Gotowe bibliografie tematyczne / Peacocks in art

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji

Gotowa bibliografia na temat „Peacocks in art”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 3 marca 2023

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Artykuły w czasopismach na temat "Peacocks in art"

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Hidayat, Venny Agustin. "BENTUK VISUAL KOSTUM TARI MERAK JAWA BARAT KARYA IRAWATI DURBAN ARDJO." Joged 15, no. 1 (December 2, 2020): 84–95. http://dx.doi.org/10.24821/joged.v15i1.4664.

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Tari Merak Jawa Barat, merupakan jenis tarian tontonan (pertunjukan). Tari Merak pertama kali diciptakan oleh Rd. Tjetje Somantri pada tahun 1955. Kemudian pada tahun 1965, tari Merak dikemas kembali oleh Irawati Durban Ardjo, yang bertujuan untuk dipertunjukkan pada misi kesenian Soekarno. Tari Merak yang sering kita jumpai saat ini merupakan Tari Merak karya Irawati Durban Ardjo.Tarian ini mempresentasikan keindahan yang dimiliki oleh burung merak pada saat burung merak jantan melebarkan ekornya. Kebanyakan masyarakat Indonesia salah berasumsi jika tarian ini bercerita tentang kehidupan buru
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Vikrant, Dr Vikrant Shah. "“SANJHYA” THE GODDESS TRADITIONAL ART FORM OF INDIAN ART." International Journal of Research -GRANTHAALAYAH 9, no. 9 (September 30, 2021): 51–54. http://dx.doi.org/10.29121/granthaalayah.v9.i9.2021.4227.

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If there is any priority for mankind with bread, cloth and house then it will be said to be an expression of his art, his feelings. This is the reason why pre-historic man has also painted on the walls of caves, which today help historians to understand that ancient civilization are the center of interest of tourists. "Sanjhya" is a very ancient and the goddess traditional art form of Indian. Perhaps it is a spiritual image to connect the divine to the earth. Apart from Madhya Pradesh, "Sanjhya" is spread in the terrain of Punjab, Rajasthan, Uttar Pradesh, and Haryana etc. Most of the women an
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Pandey, Anjali. "WOOD CRAFT OF BIHAR AND UTTAR PRADESH –A SURVEY." International Journal of Research -GRANTHAALAYAH 4, no. 2 (February 29, 2016): 239–42. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2834.

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The tradition of wood carving is old. Wood craft is quite popular in Bihar and Uttar Pradesh. Craftsmen of these states are using their skill for making the designs in traditional and innovative way. A unique engraving creativity of ‘Nakkashi work’ appears with floral and figures etched out by the craftsmen. Lacquer work is obviously one of the major handicrafts of these regions. Various motifs of birds, peacock, fish, carved on the wood, appeals the viewers. The items made out of bamboo and wood are crafted in the shapes of birds, human figures and animals. Figures of Gods and Goddesses, anim
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Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval 31 (December 14, 2018): 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.

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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harsh
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Lozano, João, Cristina Almeida, Manuela Oliveira, Adolfo Paz-Silva, and Luís Madeira de Carvalho. "Biocontrol of Avian Gastrointestinal Parasites Using Predatory Fungi: Current Status, Challenges, and Opportunities." Parasitologia 2, no. 1 (March 1, 2022): 37–44. http://dx.doi.org/10.3390/parasitologia2010004.

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This review describes the current research status regarding the implementation of predatory fungi in the biological control approach of bird gastrointestinal (GI) parasitosis. The main GI parasites of Galliformes (e.g., broilers, layers, peacocks, pheasants) and Ratites (e.g., ostriches, emus, rheas) are addressed, as well as their impact on farms, zoos, and private collections. The main characteristics regarding biocontrol with predatory fungi are briefly described, such as their mode of action and efficacy against GI parasites of different animal hosts. The state of the art regarding the use
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Sookkaew, Jirawat, Nakarin Chaikaew, Donticha Chiewsuwan, and Somchai Seviset. "A creation in abstract 3D art insprired from Pavo muticus imperator." Indonesian Journal of Electrical Engineering and Computer Science 27, no. 3 (September 1, 2022): 1419. http://dx.doi.org/10.11591/ijeecs.v27.i3.pp1419-1427.

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Creation of art as abstract art by choosing athree-dimensional (3D)art formto be used for creativity, has brought the characteristics of the peacock inspired by its forms, color characteristics, including its habitats to be usedas a mixture and elements in creating this art. Therefore, when combined with the key elements of a 3D object with depth dimension of the object in the Z axis, adopting the colors of the space and the atmosphere of thepeacock's habitat to the surface of the 3D pieces, which provide creative approaches and techniques that enable abstract 3D art to be realized by the shap
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Printz, Jessica Kimball. "Marketable Bodies, Possessive Peacocks, and Text as Excess: Edwards-Yearwood's In the Shadow of the Peacock." Callaloo 15, no. 4 (1992): 1066. http://dx.doi.org/10.2307/2931921.

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Zahra, Fatima, and Dr Sarena Abdullah. "Aesthetic, Patriotic and Religious Peacock Motifs: Framing the Meanings of Pakistani Truck Art through Foss’ and Aristotle’s Rhetorical Approach." Journal of Social Sciences Research, no. 54 (April 6, 2019): 892–901. http://dx.doi.org/10.32861/jssr.54.892.901.

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Peacock motifs have a long historical background and mythological significance in the Indian subcontinent. It is one of the most dominant motifs used in Pakistani truck art. This paper examines and compares several selected peacock motifs painted on trucks from different regions in Pakistan. It analyses the different shapes and styles of peacock motifs based on their aesthetic forms and themes particularly of religious and patriotic elements. By employing visual rhetoric theory of artefact proposed by Sonja K. Foss and Aristotle’s rhetorical triangular spectrum, this paper explores the charact
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Zahra, Fatima, and Dr Sarena Abdullah. "Aesthetic, Patriotic and Religious Peacock Motifs: Framing the Meanings of Pakistani Truck Art through Foss’ and Aristotle’s Rhetorical Approach." Journal of Social Sciences Research, Special Issue 5 (December 15, 2018): 610–19. http://dx.doi.org/10.32861/jssr.spi5.610.619.

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Peacock motifs have a long historical background and mythological significance in the Indian subcontinent. It is one of the most dominant motifs used in Pakistani truck art. This paper examines and compares several selected peacock motifs painted on trucks from different regions in Pakistan. It analyses the different shapes and styles of peacock motifs based on their aesthetic forms and themes particularly of religious and patriotic elements. By employing visual rhetoric theory of artefact proposed by Sonja K. Foss and Aristotle’s rhetorical triangular spectrum, this paper explores the charact
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Nakagawa, Asako. "Changes to the Peacock Motif in Art Textiles." International Journal of Human Culture Studies 2022, no. 32 (January 1, 2022): 385–98. http://dx.doi.org/10.9748/hcs.2022.385.

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Rozprawy doktorskie na temat "Peacocks in art"

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Fowler-Smith, Penelope Jane Art College of Fine Arts UNSW. "Peacock pilgrimage: an ode to India." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/41230.

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The project entitled PEACOCK PILGRIMAGE comprises two components: the screenplay for a feature film, entitled Peacock Angel, and an exegesis, which explores the underlying influences on the screenplay. Peacock Angel is the story of a young girl, Deva, who grew up in India with a fascination for peacocks, especially the fictional peacock angel. After a time of isolation as a teenager in the West, she returns to India to reconcile with a tragic past and reconnect with her true longings. India is the place that mends her wounded heart. Within the symbolic realms of the screenplay Deva, as the cen
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Dreher, Anne M. ""Proud as a peacock" an historic and semiotic analysis of illustrated "Vogue" magazine covers from 1909 and 1911 /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798480841&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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McKay, Margaret. "Peacock's progress : aspects of artistic development in the novels of Thomas Love Peacock /." Stockholm : Almqvist och Wiksell, 1992. http://catalogue.bnf.fr/ark:/12148/cb35544250t.

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He, Man. "The Peacock on Stage and in Print: A Study of the 1920s New Drama Adaptations of Southeast Flies the Peacock." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250531758.

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Шеретюк, Руслана. "Образ павича в українському мистецтві і дизайні кінця ХІХ – початку ХХ ст.: символіка та художня інтерпретація". Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17918.

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Вказано, що одним із головних зооморфних мотивів європейського мистецтва стилю модерн був павич. Досліджено символіку, а також художню інтерпретацію його образу в архітектурі, дизайні інтер’єрів, станковому малярстві, сакральному монументальному живописі, комунікативному дизайні, а також декоративному мистецтві України кінця ХІХ – початку ХХ ст. Висновується, що європейська модерна мрія про одвічну красу, символічно втілена в образі павича, виявилася суголосною етнокультурним особливостям української естетики.<br>It is indicated, that one of the main zoomorphic motives of the European Art of N
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Roditi, Mattei Mary Muriel. "L'Héroine lawrencienne et sa spécificité d'après cinq romans de D.H. Lawrence The White Peacock, Women in Love, The Lost Girl, The Plumed Serpent, Lady Chatterley's Lover." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37595139k.

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Foord, Peter Michael, and res cand@acu edu au. "Theology Engaging Evolutionary Theory: Fresh insights into the nature of God." Australian Catholic University. School of Theology, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp45.29082005.

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This thesis explores the work of three theologians, Arthur Peacocke, John Haught and Denis Edwards, each of whom has made a significant contribution to the dialogue between contemporary evolutionary biology and the Christian understanding of God. The thesis explores and analyses how evolutionary theory throws light on key theological themes such as the nature of God's providence, especially in relation to pain, suffering and evil, and the meaning of Jesus Christ. The thesis involves a critical reading of the selected theologians' works, with their respective emphases on classical, process and
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Darby, Garry. "G. E. Peacock and art in colonial Sydney, 1837-1857." Thesis, 1989. http://hdl.handle.net/2123/2449.

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"From the Divine to the Diabolical:The Peacock in Medieval and Renaissance Art." Master's thesis, 2016. http://hdl.handle.net/2286/R.I.41286.

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abstract: Peacocks are ubiquitous in art. Artists from societies across the globe, undoubtedly attracted to the male peafowl’s colorful plumage and unique characteristics, used images of the bird to form visual semantics intended to aid in the understanding of a work of art. This was particularly the case in Europe, where depictions of peacocks appeared in Christian art from the onset of the continent’s dominant religion. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were so
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Fan, Jui-Hsin, and 范瑞鑫. "To Play Methodological Peacock or Ostrich?: Differences, Similarities, Relationships and Implications in Two Debates between SSK and ANT." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/rakcmv.

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碩士<br>國立陽明大學<br>科技與社會研究所<br>107<br>Sociology of Scientific Knowledge (includes Strong Programme and Empirical Programme of Relativism) and Actor-network Theory are two significant theories and methodological approaches in Science, Technology and Society (STS) at present. There was twice serious debates between them, called “Epistemological Chicken” (1992) and “Anti-Latour” (1999). The aim and concern of this thesis is to explore the content of this academic controversy and thereby to clarify degree of differences and relationships of two schools and those possible implications to STS. Through
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Książki na temat "Peacocks in art"

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Türk sanatında Tavus kuşu ikonografisi. Erzurum: Fenomen Yayıncılık, 2015.

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studio), Timorous Beasties (Design, and Dundee Contemporary Arts (Art center), eds. Peacocks among the ruins. [Dundee: Dundee Contemporary Arts], 2007.

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Righi, François. Summa pavonica. Limoges: Editions du F.R.A.C. Limousin, 1991.

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1945-, Lang Sen, ed. Hong Yun cheng xiang tu. Kunming Shi: Yunnan mei shu chu ban she, 2004.

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Ames, Lee J. Draw 50 birds: [the step-by-step way to draw flamingos, swans, woodpeckers, peacocks and many more...]. London: Kingfisher, 1998.

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Tonia, Di Risio, Bartlett Linda, and Mount Saint Vincent University. Art Gallery., eds. In absentia: Linda Bartlett, Elsii Caetano Faria, Rosalie Favell, Jan Peacock, Andrea Ward. Halifax, N.S: MSVU Art Gallery, 1998.

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Helen, Marzolf, Cachia Amanda 1978-, and Dunlop Art Gallery, eds. Cynthia Girard: The black glove and the peacock : Dunlop Art Gallery, June 26-August 29, 2010. Regina: Dunlop Art Gallery, 2010.

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Moore, William. The Northwest: A collector's vision : an exhibition of native art of the Pacific Northwest Coast from the Peacock Collection. Edited by Barrie Art Gallery. Barrie, Ont: Barrie Art Gallery, 1988.

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Cronin, Helena. The ant and the peacock: Altruism and sexual selection from Darwin to today. Cambridge: Press Syndicate of the University of Cambridge, 1991.

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Cronin, Helena. The ant and the peacock: Altruism and sexual selection from Darwin to today. Cambridge: Press Syndicate of the University of Cambridge, 1991.

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Części książek na temat "Peacocks in art"

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White, Robert S. "The chameleon and the peacock." In Kipling and Yeats at 150, 137–51. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge India, 2019. http://dx.doi.org/10.4324/9780429283857-10.

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Stewart-Williams, Steve. "Are Humans Peacocks or Robins?" In The Cambridge Handbook of Evolutionary Perspectives on Human Behavior, 342–52. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108131797.029.

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"CHAPTER 14 Art History and Anthropology: LOULY PEACOCK KONZ and JAMES PEACOCK." In Viewpoints, 327–58. University of Texas Press, 2009. http://dx.doi.org/10.7560/706712-018.

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Zolten, Jerry. "“Loves Me Like a Rock”." In Great God A'Mighty! The Dixie Hummingbirds, 255–94. 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190071493.003.0008.

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Abstract As rock ‘n’ roll evolved into the 1960s, gospel vocalizing and stagecraft continued to influence solo artists and vocal harmony groups that evolved from doo-wop to soul and Motown: Ray Charles, James Brown, Wilson Pickett, Aretha Franklin, the Miracles, the Temptations. The Dixie Hummingbirds and black gospel itself evolved against the backdrop of generational rebellion, civil rights unrest, war protest, and assassinations. The trend shifted from quartets to soloists and choirs, the gospel fan base broadening as the music became appreciated both as an art and as roots music form. President Kennedy was assassinated and in 1964, the Hummingbirds made their television debut on the program TV Gospel Time. They performed “Our Prayer for Peace” with a new verse about the assassination. The Hummingbirds adapted to the tastes of the times and remained Peacock’s most consistently bestselling gospel artists. Multiple tracks were recorded and strategically released as singles every few months followed by album collections. Robey sold the Peacock catalog to ABC records. The Hummingbirds had an international following and performed at venues such as Disneyland, Madison Square Garden, and both the Newport Jazz and Folk Festivals. Paul Simon invited the Hummingbirds to collaborate on “Loves Me Like a Rock,” which in their own rendition won them their first Grammy. They also recorded with Stevie Wonder. The Hummingbirds suffered a setback in 1976 with the death of bass singer William Bobo. They soldiered on and more than six decades into their career were dubbed the “Iron Men of Gospel.”
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Zolten, Jerry. "“Let’s Go Out to the Programs”." In Great God A'Mighty! The Dixie Hummingbirds, 199–254. 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190071493.003.0007.

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Abstract The 1950s were a mix of turbulence and triumph for the civil rights movement. Gospel music was the soundtrack. The first wave of rock 'n' roll was dominated by African American vocal groups emulating the gospel sound. The Dixie Hummingbirds as pioneers of soul gospel established themselves in the top tier of the genre. Gospel stars such as Clara Ward, Rosetta Tharpe, and Mahalia Jackson organized nationwide package tours that often featured the Dixie Hummingbirds. Black gospel had become an art form. In 1952, the Hummingbirds signed with Don Robey’s Houston-based Peacock Records. The records they cut featured the latest member, electric guitarist Howard Carroll. Many of their Peacock tracks were “hits” that established their legacy forevermore. The Hummingbirds were booked through Robey's Buffalo Booking Agency with Evelyn Johnson at the helm. They established a touring pattern: warm weather states in the winter, the north and west the rest of the year. Group anniversaries were celebrated in Philadelphia with gospel extravaganzas at the “Met.” The Hummingbirds as headliner helped inaugurate gospel shows at the Apollo Theater. Peacock launched an album series with a Dixie Hummingbirds release. The quintessential lineup was now in place: James Davis, Ira Tucker, James Walker, Beachey Thompson, William Bobo, and Howard Carroll.
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Bermúdez, José Luis. "The Sources of Self-Consciousness." In The Bodily Self. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9780262037501.003.0004.

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We can think about the sources of self-consciousness in either a genetic or an epistemic sense. That is, we can think either about the origins of the capacity to think self-conscious thoughts or about the warrant that we have for our self-conscious judgments. These two sets of questions are independent but related. This paper explores the role that the genetic dimension of self-consciousness plays in understanding the epistemology of self-consciousness. I will take as my foil a recent account of some key features of the epistemic dimension of a particular type of self-conscious judgment – the account offered by Christopher Peacocke in his book Being Known (Peacocke 1999). Working through the example of how the bodily self is represented in visual perception shows how the primitive foundations from which self-consciousness emerges in the course of cognitive development are also the foundation for the epistemic status of full-fledged self-conscious thoughts.
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Papineau, David. "The Structure of Experience." In The Metaphysics of Sensory Experience, 83–113. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198862390.003.0004.

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In this chapter, the qualitative view is outlined and shown to avoid the problems facing representationalism. The qualitative view is defended as a ‘pure paint’ view and distinguished from the ‘partial paint’ views of Block and Peacocke. The structure of experience is acknowledged. ‘Intentional objects’ are explained, and the dangers of equating them with elements of experience are exposed. The idea that mental ‘paint’ might ‘point’ is discredited.
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Loges, Natasha. "Hafiz between Nations: Song Settings by Daumer/Brahms and Peacock/Beamish." In Song Beyond the Nation, 13–29. British Academy, 2021. http://dx.doi.org/10.5871/bacad/9780197267196.003.0002.

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Consciously ‘othered’ cultural practices have long allowed musicians and poets to express different national identities to varying extents, without having to relinquish a geographically rooted sense of home. My aim is to examine such transnational links, symbols, and ties through a consideration of the songs ‘Wie bist du, meine Königin’ by Johannes Brahms (1833–97) and ‘Fish’ by Sally Beamish (b. 1956). Both are settings of translations of poetry by the Persian poet Hafiz, made respectively by Georg Friedrich Daumer (1800–72) and Jila Peacock (b. 1948). I offer insights into changing attitudes to Hafiz over time (the nineteenth and twenty-first centuries) and place (Germany, Persia/Iran, and Great Britain). I employ text- and score-based analysis, supplemented by interviews with Peacock and Beamish carried out in early 2019, which probed approaches to translation, text setting, and music, as well as issues of biography and national identity. I conclude that selective transnationalism, as I describe it, is a means of expanding one’s artistic range, while not entirely alienating the familiar self.
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Seaman, Bruce A. "Framing Nonprofit Arts and Culture Sectors Through Economic Theory." In The Oxford Handbook of Arts and Cultural Management, C7S1—C7N2. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197621615.013.7.

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Abstract The 1960’s contributions from Baumol and Bowen (1965, 1966) and Peacock (1969) were followed in the 1970s by Blaug (1976), Throsby and Withers (1979), and the inaugural issue (1977) of the nascent Journal of Cultural Economics. These developments generated understandable enthusiasm about the application of economics to the nonprofit arts and culture sector. Over a half century of experience with increasingly sophisticated efforts has both confirmed and tempered that enthusiasm. To critics who call for a “heterodox” approach, the tools of positive and normative (welfare) economics are simply inadequate to the task of addressing this dramatically evolving sector. This chapter narrows the focus of this debate largely to economic contributions to understanding arts/culture participation and the identification of relevant product and geographic market competitors; substitution versus complementary relationships in the allocation of time among entertainment options; and pricing and other revenue-generating strategies. Cultural economics has long been open to the contributions of nontraditional economic methods and the research of non-economists in the spirit of, for example, behavioral and Austrian economics, suggesting that further methodological reform rather than revolution is what is warranted.
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Wright, Crispin. "Further Reflections on the Sorites Paradox." In The Riddle of Vagueness, 107–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199277339.003.0005.

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This chapter revisits certain of the issues of Chapters 1 and 2. It is argued that Dummett’s ‘incoherentist’ response to the Sorites is unacceptable, and urges that we should distinguish a variety of types of Sorites, as individuated by the differing motivations for their various respective major premises, including what are here termed the No Sharp Boundaries paradox and the Tachometer paradox. The chapter rejects Christopher Peacocke’s contention that the major premises for Sorites can be motivated under the aegis of a behaviouristic conception of linguistic competence, so that jettison of the Governing View is beside the point as a response to Sorites paradoxes. It musters six objections to Peacocke’s own treatment of the Sorites, as representative of degree-theoretic approaches to vagueness in general. The chapter includes further discussion of the relationship between tolerance and observationality.
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Streszczenia konferencji na temat "Peacocks in art"

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Chupa, Anna M. "Peacock." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259105.

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Mikdar, Tresna Noventy. "Appreciation of Peacock Dance With Field Trip Method." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.010.

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McKeown, Gary. "Turing's menagerie: Talking lions, virtual bats, electric sheep and analogical peacocks: Common ground and common interest are necessary components of engagement." In 2015 International Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2015. http://dx.doi.org/10.1109/acii.2015.7344689.

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Liesner, Karsten, Robert Meyer, Matthias Lemke, Christoph Gmelin, and Frank Thiele. "On the Efficiency of Secondary Flow Suction in a Compressor Cascade." In ASME Turbo Expo 2010: Power for Land, Sea, and Air. ASMEDC, 2010. http://dx.doi.org/10.1115/gt2010-22336.

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An experimemtal investigation in a high speed compressor cascade has been carried out to show the effect of different types of secondary flow suction. In order to get deeper insight into the separated three dimensional flow topology and to determine appropriate suction positions, numerical simulations are performed additionally for the baseline cascade. To obtain the flow solution, an implicit, pressure based solver, elaN3D (by ISTA TU Berlin), is employed in steady RANS mode, whereby the Menter SST-k model is used for turbulence treatment. Both investigations are conducted at Mach number Ma =
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