Relevant bibliographies by topics / DIVA (Museum)

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

Academic literature on the topic 'DIVA (Museum)'

Author: Grafiati
Published: 25 July 2024
Last updated: 1 August 2024

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Journal articles on the topic "DIVA (Museum)"

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WARE, JESSICA L., JOHN P. SIMAIKA, and MICHAEL J. SAMWAYS. "Biogeography and divergence time estimation of the relict Cape dragonfly genus Syncordulia: global significance and implications for conservation." Zootaxa 2216, no. 1 (September 1, 2009): 22–36. http://dx.doi.org/10.11646/zootaxa.2216.1.2.

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Syncordulia (Odonata: Anisoptera: Libelluloidea) inhabits mostly cool mountainous streams in the Cape Floristic Region of South Africa. It is found at low densities in geographically restricted areas. Syncordulia is endemic to South Africa and, until recently, only two species were known, S. venator (Barnard, 1933) and S. gracilis (Burmeister 1839), both considered Vulnerable by the World Conservation Union (IUCN). Two new species, S. serendipator Dijsktra, Samways & Simaika 2007 and S. legator Dijsktra, Samways & Simaika 2007, were described from previously unrecognized museum specimens and new field collections. Here we corroborate the validity of these two new species using multiple genes and propose intergeneric relationships within Syncordulia. Molecular data from two independent gene fragments (nuclear 28S and ribosomal and cytochrome oxidase subunit I mitochondrial data) were sequenced and/or downloaded from GenBank for 7 libelluloid families, including 12 Syncordulia specimens (2 Syncordulia gracilis, 4 S. serendipator, 2 S. legator and 4 S. venator). The lower libelluloid group GSI (sensu Ware et al. 2007), a diverse group of non– corduliine taxa, is strongly supported as monophyletic. Syncordulia is well supported by both methods of phylogenetic analyses as a monophyletic group deeply nested within the GSI clade. A DIVA biogeographical analysis suggests that the ancestor to the genus Syncordulia may have arisen consequent to the break–up of Gondwana (>120 Mya). Divergence time estimates suggest that Syncordulia diverged well after the breakup of Gondwana, approximately 60 million years ago (Mya), which coincides with the divergence of several Cape fynbos taxa, between 86 – 60 Mya. DIVA analyses suggest that the present distributions of Syncordulia may be the result of dispersal events. We relate these phylogenetic data to the historical biogeography of the genus and to the importance of conservation action.
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Meira, Marcel Ronaldo Morelli de. "Os Novos Museus e a Estética na Pós-modernidade." Museologia & Interdisciplinaridade 7, no. 14 (October 29, 2018): 207–14. http://dx.doi.org/10.26512/museologia.v7i14.18396.

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Esse artigo considera a eclosão dos novos museus como sintomática da cultura pós-moderna iniciada nos anos 1980. Toma como referência o Centro George Pompidou, em Paris (1977), considerado o marco inaugural da dita cultura dos museus, além do Guggenheim Bilbao (1997), tomado aqui como o principal exemplo da arquitetura icônica e midiática dos museus contemporâneos. A arquitetura espetacular dos novos museus, observada de modo mais claro no exemplo do museu Guggenheim de Frank Gehry, é compreendida como emblemática do esgotamento da arquitetura moderna, marcado pela perda de sua função prospectiva, e do surgimento da chamada pós-modernidade.
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Faria, Rafaella Librelon de, Daniela Franco Carvalho Jacobucci, and Renata Carmo Oliveira. "POSSIBILIDADES DE ENSINO DE BOTÂNICA EM UM ESPAÇO NÃO-FORMAL DE EDUCAÇÃO NA PERCEPÇÃO DE PROFESSORAS DE CIÊNCIAS." Ensaio Pesquisa em Educação em Ciências (Belo Horizonte) 13, no. 1 (April 2011): 87–104. http://dx.doi.org/10.1590/1983-21172013130107.

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O interesse por atividades e locais diferenciados para o ensino tem aumentado a procura por Museus de Ciências. A diversidade de informações encontradas nos espaços não-formais amplia as possibilidades de ensino e fortalece as relações com as escolas. O presente trabalho traz as concepções de professoras de Ciências sobre espaços não-formais de Educação e apresenta uma atividade chamada "Chá de Sentidos" com o tema Botânica, no Museu DICA, em Uberlândia - MG. As professoras apresentaram dificuldades em conceituar e distinguir o espaço formal do não-formal e vincularam o Museu DICA como um local complementar à escola. A atividade foi avaliada positivamente pelas professoras, mas, como uma forma de trabalhar o conteúdo curricular e não para simplesmente deflagrar o interesse pelos vegetais e ampliar as possibilidades de aprendizado de seus alunos, relacionando as experiências vivenciadas fora da escola com as da sala de aula.
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Merino, Antonia, Carlos Márquez, and Ramón González. "APP 3D: el ciclo escultórico del foro de Torreparedones (Baena, Córdoba)." Virtual Archaeology Review 9, no. 19 (July 20, 2018): 89. http://dx.doi.org/10.4995/var.2018.9424.

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<p><strong>Extended Abstract:</strong></p><p>The archaeological site of Torreparedones (Baena) is one of the most outstanding Roman sites in the Province of Cordoba, due to not only the structural remains excavated in recent decades, but also the relevance through the relevance of other recovered materials. In recent years, among the recordings made during excavations and in the area of the north portico of the forum and the temple, an important sculptural group from the high imperial time was documented. The sculptural cycle consists of two dynastic groups, which are currently part of the museum exhibition of Baena. The first, found in the area of the gate, consists of a toga, a female figure, a military sculpture and a fragment ideal statue (of the type hüftmantel). The second group, from the temple or near the same area, consists of two male and female seated statues representing: Divus Augustus, Divus Claudius and Diva Augusta (Livia). The latter offers a representation of idealized types, as characters portraits were produced post-mortem once the senate decreed their deification time. Because of the importance of this second group, a three-dimensional (3D) model of each of the pieces has been created. The main objective of this research, with some results presented in this article, is further development of a mobile application that allows disseminating results and promotes the use of virtual reality in the field of heritage. In order to carry out the development of the app the following lines of action have been followed: 1) Recording by the sculptural 3D scanning cycle; and 2) the development of a 3D digital catalogue for the dissemination and study within the framework of scientific research.</p><p>Data collection of the surface was performed by using a 3D laser scanner, a tool that allows obtaining sub-millimetre resolution and accuracy. After obtaining the results, we processed and checked the quality of the acquired points, best-fit and registration of successive surface recordings, and filtering and cleaning of the point clouds. To disseminate the findings of this research we chose to carry out analyses with a free application called "Sculptural Cycle Torreparedones" available for the Android operating system. With this app, the user can access all the information available, with periodic updates as the progress of other ongoing investigations. This application allows and intuitive and easy way of navigation, see the 3D models of the sculptures, as well as access a virtual tour of Rome in 360° room of the museum of Baena.</p><p>Also, the user can access different multimedia content related to the site. As representative logo for the app, the icon of the half-head portrait of Divus Augustus was selected along with the title “3D Sculptural Cycle Torreparedones” as it is one of the largest and best known general level sculpture images. Since the app has been available since October 2017, a survey for assessing the app was conducted in order to know its impact and anticipate future necessary changes. In the course of this system, we have known the user skills in handling the application and the great interest of the youngest people in 3D.Theresults of this survey confirm that this work is an example of how this communication channel can be of service to the valorization and intelligibility of archaeological heritage. It not only allows knowing the materials recovered during the excavations of Torreparedones but also facilitates the visitor to establish a direct connection between the museum and the archaeological site. The application 3D Sculptural Cycle Torreparedones joins other works developed for 3D models digitized as a virtual catalogue, as is the Epigraphia3D app and other applications made with visits 360° as the case of the mobile application Guadiat VR -Belmez (Spain).</p>
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Barros, Matheus, and Silvia Martins. "Artefatos digitais para o Museu DICA: contribuições para a formação de professores de Física." Caderno Brasileiro de Ensino de Física 37, no. 1 (April 6, 2020): 283–314. http://dx.doi.org/10.5007/2175-7941.2020v37n1p283.

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No contexto das licenciaturas, pouco se ouve falar sobre espaços diferentes da escola para a realização de atividades didáticas. No entanto, pesquisas sobre práticas em espaços não formais, em especial os museus de ciência, vem aumentando cada vez mais. Nesse sentido, é importante que, além do incentivo às práticas em espaços fora da escola, também haja um despertar de interesse e treinamento para a efetivação de tais atividades. Desse modo, este trabalho apresenta uma pesquisa realizada com estudantes da disciplina de PROJETOS INTEGRADOS DE PRÁTICAS EDUCATIVAS 3 (PIPE 3), do curso de Física Licenciatura, da Universidade Federal de Uberlândia (UFU), no primeiro semestre de 2016, a fim de evidenciar as possíveis contribuições para a formação de professores de Física diante da construção de artefatos digitais para a exposição de Eletromagnetismo do Museu Diversão com Ciência e Arte – DICA. Nessa pesquisa, ficaram evidentes a evolução das concepções dos estudantes de PIPE 3 quanto aos museus de ciências, e o reconhecimento destes como espaços educativos e diferentes da escola; bem como os saberes despertados e agregados durante essa etapa da formação profissional. Desse modo, acreditamos que esse trabalho evidenciou as vantagens em se trabalhar em espaços diferentes da escola na formação inicial de professores.
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Glöckler, Falko, and Markus Englund. "DINA Bits - Small Services Growing in the DINA System." Biodiversity Information Science and Standards 2 (May 18, 2018): e25579. http://dx.doi.org/10.3897/biss.2.25579.

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The DINA system (“DIgital information system for NAtural history data”, https://dina-project.net) consists of several web-based services that fulfill specific tasks. Most of the existing services are covering single core features in the collection management system and can be used either as integrated components in the DINA environment, or as stand-alone services. In this presentation single services will be highlighted as they represent technically interesting approaches and practical solutions for daily challenges in collection management, data curation and migration workflows. The focus will be on the following topics: (1) a generic reporting and label printing service, (2) practical decisions on taxonomic references in collection data and (3) the generic management and referencing of related research data and metadata: Reporting as presented in this context is defined as an extraction and subsequent compilation of information from the collection management system rather than just summarizing statistics. With this quite broad understanding of the term the DINA Reports &amp; Labels Service (Museum für Naturkunde Berlin 2018) can assist in several different collection workflows such as generating labels, barcodes, specimen lists, vouchers, paper loan forms etc. As it is based on customizable HTML templates, it can be even used for creating customized web forms for any kind of interaction (e.g. annotations). Many collection management systems try to cope with taxonomic issues, because in practice taxonomy is used not only for determinations, but also for organizing the collections and categorizing storage units (e.g. “Coleoptera hall”). Addressing taxonomic challenges in a collection management system can slow down development and add complexity for the users. The DINA system uncouples these issues in a simple taxonomic service for the sole assignment of names to specimens, for example determinations. This draws a clear line between collection management and taxonomic research, of which the latter can be supported in a separate service. While the digitization of collection data and workflows proceeds, linking related data is essential for data management and enrichment. In many institutions research data is disconnected from the collection specimen data because the type and structure cannot be easily included in the collection management databases. With the DINA Generic Data Module (Museum für Naturkunde Berlin 2017) a service exists that allows for attaching any relational data structures to the DINA system. It can also be used as a standalone service that accommodates structured data within a DINA compliant interface for data management.
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Alves, Sabrina Eleuterio, Nilva Lúcia Lombardi Sales, and Silvia Martins. "Um olhar sobre o programa de formação continuada de professores no Museu Dica: Memória e identidade." Caderno Brasileiro de Ensino de Física 38, no. 1 (March 25, 2021): 479–512. http://dx.doi.org/10.5007/2175-7941.2021.e73326.

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Os programas de formação continuada dos museus de ciências são espaços privilegiados para a abordagem de temas voltados à educação em ciências e à divulgação científica. Nesse contexto, este trabalho buscou compreender, por meio de uma pesquisa qualitativa, o processo de consolidação do programa de formação do Museu Dica, da Universidade Federal de Uberlândia e, dessa forma, evidenciar sua identidade. Esta pesquisa considerou sete cursos realizados neste programa, no período de 2011 a 2017, em que procuramos conhecer as potencialidades, fragilidades e desafios enfrentados por cada um. Percebemos que todos os cursos analisados, dentro de seus objetivos e limitações, contribuíram para o processo de amadurecimento do programa. Além disso, todos eles buscaram a valorização das experiências dos professores participantes e reflexões sobre suas práticas.
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Ricoldi, Arlene Martinez, and Isabela Pereira de Sena. "“Vocês vão me escutar, vão me entender”: o itinerário intelectual e político de Diva Moreira." PerCursos 25 (April 13, 2024): e0103. http://dx.doi.org/10.5965/19847246252024e0103.

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Neste artigo apresentamos o itinerário da socióloga e ativista negra Diva Moreira, especificamente a forma como ela articulou as discussões de raça, gênero e classe em sua atuação política. O artigo se insere no campo da História dos Intelectuais e do Feminismo Negro, entendendo Diva Moreira como intelectual negra responsável pela difusão de ideias e discussões voltadas para a luta antirracista. Como fontes primárias, foram utilizadas entrevistas concedidas ao Museu da Pessoa (2005), CPDOC-FGV (2007) e à Fundação João Pinheiro (2021). Como fontes secundárias, os relatórios produzidos pelo Serviço Nacional de Informação (SIAN). A trajetória da ativista exemplifica a produção político-cultural a partir da margem de ativistas negras, ampliando nosso entendimento sobre a atuação política dessas mulheres.
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Shupova, T. V. "Change in the area of distribution of the Greenish Warbler (Phylloscopus trochiloides viridanus Blyth, 1843) in Ukraine and adjacent territories." Trudy of the Institute of Zoology RK 2, no. 1 (2023): 119–34. http://dx.doi.org/10.54944/tizrkvn15bc2.

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The aim of the work is to analyze the distribution of the Greenish Warbler of the subspecies viridanus in Ukraine and to determine the status of the species in various regions of the country. We used the analysis of the 3 – layer GIS map of the distribution areas of the Greenish Warbler for the period 1936–2022 in the DIVA-GIS program: 1st layer – the first registrations of the species (1936–1974); 2 – bird sightings at the end of the migration period (1979–2022); 3 – registrations in the nesting period. 77 GIS coordinates were used to build maps: author’s data, collection’s data of the Zoological Museum of the NNPM NAS of Ukraine, reference’s data, photo’s databases. In 1936–1974, the Greenish Warbler showed 2 foci of flights: 1 – in the south (in the Crimea, Nikolaev and Odessa regions), 2 – in the northeast – in the Belgorod region. In the northeastern region, the territory of distribution of the Greenish Warbler has increased significantly by 2022, but not in the south. The analysis performed indicates that the southern border of the Greenish Warbler habitat has shifted even more to the south and passes through the northern and northeastern regions of Ukraine. There is a tendency for the species to move further through Central Ukraine to the south of the country. In the south, registrations of a species with an unclear status at the end of spring migration and the beginning of the nesting period are typical. In the northeast, the Greenish Warbler nests. For Chernihiv, Kyiv and Ternopil regions, we assume the possibility of nesting. The species was not recorded in the southeastern and southwestern regions of Ukraine. In the northeastern regions, the first appearance of birds actually coincided with the beginning of their nesting, but the species has remained rare for about 30 years, breeding sporadically. In the southern regions, birds appeared and then disappeared for a rather long period, and after a while they are recorded more often and over a larger area. In Ukraine, the Greenish Warbler inhabits urbanized biotopes and is noted in 3 natural-geographical zones: forest, forest-steppe and steppe. It is possible that the Greenish Warbler does not nest in the south of Ukraine due to significant differences in the habitat conditions of the steppe zone from the forests in which the species has evolved. We believe that the successful resettlement of the Greenish Warbler is associated with a complex of factors: another wave of increase in the number of birds, favorable for the species climatic changes in the territories adjacent to the southern border of the range, the synanthropizations of the Greenish Warbler, transformation of the steppe zone of Ukraine due to the creation of tree plantations on its territory.
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Dobrogeanu, Ludmila, and Maria Cunichevici-moraru. "Museum Institutions in the City of Bălți: Historical Reconstructions." Dialogica. Revistă de studii culturale și literatură, no. 2 (September 2023): 60–66. http://dx.doi.org/10.59295/dia.2023.2.10.

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The study presents pages from the history of the Museum of History and Ethnography from Bălți municipality and the winding path in identifying the premises for the plenary institutional activity. Museum of History and Ethnography in Bălți is a key institution in the cultural life of the municipality, for more than six decades. The authors elucidate the context in which museum started its activity, as well as the challenges of conceptualization in the collection and valorization of artifacts from the museum’s patrimony. At the beginning (1961), the museum had its headquarters in the Episcopal Cathedral „Sfinţii Impăraţi Constantin şi Elena” an architectural jewel in neo-Romanian style, built in the interwar period by the efforts of the bishop Visarion Puiu.
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Dissertations / Theses on the topic "DIVA (Museum)"

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Oliveira, Cláudia Isabel Cabrita de. "A presença do espaço museológico na obra de Manoel de Oliveira : contributos do filme O Dia do Desespero." Master's thesis, 2021. http://hdl.handle.net/10451/50300.

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From the 19th century to the present, museums and cinema have consolidated their presence in Western societies, proposing ways of seeing and thinking the world. The intersections between these two domains are increasingly as a matter of study and reflection. In this work, we intend to establish relationships between the museological area and the cinematographic art through the analysis of the representation of the museum space and its resources in moving images. We delimited the field of our study to Manoel de Oliveira's filmography, in which there is a tendency to give prominence to different museums. In this sense, we sought to understand how and in what context museums are present as a theme and as an element that participates in the construction of images and serves the artistic interests of the filmmaker. As an object of study, we chose the film The Day of Despair, a feature film that was filmed entirely in a house-museum, located in the house where the nineteenth century writer Camilo Castelo Branco lived and died, in Vila Nova de Famalicão. With regard to the study of the impacts of reality and the museological universe on films, we favored the analysis of the use of guided tours. This mediation tool, also used in museum´s contexts, incorporating the educational strategies of institutions, is reproduced in cinema as a means to address, present and convey information about museum spaces and objects. In this work, we are interested in understanding how the guided tour can contribute to the representation of museums in cinema
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Books on the topic "DIVA (Museum)"

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(Museum), DIVA. Room of wonder I: Axel Vervoordt. Antwerp, Belgium]: Lannoo, 2018.

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Vette, Anke, and Anke Vetter. Mein Kamerad - die Diva: Theater an der Front und in Gefangenenlagern des Ersten Weltkriegs. München: Et+k, Edition Text + Kritik, 2014.

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Mori, Hiroshi. Konya wa parashūto hakubutsukan e =: The last dive to parachute museum. Tōkyō: Kōdansha, 2004.

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Mutava, Xhasim Muhammed. Muhammedi (alejhis-selam) në familje dhe realiteti ynë bashkëkohor: Meditime rreth disa fragmenteve të jetës bashkëshortore të Profetit (sal-lall-llahu alejhi ve sel-lem) parë më këndvështrimon tonë bashkëkohor. Shkup: SHB "Furkan ISM", 2006.

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Beuys, Joseph. Joseph Beuys: [Ausstellung], Kleve, Städtisches Museum Haus Koekkoek, 21. April bis 9. Juni 1991. Kleve: Boss, 1991.

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Beuys, Joseph. Joseph Beuys: Wasserfarben 1942-1963, aus dem Bestand der Stiftung Museum Schloss Moyland, Sammlung van der Grinten, Joseph Beuys Archiv des Landes Nordrhein-Westfalen. Ostfildern-Ruit: Hatje, 1998.

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Beuys, Joseph. Joseph Beuys: With fat and felt : June 29 - September 30, 1993, Fuji Television Gallery. Tokyo: TheGallery, 1993.

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Beuys, Joseph. Joseph Beuys: Eine Werkübersicht : Zeichnungen und Aquarelle, Drucksachen und Multiples, Skulpturen und Objekte, Räume und Aktionen 1945-1985. München: Schirmer/Mosel, 1996.

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Beuys, Joseph. Joseph Beuys: A private collection : 22. Februar bis 29. April 1990, A11 Artforum, München. München: Das Artforum, 1990.

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Beuys, Joseph. Joseph Beuys: Actions, vitrines, environments. Houston, TX: Distributed by Yale University Press, 2005.

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Book chapters on the topic "DIVA (Museum)"

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Gerbich, Christine. "Exploring the Futurabilities of Museums. Making differences with the Museum Divan at the Museum for Islamic Art in Berlin." In Cultural Heritage Studies, 229–46. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839464090-013.

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Salković, Avdija, Fuad Baćićanin, and Mersiha Kardović. "Divan Ahmeda Valija Jenipazarlija: kulturno i književno blago Novog Pazara." In MELISSA - Museums, Ethics, Library and Information Science, Studies, Archives, 53–61. Београд: Филолошки факултет, Универзитет у Београду, 2017. http://dx.doi.org/10.18485/melissa.2017.16.1.ch5.

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Damodaran, A. "Animating the Inanimate." In Managing Arts in Times of Pandemics and Beyond, 101–24. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192856449.003.0005.

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The onset of COVID-19 has altered the functioning of museums and biennials across the world. Consistent with the ‘deep dive approach’ employed in this book, the chapter takes a close look at three museums and a biennial. The museums chosen for detailed examination are ‘The Guggenheim’ (USA), the Victoria Memorial Hall (India), and the Montreal Museum of Fine Arts (Canada). The biennial chosen for detailed exploration is the ‘Kochi-Muziries Biennale’ (India). The objectives of the exercise are to understand the nature of operations carried out by these organizations and identifying the economic and managerial challenges faced by them prior to and during the difficult days of COVID-19. The chapter explores how the four organizations have coped with the pandemic. While Guggenheim opened up their premises on a minimal note and employed intense virtual media exposes, the Kochi-Muziries Biennale was constrained to postpone its biennial event. The Montreal Museum and the Victoria Memorial Hall also underwent protracted bouts of inactivity. The dive deep studies throw up a menu of management-related situations that holds vital lessons for budding museum managers. Similarly, the functioning of the four organizations also afford valuable lessons to the policy establishment regarding the effectiveness of cultural and arts policies.
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Viera, Alicia, and Pat Villeneuve. "Engaging Communities With Supported Interpretation." In Advances in Media, Entertainment, and the Arts, 33–57. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7426-3.ch002.

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During recent years, a growing number of art museums and galleries have experimented with innovative approaches to exhibition development to create more meaningful visitor experiences. However, although commendable, their efforts to make exhibitions visitor-centered have still not been consistent, partially due to the lack of existing models for practice for these kinds of projects. This chapter focuses on supported interpretation (SI), a model for developing visitor-centered exhibitions that can help museum professionals better advocate for their audiences, engage community members in the process of exhibition development, and turn visitors into active participants who feel empowered to share content during their museum visits. The authors dive deeply into the guidelines for implementing SI, discuss prior iterations of the model, share lessons learned, and explore new scenarios in order to provide current and future art museum educators and interpretive planners with an easy-to-follow roadmap for developing successful visitor-centered SI exhibitions.
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Gerbich, Christine. "Exploring the Futurabilities of Museums. Making differences with the Museum Divan at the Museum for Islamic Art in Berlin." In Doing Diversity in Museums and Heritage, 229–46. transcript Verlag, 2022. http://dx.doi.org/10.1515/9783839464090-013.

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James, Henry. "I." In The American. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199555208.003.0003.

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On a brilliant day in May, of the year 1868,* a gentleman was reclining at his ease on the great circular divan which at that period occupied the centre of the Salon Carré,* in the Museum of the Louvre. This...
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Cubbon, Alexandra. "Tehran Museum of Contemporary Art (TMoCA)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2095-1.

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The Tehran Museum of Contemporary Art (TMoCA) is an art museum located next to Laleh Park, in Tehran, Iran. The museum houses a large collection of modern and contemporary Iranian art, as well as one of the most valued collections of modern Western art outside Europe and North America, mostly dating from the late nineteenth to the mid-twentieth century. In 1977, having purchased large quantities of art during Iran’s 1970s oil boom, the European-educated Iranian Empress Farah Pahlavi inaugurated TMoCA. The Iranian architect Kamran Diba designed the museum, incorporating elements of traditional Persian architecture into a structure that many consider to be a piece of contemporary art itself. The inauguration of TMoCA prior to the 1979 Iranian Revolution exemplified Mohammad Reza Pahlavi’s secular monarchy and symbolised a common bond between Iran and the West.
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Nachmani, Amikam. "East meets the West: Fiqh al-Aqalliyat (Muslim jurisprudence on minorities); Dina de-Malchuta Dina (the law of the kingdom is the law); Dar al-Islam (abode of Islam); Dar al-Harb (abode of war)." In Haunted Presents. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784993078.003.0005.

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For 2000 years Jews have lived in exile as viable Jewish minority communities by recognizing the “law of the kingdom” (Dina de Malchuta) as their law alongside a system of rabbinic rulings (Responsa) whenever the demands of Jewish law (Halachah) and state laws contradict one another. Historically Muslims, however, have rarely experienced life among non-Muslims until relatively recently. Only since the post-World War II period have Muslims voluntarily chosen to leave the Dar al-Islam (the Abode of Islam) and live in the West or Dar al-Harb (the Abode of War) for economic, political and educational reasons. Mass migration has caused Muslim philosophers and theologians both in Muslim lands and abroad to adapt Sharia law to the new reality – Fiqh al-Aqalliyyat (the jurisprudence on minorities). The need to preserve the rules of the Muslim religion and to protect the unity of the Muslim nation (ummah) are critical given that one third of Muslims presently live as minorities in non-Muslim countries. Jewish legal precedents elaborated in this chapter point to similarities but also to differences between Jews and Muslims who encounter life as minorities within a Christian majority.
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Coarelli, Filippo. "The Lucus Pisaurensis and the Romanization of the Ager Gallicus." In The Religious History of the Roman Empire, 295–310. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780199644063.003.0012.

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Abstract This chapter discusses palaeographic and linguistic considerations on sacred dedications, including the group of inscribed stones found by Annibale degli Abati Olivieri Giordani and preserved in the Museo Oliveriano. Peruzzi disregarded some vital palaeographic characteristics such as the absence of quadrature and apicatura, and the bending of certain letters. The chapter also recognizes the frequently ignored information from the stips votiva. It examines the inscribed stones alongside the natures of the divinities involved within the text, some of which included Apollo, Fides, Iuno, Mater Matuta, and Diva Marica. The sanctuary’s documentation seemed to dry up by the time of the colony’s foundation as it involved transferring the same cults into the new entity. The chapter then expounds on the structure of lucus and the conquest of ager Gallicus.
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Siberry, Elizabeth. "Images of the Crusades in the Nineteenth and Twentieth Centuries." In The Oxford History of the Crusades, 363–84. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780192853646.003.0014.

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Abstract After the Treaty of Karlowitz in 1699, the immediate threat of a Turkish invasion of central Europe had passed. It was therefore possible to take a more relaxed view of the Muslim East. The letters of Lady Mary Wortley Montagu (1689– 1762), wife of a British ambassador to the Ottoman court at Constantinople, which described details of Turkish life, proved popular when published in 1763, and there was a club known as the Divan Club, reserved for those such as the elegant Sir Francis Dashwood (1708–81), who had been to the Ottoman Empire.
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Conference papers on the topic "DIVA (Museum)"

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Chaves Machado, Gustavo, and Luiz Carlos Pinheiro Ferreira. ""Um dia no museu de arte": narrativas docentes a partir de uma pesquisa de campo." In 30º Encontro Nacional da ANPAP - (RE)EXISTÊNCIAS. ,: Even3, 2022. http://dx.doi.org/10.29327/30enanpap2021.383966.

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Costa, Anna Luisa Veliago. "Laboratório da liberdade: estética e política nos "domingos da criação" do MAM/RJ." In Encontro de História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4339.

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Formulados enquanto extensões das atividades do setor de cursos do Museu de Arte Moderna do Rio de Janeiro e de sua Unidade experimental, os "Domingos da criação" consistiram em propostas artísticas, encontros abertos, no espaço público nos entornos do MAM/RJ, que partiam da experimentação com materiais como: o papel, o tecido, o fio, a terra, o som e o corpo. O crítico de arte, e então coordenador do setor de cursos do museu, Frederico Morais, esteve à frente da concepção e articulação destas ações, que se desdobraram em seis edições, sempre aos domingos, entre os meses de janeiro e julho de 1971. Frente ao panorama da arte brasileira e, particularmente, no contexto carioca, estas propostas articulam-se à inflexão experimental neoconcreta, da segunda metade dos anos 1960, bem como à emergência das investigações de teor conceitual de uma "arte de guerrilha". Contribuem, neste sentido, para lançar um olhar sobre os novos posicionamentos assumidos pela crítica e pelos museus, diante de trabalhos experimentais, de caráter ambiental, sensorial e vivencial, e da arte conceitual, em um sentido expandido. Partindo de propostas conceituais que exploravam as possibilidades poéticas dos materiais, estes seis encontros compõem um caleidoscópio de gestos e procedimentos diversos. Parcela expressiva de suas manifestações foram imprevistas, nelas, os trabalhos de artistas confundiam-se com aqueles criados pelo público, revelando formas de uma produção anônima, horizontal e coletiva. Em nossa investigação sobre os "Domingos da criação", pretendemos refletir sobre os significados estéticos e políticos da inclusão destes públicos, não mais na condição de espectadores, mas enquanto sujeitos individuais e coletivos do processo de invenção, em um espaço museológico expandido. Passados mais de 40 anos, julgamos pertinente elaborar uma reflexão sobre algumas das "estruturas simbólicas/ práticas" mobilizadas nesses encontros. Para tanto, tomamos como referência, e ponto de partida teórico, a instigante formulação de Nicolas Bourriaud naobra Estética Relacional:"Se a exposição se torna um palco, quem vem encenar? Como os atores e figurantes o ocupam? Em meio a que tipo de cenário? Um dia seria interessante escrever a história da arte por meio das populações que a atravessam e das estruturas simbólicas/práticas que permitem acolhê-las. Qual energia humana, regulada segundo quais modalidades, entra nas formas artísticas?".
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Neto, José Valdevino De Andrade, and Helde Leuthier Pimentel Pereira. "DIA DO FÍSICO: A IMPORTÂNCIA DE UM NOVO OLHAR A DISCIPLINA." In II Congresso Brasileiro de Educação a Distância On-line. Revista Multidisciplinar de Educação e Meio Ambiente, 2022. http://dx.doi.org/10.51189/conbraed/90.

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Introdução: A disciplina de física nas Instituições de ensino básico ainda permeia uma perspectiva de desinteresse do aluno, seja pela dificuldade de relação com o cotidiano, seja pelo compartilhamento de ideias que transmitem a física como complexa e até mesmo por não compreensão de múltiplas ferramentas para o ensino. Diante disso, o Espaço Ciência comemora todos os anos o dia do físico, com atividades diferenciadas que possibilitam um novo olhar para a física. Objetivos: Destacar a física como uma disciplina que se relaciona com os fenômenos do seu cotidiano. Aplicar metodologias ativas, em prol da aprendizagem de conhecimentos múltiplos. Material e métodos: Em especial, no ano de 2021, com a presença do momento pandêmico, as atividades foram realizadas com uma nova modalidade, isto é, a aplicação virtual de oficinas para continuar com a popularização do conhecimento científico. Nessa perspectiva foram utilizadas atividades práticas, onde os ouvintes puderam realizar experimentações em conjunto e principalmente trabalhar o conceito da física, além disso, as oficinas se basearam na utilização de questionamentos, gamificação e mais. Resultados: As atividades permitiram trazer o aluno ao papel de protagonista da sua aprendizagem, onde demonstraram seus conhecimentos prévios, ampliaram suas informações e ao longo de toda atividade puderam desmistificar a ideia de uma física longe de seu mundo, pois conseguiram compreende-la, a título de exemplificação, os conceitos de energia, onde puderam entender como conseguimos ligar um eletrodoméstico ou até mesmo ver um rótulo de alimento e entender que tal produto também é energia, tanto que temos as calorias (uma unidade de medida desse tema). Assim, o dia do físico pode trazer os conhecimentos prévios dos alunos para reflexão, resultando numa curiosidade e na busca de compreender cada vez mais os fenômenos que os rodeia, e no final da atividade observando a física e compreendo que sua história está intimamente relacionada com o progresso desses conhecimentos. Conclusão: Portanto, o dia do físico no museu, seja ele de forma remota e presencial, em especial como será adotado atualmente, se torna fundamental para que a sociedade compreenda o mundo que os rodeia, e assim possibilitando o desenvolvimento científico.
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Comas Camacho, Carme. "Talleres inclusivos #elsMELacasa ¿Cómo deben ser los materiales digitales accesibles?" In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12308.

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Contexto: la vorágine digital El Dia Internacional de los Museos 2020 giró en torno al lema ‘Museos por la igualdad y la inclusión’. En ese momento, los museos estaban cerrados y en un proceso de adaptación a la nueva realidad: sin público presencial, nos lanzamos al usuario digital, con pocas herramientas desde casa y faltos, en la mayoría de los casos, de planes de estrategia digital que guiaran las iniciativas. Desde el programa de accesibilidad de los Museos de Esplugues de Llobregat, se detectó que en este proceso digital se estaba dejando de lado a un sector de nuestro público. Y los avances que muchos museos habían hecho para acercar sus colecciones a todo tipo de personas, desaparecían en la vorágine de aquellas semanas. Dábamos la espalda una parte de la sociedad que precisa de unas adaptaciones específicas para acceder al contenido digital. Realidad: exclusión social Entre las iniciativas de aquellos días, los Museos de Esplugues de Llobregat pusieron especial atención a las familias, generando nuevas propuestas para hacer en casa. ¿Cómo podíamos llegar al máximo de familias posible, de una manera inclusiva? El primer paso, fue tener muy claro que no somos editores de vídeos, que las herramientas que teníamos eran muy caseras, pero el objetivo era claro, generar un material didáctico y comprensible. El segundo paso, era poner sobre la mesa a qué colectivos queríamos llegar y que recomendaciones hay para cada uno de ellos. Pensamos en persones con dificultades visuales, auditivas y cognitivas, con especial atención, a los niños y niñas con autismo, ceguera y sordera. El tercer paso, hacer una lista de las características básicas de los audiovisuales accesibles. Y con estas ideas claras y la ayuda de nuestra propia familia nos pusimos en marcha. Una particularidad destacada: se plantean versiones táctiles para todas aquellas familias que utilizan las manos para interpretar el mundo, y para aquellos que quieran experimentar una realidad sin la imposición de la vista. Aunque la técnica es muy mejorable, los resultados por las valoraciones que hemos recogido han servido para que muchas familias trabajaran unidas y pasaran un momento agradable en aquellos días de incertidumbre. El objetivo de la comunicación es compartir nuestra experiencia, explicar los recursos utilizados y mostrar los resultados.
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Galeazzi, Annelise Estrella. "O verbovisual nas obras de Hélio Oiticia." In Encontro de História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.13.2018.4340.

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As queimaduras ainda estão cicatrizando, e seria difícil, para não falar da irresponsabilidade, iniciar este texto sem, ao menos, lembrar do incêndio no Museu Nacional, na Quinta da Boa Vista, Rio de Janeiro, ocorrido no dia dois de setembro de 2018. Acidental ou não, o incêndio foi crime. Havia pedido de socorro desde o começo desse ano, picos de energia ocorrendo há semanas, “vaquinha” para manter o espaço aberto. Havia muito problema e nenhum socorro. Sequer na pior hora daquela noite, quando o fim já estava anunciado, houve o devido socorro. Os hidrantes sem água. É preciso lembrar que nossas discussões acadêmicas não podem ignorar os pulsos externos às paredes das Universidades que, paradoxalmente, nos protegem e sufocam. Nós, que temos uma vida que se vincula a esses espaços públicos, perdemos um pouco do que somos com a tragédia. Espero que o acontecimento sirva de alerta para outras instituições públicas e para nossas escolhas de representantes governamentais.
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Santana, José Almir, Zênia Maria Santos Silva, João Lucas Tavares de Lima, Marco Aurélio Oliveira Goes, Katia Marília Ribeiro Silva Lima, and Mayara Karoline Freire Gomes. "Ações no primeiro de dezembro no momento da pandemia da COVID-19." In XIII Congresso da Sociedade Brasileira de DST - IX Congresso Brasileiro de AIDS - IV Congresso Latino Americano de IST/HIV/AIDS. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/dst-2177-8264-202133p234.

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Introdução: Em virtude da pandemia da COVID-19, tivemos que procurar alternativas no dia 1º de dezembro para informar à população sobre o vírus da imunodeficiência humana, com apoio da mídia local. Boa parte da população atual não tem conhecimento do que ocorreu no início da epidemia do vírus da imunodeficiência humana. Dados mostraram baixa procura pelos testes rápidos nas Unidades Básicas de Saúde e muitas pessoas soropositivas atrasaram o início do tratamento. Objetivo: Mostrar a história da aids, alertando as pessoas que não vivenciaram o início da epidemia, para uma maior atenção com relação às novas tecnologias de prevenção. Divulgar a importância do autoteste no período da pandemia da COVID-19, em razão da queda da procura pelos testes rápidos e divulgar a campanha Indetectável=Intransmissível. Métodos: Foi realizada a exibição de um filme sobre a história da aids no sistema cinema drive-in, no estacionamento do Museu da Gente Sergipana, permitindo o acesso de até 25 veículos com 4 pessoas em cada. O outro evento foi a exposição denominada “Os Indetectáveis” para visitação pública, de forma controlada, na sede da Secretaria de Estado da Saúde. Resultados: A exibição do filme no cinema drive-in atraiu, principalmente, casais, que conheceram como foi o início da epidemia do vírus da imunodeficiência humana e também a praticidade do autoteste. A Exposição “Os Indetectáveis”, realizada durante todo o mês de dezembro, foi bastante frequentada, mostrando a importância de testar, tratar e aderir ao tratamento. Conclusão: A exibição do filme no cinema drive-in atraiu, principalmente, casais, que ficaram conhecendo não só o que ocorreu no início da epidemia do vírus da imunodeficiência humana, como também a simplicidade da utilização do autoteste. Permanecer indetectável preserva a saúde da pessoa que vive com vírus da imunodeficiência humana e evita a transmissão sexual do vírus. É importante o uso de novas estratégias nas campanhas educativas sobre o vírus da imunodeficiência humana neste momento da pandemia da COVID-19.
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