Zeitschriftenartikel zum Thema „Print and Picture Collection“

The presented article begins a new scientific project of the Book Chamber of Ukraine, dedicated to the formation of print collections. This intelligence raises the problem of the collection, processing and content analysis of the materials of the pictorial (poster) fund of the State Print Archive. Relying on the theoretical principles of domestic archival science in the matter of compilation of archival collections, the author proposes to adhere to a system of rules that provides for comprehensiveness, complexity, clear classification, definition of main and secondary features, creation of favorable conditions for storage and replenishment of collection expositions, provision of technical (compilation of descriptions) and scientific (research work) processing of archival collection materials. The purpose of the presented author's intelligence is to study the problem of creating thematic collections on the basis of the visual (poster) fund of the State Print Archive of the Book Chamber of Ukraine. Taking into account the peculiarities of the functioning of the only archive of prints in Ukraine, which involves the compilation of chronological databases for all types of printed products of Ukraine, the basis of the creation of collections, according to the author, should be historical-epochal, historical-plot, historical-industry and historically-personalized approaches. The author also does not rule out that, based on the content capabilities of visual prints, in the organization of collections based on them, it is possible to focus on the parameters of the theory of fine art, in particular, genres, styles, manners of execution, materials, tools, etc. The author proposes to create collections of pictorial (poster) prints that would reflect the key positions of the functioning of Ukraine, namely: "Industry", "Agriculture", "Social and political life", "Social and economic life", "Culture of Ukraine: science, education, literature, art, sports". The article provides examples of the development of annual collection expositions of poster products of Ukraine.

John Cotton Dana, who died in 1929, had been Librarian of the Newark Public Library since 1902. Among many other achievements, he was responsible for the development of remarkable art collections in the Library, including a collection of prints, and of a Picture Collection of visual images; the programme of art exhibitions he organised in the Library led to the founding of the Newark Museum. The collections Dana initiated continued to grow after his death, guided by his inspiration: they are of regional and even national importance and, via library networking, serve the whole state of New Jersey; the scope of the print collection has been extended to include several categories of printed ephemera, including shopping bags.

The Regional Museum of Toruń has in its Far East Collection a woodblock print – a portrait of kabuki actor Matsumoto Kōshirō V by Utagawa Kunisada. This print falls into the shini-e (“death print”) category, commemorating the death of an actor, artist, or musician. The vast majority of shini-e depicted actors. Typical shini-e portrayed memorialized persons in blue court robes called shini sōzoku (“death dresses”) or ceremonial attire called mizu kamishimo. Many of these prints included the dates of death, age, posthumous Buddhist name (kaimyō), and temple burial site, while some had death poems (jisei) by the deceased or memorial poems written by family, friends, colleagues, or fans. A term used at least by the 1850s. The first datable single-sheet shini-e were probably issued in the 1790s, although ehon (“picture books”) commemorating the deaths of celebrated actors appeared as early as 1709, and more regularly by the 1770s. The shini-e genre appears to have nearly disappeared by the beginning of the 20th century and with the rise of other media such as photography and lithography, shini-e were no longer viable options for memorializing actors and artists. Only a small handful of examples are known from the 1910s–1920s. Matsumoto Kōshirō V was the one of many kabuki actors, who were display on shini-e. Besides actors, the ukiyo-e artist where also portrayed on commemorate prints.

In Black Words White Page (2004), his seminal study of Aboriginal cultural production in Australia, Adam Shoemaker notes that ‘when Oodgeroo Noonuccal’s first collection of poetry appeared in print in 1964, a new phase of cultural communication began in Australia’ (2004, p. 5). The ‘new phase’ to which Shoemaker refers pertains to the many plays, collections of poetry and novels by Aboriginal authors published between 1964 and 1988 and directed to Australian and international audiences. Flying under the radar of scholarly attention, Aboriginal authors and artists also produced significant numbers of children’s books during this time, including Wilf Reeves and Olga Miller’s The Legends of Moonie Jarl, published by Jacaranda Press in 1964 (see O’Conor 2007), Oodgeroo Noonuccal’s Stradbroke Dreamtime (1972), and the picture books of Dick Roughsey and many other Aboriginal authors and artists (see Bradford 2001, pp. 159-90).

The purpose of this study is to describe a precise, detailed and in-depth understanding of the implicature in the campaign discourse in the 2019 legislative elections. The research method is a descriptive method. The data collection techniques of this research are, (1) collecting political discourse of the Legislative Candidates in print media such as advertisements, billboards, leaflets, banners, posters displayed on the roadside and public places, (2) reading political discourse in the media print such as advertisements, billboards, leaflets, banners, posters as a whole to get a general picture, (3) reread political discourse in print media such as advertisements, billboards, leaflets, banners, posters as well as mark the parts contained implicature, (4) collect the marked part into the data list. Data analysis techniques are (1) the data that has been identified and then classified based on the form of the implicature, (2) describes the data that has been classified, (3) the implicature data that has been described is then analyzed, (4) based on the results of the implicature analysis then provides interpretation, (5) ) draw conclusions of research. Based on the results of research and discussion on the language implicatures in the 2019 legislative election campaign discourse, it can be concluded that the implications in the 2019 legislative election campaign discourse found 36 data that include (1) conventional implications, 19 data found and (2) conversational / nonconventional implications found, 36 implicative data including (1) conventional implications, 19 data and (2) conversational / nonconventional implications; as many as 17 data. The dominant implicature that was found was conventional data as much as 19 data. The implication used by campaigners in attracting the attention of the public to choose them by means of speech is delivered in a certain setting and purpose, the information said tends to be different from what is intended. Keywords: Implicature, Campaign Discourse, Legislative Elections

In 1999 a group of nineteenth-century glass negatives were transferred to the Rijksmuseum from the University of Leiden’s Print Room. The negatives came from the estate of the Dutch artist Laurens Lodewijk Kleijn (1826-1909), who also made them. Kleijn lived in Rome between 1851 and 1868, became interested in photography and began to experiment with the medium. While he was in Italy, he came into contact with Princess Marianne, who awarded him a number of commissions. He also looked after her sizeable collection, first in Rome, later in her museum in Erbach. As the curator, Kleijn photographed part of the collection and the museum’s interior. These photographs were used for a museum catalogue and for picture postcards. The Rijksmuseum’s glass negatives show a variety of artworks from the princess’s collection. There are more experimental shots, too, family photographs and portraits, and photographs of paintings by Kleijn and of his studio. Thanks to the surviving glass negatives – and the artist’s estate as a whole – it was possible to reconstruct his interesting life story and take a fresh look at the history of photography.

The purpose of this research is to analyze the promotion strategy through advertising media at Desa Wisata Kubu Gadang Kota Padang Panjang view from 3 indicator: print media, electronic media, outdoor media. The research is a descriptive qualitative with survey method. Determination of informant using purposive sampling and snowball sampling. The purposive sampling technique involving 2 informant from tourism govermant and 2 informant from desa wisata Kubu Gadang Kota Padang Panjang manager then snowball sampling technique involving 3 informant from desa wisata Kubu Gadang Kota Padang Panjang visitor. Technique of collecting data is done by interview, observation, and documentation. The results of this study indicate that: 1) the strength of promotion advertising are: news paper easy to get, the picture quality on brochure have a good and interesting, radio can be heard anywhere, television give information through sound and picture, desa wisata Kubu Gadang also have a website and a big billboard with a perfect lighting. 2) the weakness of promotion advertising are: there was no promotion through a brochure, there was no update on the Kubu Gadang’s website, the billboard was vulnerable of damage. 3) the opportunities of promotion advertising are: there are many people who still interest to read the newspaper and brochure, there are many people who interest of internet using, many people can see the outdoor media as if billboard and baliho. 4) the threats of promotion advertising are: there are competitor through print media, television and outdoor media. The conclusion of The promotion strategy through advertising media at Desa Wisata Kubu Gadang Kota Padang Panjang is 1) making use of print media for promotion, 2) to increase the promotion thourgh radio, television and website/internet, 3) making advertising through outdoor media as if billboard and baliho.

Sarojini Naidu (1879–1949), the English-language Indian poetess and politician, appears before the viewer in the frontispieces to her first two collections of poetry, The Golden Threshold (1905) and The Bird of Time: Songs of Life, Death and the Spring (1912). She presents herself in print, as in her oratory, as both a figure of nineteenth-century verse culture and a cosmopolitan nationalist. The Golden Threshold includes a now well-known introduction by Arthur Symons and a sketch of a young Naidu by J. B. Yeats (father of W. B. Yeats). [See Figure 1.] Arrayed in a voluminous and ruffled white dress, distinctly “Western” in style, with hands clasped together, Naidu's youthful yet grave face stares directly at the viewer. She appears here as a precocious, prepubescent Victorian poetess captured within a private setting. Yet when this volume was published in 1905, the picture, drawn during Naidu's sojourn in England in the mid-1890s when much of the poetry included in the collection was composed, must have been almost a decade old. The only sign of racial difference in the sketch is her lightly shaded skin and dark hair. The blurred sketch echoes Naidu's own ambiguous position at this time: she is neither wholly Indian nor wholly English, and she navigates uneasily between the roles of naïve student of poetry and accomplished poetess.

While scholarly treatments of extra-illustration have focused almost exclusively on the Anglo-American context, this article considers the phenomenon from a French perspective, by examining two contrasting but previously unstudied extra-illustrated copies of Rousseau’s bestselling novel Julie, ou La Nouvelle Héloïse (1761), each hosted within the large-scale Defer de Maisonneuve edition of Rousseau’s Œuvres (1793–1800). The present article compares these spectacular copies and situates them in the context of French traditions of bibliophilia and connoisseurship, thus nuancing the picture of extra-illustration, which has emerged from Anglo-American accounts, and adding a new dimension to the growing field of work on the iconography surrounding Julie. The two copies, held by the British Library (London, United Kingdom) and Bayerische Staatsbibliothek (Munich, Germany), contain multiple artists’ series of illustrations and individual prints depicting scenes from Julie originally intended for other editions. Each thus provides an intricate choreography of visual readings and configures new connections and possibilities for the reader/viewer, while breaking up the traditional relationship between text and image typically found in eighteenth-century illustrated editions. In their very different scale and presentation of prints (number, size, type, arrangement and binding), they suggest highly divergent practices of collecting, displaying and viewing/reading, inclining variously more to the arts of the book and literary culture in one case, or towards print connoisseurship in the other.

This book-science study focuses on chapbooks, the development of research on this specific cultural phenomenon and the related collection activities, presented by the example of the collection of chapbooks housed in the Museum of the Jindřichův Hradec Region. Chapbooks have already been of scientific and collecting interest since the end of the 19th century. Extensive projects have recently been prepared with the aim of processing and providing access to the collections of memory and academic institutions. Bibliologically, a chapbook is defined as a small multi-page print, usually in octavo, duodecimo or sextodecimo (exceptionally trigesimo-secundo) format, which contained a lyric or epic text in poetry or prose with a religious or secular theme, was created with an emphasis on the commercial aspect and was primarily to make profit for the author, the printer (through the use of economical printing methods) as well as the seller (through the number of the printed copies sold). In 2021, the collection of chapbooks, which is part of the holdings of the Museum of the Jindřichův Hradec Region, contains almost 4,400 inventory numbers. The collection was established in the 1930s, and further large acquisitions were made in the 1990s from the literary estate of the Landfras family of printers from Jindřichův Hradec. The collection is dominated by prints from the Jindřichův Hradec printing works, comprising more than half of the collection; a rather large set is formed by the production of Prague printing workshops (14%); smaller sets come from printing workshops in Vienna, Chrudim and Jihlava. The earliest prints in the collection are Píseň o moci, divích a zázracích sv. Škapulíře [A Song about the Power, Wonders and Miracles of the Holy Scapular] (Hradec Králové 1725) and Dvě písničky nové velmi pěkné o svaté Anně [Two Very Nice New Songs about St Anne] (Příbram 1726). The latest prints come from the 1940s, namely Zásvětná modlitba k Panně Marii [A Dedication Prayer to the Virgin Mary] (Olomouc 1940) and Píseň k sv. Janu Nepomuckému [A Song to St John of Nepomuk] (J. Hradec 1944). The study deals with the formal and content aspects of chapbooks. A comparison with extant wooden printing blocks from the inheritance of the Landfras printing works has revealed similarities in this printing decoration across printing workshops, but also the production of several apparently identical plates in one or more printing workshops especially in the 19th century. Moreover, the paper presents the changes in the decoration and form of the prints that chiefly occurred in the second half of the 19th century. In decoration, there is a clear connection with other types of printed production: in the area of secular themes with books of popular reading and in that of religious topics mainly with holy pictures, house blessings, memento mori prints and folding holy letters. There were certain analogies in their methods of production and decoration, but they were also distributed together and were among traditional means of personal devotion. The various texts printed in chapbooks (folk, popularised and artificial songs, poetry or prose texts of religious and secular content) can also be found in other printed media – in hymnals, songbooks, prayer books, books of folk reading, as well as theatrical plays, 19th-century almanacs, and periodicals. The chapbooks from the collection under study contain songs as well as other texts mostly related to religious pilgrimage in the 19th century, with the songs in them becoming ever less frequent. The chapbook production of the long 19th century is represented in the collection by a large number of chapbooks from the Landfras printing works in Jindřichův Hradec. The Landfras family, whose publishing profile emphasised religious and prayer literature primarily for rural population, concentrated the production of chapbooks in this area as well. The chapbook as a multidisciplinary phenomenon has been the subject of interdisciplinary research since the beginning of the 20th century. It has received the attention of ethnologists, librarians, book scientists and musicologists, as well as curators of collections in memory institutions. Its content and genre, hitherto studied in detail within secular broadside ballads, await evaluation by the new generation of literary scholars and cultural anthropologists in the field of religious chapbooks.

A registered trademark can offer legal safeguard for a designer's name, brand name, emblem, logo, color or combination of colors, pattern, and so on. Ukrainian designers frequently establish trademarks by registering their names, sometimes accompanied by a graphic picture. Not just the brand name and designer's name, but also other aspects can be registered as a trademark. Regrettably, securing legal protection for a certain color or color combination is a challenging task. It requires providing evidence that a particular color is strongly linked to a specific fashion brand, such as the turquoise shade of a Tiffany box or the crimson hue of a Christian Louboutin sole. Registering a trademark is an effective method for preventing the importation and production of counterfeit goods. Nevertheless, it is impractical to safeguard the complete collection from plagiarism due to the insufficient time available for registering a trademark for a newly updated collection every month (ZARA, HM, OVS). Representatives of the Ukrainian fashion industry prioritize safeguarding their brands over safeguarding intellectual property rights for the models they produce. On one side, this scenario is justifiable, as Ukrainian designers hardly infringe upon the law, unlike worldwide companies. It is recommended to register an industrial design when a designer makes a distinctive model, technology, or print. The future of trademark protection lies in artificial intelligence. The verdict delivered on 8 February 2023 in the MetaBirkin case carries favorable consequences for the fashion industry and trademark proprietors at large. However, it is crucial to acknowledge that in this specific instance, the unauthorized utilization of the trademark was unequivocally acknowledged. Hermes has effectively shown its deliberate plan to enter the intangible assets market prior to the disputed circumstances. Therefore, trademark owners who encounter challenges in presenting proof of premeditated intention to participate in the non-traditional technology market should implement all essential procedures and regulations to safeguard their brand rights in the meta­network and other domains. Expanding trademark registration to encompass the sale of NFTs and digital goods in general is of utmost importance. Given that the fashion industry and its protection are developing at a rapid pace, the following problems arise in Ukraine in this area related to the protection of intellectual property rights in Ukraine: illegal use, theft or counterfeiting of works, patents, trademarks and other objects intellectual property; length of court cases combined with distrust of mediation; piracy and smuggling. Therefore, certain elements used in each collection, such as the trademark or designer print on the fabric, are legally protected.

Purpose The access to the rare originals of the early Spanish colonial imprints of the Philippines remains problematic. The reference librarians often are restricted to directing the students and scholars to the secondary resources that are available both in print and as a part of the digital assets within the North American academic libraries. This paper aims to focus on the select primary source editions including select Spanish language colonial imprints that are available electronically on the Web along the Open Access. These Web-based resources serve as the reference tools for the early history of the Philippines and Southeast Asia. As many of these publications are rare and extremely expensive for most libraries, the Open Access resources serve as an aid to building a virtual collection of these items. Design/methodology/approach The author had to create a data set of the early imprints of the Spanish Philippines using several bibliographic resources. The data set will be submitted as an Appendix for this research paper. The author did both qualitative and quantitative analysis of the data set along with the voyant-based digital humanities approach for topic modeling. Findings The goals of this paper were to not only survey the early Spanish printing of the Philippines but also provide the reader with a somewhat complete picture of how the printing began in the Spanish Philippines, what kind of the first books were printed and how one can access them given their rarity and fragility. The collection building paradigms are undergoing significant shifts, and the focus of many academic libraries is shifting toward providing access to these items. As these items high-value low-use items continue to be part of the Special Collections, the access to these is problematic. The virtual collections thus serve as a viable alternative that enables further research and access. While the creators of these works are long gone, the legacy of the Spanish colonial domination, printing and the religious orders in the Philippines remain alive through these works. Research limitations/implications As this is an introductory paper, the author focused on the critical editions rather than providing a comprehensive bibliographic landscape of the presses that produced these editions. He also did not take into consideration many pamphlets that were published in the same period. He also did not consider the Chinese language publications of the Islands. The Chinese had been block printing since medieval times (Little, 1996). In the context of the Spanish Philippines, the Chinese migration and trade have been studied in detail by Chia (2006), Bjork (1998) and Gebhardt (2017). The scope of this paper also was centered toward building a virtual collection of these rare books. Practical implications Rare books are often expensive and out-of-reach for many libraries; the virtual collection of the same along the Open Access model represents an alternative to collect and curate these collections. The stewardship of these collections also acquires a new meaning in the digital milieu. Social implications This research paper will allow scholars to see past the analog editions and help them focus on curating a virtual collection. The questions of electronic access are often ignored when it comes to visiting and using them in a controlled environment of the reading room in the Special Collections. The author argues that one way to enable access to these rare and expensive books is to provide access to their digital counterparts. These digital/virtual surrogates of the originals will facilitate further research. Originality/value The author could not find similar research on the publications of the early Spanish colony of the Philippines.

A Review of: Švab, K. & Žumer, M. (2015). The value of a library catalog for selecting children's picture books. Cataloging & Classification Quarterly, 53(7), 717-737. doi: 10.1080/01639374.2015.1044059 Objective – To determine how parents select picture books for their children, and which bibliographic data are important when selecting a specific version of a title with multiple interpretations. Design – Qualitative, with interviews and task-based controlled observational studies. Setting – A public library in Slovenia. Subjects – 36 parents of children between one and 6 years of age. Methods – The researchers recruited parents via convenience sampling in non-library, family-oriented locations (parks, playgrounds, beaches, and others). Participants were all interviewed regarding their methods of picture book selection and their use of library catalogues. Participants were then given six print bibliographic records for copies of Cinderella, available in libraries, and asked to select a book for their child based solely on these records. They were then presented with their selection and interviewed regarding their satisfaction with the book selected and their decision-making process. Finally, the researchers presented participants with all six physical copies of the book that had been represented by bibliographic records, and asked participants to select one of the books for their child. The researchers then interviewed participants regarding what information about the physical books should be included in records to assist in their decision-making. Main Results – Interviews indicated that the majority of participants did not use the library catalogue to select books for their children, and did not expect librarian or bookseller assistance. Many participants expressed browsing behaviours as the primary method of obtaining new picture books, and the strongest criteria for picture book selection among participants were subjective judgements regarding illustrations and content. However, when asked to use just bibliographic records to select a version of Cinderella, most participants selected a title using the author field and year of publication. 67% of participants were then dissatisfied with their selection due to factors such as illustration type, font size, and length or complexity of text. When choosing from all six physical copies, most participants disregarded condition issues and selected the oldest edition, favouring its colourful illustrations and textual length. Conclusions – The authors concluded that illustrations and book content were more important than other factors, including physical condition of the book, and that existing library catalogues were inadequate for picture book selection. They suggested that library catalogues should include further information about picture books, such as cover images, sample pages, book condition, and information about the type of text (whether it is the original, abridged, or an adaptation). They supported this by explaining that participants used the bibliographic fields already available (author, year of publication) to try and guess at what they actually considered important (the aforementioned suggested fields). In addition, they believed that their study indicated that users require a transparent and systematic way to review and compare versions of a given text. Finally, the authors recommended further study using enriched bibliographic records and additional data collection methods, such as focus groups and questionnaires. The authors have several further studies in this area planned.

This method article presents the nuts and bolts of an AI-enabled approach to extracting and analyzing social media data. The method is based on our previous rapidly cited COVID-19 research publication, working on a dataset of more than 14,000 news articles from Vietnamese newspapers, to provide a comprehensive picture of how Vietnam has been responding to this unprecedented pandemic. This same method is behind our IUCN-supported research regarding the social aspects of environmental protection missions, now appearing in print in Wiley’s Corporate Social Responsibility and Environmental Management. Homemade AI-enabled software was the backbone of the study. The software has provided a fast and automatic approach in collecting and analyzing social data. Moreover, the tool also allows manually sorting the data, AI-generated word tokenizing in the Vietnamese language, and powerful visualization. The method hopes to provide an effective but low-cost method for social scientists to gather a massive amount of data and analyze them in a short amount of time.

The article considers denotative nominative classification of English ideonyms. One thousand English ideonyms selected according to the frequency of use in print and electronic media have provided the material for this research. The topical problems of ideonymics incude establishment of denotative nominative systematization of the relevant proprietary units, which involves their grouping according to the type of the named objects. The denotative nominative classification of ideonyms embraces four divisions: artionyms, i.e. proper names of works of art, which are further divided into imagionyms, sсeneonyms, musiconyms and filmonyms; biblionyms that cover proper names of all written and verbal texts as well as their series and collections; gemeronyms, i.e. proper names of the media, which are divided into pressonyms and electronyms according to the method of transmitting the information and include both radio and television programs of exclusively informational nature rather than those of entertaining or educational character; computeronyms, which absorb all proper names designed to designate different types of computer programs. The poetonymic sphere is understood as a collection of onyms in artistic texts creating a complex and harmonious system existing in any artistic work as a result of their interrelations. This concerns not only literary works but also those in cinematography, computer art, etc., since proper names act in each of them as components of the virtual picture of the world, thus enabling to refer to the existence of not only the poetonymic sphere, but also the virtualonymosphere. Therefore, it can be concluded that ideonyms can be divided into four classes by their correlation with denotate, namely artionyms, biblionyms, gemeronyms and computeronyms, subject to further specification. Separate terms have been created for ideonyms of the first and second specification levels whereas descriptive terminology is applied for further subdivisions. Each of the analyzed divisions has its own specific functioning, both structural and semantic, which makes further intvestigation in this direction relevant.

Although the idea of lending works of art originated in Germany in 1885, the first library to actually do so was that of Newark, U.S.A., through the initiative of John Cotton Dana in 1903-4. Other countries followed suit - Britain before the end of the Second World War, Scandinavia by the late 1950s, and France, where in recent years over 30 picture libraries have been established with state support under Mitterand’s Minister for Culture, Jack Lang.While in East Germany there are over 100 picture libraries lending mainly reproductions, in West Germany there are 61, lending exclusively original works. The Graphotek in Bremen Public Library is the third largest of these, and all citizens over 16 can borrow from its collection of over 2,200 works for eight weeks at a time, choosing either directly or, at any of the six branch libraries, from colour slides and catalogues.The Bremen Graphotek has set out to build up a representative collection of German and international art from all periods, with special emphasis on contemporary art; prints make up the greater part of the collection, and reproductions are excluded. 720 artists are represented; 50% of funding is reserved for Bremen artists. Over 33,000 loans have been made in the Graphotek’s first ten years, with 75%-80% of the collection being out on loan at any given time. There has been a gradual trend towards more borrowing by schools, hospitals, etc.The Graphotek has promoted 88 exhibitions. The last of these, on the occasion of the Graphotek’s 10th anniversary, displayed work by 70 artists illustrative of new directions in art since 1970.The Graphotek also functions as a centre for information on art, artists, art galleries, etc., with reference books and art journals available for consultation.

This study aims to analyze the professional competence of teachers in improving the effectiveness of learning during distance learning at MTs Al-Jihad. The approach used in this research is qualitative research with descriptive methods. Data collection used by researchers is by interviewing the teacher, and documentation in the form of print out teaching materials compiled by the teacher. Then the data were analyzed through data presentation techniques and drawing conclusions. Test the validity of the data using tringulation and methods. The results of the study indicate that a teacher must be professional, professional, in this case the teacher's ability to plan learning, the learning process, and the teacher's ability to use learning media. As for the preparation of teachers at MTs Al-Jihad, namely by preparing print out material to be read and understood by students, then the learning process carried out at MTs Al-Jihad is by distance learning according to government recommendations, the teacher works on the material and uploads it on E -learningg, as for the learning media used by teachers at MTs Al-Jihad, namely utilizing internet media, in the form of what apps, e-learning, videos, and interesting pictures, because a teacher should be able to make the media as creative as possible so that students are interested in learning

Rice is the staple food of the people of Indonesia , especially in Riau , thus formingRice Production Enhancement Program in order to increase rice production in Riau , namelyRiau Makmur Food Operations program covering Improved Farming Index ( IP 100 - IP 200), Print new Rice and Rehabilitation Abandoned rice fields . This study aimed to evaluate theimplementation of the Programme of Food Operations Riau Makmur in the regency. Thisstudy focused on Pelalawan because considering the number of problems that occur in thefield , namely the realization of Food Operations Program Riau Makmur which is not inaccordance with the target . The research problem is how the human resources , infrastructure, program outcomes and the factors inhibiting Food Operations Riau ( OPRM ) . Based onthis background , the study aims to identify the implementation of Food Operations RiauMakmur ( OPRM ) and to identify the factors that affect the implementation of Operationinhibiting Food Riau Makmur ( OPRM ) .This research is descriptive in which researchers provide a description or picture ofthe phenomenon or social phenomena studied by describing the independent variablessystematically and accurately . Methods of data collection is done by observation andinterview . The results of this study indicate that in Pelalawan unsuccessful melaksanakaanFood Operations Program Riau Makmur ( OPRM ) seen from the indicators of humanresources , infrastructure dann inadequate results and factors - factors that influence thathuman resources are still low , inadequate infrastructure , lack of role of field workers andless active in the Coordination Node Pos district and village level .Keywords : Evaluation , OPRM , Pelalawan

Physical models of machines have played an important role in the history of engineering for teaching, analyzing, and exploring mechanical concepts. Many of these models have been replaced today by computational representations, but new rapid-prototyping (RP) technologies are now allowing reintroduction of physical models as an intuitive way to demonstrate mechanical concepts. This paper reports on the use of RP to document, preserve, reproduce, and share in three dimensions, historic machines, and mechanisms. We have reproduced several preassembled, fully functional historic mechanisms from the Cornell Collection of Reuleaux Kinematic Models, and made these available as part of a new online museum of mechanism: Not only can visitors read descriptions, view pictures and videos, and interact with simulations of machines, but they can now also download and 3D-print their own physical functional replicas. We expect that this new form of “physical” preservation will become prevalent in future archives.

„Zabawki poetyckie niektórych kawalerów (i dam) Akademiey”. Humorous works by some employees of the Scientific Library of PAU and PAN in Krakow from the 1960s, 1970s, and 1980s. Funny poems, humorous pseudo-biographies, cartoons – one may sometimes encounter them among private collections or the library and national archives resources. Written for namesday, farewell, Saint Nicolas Day or Women’s Day, they were of ephemeral nature and were quickly forgotten together with their author or recipient. As time went by, the profiles and situations were getting less and less recognisable. It is a pity, as sometimes these small pieces represented their author’s skill and contained an interesting picture of customs present in particular society. In this paper we present two such works related to the employees of Library, one written in 1967 and the other – probably – in 1982. The first one is a funny bibliography of academic and literary pieces allegedly written by them, containing references to their works, interests, sometimes real-life problems, looks or personality. In 1967, when the text was read on the occasion of Prima Aprilis, despite the efforts, the author remained unknown. Today, after more than 50 years, professor Jerzy Zdrada, a respected historian, then a dissident and minister, admitted the authorship. At that time, he was a young librarian at the Cataloguing Department. The author of the second work remains unknown. These are 23 small poems in which 23 female library employees have been described on the occasion of Women’s Day. They are also full of humour and accurate professional allusions, sometimes attempts to catch person’s traits of character. Both typescripts are currently included in our Library Manuscripts Collection. The texts have been prepared for print, the introduction written and footnotes added by Karolina Grodziska and Jerzy Zdrada. To him, as the author of the Bibliography, shall also be credited the identification of some hidden phrases as well as reminding of numerous interesting events from the history of the Library.

Preaching is one of the obligations for Muslims. There are various ways to preach or convey Islamic teachings in accordance with the Qur'an and As-Sunnah. One of them is the contemporary method, namely by using and following current technological developments, one of which is the bil-qalam media or written media such as literary works in the form of novels. One of them is the novel Second Wives by Asma Nadia and Isa Alamsyah which tells the true story of polygamous marriage and the consequences of being a second woman. In addition, there are also da'wah messages that can be used as lessons for life in the future. This study uses a qualitative research method with Roland Barthes' Semiotics approach. The source of this research data comes from primary data obtained from the print of the novel Second Wife with data collection techniques in the form of observation, collecting and documentation. The results of this study indicate that the novel Istri Second by Asma Nadia provides a clear picture both in denotation, connotation and myth about the message of da'wah contained in the novel Istri Second. da'wah message about the wisdom of a polygamous marriage and interfaith marriage. Married couples who abuse the meaning of polygamous marriage and interfaith marriage. Islam and state laws allow men to practice polygamy on the condition that they can act fairly and are able to provide for their wives and children physically and mentally. And in Islam and the law on marriage prohibits interfaith marriages because they are considered invalid. In a marriage there is a responsibility that must be carried out as a parent, namely nurturing and educating their children. Even though one day there is a divorce, the children are still the responsibility of their parents until they reach adulthood. And as children, we must obey and respect our parents because the pleasure of Allah lies in the pleasure of the parents, and the wrath of Allah lies in the wrath of the parents.

AbstractA South Netherlandish panel in the collection of the Ringling Museum of Art, Sarasota, painted around 1475-85, can be identified as one of the few surviving fifteenth-century justice pictures. Bruyn succeeded in tracing the painting's enigmatic iconography to a mediaeval 'exemplum', The King's Brother Threatened with Death, in which elements from The Sword of Damocles and from the story of the trumpet of death in the legend of Barlaam and Josaphat are combined into a single history. In the Gesta Romanorum, under the heading 'De timore extremi iudicii', the tale is told of a wise and righteous king who threatens to have his frivolous brother executed as a means of demonstrating his own state of mind: the thought of the Last Judgement makes it impossible for him to abandon himself to the pleasures of earthly life. In written sources this 'exemplum' is often associated with 'righteousness', becoming more closely interwoven with the practice of secular justice as time passed. In the fourteenth century, for example, it featured in a moralizing discourse on good and righteous government (the Ludus Scaccorum) and in the fifteenth century as a model of god-fearing conduct - even in a code of law (the Wetboek van Den Briel). This development corresponds closely with the literary history of other judgement scenes, such as the Judgement of Cambyses. The cited literary sources stress that judges should be filled with 'Timor Dei' as exemplified by the story of the king and his brother. The tenor of the 'exemplum' is a reminder that the secular judge will eventually have to answer for his actions to the Supreme Judge, an idea which was conveyed in town halls by representations of the Last Jugement. In view of the written tradition it is quite likely that the panel in Sarasota and two other representations of The King's Brother Threatment with Death - a drawing attributed to Lucas van Leyden and a stained-glass window - served as (designs for) a judgement picture. This interpretation is substantiated by sixteenth-century pictorial sources. In both a South German drawing and a print by Theodoor de Bry the story of the king's brother is combined with a number of familiar 'exempla iustitiae'.

The role of the Serambi Indonesia media is urgently needed to have a positive effect on increasing political education for the public as voters in general elections because the media has a strong influence in shaping one's cognition, where the media provides information and knowledge that ultimately shapes perceptions, and perceptions will influence attitudes and behavior. The Serambi Indonesia media was chosen because the media contains a lot of political news and can keep up with the times. Serambi Indonesia is one of the largest print media spread across Aceh Province. This study aims to find out the role of the Serambi Indonesia media in increasing political education among the public in the 2019 legislative elections in the Bireuen Regency. This study uses a qualitative method. Qualitative research focuses on collecting data that is descriptive and analytical on the Serambi Indonesia website, intending to uncover more specific phenomena that can provide a more in-depth picture of Indonesian Serambi media in improving political education in the 2019 legislative elections in the Biereuen Regency. With that, Serambi Indonesia provides information or political news published by Serambi Indonesia which is very important and very influential. the reader in receiving the message conveyed.

This study aims to describe the use of learning media and to find out the obstacles to using learning media in science material as a learning resource in elementary schools. This type of research is a type of qualitative research with a descriptive approach. Data collection techniques are observation, interviews and documentation. The research results obtained are the use of learning media on natural science material as a learning resource at SD BK Lekatu has utilized learning media in teaching and learning activities, especially in science material, the media is used as an intermediary in delivering material so that it is easier and the material is more quickly understood by students. The media used by the teacher in learning science material at SD BK Lekatu are: white boards, concrete objects, models or artificial media, projectors and LCDs, videos, pictures, and print media. The stages of using learning media in science material were carried out by teachers at SD BK Lekatu, starting from planning, implementing, and evaluating. Obstacles in the use of learning media in science material at SD BK Lekatu are limited media, lack of knowledge, skills, creativity, and teacher time, and teachers feel comfortable with other methods

The present search has focussed on fostering current incidents, analysing challenges the Kolkata fire victims face, and enhancing preparedness for such hazards in the last decade. This paper guides the firefighters to better manage the fire system (F.S.M.) in Greater Kolkata. The 202 fire events from the previous two decades have been analysed in Kolkata. The methodologies involved are collecting secondary data, updating previous records for 2006-2024 from print and electronic media, making time series, and applying statistical methods using EXCEL and S.P.S.S. packages. The demographic study, including hazard, vulnerability, and risk assessment (H.V.R.A.) from 2006-2023. It is a part of the investigation. G.I.S./RS with Erdas software is used to picture figures after data acquisition, georeferencing, image processing, and digitalization. The high-risk zones are in the north and south of Kolkata, and the most susceptible areas are slum houses, COVID Health care units, and old shops dealing with chemicals. Discussions focus on enhancing building houses with West Bengal municipal rules and firefighting laws of National Disaster Management Agencies, including updating and well maintaining the equipment and fire tender skills with various provisions stipulated. Suggestions for updating the fire services in Kolkata city considering records are the focus of the arena to satisfy Sustainable Development Goals-2030, such as S.D.G. 7, S.D.G. 9, S.D.G. 11, and S.D.G. 12 indirectly.

This article is a sales pitch for pictures, even though art librarians already value visual materials highly. A decade’s advances in online access at a major documentary picture provider, the Library of Congress’ Prints and Photographs Division, should encourage librarians to visit the online United States national library often, and also to offer more of their own collections through the World Wide Web. Despite the beneficial digital image navigation features introduced into the Prints & Photographs Online Catalog (PPOC), many improvements are still needed and there is a long list of desirable future developments. Reference librarians, catalogers, curators, digital conversion specialists and web designers are all invited to contribute to online reference aids as well as online catalogs, to help people succeed more often in finding pictures.

This book has thoroughly described the achievements, critiques, and challenges in the future of the Indonesian health insurance architecture. The author describes his vision of the ideal universal health coverage (UHC) for the country impeccably. His experience as a general practitioner and public health practitioner since the early days of national insurance establishment has shaped his writing style. The author opens with an introduction to the principles of health insurance, such as the aggregation of funds and insurance risks. He also describes the health insurance scheme in various countries before discussing Indonesia’s situation. The historical development of Indonesian health insurance is aptly presented. Its concepts, albeit under frequent changes are presented as though they have already manifested in architecture. Detailed programmes of the national health insurance, which is organised by BPJS Kesehatan (Badan Penyelenggara Jaminan Sosial Kesehatan) are presented with its challenges and difficulties. The frequent adjustment of fund collection and service payment scheme (e.g. the utilisation of case-based group method to replace the diagnosis-related group in service payment scheme) is also described thoroughly. Outstanding claim with a lag of payment time to the service providers is another example of the system shortcoming mentioned in this book. The author emphasises on the breadth of primary care coverage which includes government-owned primary health care centred and private general practitioners’ clinics. Regardless of the valuable information on the national insurance scheme, there is a lack of the definition and the systematic description of the “architecture” terminology. The readers might need a further picture of the dynamics of a new-born UHC system. The book seems to be directed to the general readers, yet placing more sophisticated knowledge which suitable for higher education students from health or medical discipline. This warrants further clarification on the scope of the audience and reorganises the contents accordingly. There is a potential for utilisation for educational purposes, where the chapter organisation may be modified to the number of periodic class sessions, including a chapter dedicated to changing issues and future challenges. The author has incorporated actual data, visualised in various graphs. However, the print quality is lacking so the readers might difficult to interpret them. The general population needs enticing figures, while the academic audience would prefer detailed graphics and data tabulation. In addition, there are important changes in the insurance policy between print date and this review, such as the significant change in insurance premium. This issue is quite important to be added in the future revisions. The reviewer deems the book important. The book itself has its own architecture, achievement, critiques, and challenges. Despite the effort to reach readers from the general population, the medical and health finance policy students would be the most benefited audience. This book is a good introduction to more advanced topics in the health insurance discipline, with routine revisions on dynamic changes in Indonesian healthcare insurance architecture.

AbstractThe nucleus of the collection of paintings in the Mauritshuis around 130 pictures - came from the hereditary stadholder Prince William v. It is widely believed to have become, the property of the State at the beginning of the 19th century, but how this happened is still. unclear. A hand-written notebook on this subject, compiled in 1876 by - the director Jonkheer J. K. L. de Jonge is in the archives of the Mauritshuis Note 4). On this basis a clnsor systematic and chronological investigation has been carried out into the stadholder's. property rights in respect of his collectcons and the changes these underwent between 1795 and 1816. Royal decrees and other documents of the period 1814- 16 in particular giae a clearer picture of whal look place. 0n 18 January 1795 William V (Fig. 2) left the Netherlands and fled to England. On 22 January the Dutch Republic was occupied by French armies. Since France had declared war on the stadholder, the ownership of all his propergy in the Netherlands, passed to France, in accordance with the laws of war of the time. His famous art collections on the Builerth of in. The Hague were taken to Paris, but the remaining art objects, distributed over his various houses, remained in the Netherlands. On 16 May 1795 the French concluded a treaty with the Batavian Republic, recognizing it as an independent power. All the properties of William v in the Netehrlands but not those taken to France, were made over to the Republic (Note 14), which proceeded to sell objects from the collections, at least seven sales taking place until 1798 (Note 15). A plan was then evolved to bring the remaining treasures together in a museum in emulation of the French. On the initiative of J. A. Gogel, the Nationale Konst-Galerij', the first national museum in the .Netherlands, was estahlished in The Hague and opened to the public on ,31 May 1800. Nothing was ever sold from lhe former stadholder's library and in 1798 a Nationale Bibliotheek was founded as well. In 1796, quite soon after the French had carried off the Stadholder, possessions to Paris or made them over to the Batavian Republic, indemnification was already mentioned (Note 19). However, only in the Trealy of Amiens of 180 and a subaequent agreement, between France ararl Prussia of 1 802, in which the Prince of Orarage renounced his and his heirs' rights in the Netherlands, did Prussia provide a certain compensation in the form of l.artds in Weslphalia and Swabia (Note 24) - William v left the management of these areas to the hereditary prince , who had already been involved in the problems oncerning his father's former possessions. In 1804 the Balavian Republic offered a sum of five million guilders 10 plenipotentiaries of the prince as compensation for the sequestrated titles and goods, including furniture, paintings, books and rarities'. This was accepted (Notes 27, 28), but the agreement was never carried out as the Batavian Republic failed to ratify the payment. In the meantime the Nationale Bibliolkeek and the Nationale Konst-Galerij had begun to develop, albeit at first on a small scale. The advent of Louis Napoleon as King of Hollarad in 1806 brought great changes. He made a start on a structured art policy. In 1806 the library, now called `Royal', was moved to the Mauritshuis and in 1808 the collectiorts in The Hague were transferred to Amsterdam, where a Koninklijk Museum was founded, which was housed in the former town hall. This collection was subsequertly to remain in Amsterdam, forming the nucleus of the later Rijksmuseum. The library too was intended to be transferred to Amsterdam, but this never happened and it remained in the Mauritshuis until 1819. Both institutions underwent a great expansion in the period 1806-10, the library's holdings increasing from around 10,000 to over 45,000 books and objects, while the museum acquired a number of paintings, the most important being Rembrandt's Night Watch and Syndics, which were placed in the new museum by the City of Amsterdam in 1808 (Note 44). In 1810 the Netherlands was incorporated into France. In the art field there was now a complete standstill and in 1812 books and in particular prints (around 11,000 of them) were again taken from The Hague to Paris. In November 1813 the French dominion was ended and on 2 December the hereditary prince, William Frederick, was declared sovereign ruler. He was inaugurated as constitutional monarch on 30 March 1814. On January 3rd the provisional council of The Hague had already declared that the city was in (unlawful' possession of a library, a collection of paintings, prints and other objects of art and science and requested the king tot take them back. The war was over and what had been confiscated from William under the laws of war could now be given back, but this never happened. By Royal Decree of 14 January 1814 Mr. ( later Baron) A. J. C. Lampsins (Fig. I ) was commissioned to come to an understanding with the burgomaster of The Hague over this transfer, to bring out a report on the condition of the objects and to formulate a proposal on the measures to be taken (Note 48). On 17 January Lampsins submitted a memorandum on the taking over of the Library as the private property of His Royal Highness the Sovereign of the United Netherlartds'. Although Lampsins was granted the right to bear the title 'Interim Director of the Royal Library' by a Royal Decree of 9 February 1814, William I did not propose to pay The costs himself ; they were to be carried by the Home Office (Note 52). Thus he left the question of ownership undecided. On 18 April Lampsins brought out a detailed report on all the measures to be taken (Appendix IIa ) . His suggestion was that the objects, formerly belonging to the stadholder should be removed from the former royal museum, now the Rijksmuseum, in Amsterdam and to return the 'Library', as the collectiort of books, paintings and prints in The Hague was called, to the place where they had been in 1795. Once again the king's reaction was not very clear. Among other things, he said that he wanted to wait until it was known how extensive the restitution of objects from Paris would be and to consider in zvhich scholarly context the collections would best, fit (Note 54) . While the ownership of the former collections of Prince William I was thus left undecided, a ruling had already been enacted in respect of the immovable property. By the Constitution of 1814, which came into effect on 30 March, the king was granted a high income, partly to make up for the losses he had sulfered. A Royal Decree of 22 January 1815 does, however, imply that William had renounced the right to his, father's collections, for he let it be known that he had not only accepted the situation that had developed in the Netherlands since 1795, but also wished it to be continued (Note 62). The restitution of the collections carried off to France could only be considered in its entirety after the defeat of Napoleon at the Battle of Waterloo on 18 June 1815- This was no simple matter, but in the end most, though not all, of the former possessions of William V were returned to the Netherlands. What was not or could not be recovered then (inc.uding 66 paintings, for example) is still in France today (Note 71)- On 20 November 1815 127 paintings, including Paulus Potter's Young Bull (Fig. 15), made a ceremonial entry into The Hague. But on 6 October, before anything had actually been returned, it had already been stipulated by Royal Decree that the control of the objects would hence forlh be in the hands of the State (Note 72). Thus William I no longer regarded his father's collections as the private property of the House of Orange, but he did retain the right to decide on the fulure destiny of the... painting.s and objects of art and science'. For the time being the paintings were replaced in the Gallery on the Buitenhof, from which they had been removed in 1795 (Note 73). In November 1815 the natural history collection was made the property of Leiden University (Note 74), becoming the basis for the Rijksmuseum voor Natuurlijke Historie, The print collection, part of the Royal Library in The Hague, was exchanged in May 1816 for the national collectiort of coins and medals, part of the Rijksmuseum. As of 1 Jufy 1816 directors were appointed for four different institutions in The Hague, the Koninklijke Bibliotheek (with the Koninklijk Penningkabinet ) , the Koninklijk Kabinet van Schilderijen and the Yoninklijk Kabinet van Zeldzaamheden (Note 80) . From that time these institutions led independenl lives. The king continued to lake a keen interest in them and not merely in respect of collecting Their accommodation in The Hague was already too cramped in 1816. By a Royal Decree of 18 May 1819 the Hotel Huguetan, the former palace of the. crown prince on Lange Voorhout, was earmarked for the Koninklijke Bibliotheek and the Koninklijk Penningkabinet (Note 87) . while at the king's behest the Mauritshuis, which had been rented up to then, was bought by the State on 27 March 1820 and on IO July allotted to the Koninklijk Kabinet van Schilderijen and the Koninklijk Kabinet van Zeldzaamheden (Note 88). Only the Koninklijk Kabinet van Schilderijen is still in the place assigned to it by William and the collection has meanwhile become so identified with its home that it is generally known as the Mauritshui.s'. William i's most important gift was made in July 1816,just after the foundation of the four royal institutions, when he had deposited most of the objects that his father had taken first to England and later to Oranienstein in the Koninklijk Kabinet van Zeldzaamheden. The rarities (Fig. 17), curios (Fig. 18) and paintings (Fig. 19), remained there (Note 84), while the other art objects were sorted and divided between the Koninklijke Bibliotheek (the manuscripts and books) and the koninklijk Penningkabinet (the cameos and gems) (Note 85). In 1819 and 182 the king also gave the Koninklijke Bibliotheek an important part of the Nassau Library from the castle at Dillenburg. Clearly he is one of the European monarchs who in the second half of the 18th and the 19th century made their collectiorts accessible to the public, and thus laid the foundatinns of many of today's museums. But William 1 also made purchases on behalf of the institutions he had created. For the Koninklijke Bibliotheek, for example, he had the 'Tweede Historiebijbel', made in Utrecht around 1430, bought in Louvain in 1829 for 1, 134 guilders (Pigs.30,3 I, Note 92). For the Koninkijk Penningkabinet he bought a collection of 62 gems and four cameos , for ,50,000 guilders in 1819. This had belonged to the philosopher Frans Hemsterhuis, the keeper of his father's cabinet of antiquities (Note 95) . The most spectacular acquisition. for the Penninukabinet., however, was a cameo carved in onyx, a late Roman work with the Triumph of Claudius, which the king bought in 1823 for 50,000 guilders, an enormous sum in those days. The Koninklijk Kabinet van Zeldzaamhedert also received princely gifts. In 1821- the so-called doll's house of Tzar Peter was bought out of the king's special funds for 2.800 guilders (Figs.33, 34, ,Note 97) , while even in 1838, when no more money was available for art, unnecessary expenditure on luxury' the Von Siebold ethnographical collection was bought at the king's behest for over 55,000 guilders (Note 98). The Koninklijk Kabinel van Schilderyen must have been close to the hearl of the king, who regarded it as an extension of the palace (Notes 99, 100) . The old master paintings he acquzred for it are among the most important in the collection (the modern pictures, not dealt with here, were transferred to the Paviljoen Welgelegen in Haarlem in 1838, Note 104). For instance, in 1820 he bought a portrait of Johan Maurice of Nassau (Fig.35)., while in 1822, against the advice of the then director, he bought Vermeer' s View of Delft for 2,900 guilders (Fig.36, Note 105) and in 1827 it was made known, from Brussels that His Majesty had recommended the purchase of Rogier van der Weyden's Lamentation (Fig.37) . The most spectacular example of the king's love for 'his' museum, however, is the purchase in 1828 of Rembrandt's Anatomy Lesson of Dr. Nicolaes Tulp for 32,000 guilders. The director of the Rijksmuseum, C. Apostool, cortsidered this Rembrandt'sfinest painting and had already drawn attention to it in 1817, At the king'.s behest the picture, the purchase of which had been financed in part by the sale of a number of painlings from. the Rijksmuseum, was placed in the Koninklijk Kabinet van Schilderijen in The Hague. On his accession King William I had left the art objects which had become state propery after being ceded by the French to the Batavian Republic in 1795 as they were. He reclaimed the collections carried off to France as his own property, but it can be deduced from the Royal Decrees of 1815 and 1816 that it Was his wish that they should be made over to the State, including those paintings that form the nucleus of the collection in the Mauritshuis. In addition, in 1816 he handed over many art objects which his father had taken with him into exile. His son, William II, later accepted this, after having the matter investigated (Note 107 and Appendix IV). Thus William I'S munificence proves to have been much more extensive than has ever been realized.

Distance Learning during the Covid-19 pandemic that lasted almost nineteen months have brought a negative impact by decreasing students' learning motivation. By allowing the implementation of Limited Face-to-Face Learning, it is necessary to make some efforts to increase students’ learning motivation, one of them is by presenting the interesting teaching materials in the form of Student Worksheets (LKS). This research article aims to describe the PITA based Student Worksheet to improve students’ motivation in Social Studies. The PITA based Student Worksheet is Print teaching materials in the form of sheets of paper containing a summary of the material, presentation of tasks to be done and work steps, equipped with pictures and tables for easy understanding and learning. This research is a descriptive qualitative development reseach. Data collection techniques are carried out through documentation, observations, interviews with VIII grade students of SMP Negeri 3 Wadasintang related to the teaching materials used in the school. Development of PITA based Student Worksheet is structured in four stages, namely 1) analysis, 2) design, 3) development and 4) implementation. The result of this research is in the form of the PITA based Student Worksheet which is adapted to the basic competencies and learning materials. By the use of the PITA Student Worksheet, it is hoped that it can guide students in learning and applying the concepts learned in Social Studies, increase students' learning motivation.

Most Indonesian Moslems would customarily hold a particular tahlilan ceremony for the deceased family member. Throughout the ceremony, it has been a common tradition to print out a handful amount of the book of Yaseen in order to pay an homage for the deceased. This customized book will be hand out to the guests of the ceremony on every 40th, 100th day of the deceased date. The book contains not only Surah Yaseen, but there are also tahlil recites, prayers and a complete worship arrangement guides with the picture of the deceased on the cover, the full name of the deceased and the list of their close family. As you might expect, on every deceased people, there is a considerable chance of stacking book of Yaseen on every houses. The main expectation of the host of the book of Yaseen is that the guests would read it and hoping it would bring a good merit to the referred deceased person. Hence, it is not meant to be piling and stacking for granted. Another issue would be piles of worn-out papers from the book, shed out from the binding because of the weather or bugs. Therefore, this research is aimed to answer: Is there a possibility of changing the printed version of the book of Yaseen into a digital one? What are the chances and the challenges so it could fulfill the existed media today? The mixed research method will be used to deliver this research with survey as the data collecting tool and proceed with observations and documents. The conclusion of this research is the mediamorphosis of the book of Yaseen is happening and is still going.

In the current era of globalization, the media is a very effective means of communication in conveying a message in the form of information or a promotion. Information that is easily obtained from anywhere, be it via the internet or print media such as magazines. Schools as educational institutions also require means of information and promotion. Especially private companies such as MNC Vision Pictures. The purpose of this study is to improve the public to be more familiar with the events in Vision +. Currently, information activities carried out in activities to convey information and promotions that previously only used brochure media, which were considered still simple and incomplete in providing information about Vision + shows, movie shows, entertainment, talk shows and various activities in Vision +, so that visual communication media in the form of curls is needed that can help Vision + in informing and promoting MNC Vision Pictures. The research methods used are data collection, namely observation, interviews, literature studies, design concept methods, media design and SWOT analysis. This promotional advertising media is designed using Adobe Premiere Pro CC 2019, Adobe Photoshop CC 2019 software. The result of this study is the design of visual communication media in the form of advertisements. Keywords—Media, Promotion, Advertisements Dizaman era globalisasi saat ini media menjadi sarana komunikasi yang sangat efektif dalam menyampaikan sebuah pesan berupa informasi maunpun sebuah promosi. Informasi yang dengan mudah didapatkan dari mana saja baik itu via internet ataupun media cetak seperti majalah. Sekolah sebagai lembaga pendidikan juga memerlukan sarana informasi dan promosi. Terutama perusahaan swasta seperti MNC Vision Pictures. Tujuan dari penelitian ini adalah untuk meningkatkan masyarakat lebih mengenal acara-acara yang ada di Vision +. Saat ini kegiatan informasi yang dilakukan dalam kegiatan menyampaikan informasi dan promosi yang sebelumnya hanya menggunakan media brosur saja, yang dinilai masih sederhana serta kurang lengkap dalam memberikan informasi mengenai tayangan Vision +, tayangan film,hiburan,talkshow dan berbagai kegiatan yang ada di Vision +, sehingga dibutuhkan media komunikasi visual berupa ikaln yang dapat membantu Vision + dalam menginformasikan dan mempromosikan MNC Vision Pictures. Adapun metode penelitian yang digunakan yaitu pengumpulan data yaitu observasi, wawancara, studi pustaka, metode konsep desain, perancangan media dan analisis SWOT. Media iklan promosi ini dirancang menggunakan software Adobe Premiere Pro CC 2019, Adobe Photoshop CC 2019. Hasil dari penelitian ini adalah perancangan media komunikasi visual yang berbentuk iklan. Kata Kunci—Media, Promosi, Advertisement

The study surveys the investigations carried out since the publication of the author’s Kracker monograph (Budapest, 2004, in German 2005), and rectifies certain data and the oeuvre catalogue in the book at several loci. New findings are mainly contributed by the Czech Republic: Václav Mílek and Tomáš Valeš explored archival data in Nová Riše and Znojmo, which add to the currently elaborated register entries studied in Vienna and to a lesser extent in Jászó (Jasov, SK). The latter shed light on the network of social relations of the known family of artists, and lead – by virtue of Johann Lucas Kracker’s sculptor father and sculptor stepfather – from Johann Lucas Hildebrandt via relatives employed in the court to the circle of the provincial chief architect Franz Anton Pilgram. The painter got married in Znojmo in the summer of 1749, where he settled, presumably helped by his painter brother-in-law many years his senior, Dominic Clausner; perhaps it was he who mediated him to the Premonstratensians. Based on archival data, Tomáš Valeš attributed two upper pictures of the Capuchine high altar to Franz Xaver Karl Palko from among so-far defined Znojmo works of Kracker, while Petr Arijčuk has discovered several ensembles of paintings convincingly attributed to Kracker in the Moravian region. These works display the strong influence of Paul Troger.The Pauline church of pilgrimage at Sasvár (Šaštin, SK) was renovated by favour of the Habsburgs; its fresco decoration was entrusted to Viennese court artists: the figure painter of the composition signed by Joseph Chamant was Joseph Ignaz Mildorfer. In the summer of 1757 Kracker delivered two (signed) altar pictures for the pair of chapels in the middle and, in my view – contradicting somewhat the Mildorfer monograph – decorated their lateral walls in grisaille and on the ceilings of the first pair from the sanctuary he painted frescoes of hovering angels. Portraits by Kracker are also known from this period: the imaginary portrait of King of Hungary Béla IV, preserved by the Fáy family since the suppression of the Premonstratensian monastery in Jászó, has recently been identified by researcher of the family genealogy Tünde Fáy. A fine bust of a Moravian noblewoman signed in 1751 has cropped up in Rome’s art trade.Kracker arrived in Eger from Jászó in the autumn of 1764, only for an occasion. His first job was to decorate the bishop’s private chapel in Eger: the fresco of the resurrected Christ perished in the 19th century. Its only visual trace is a water colour copy signed in 1816 and inscribed by Franz Hauptmann, which was rediscovered after long latency and put on display in 2017 by Petra Köves-Kárai. In 1767 Kracker was working for the Premonstratensians in Geras again from Znojmo: in that year he signed the fresco of the parish church of nearby Japons and decorated that votive chapel at Elsern (the frescoes of the latter perished during reconstructions). Sharing the opinion of Wilhelm Georg Rizzi, the book of 2004 disputed that the presbytery ceiling of Japons was Kracker’s work and thus it was included as the work of Paul Troger in the monograph of the Tirolean painter published in 2012. However, the sources published by Rizzi in 2011 are not convincing enough; the homogeneity of the decoration suggests the authorship of Kracker in all four bays, I think.The largest increment has been added to Kracker’s graphic oeuvre. Thanks to Tamás Szabó, we know increasingly more of the historical provenance of the Szeged collection of drawings, including the key role of a Szeged painter Ferenc Joó’s studies in Eger. He also directed attention to Joó’s friend from Tiszafüred, painter and graphic artist Menyhért Gábriel who also studied in Vienna and copied works in the archiepiscopal gallery in Eger, and to his estate in Debrecen. That latter contains 144 sheets. Amidst the engravings and 19th century drawings the baroque drawings clearly emerge as a separate group, most of which – 12 compositions – proved to be by Kracker. In addition to the first sketch of the Jászó high altar, the St Sophia praedella picture of the St Anne side altar in the Minorite church of Eger can be accurately identified; an Assumption picture is conditionally associated with the high altar picture of 1774 in the parish church of Besztercebánya (Banská Bystrica, SK). No models of the St Augustine and St John Nepumecene drawings are known, and another two sheets together with a sheet in Szeged lead to the altar pictures in the church of Olaszliszka, but they must have been painted after Kracker’s death, in his workshop. A coherent series copied the ceiling fresco of the refectory in the Praemonstratensian monastery of Geras, painted by Troger in 1738. The quality of draughts-manship is outstanding, coming close to the model.Together with the baroque drawings, some old copperplate engravings also got into the museums of Szeged and Debrecen. It cannot be excluded that they can also be traced to Eger and they might have been pieces of Kracker’s collection. No inventory survives of Kracker’s estate but when his pupil Johann Zirkler died, a great amount of drawings and prints were inventoried which he might have inherited from his master. For lack of concrete correspondences this provenance cannot be proven, but in another way – by defining the graphic antecedents to Kracker works – we have compiled a virtual collection of the painter’s models. The revised catalogue of Johann Lucas Kracker’s drawings is appended to the study.

Archives are created in every institution large and small. College is one of the institutions that produces many archives of academic and administrative works. The archives created in universities need to be managed and stored so that they can be traced and utilized by the institution concerned and by other parties who need it. In line with this, Sanata Dharma University (USD) as the bearer of the Tri Dharma of Higher Education seeks to manage archives in all units at the university level. The management of the USD institutional archives is carried out by carrying out the mandate of the 2018-2022 USD RENSTRA, where the initial target for achievement is the 1993-2020 USD archives. Archival managers are expected to be able to collect and archive all USD institutional documents from 1955 s.d. 2020. Records management at the USD level is left to the USD Library.USD Library plans to carry out acquisitions/archive collection of units. This step was preceded by an online survey of records management in units, so that USD Libraries had an initial picture of archive management across all units in USD. This online survey was conducted using qualitative methods. The population in the survey is education staff, both permanent and non-permanent in USD, with a total of 376 people. The sample used in the survey is 76 people, the sample selection using convenience sampling technique.The survey results showed that there were 52 people who filled out the survey. The most types/subjects of archives owned by units in USD are curriculum archives (25 units), lectures (24 units) and student affairs (20 units). The largest media/archive form is print/paper (50 units), but most of the units have been digitized (43 units). Other archival media that are also owned by the unit are photos, souvenirs, compact disks, videos, digital video disks, blueprints, maps and technical drawings. The processing of unit archives in USD varies, both those that have been digitized (33 units), have been inventoried/recorded (25 units), have been numbered/coded (6 units), have been destroyed (2 units) to archives that have not been managed properly ( not yet digitized, not yet inventoried, not yet coded). There are archives that have been arranged in a filing cabinet/rack/file/order box (40 units), archives are organized by year/subject/alphabatic number (26 units). The majority of HR Archive Managers in all units do not have HR that specifically manages archives (48 units). The majority of archive borrowing is no archive loan. The majority of facilities/tools/software for archival tracing do not have facilities/tools/software for archival tracing (47 units). Permits for borrowing archives from units at Sanata Dharma University, the majority allowed borrowing archives (47 units). The majority of data collection/inventory of archive types to be borrowed from units at Sanata Dharma University answered that data collection/archive inventory was carried out by each unit to ensure the completeness and correctness of the archives to be borrowed (26 units). Static Archives Management and Storage at Sanata Dharma University answered that the USD Library only manages and stores digital archives and printed archives are stored in their respective units (29 units). The return of the static archives borrowed for processing by the USD Library, the majority answered that the printed static archives were returned to the unit (28 units).

Indramayu community still believe with the customs of his ancestors. In some areas, we can found the traditional arts, beliefs, ceremonies, games and story. On this occasion, the writers wanted to examine folklore mythology Saedah Saenih. The existences of Saenih Saedah story is very attached to some people in Indramayu, as if the story is real. The story is famous, and it appeared in the drama, lyrics, and even once made into a movie. The problems outlined in the form of questions, the myth of what is contained in the story Saedah Saenih? How far the myth Saedah Saenih for the community? what moral values that is contain in the story Saedah Saenih? This study aims are to get a complete and clear picture of the mythology in Saedah Saenih folklore. This study used a qualitative approach with descriptive method. The study begins literature, data collection, classification, analysis and reporting. In conclusion, the mythical story Saenih Saedah very attached to the people of Indramayu. The contents are considered real story is characterized by the belief that the existence Saenih still in the river Sewo in white crocodile manifestation. Compliance form of throw money, as it passes through the bridge Sewo to avoid disaster. They also believe Sarkawi transformed into a floating bale, Maemunah be pring ori, and Saedah into a tree on the river bank Sewo.

The article examines the printed borders which adorn a moderate number of Yangliuqing prints from the collections of the Náprstek Museum. They are made up of auspicious elements common in the symbolism of Chinese folk art. Their design differs and falls at least into two groups. The reason behind placing the border on a picture is yet unclear.

A review of: Herring, James E. "A Critical Investigation of Students’ and Teachers’ View of the Use of Information Literacy Skills in School Assignments." School Library Media Research, 9 (2006). 14 May 2007 http://ala.org/ala/aasl/aaslpubsandjournals/slmrb/slmrcontents/volume9/informationliteracy.htm. Abstract Objective – To examine student and teacher views of information literacy skills in school assignments in order to determine: 1) To what extent did students value the use of a research model booklet (PLUS)? 2) How confident were the students about doing a good assignment and did the PLUS booklet affect their confidence? 3)What benefits and limitations did students identify from individual brainstorming and concept mapping in relation to learning more about their topic and producing a good assignment? 4) To what extent did students see value in doing preliminary reading to revise their initial keywords and concept maps? 5) What reading and note-taking strategies did students adopt when using print and electronic resources? 6) To what extent (and why) did students prefer to use electronic rather than print resources? 7) What are the implications for teachers and school library media specialists (SLMS)? Design – Qualitative, action research; collaborative inquiry. Setting – Ripon Grammar School, Yorkshire, United Kingdom (high school/co-educational). Subjects – Fifty-two students in the second year of high school (year 8) enrolled in a science class studying sound technology; the school library media specialist (SLMS); science teachers. Methods – Students in this study had previously been taught a variety of information skills and had been introduced to a research model called PLUS (Purpose, Location, Use, Self-Evaluation). Students were given a PLUS model booklet, were required to select a topic in the area of sound technology, and were expected to do brainstorming and concept mapping and to produce a 600-word essay. After the assignment was completed, three methods of data collection were employed to determine students’ and teachers’ views: 1) post-assignment questionnaire 2) group interviews with students and teachers 3) semi-structured interview with the school librarian. Main results – Responses indicated that students were “mostly” satisfied with the use of the PLUS model, although there were 18 students who did not respond to questions regarding the use of the booklet. It was also clear from the questionnaire that the majority of the students did not feel confident in their abilities to produce a satisfactory assignment prior to beginning the research; however, 48% of the students indicated that the PLUS booklet made them more confident. A comparable number of students said the booklet had no effect on their confidence and one student said it made them less confident. Students responded very positively about the use of individual brainstorming and concept mapping as a way to organize and focus on their topic. (There was a split between those who felt a written concept map was useful and those who felt a mental concept map was just as helpful.) The majority of students felt that group brainstorming was helpful, while a few indicated the behavior of other students during group brainstorming was a hindrance. Questions about preliminary reading were not open-ended but were multiple choice. There was no response to indicate whether the preliminary reading was helpful or not, but rather how it was helpful. Most students indicated it had helped to identify the right keywords for further research and it helped them in finding the right resources. Students were questioned on the format of their note-taking. Sixty-five per cent preferred to hand write their notes in a notebook; fifteen per cent preferred to take notes electronically in some type of word processing program; twelve per cent preferred to cut and paste into a word processor; and eight per cent preferred “other methods.” Note-taking styles ranged from bulleted lists to spider diagrams, to using headings with categorized notes. When asked to indicate the percentage of information derived from Web sites versus information from books and journals, responses showed that over 65.5 % of the information came from web sites while only 35.5 % came from print material. When asked why, students responded that Web sites were easier to read, more useful, easier to use, more interesting, faster to use, had more pictures, and could be accessed from home. Students who indicated a preference for print material identified reasons such as not trusting Web sites and slow access. Interviews with the teachers and the school librarian indicated agreement that the benefits of using the PLUS model were: it kept students from rushing into the assignment; it allowed for better thinking and analytical skills; it helped students improve their note-taking skills; and students were transferring skills. In the interviews, teachers were very positive concerning the collaborative efforts of the school librarian. Responses from the SLMS’s focused on how to improve student use of resources, and concern that teachers and librarians should engage students in activities that foster critical thinking. Conclusion – The study suggested that students are capable of reflecting on their use of information literacy skills. It also indicated that students saw the value in brainstorming, concept mapping, and the use of a research model such as the PLUS booklet, even though these strategies did not necessarily suit the learning styles of all students. There was overwhelming evidence that students prefer electronic resources over print resources and reasons why they prefer electronic resources were articulated. Implications for teachers and school library media specialists include: collaboration, the importance of seeking and analyzing student feedback, examining transfer of information literacy skills across subjects, and exploring student use of print and electronic resources.

The National Library of Australia at Canberra includes a Pictorial Collection comprising paintings, drawings, prints and photographs which illustrate the history of Australia. The Collection is being actively developed, the ultimate goal being a comprehensive visual record of all aspects of Australian life. The Collection is open to the public, and is served by a photographic unit; a selection of pictures are always on display, and items are lent to exhibitions elsewhere. A publications programme is to culminate in the production of an illustrated catalogue. Data on selected items in the Collection is being entered into the Australian Bibliographic Network database.

Abstract Collections of silent film music constitute valuable sources for historical research on the musical practice in the silent film era. The musical prints preserved in the Mirskey Collection were previously used by the author to reconstruct a score for the movie A Kiss for Cinderella (1925, dir. Herbert Brenon). This article describes the historical context considered during the reconstruction and discusses the workflow applied by Nek Mirskey (Bronisław Mirski) as a musical director of movie theatres. A comparative analysis of sheet music from the Mirskey Collection accompanied by handwritten notes, original cue sheet compiled by James Bradford for the Paramount Pictures, and a digitised copy of the film, have led to conclusions that are applicable not only to Mirskey's methods of compiling scores, but also to the more general rules for the development of musical accompaniments to silent films in the 1920s.

The role of an advertisement in influencing people's perceptions and understanding has its own competence in the world of marketing. Advertising can be used as one of the most appropriate promotional tools in the introduction and understanding of a concept or an invitation to do something. The persuasive matter in this research regarding the importance of the role of the community in the Covid-19 pandemic conditions. Advertising products taken in this study are several public servicess about Covid-19 from several commercial and non-commercial institutions in Bali. The phenomenon of miss-interpretation and the mismatch of the desired meaning in an advertisement has a significant impact on the development of the Covid-19 case in Bali. The purpose of this research is to align the problem of conveying a meaning in advertisements for public servicess about Covid-19 which are often not understood by the public so that there is a misunderstanding between the wishes of the appellers and the understanding of the public's target. This study aims to: (1) describe the shape of the parts of the advertisement in the form of the title, text, and slogan contained in the public services advertisement regarding Covid-19, (2) describe the form of the relationship between signs and references in the form of markers and signs in the services advertisement. the public regarding Covid-19, (3) describe and provide an overview of suggestions regarding the role of the proper meaning in public servicess about Covid-19. The research design used a qualitative design collected from research subjects in the form of public services advertisements about Covid-19 collected from websites and print media in the form of visual media. The objects in this study are in the form of words, phrases, sentences, images, and colors in these advertisements. The research stage begins with the collection of public services data about Covid-19, then a picture of the correct meaning of the advertisement for public services regarding Covid-19 will be drawn up based on semiotics. The results achieved in this study were the addition of semiotic science variables in the design of public services advertisements regarding Covid-19 so as to provide an overview of the suitability between the application of semiotics and the practice of giving advice and servicess as outlined in advertisements. The exact match between the desires and the meaning to be conveyed can be well developed to avoid misunderstandings between the advocate and the target public. Another target to be achieved in this research is the development of language knowledge in a broader realm both in the world of non-profit advertising. Keywords: semiotics, advertising, covid-19, public, services

Pull quote was originally published in CBA #56&57: Uncomics, a collection of works guest-edited by Allen Haverholm meant to ‘unmake’ comics. This unusual prompt challenged me to almost entirely drop text, representational imagery, and narrative and embrace abstraction instead. My goal was to create a sequence of pages with echoes of comics structures like panels and gutters and that can still be ‘read’ even without a strict left-to-right and up-to-down format. I began this comic by lightly tracing the underlying shapes in magazines called page architecture – pictures, headers, articles, ads, etc. – and used them as a foundation for coloured pencil and marker abstractions. This led to unexpected images that shook me out of my usual style. This interestingly abstract ‘readability’ allows readers to drift through Pull quote taking in the soft, melting forms on the pages in their own ways – maybe as physical spaces, tangible objects or simply flat colours. The title comes from the term for short quotes that editors pluck from an article and feature as attention-grabbing headers or graphics. Print magazines have a certain visual architecture that is unique to the medium, and tailored to different genres and purposes and that language has been proliferated through ‘western’ graphic design in general. But all these design choices are usually invisible to the reader, existing to move us smoothly through an article from beginning to end (including the ads). Although I took these unseen shapes and let them take centre stage, my process does not result in neat, legible graphic design. Instead, it produces chaotic tangles of organic and angular forms that cannot be easily organized by the eye. Even if the reader does not know about the tracing process I used or the meaning of the title, I think it resulted in abstractions with a nagging sense of familiarity and that evoke some of the information overload of contemporary life.

Picture lending in Norwegian public libraries has recently been revitalised by the creation of the Artoteksentralen, initially a pilot project and now a permanent foundation, which circulates collections of original prints by Norwegian artists to public libraries, hospitals, and prisons. (An updated version of an article originally published in Scandinavian Public Library Quarterly v. 18 n.4 1985).