. The newspaper involved intellectuals in the debate of topical issues of literature and culture. Conclusions. The typological particularities of the newspaper “Literaturа plіus” were analyzed for the first time in the article. The author ascertained that focusing on the traditions and methods of the western studies throughout its existence, the newspaper “Literaturа plіus” showed a high level of literary criticism and was one of the most interesting literary and artistic magazines in Ukraine.
18
Schmidt, Victor. « Dutch art periodicals today ». Art Libraries Journal 12, no 1 (1987) : 18–24. http://dx.doi.org/10.1017/s0307472200005009.
Texte intégralRésumé :
A survey of current Dutch periodicals, devoted to the visual arts (including architecture) or of related interest. A noteworthy feature of art literature in the Netherlands is the contribution made to it by student journals. The quantity and variety of Dutch art periodicals has increased in recent years, enriching art literature but posing problems regarding its bibliographical control.
19
Dauphinais, Marie-Josée. « French Canadian Art Periodicals ». Art Documentation : Journal of the Art Libraries Society of North America 14, no 3 (octobre 1995) : 3–5. http://dx.doi.org/10.1086/adx.14.3.27948753.
Texte intégral
20
Bogomolov, Nikolay. « Literary department of the newspaper Zhizn' : Persons, ideas, controversy ». Literary Fact, no 16 (2020) : 390–412. http://dx.doi.org/10.22455/2541-8297-2020-16-390-412.
Texte intégralRésumé :
The author of the article, noting the insufficient study of the newspaper world of Russia and the USSR in the 20th century, makes an attempt to partially fill this gap with the characteristics of authors and activities of the literary department and the literary part of the critical and bibliographic department of the Moscow newspaper Zhizn' (“Life”, published from April 22 (10) until July 6, 1918). In contrast to recent publications on this subject, a comprehensive review is given, which, however, leaves room for further research. The value of the material presented for the study of the topic is determined, among other things, by the fact that, first of all, it provides information about unknown or little-known authors and their contributions to the newspaper. Two relatively stable groups that have developed around the Grif publishing house and the art periodical “Bez muz” (the only issue was published in 1918 in Nizhny Novgorod) are distinguished among the newspaper staff. Several episodes connected with the 1918 literary and pseudo-literary controversy and related to I.G. Ehrenburg, S.A. Auslender, V.G. Shershenevich and S.P. Bobrov are considered. As a result of the study, it is concluded that activities of the newspaper Zhizn' literary department and some of its authors showed indicative trends both in the historical period as a whole and in individual circumstances related to the authors and the newspaper’s editorial staff.
21
Maniurka, Piotr Paweł. « SAFE MUSEUMS, SAFE COLLECTIONS. A SELECTION OF ARTICLES BY PIOTR OGRODZKI, NIMOZ LIBRARY, VOL. 13, WARSZAWA 2020 ». Muzealnictwo 61 (7 septembre 2020) : 219–23. http://dx.doi.org/10.5604/01.3001.0014.3817.
Texte intégralRésumé :
Safe Museums, Safe Collections. A Selection of Articles by Piotr Ogrodzki is a publication discussing the contemporary problems of crimes against heritage objects. The essays written over the period of 20 years were systematically published in the ‘Cenne, Bezcenne/Utracone’ journal, the only periodical dedicated to the recovery and restitutions of the lost national heritage. The publication is composed of 18 papers characterizing selected threats to museums and collections. All the presented texts oscillate within the semantic concepts related to crime and theft in museums and sacral facilities. The essays aptly juxtapose legal aspects with the practices of the protection of national heritage, while the described examples of security measures have been and will remain applicable also in the future. The additional value of the publication of Piotr Ogrodzki’s texts is their translation into English. Although many of the described thefts of art works have taken place in Poland, the Author also points to similar circumstances of such crimes in Europe. Enriched with Piotr Ogrodzki’s short biography and bibliography, the book begins with the papers by Piotr Majewski, Paulina Florjanowicz, Kamil Zeidler, and Jacek Rulewicz. It concludes with the message of Chief Inspector Adam Grajewski of the Polish Police Headquarters under a meaningful title In Lieu of an Afterword. Museum Collection Safety. The publisher of the book, the National Institute for Museums and Public Collections, NIMOZ, should be acknowledge for the noble idea of publishing this book, thus commemorating the outstanding individual that Piotr Ogrodzki was.
22
Лучка, Л. « BOOK SHOWS AND THE READING UNIVERSE PROFESSOR VK YAKUNINA ». Problems of Political History of Ukraine, no 15 (5 février 2020) : 34–40. http://dx.doi.org/10.33287/11924.
Texte intégralRésumé :
The research deals with creating a diverse reader image of an intellectual personality of a historian. V.K. Yakunin started his reading career as a student of Dnipropetrovsk State University in the 1960’s. During his studies he constantly visited the scientific library. It was at this time when he first became acquainted with rare and valuable editions on historical subjects. The reading experience of the historian is about 60 years. While writing his Candidate dissertation (1972) and PhD thesis (1990), he worked with a significant number of sources and literature, and he also used interlibrary loan services. He was a high-level bibliographer, he constantly searched and selected carefully new books of political and historical content. V.K.Yakunin began to collect his own library from the late 1960s. The analysis of his reader cards from the departments of scientific literature and fiction shows that scientist V.K. Yakunin paid primary attention to documents, book sources and periodicals. He perfectly knew the works of foreign historical science classics. He was interested in memoir literature. Psychological and art literature was not ignored by the scientist. The historian always turned to classical works and editions of contemporary Ukrainian writers. V. K. Yakunin’s private library totals about 2000 copies in Ukrainian, Russian and German. It has been stored in the Scientific Library since 2017. Each copy of the professor’s book collection received the stamp «Professor V.K. Yakunin’s Library». The chronological limits of the book collection cover the 20th – the beginning of the 21st century. Most publications are books of social and humanitarian directions. He was interested in the history of the 20th century: political history, public opinion, World War II, history of Nazism, the Ukrainian national movement. Memories held a special place in the book collection. Ways of acquisition to the Library: donations and purchasing. The historian was surrounded by books during his life. Thus, the value of the book collection of Professor V.K. Yakunin is in the presence of a large number of publications that give an idea of the state of book publishing in Ukraine and Russia and indicate the high intellectual level of its owner.
23
Ainsley, Sam, Malcolm Dickson, Judith Findlay, Leigh French et Kevin Henderson. « Round Table : Publishing Art ». Circa, no 77 (1996) : s18. http://dx.doi.org/10.2307/25563034.
Texte intégral
24
Mokhtari, Sylvie, et Jean-Marc Poinsot. « Publishing and Art Criticism ». Critique d’art, no 50 (25 mai 2018) : 11–14. http://dx.doi.org/10.4000/critiquedart.29354.
Texte intégral
25
Ghivari, Sheetal. « Art of publishing research ». IP Indian Journal of Conservative and Endodontics 5, no 4 (15 novembre 2020) : 154–55. http://dx.doi.org/10.18231/j.ijce.2020.037.
Texte intégral
26
Singh, Alok. « Understanding Art of Publishing ? » Journal of Family Medicine and Primary Care 9, no 2 (2020) : 1279. http://dx.doi.org/10.4103/jfmpc.jfmpc_952_19.
Texte intégral
27
Jacobs, Nick. « Émigrés and Art Publishing ». History Workshop Journal 82, no 1 (18 août 2016) : 290–92. http://dx.doi.org/10.1093/hwj/dbw032.
Texte intégral
28
Bembeev, Evgeny V. « Научно-популярный журнал «Хан Тэнгэр» как источник по изучению несказочной прозы ойратов Синьцзян-Уйгурского автономного района Китайской Народной Республики ». Бюллетень Калмыцкого научного центра Российской академии наук, no 1 (20 décembre 2020) : 123–40. http://dx.doi.org/10.22162/2587-6503-2020-1-13-123-140.
Texte intégralRésumé :
The popular scientific journal “Khan Tenger” is an important and valuable source for the study of the folklore of the Oirats of the PRC. This periodical is devoted to the study of the culture and language of the Oirats living in the PRC (XUAR PRC, Inner Mongolia Autonomous Region) was published in the period from 1981 to 1993 by the Xinjiang People’s Publishing House (Šinǰiyang-giyin aradiyin keble-liyin xorō) in Urumqi city. The journal was published four times a year in the Oirat “clear script” and is a unique collection of the best examples of oral folk art of the Oirats of the XUAR of the PRC. The article examines some genres of non-fairytale prose of the Oirats of the XUAR of the PRC, recorded in the Khan Tenger journal. Non-fairytale prose is the richest heritage which contains the ancient beliefs of ancestors, moral norms and historical memory of the Oirats. A large number of cosmogonic myths about the creation of the world, the origin of the earth, sky, stars, sun, moon, as well as etiological myths about the origin and characteristics of animals, birds, insects, plants, and natural phenomena are published on the pages of the Khan Tenger journal. Legends and traditions reproduce the historical reality in the refraction of people’s mind through their vision and assessment. They have absorbed archaic elements that characterize the mythological consciousness and the ancient views of distant ancestors. The publication of texts of myths, legends and traditions will help to fill in the “white spots” in the genre system of the folklore of the Oirats, will help to study the spiritual culture of the Mongol-speaking peoples.
29
Sribnyak, Ihor, et Victor Schneider. « PERIODICAL «PROSVITNII LYSTOK» (“ENLIGHTENMENT LEAF”) AS SOURCE FOR RECONSTRUCTION OF HISTORY OF UKRAINIAN COMMUNITY DEVELOPMENT IN WETZLAR CAMP, GERMANY (1916) ». Kyiv Historical Studies 11, no 2 (2020) : 50–59. http://dx.doi.org/10.28925/2524-0757.2020.2.7.
Texte intégralRésumé :
The article attempts to reconstruct the course of cultural, educational and national-organisational work in the Wetzlar camp (Germany) in 1916 by frontal elaboration of the annual set of the camp journal «Prosvitnyi Lystok». It was established that his columns contained a huge amount of information about the life and everyday life of Ukrainian prisoners in Wetzlar, which allows a fairly complete reconstruction of the features of organizational and educational work in this camp. In almost every issue of the newspaper there was a column “From Camp Life”, which contained brief information about the activities of all camp groups and organizations, as well as elected bodies of the Ukrainian community. In addition, all donations received were also reported here (for the disabled and sick in the camp hospital, for Volyn schools, etc.). Acquaintance with the camp chronicle allows to determine the circle of donors, which were profitable organizations in the camp (cooperative union, theatre, “artisan workshop”). With its publications, the newspaper had a strong influence on the formation of the national and political worldview of prisoners, publishing materials on the course of socio-political processes in Ukraine and Russia. At the same time, «Prosvitnyi Lystok» effectively expanded the knowledge of prisoners in agronomy with its articles. At the same time, the magazine instilled in the prisoners the basic principles of civic life, emphasizing the injustice of the imperial order in Russia and the enslaved status of Ukraine as part of the empire. Thanks to this, the magazine gained the support of the majority of Ukrainian prisoners, serving them as almost the only “window” into the world of politics, public life and art. Besides, it successfully fulfilled the mission of an information link between the camp organization and the work teams, providing their members with news and socially significant information. The most important feature of the “Enlightenment Leaf” was the Ukrainian-centricity of all its materials, which helped the prisoners to learn the national-state ideals.
30
Teichman, Carmela. « Art libraries in Israel ». Art Libraries Journal 13, no 1 (1988) : 18–19. http://dx.doi.org/10.1017/s0307472200005502.
Texte intégralRésumé :
The Israel Museum Library at Jerusalem is Israel’s largest art library; it maintains the Archive of Israeli Art and an index of periodicals and it serves a national audience. It is complemented by other museum, university, and college libraries, and by the public library network.
31
Soussloff, Catherine M. « Publishing Paradigms in Art History ». Art Journal 65, no 4 (1 décembre 2006) : 36. http://dx.doi.org/10.2307/20068496.
Texte intégral
32
Buriak, Jillian M. « Scientific Publishing as an Art ». Chemistry of Materials 26, no 22 (25 novembre 2014) : 6319. http://dx.doi.org/10.1021/cm503928y.
Texte intégral
33
Dwyer, Melva J. « Art book publishing in Canada ». Art Libraries Journal 17, no 3 (1992) : 34–37. http://dx.doi.org/10.1017/s030747220000794x.
Texte intégralRésumé :
Canadian publishing was inhibited from the beginning by Canada’s colonial origins and dependence on Great Britain and the USA. Few art books were published until quite recently; the relatively small, scattered population, the flooding of the market with British, American and (in Quebec) French books, and limited (at best) or non-existent sales outside Canada continue to be constraining factors. The necessity to include both English and French texts adds to the cost of book production in Canada. The publication of art books, and of exhibition catalogues, depends on the availability of government grants. Publications on the art of the North American Indian and Inuit peoples are an exception, attracting widespread interest and leading in some instances to co-publishing initiatives. In addition to the larger publishing houses, a number of small presses produce occasional art books, thanks to grants and in a few cases with the added benefit of sales abroad achieved through international networking. A government programme of support for Canadian publishing, launched in 1986, is continuing.
34
Houghton, Beth. « Art book publishing in Britain ». Art Libraries Journal 17, no 3 (1992) : 38–40. http://dx.doi.org/10.1017/s0307472200007951.
Texte intégralRésumé :
Art publishing in Britain flourished in the earlier part of the 20th century, thanks in no small part to the enterprise of European émigrés. However, a majority of art books published now are of a commercial and popular nature, neglecting many aspects of art and British art of this century in particular. Do the conservatism of British taste, or the ready availability of books in libraries, contribute to this situation?
35
Evers, Bernd. « Art book publishing in Germany ». Art Libraries Journal 17, no 3 (1992) : 47–48. http://dx.doi.org/10.1017/s0307472200007987.
Texte intégralRésumé :
Publishing of art books in the former Federal Republic of Germany expanded after 1945, but with an ever-widening divergence between academic and popular titles. Important scholarship, even when published in the form of inexpensive but over-elaborate catalogues, is relatively inaccessible, whereas popular art books cover the same ground over and over again and leave vast areas of art untouched.
36
Millichap, John. « Independent art publishing in China ». Art Libraries Journal 39, no 2 (2014) : 14–19. http://dx.doi.org/10.1017/s0307472200018265.
Texte intégralRésumé :
China’s publishing landscape today remains a harsh environment, dominated by the state industry and hostile to outside intruders. A few small independent art publishers, design studios and self-publishing artists have appeared in recent years in Beijing, Hong Kong, Shanghai, Guangzhou and other cities, a series of developments that signal new directions for the future of art publishing in this country.
37
Soussloff, Catherine M. « Publishing Paradigms in Art History ». Art Journal 65, no 4 (décembre 2006) : 36–40. http://dx.doi.org/10.1080/00043249.2006.10791225.
Texte intégral
38
Camanho, Gilberto Luis. « The difficult art of publishing ». Revista Brasileira de Ortopedia (English Edition) 47, no 4 (juillet 2012) : 412–13. http://dx.doi.org/10.1016/s2255-4971(15)30120-8.
Texte intégral
39
Borchardt-Hume, Achim. « A Revolution in Art Publishing ». Art Book 5, no 3 (juin 1998) : 15–16. http://dx.doi.org/10.1111/1467-8357.00097.
Texte intégral
40
THORP, ROGER. « Publishing on Art : A Crisis ? » Art Book 13, no 1 (février 2006) : 27–28. http://dx.doi.org/10.1111/j.1467-8357.2006.00628.x.
Texte intégral
41
Gurevich, Aron Y. « From Landscape to Individuality ». Archaeological Dialogues 2, no 1 (janvier 1995) : 28–30. http://dx.doi.org/10.1017/s1380203800000283.
Texte intégralRésumé :
Several years ago, when I visited the Netherlands for the first time, a famous historian with whom I was walking along a road through the polders observed that the national character of the Dutch had formed through many centuries of efforts to shape nature, and that nature in its turn bears the imprint of their character. I was greatly interested by this remark on the interaction between mentality and landscape and I asked my colleague to write an article on this subject for the periodical Odissei. Chelovek v istorii (‘Odysseus. Man in history’), which focused on issues of historical anthropology and which I am publishing for several years. Although unfortunately I did not receive the article as such, I was all the more interested to read Nico Roymans' work. The perception of space and landscape does in truth change through history and it would be incorrect to interpret the natural environment as a rigid framework in which the history of mankind unfolds. It is said that culture is man's second nature – but would it not be nearer the truth to say that it is his only nature? Man is a symbolical being (animal symbolicum), who finds his way in this world by means of symbols and who perceives reality through these points of reference, which he creates or reproduces. There is no sphere of activity beyond the boundary of this symbolical world. For this reason the perception of human activity cannot go beyond or neglect this all-embracing symbolical universe. Nevertheless far from all historians have mastered the art of reading or deciphering the sign systems of the past or present, since it is by no means easy to learn to read in this manner.
42
Boudewyns, Deborah K. Ultan. « Scholarly Electronic Publishing in Art History : Nineteenth-Century Art Worldwide ». Art Documentation : Journal of the Art Libraries Society of North America 29, no 2 (octobre 2010) : 21–25. http://dx.doi.org/10.1086/adx.29.2.27949548.
Texte intégral
43
Fink, Eleanor. « Art and Illusion : Photographic Issues in Publishing Visual Art : INTRODUCTION ». Visual Resources 5, no 2 (juin 1988) : 83–84. http://dx.doi.org/10.1080/01973762.1988.9659165.
Texte intégral
44
Eşanu, Octavian. « Critical Machines : Art Periodicals Today (Conference Report and Q&A) ». ARTMargins 5, no 3 (octobre 2016) : 11–34. http://dx.doi.org/10.1162/artm_a_00156.
Texte intégralRésumé :
This introduction and selection of Questions and Answers are from a conference organized in 2014 at the American University of Beirut Art Galleries titled Critical Machines: Art Periodicals Today. The conference summoned editors of art periodicals from different countries in order to discuss the role of art magazines, journals, platforms, and newspapers. While the introduction provides a general report on the conference, discussing the principles according to which the panels were organized or describing and comparing the missions of some periodicals, the selection of questions from the audience and answers from editors that follow aim to convey different editorial strategies, political disputes, funding models, and relations to readership that one can encounter today in the field of art periodicals.
45
King, Lindsay M., et Russell T. Clement. « Western European Art Foundations and Publishing ». Journal of Academic Librarianship 37, no 1 (janvier 2011) : 5–8. http://dx.doi.org/10.1016/j.acalib.2010.10.001.
Texte intégral
46
Wishaupt, Maggy. « Art book publishing in the Netherlands ». Art Libraries Journal 17, no 3 (1992) : 49–50. http://dx.doi.org/10.1017/s0307472200007999.
Texte intégralRésumé :
Probably only about 5% of books published in the Netherlands are art books. There is a very limited demand for art books in the Dutch language; in order to sell in greater numbers, books have to be produced in English or in several languages, and/or as co-editions, while the domestic market is flooded by foreign imports including cheap remainders. In these circumstances the publication of art books depends on grants or on the income which some publishers earn from bookselling, printing, or other activities. Nonetheless a few, small, specialist publishers are producing art books of high quality, while some general publishers also publish the occasional art book. Museum publishing activities are considerable but are largely confined to exhibition catalogues.
47
Allen, Gwen, et Cherise Smith. « Publishing Art : Alternative Distribution in Print ». Art Journal 66, no 1 (mars 2007) : 41–45. http://dx.doi.org/10.1080/00043249.2007.10791238.
Texte intégral
48
McDermott, Ian, et Erin C. Dunigan. « Art Book Publishing : Past, Present, Future ». Art Documentation : Journal of the Art Libraries Society of North America 32, no 2 (septembre 2013) : 239–52. http://dx.doi.org/10.1086/673515.
Texte intégral
49
Batey, Jackie. « Art-Zines–The Self-Publishing Revolution ». International Journal of the Book 9, no 4 (2012) : 69–86. http://dx.doi.org/10.18848/1447-9516/cgp/v09i04/36954.
Texte intégral
50
Burt, Eugene C. « Rock Art Periodicals : A Brief Guide to Acquisition ». Art Documentation : Journal of the Art Libraries Society of North America 16, no 1 (avril 1997) : 19–22. http://dx.doi.org/10.1086/adx.16.1.27948871.
Texte intégral