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Thematische Bibliographien / Humanities -> art -> art / Zeitschriftenartikel

Zeitschriftenartikel zum Thema „Humanities -> art -> art“

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Autor: Grafiati

Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 30. Juli 2024

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1

Mizerkiewicz, Tomasz. „Art After Democracy, Art Before Democracy“. Poznańskie Studia Slawistyczne, Nr. 17 (06.11.2019): 15–21. http://dx.doi.org/10.14746/pss.2019.17.1.

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The paper describes today’s new situation of art facing antidemocratic processes. The powerful metaphor of Parthenon of books is used, which once was the name of an installation by Marta Minujín presented just after the fall of Argentinian brutal regime in the early eighties and reinstalled again few years ago. The author points that popular “posts” of humanities (postmodernism, postsecularism etc.) need to be replaced by the philosophy of art being after some definite change. The new temporal and public condition of art being after is the result of its dramatic contemporary and future challenges.

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2

Carrier, David. „New York Art, Pittsburgh Art, Art“. Journal of Aesthetic Education 37, Nr. 3 (2003): 99–104. http://dx.doi.org/10.1353/jae.2003.0020.

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3

Berretta, Matthew. „Valuing Art and the Humanities“. PMLA/Publications of the Modern Language Association of America 133, Nr. 2 (März 2018): 443–44. http://dx.doi.org/10.1632/pmla.2018.133.2.443.

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4

Blocker, H. Gene. „Is Primitive Art Art?“ Journal of Aesthetic Education 25, Nr. 4 (1991): 87. http://dx.doi.org/10.2307/3332906.

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5

Esrock, Ellen J. „Touching art“. Consciousness & Emotion 2, Nr. 2 (31.12.2001): 233–53. http://dx.doi.org/10.1075/ce.2.2.04esr.

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Viewers have a way of using their somatosensory system to create temporary boundary changes that bring them into intimate relationships with art objects. Spectators experience this imaginary fusion when simultaneously attending to their own somatosensory sensations, which occur inside the body, and to qualities of the artwork, which exist in the external world. At such moments viewers reinterpret their somatosensory sensations as a quality of the artwork. When inside and outside are reinterpreted, viewers cross the conventional boundary between self and object. This effect can be illustrated in first person reports and supported by current research in the neurosciences and the humanities.

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6

Marmor, Max. „Art History and the Digital Humanities“. Zeitschrift für Kunstgeschichte 79, Nr. 2 (30.12.2016): 155–58. http://dx.doi.org/10.1515/zkg-2016-0014.

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7

Lindberg, Christer. „Magical Art – Art as Magic“. Anthropos 111, Nr. 2 (2016): 601–7. http://dx.doi.org/10.5771/0257-9774-2016-2-601.

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8

Abadía, Oscar Moro. „Art, crafts and Paleolithic art“. Journal of Social Archaeology 6, Nr. 1 (Februar 2006): 119–41. http://dx.doi.org/10.1177/1469605306060571.

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9

Vella, Mary Grace. „Art activism: Art of dissent“. International Journal of Education Through Art 19, Nr. 1 (01.03.2023): 11–27. http://dx.doi.org/10.1386/eta_00115_1.

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Moviment Graffitti has, for the last 25 years, been active against the oppression and exploitation of people, animals and the environment with a vision of freedom, justice and radical democracy. Traversing different media, genres and styles, Moviment Graffitti has a dynamic, symbiotic and powerful relationship with art. This article will look at Graffitti’s passionate use of art as a pedagogical tool to create awareness and bring forth social change through the aesthetics of activism and the art of dissent. It explores the role, meaning and paradox of political art through the movement’s artistic sub-groups and the main artistic initiatives embarked upon. Deliberately eschewing the elitism of the art establishment, the commodification of education and culture and depoliticized notions of sustainability and development through art edu/activism (eduvism), Graffitti reappropriates art to agitate educators in revolutionary pedagogy to become pivotal actors in the promotion of progressive social change.

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10

Battisti, Eugenio. „El significado antropológico de lo colosal: del "Land Art" al "Minimal Art".“ Astrágalo. Cultura de la arquitectura y la ciudad, Nr. 17 (2001): 17–30. http://dx.doi.org/10.12795/astragalo.2001.i17.03.

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El significado, para quienes contemplan urbanísticamente, y viven las consecuencias de lo colosal en la ciudad y en la arquitectura se percibe en términos de una exaltación estética; ante la pérdida de los valores funcional y social, la exaltación de la cualidad virtual de la urbanidad, la publicidad y la arquitectura escenográfica.

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11

Congdon, Kristin G., John Michael Vlach und Simon J. Bronner. „Folk Art and Art Worlds“. Journal of American Folklore 100, Nr. 397 (Juli 1987): 355. http://dx.doi.org/10.2307/540347.

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12

Ajayi, Joseph Babatunde. „Importance of Art Museum and its Influence on Behavioral Intention of Visitors“. Advances in Multidisciplinary & Scientific Research Journal Publications 12 (2024): 2–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3x.

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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 2, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3x

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13

Ajayi, Joseph Babatunde. „Importance of Art Museum and its Influence on Behavioral Intention of Visitors“. Advances in Multidisciplinary and scientific Research Journal Publication 12 (2024): 23–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3.

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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 1, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3

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14

Carrier, David. „New York Art, Pittsburgh Art, Art1“. Journal of Aesthetic Education 37, Nr. 3 (2003): 99. http://dx.doi.org/10.2307/3527306.

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15

Marner, Anders, und Hans Örtegren. „Education through digital art about art“. International Journal of Education Through Art 10, Nr. 1 (01.03.2014): 41–54. http://dx.doi.org/10.1386/eta.10.1.41_1.

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16

Gibson, Robyn. „Primary-age children's attitudes to art, art making and art education“. International Journal of Education Through Art 4, Nr. 2 (01.12.2008): 177–93. http://dx.doi.org/10.1386/eta.4.2.177_1.

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17

Macken, Megan E. „An overview of recent digital humanities initiatives in US art libraries“. Art Libraries Journal 46, Nr. 2 (April 2021): 51–56. http://dx.doi.org/10.1017/alj.2021.5.

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As producers and mediators of digital resources, art librarians frequently interact with the digital humanities in a broad sense. In the following brief overview of recent DH work undertaken in US art libraries, engagement with digital humanities is evidenced by the development of open access projects, the creation of linked data sets and the innovative sharing of art and archive collections to support digital pedagogy. Related activities of the Art Libraries Society of North America (ARLIS/NA), its Digital Humanities SIG and the ARLIS/NA in the Humanities Commons are also discussed.

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18

Pocius, Gerald L. „Art“. Journal of American Folklore 108, Nr. 430 (1995): 413. http://dx.doi.org/10.2307/541654.

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19

Griffith, Daniel A. „A Spatial Analysis of Selected Art: a GIScience-Humanities Interface“. International Journal of Humanities and Arts Computing 14, Nr. 1-2 (März 2020): 154–75. http://dx.doi.org/10.3366/ijhac.2020.0250.

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This exposition presents little-known connections between geography, through geographic information systems (GISs), mathematics, through matrix algebra, and art, through paintings and images, adding to the geo-humanities, spatial humanities, and humanistic mathematics literature. To this end, findings summarized for spatial statistical analyses of selected Susie Rosmarin paintings (which are reminiscent of visualizations of certain mathematical quantities known as eigenvectors), remotely sensed images that have appeared in art exhibits, and selected famous paintings by historically renowned artists reveal that spatial autocorrelation constitutes a fundamental element of art. These analyses extend the tradition of visualizing fractals as art, and interfacing cartography with art. This paper promotes analytical art, and establishes additional commonalities for GIScience, mathematics, and art.

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20

Spica, Inese, Baiba Berzina, Ernests Spics, Rozite Katrina Spica und Peteris Ponnis. „Intellectual Capital of Humanities and Art Sciences and the Efficiency of its Formation at Scientific Institutions“. European Conference on Knowledge Management 24, Nr. 2 (05.09.2023): 1246–54. http://dx.doi.org/10.34190/eckm.24.2.1695.

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In the present situation of the formation of intellectual capital (IC) of humanities and art sciences at scientific institutions (SIs) in Latvia, the theme of the research is highly topical. The object of the research is the formation of IC of humanities and art sciences at SIs while the subject of the research is the comparative analysis of the efficiency of the involvement of academic staff and students in the formation of IC of humanities and art sciences at SIs of Latvia. The objective of the research is to study the involvement of academic staff and students in the formation of IC of humanities and art sciences at SIs in Latvia in the period from 2013 to 2018. The followingtasks were determined to reach the objective: to study the formation of IC of humanities and art sciences at SIs; to identify the concept of the efficiency of the involvement of academic staff and students in the formation of IC of humanities and art sciences; to calculate main indicators thereof, and, to carry out the comparative analysis of indicators characterising the efficiency of the involvement of academic staff and students in the formation of IC of humanities and art sciences at SIs in Latvia. Research methods used in the paper are content analysis, economic analysis ,and economic experiment.

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21

Okhee Jeong. „Teaching Art as One of the Humanities“. Journal of Research in Art Education 15, Nr. 2 (Juni 2014): 71–98. http://dx.doi.org/10.20977/kkosea.2014.15.2.71.

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22

Castaneda, I. „Visual Culture, Art History and the Humanities“. Arts and Humanities in Higher Education 8, Nr. 1 (01.02.2009): 41–55. http://dx.doi.org/10.1177/1474022208098301.

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23

BATTAGLIA, DEBBORA. „The Art of Kula:The Art of Kula“. Visual Anthropology Review 20, Nr. 2 (September 2004): 98–99. http://dx.doi.org/10.1525/var.2004.20.2.98.

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24

Spratt, Frederick. „Art Production in Discipline-Based Art Education“. Journal of Aesthetic Education 21, Nr. 2 (1987): 197. http://dx.doi.org/10.2307/3332749.

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25

Stinespring, John A. „Discipline-Based Art Education and Art Criticism“. Journal of Aesthetic Education 26, Nr. 3 (1992): 106. http://dx.doi.org/10.2307/3333019.

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26

DUSSART, FRANÇOISE. „The Art of Narritjin:The Art of Narritjin“. American Anthropologist 109, Nr. 2 (Juni 2007): 363–64. http://dx.doi.org/10.1525/aa.2007.109.2.363.

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27

Lafrenz. „Art across Cultures and Art by Appropriation“. Journal of Aesthetic Education 54, Nr. 2 (2020): 1. http://dx.doi.org/10.5406/jaesteduc.54.2.0001.

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28

Tirohl, Blu. „@art electronic gallery http://gertrude.art.uiuc.edu/@art/gallery.html“. Convergence: The International Journal of Research into New Media Technologies 1, Nr. 1 (März 1995): 133–34. http://dx.doi.org/10.1177/135485659500100114.

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29

Khrenov, Nicolai A. „Modern art history as a human science in a situation of cultural turn“. Journal of Flm Arts and Film Studies 11, Nr. 1 (15.03.2019): 82–98. http://dx.doi.org/10.17816/vgik11182-98.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Khrenov, Nicolai A. „Modern art history as a human science in a situation of cultural turn“. Journal of Flm Arts and Film Studies 11, Nr. 2 (15.06.2019): 102–15. http://dx.doi.org/10.17816/vgik112102-115.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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31

Khrenov, Nikolai A. „Modern art history as a human science in a situation of cultural turn“. Journal of Flm Arts and Film Studies 11, Nr. 3 (13.11.2019): 94–106. http://dx.doi.org/10.17816/vgik11394-106.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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32

Khrenov, Nikolay. „Modern Art History As a Human Science in a Situation of Cultural Turn“. Journal of Flm Arts and Film Studies 11, Nr. 4 (30.12.2019): 98–113. http://dx.doi.org/10.17816/vgik11498-113.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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33

Wolford, John B., Deborah Bailey und Lisa Higgins. „Work Is Art and Art Is Work: The Art of Handcrafted Instruments“. Journal of American Folklore 122, Nr. 483 (01.01.2009): 97. http://dx.doi.org/10.2307/20487655.

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34

Roldan, Joaquin, Rocio Lara‐Osuna und Antonio Gonzalez‐Torre. „The Project ‘Art for Learning Art’ in Contemporary Art Museums“. International Journal of Art & Design Education 38, Nr. 3 (August 2019): 572–82. http://dx.doi.org/10.1111/jade.12245.

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35

Azatyan, Vardan, Frederic J. Schwartz, T. J. Clark, Sami Khatib, Miško Šuvaković und Ursula Frohne. „Art and Scholarship in Moments of Historical Danger“. ARTMargins 10, Nr. 3 (Oktober 2021): 159–90. http://dx.doi.org/10.1162/artm_a_00304.

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Abstract Consider the nature and function of art and art historical scholarship in the present: Is there still a line—even fine or porous—securing the fragile autonomy of the arts and humanities from commodification in late capitalism? Can art still serve as a negative and critical mirror for reality under the seemingly complete commodification and technological mediation of social life? Is there any real need for art and art historical scholarship even to exist today? Can the arts and humanities serve an emancipatory social agenda, and, if so, how? What role might the humanist ideals once shared by liberals and communists play in the reformulation of art and scholarship today?

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36

Förster, Yvonne. „Art and Technology“. Yearbook for Eastern and Western Philosophy 2018, Nr. 3 (27.05.2019): 122–34. http://dx.doi.org/10.1515/yewph-2018-0009.

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AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds.

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37

Farrer, Claire R., und Nancy J. Parezo. „Navajo Sandpainting: From Religious Act to Commercial Art“. Journal of American Folklore 98, Nr. 388 (April 1985): 218. http://dx.doi.org/10.2307/540448.

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38

Roscoe, Paul, und Nicholas Thomas. „Oceanic Art“. Journal of the Royal Anthropological Institute 2, Nr. 4 (Dezember 1996): 731. http://dx.doi.org/10.2307/3034316.

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39

Blocker, H. Gene. „Interpreting Art“. Journal of Aesthetic Education 24, Nr. 3 (1990): 29. http://dx.doi.org/10.2307/3332797.

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40

Noël Carroll. „Art Appreciation“. Journal of Aesthetic Education 50, Nr. 4 (2016): 1. http://dx.doi.org/10.5406/jaesteduc.50.4.0001.

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41

Clark, Gilbert A., Michael D. Day und W. Dwaine Greer. „Discipline-Based Art Education: Becoming Students of Art“. Journal of Aesthetic Education 21, Nr. 2 (1987): 129. http://dx.doi.org/10.2307/3332748.

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42

Stone, Denise Lauzier. „Preservice Art Education and Learning in Art Museums“. Journal of Aesthetic Education 30, Nr. 3 (1996): 83. http://dx.doi.org/10.2307/3333323.

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43

McKeon, Penny. „The Sense of Art History in Art Education“. Journal of Aesthetic Education 36, Nr. 2 (2002): 98. http://dx.doi.org/10.2307/3333760.

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44

Tapley, Erin. „Art Apart: A Colony Model For Art Education“. Teaching Artist Journal 2, Nr. 1 (Januar 2004): 20–24. http://dx.doi.org/10.1207/s1541180xtaj0201_4.

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45

Sparkes, B. „Review. Etruscan art. World of art. Nigel Spivey“. Greece and Rome 45, Nr. 2 (01.10.1998): 229. http://dx.doi.org/10.1093/gr/45.2.229.

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46

Martland, T. R. „Not Art and Play, Mind You, nor Art and Games, but Art and Sports“. Journal of Aesthetic Education 19, Nr. 3 (1985): 65. http://dx.doi.org/10.2307/3332644.

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Rosetti, Leah Natalie. „Medicine and the Art of Seeing“. University of Ottawa Journal of Medicine 6, Nr. 1 (11.05.2016): 56–57. http://dx.doi.org/10.18192/uojm.v6i1.1309.

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Annotation:

This Humanities in Medicine article is an examination of the use of formal fine arts training in medical curricula to enhance diagnostic skills. A great amount can be discerned about pathology and pathophysiology using visual cues. Conventional medical education stresses the importance of physical diagnostic skills but often omits explicit teaching on how to methodically observe for information that could be useful for diagnosis. The current curriculum could be greatly complimented by the study of fine arts, which deals directly with the careful observation, description, and interpretation of the visual world. Cet article sur la médecine et les humanités est un aperçu sur la pertinence d’incorporer une formation formelle des beaux-arts dans le curriculum médical afin d’optimiser l’habileté des cliniciens à poser un bon diagnostic. L’utilisation de repères visuels est d’une grande utilité pour discerner la pathologie et la physiopathologie de différentes maladies. L’éducation médicale conventionnelle souligne l’importance de l’examen physique lorsqu’on doit poser un diagnostic, mais néglige parfois l’enseignement d’une approche méthodique qui utilise activement l’observation afin de repérer des informations qui pourraient être très utiles dans le diagnostic d’un patient. Le curriculum actuel pourrait très bien incorporer l’étude des beaux-arts, car celle-ci implique une observation, une description et une interprétation du monde visuel qui nous entoure.

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Burns, Janet M. C. „Engagement and Art: Luis Merino and Art as Praxis“. International Journal of the Humanities: Annual Review 3, Nr. 5 (2006): 196–221. http://dx.doi.org/10.18848/1447-9508/cgp/v03i05/41678.

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49

Hirsch, Callie Danae. „Art Essay“. Feminist Studies 31, Nr. 3 (01.10.2005): 604. http://dx.doi.org/10.2307/20459052.

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Lutfi, Huda. „Art Essay“. Feminist Studies 27, Nr. 1 (2001): 114. http://dx.doi.org/10.2307/3178452.

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