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Fakhriati, Fakhriati. "The Use of Papers in The Acehnese Islamic Manuscripts and its Historical Context." Heritage of Nusantara: International Journal of Religious Literature and Heritage 2, no. 1 (January 28, 2016): 51–72. http://dx.doi.org/10.31291/hn.v2i1.102.
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Paper is the most popular material used for writing Islamic manuscript in the Archipelago, including Aceh. Both imported and traditional papers were used for writing Islamic manuscripts in Aceh. Using certain paper for writing an Islamic manuscript might be used for tracing a great information on the context of papers that can be able to learn and know the relationship between the country of paper producers and the country of the paper users. This article argues that Acehnese Islamic manuscripts were written mostly in imported papers containing of watermark images commonly used in Islamic countries. This indicates that Acehnese had either social, economic, political, or knowledge relationship with Islamic countries.
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Tang, Minli, Shaomin Xie, Mu He, and Xiangrong Liu. "Character Recognition in Endangered Archives: Shui Manuscripts Dataset, Detection and Application Realization." Applied Sciences 12, no. 11 (May 25, 2022): 5361. http://dx.doi.org/10.3390/app12115361.
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Shui manuscripts provide a historical testimony of the national identity and spirit of the Shui people. In response to the lack of a high-quality Shui manuscripts dataset, we collected Shui manuscript images in the Shui area and used various methods to enhance them. Through our efforts, we created a well-labeled and sizable Shui manuscripts dataset, named Shuishu_T, which is the largest of its kind. Then, we applied target detection technology for Shui manuscript characters recognition. Specifically, we compared the advantages and disadvantages of Faster R-CNN, you only look once (YOLO), and single shot multibox detector (SSD), and subsequently chose Faster R-CNN to detect and recognize Shui manuscript characters. We trained and tested 111 classes of Shui manuscript characters with Faster R-CNN and achieved an average recognition rate of 87.8%. Finally, we designed a WeChat applet that can be used to quickly identify Shui manuscript characters in images obtained by scanning Shui manuscripts with a mobile phone. This work provides a basis for realizing the recognition of characters in Shui manuscripts on mobile terminals. Our research enables the intangible cultural heritage of the Shui people to be preserved, promoted, and shared, which is of great significance for the conservation and inheritance of Shui manuscripts.
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Dirkse, Saskia, Patrick Andrist, and Martin Wallraff. "Structural Visualization of Manuscripts (StruViMan): Principles, Methods, Prospects." Open Theology 5, no. 1 (January 1, 2019): 249–58. http://dx.doi.org/10.1515/opth-2019-0009.
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Abstract This paper introduces a tool which offers scholars a new way to visualize the structure of manuscripts. The Structural Visualization of Manuscripts (or StruViMan) is a web-based application, developed as part of the Paratexts of the Greek Bible Project, a European Research Council project based in Munich. Drawing on the principles of structural codicology, StruViMan is able to translate the different stages of a manuscript’s development into a visual model based on the codex’s physical, historical layers and aims to facilitate the comparison of manuscripts. It can be used by any web-connected manuscript database from any cultural area and does not require the presence of electronic images. This presentation begins with a short survey of the principles underpinning the tool’s conception and development, followed by a demonstration of how manuscript data from both biblical and non-biblical Greek codices are transformed into interactive, customizable visualizations with varying display modes. We will also touch upon StruViMan’s technical aspects as an open-access web service, available to any software or database able to call its API using the correct parameters. We close with a preview of new features currently under development, including the ability to “reconstruct” a manuscript whose composite parts are presently in different repositories.
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Dewi Lestari, Anak Agung Istri, I. Gede Santi Astawa, Ngurah Agus Sanjaya ER, I. Putu Gede Hendra Suputra, Cokorda Rai Adi Pramartha, and I. Wayan Supriana. "Segmentasi Baris Lontar Dengan Metode A * Path Planning." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 11, no. 2 (July 14, 2022): 349. http://dx.doi.org/10.24843/jlk.2022.v11.i02.p14.
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Historical documents in the form of ancient manuscripts are one form of the Indonesian nation's cultural heritage that deserves to be important, one of which is Lontar. Currently not many people can read the writings in palm leaves, therefore, ancient manuscript collectors have made efforts to digitize ancient manuscripts. The digitization of ancient manuscripts aims to improve the image quality of ancient manuscripts with the help of computers. Digitization requires an image quality improvement process by performing noise reduction and edge detection and line segmentation on digital images of ancient manuscripts. In this study, the noise reduction process uses the Mean Filter method, edge detection uses the Sobel operator, and line segmentation in this study uses the A * Path Planning Algorithm. Based on research conducted on 24 lontar images, line segmentation process obtained an accuracy of 95%.
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Sorbello Staub, Alessandra, Johannes Staub, Inga Richter, and Marc Birringer. "Near-Infrared Laser Scanning (NILS) to Differentiate Historical Inks, Deployed on a Stained and Faded Ninth-Century Fragment of Boethius Reused as Binding Material: Proving a Concept." Restaurator. International Journal for the Preservation of Library and Archival Material 37, no. 1 (January 1, 2016): 1–13. http://dx.doi.org/10.1515/res-2015-0005.
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AbstractIn this paper we describe the use of a dual-wavelength near-infrared laser scanner (NILS) to reveal ink differences in a ninth century Boethius fragment. The scanning system worked at 680 and 780 nm excitation wavelength with a maximal resolution of 21 µm. Fresh images were recorded at both wavelengths and compared with others based on conventional methods, such as UV photography and infrared reflectography. Whereas the latter secured no new information for mapping and distinguishing via inks the layered genesis of the manuscript, images of the fragment based on infrared laser fluorescence revealed the different inks used to elaborate the manuscript. The method revealed and distinguished the respective inks used for glosses, other marginal notes, neumes and the main text. Furthermore, corrections and additions invisible under other types of light were discovered by NILS in combination with paleographic methods. The scope and limitations of NILS when used to investigate stained or faded reused parchment (Makulatur) and/or restored manuscripts are discussed in detail.
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Zotova, Elizaveta V. "“CODEX OF CONRAD SACRISTAN” AND IMAGES OF AUTHORITY IN GERMAN BOOK ILLUMINATION OF THE SECOND HALF OF 12 TH CENTURY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 61–71. http://dx.doi.org/10.28995/2686-7249-2022-1-61-71.
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The article is devoted to a unique monument of German book illumination of the second half of the 12th century – illuminated cartulary or “Traditionscodex”. The manuscript, written by the sacristan Conrad, goes beyond the book of copies of documents relating to donations of property and becomes a kind of historical chronicle of the Freising diocese. The unique character of this monument is revealed by comparing with typologically similar manuscripts created in the 9th–12th centuries. The images of representatives of the highest religious (bishops of Freising) and secular authorities (kings of Germany and emperors) are of particular importance in the codex. In the article the author defines the various functions of these images in the “Codex the Conrad Sacristan”, emphasizing the importance of the representative func- tion, and makes a comparison with similar images found in German illuminated manuscripts of the second half of the 12th century.
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Mat Som, Hafizan, Jasni Mohamad Zain, and Amzari Jihadi Ghazali. "Application of Threshold Techniques for Readability Improvement of Jawi Historical Manuscript Images." Advanced Computing: An International Journal 2, no. 2 (March 30, 2011): 60–69. http://dx.doi.org/10.5121/acij.2011.2206.
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ATEEQ, Samira Salem Ahmed, and Najia Mohmmed KHALIFA. "MANUSCRIPTS AND ITS ROLE IN WRITING HISTORY." RIMAK International Journal of Humanities and Social Sciences 04, no. 05 (September 1, 2022): 641–57. http://dx.doi.org/10.47832/2717-8293.19.37.
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Manuscripts are among the primary primary sources that enable the researcher to study history as a way to preserve what the Arab mind has produced. The study and investigation of the manuscript discovers the researcher's contributions to civilization, which began at an early age during the Arab rule. The realization and publication of the manuscript makes it easier to translate it, know its contents, and benefit from it, as the Arab government witnessed a wide activity after the emergence of the printer, and the translation of many manuscripts. The investigation process combines two contradictions; The ease of work and its difficulty inherent in the obstacles that the researcher finds, which is summarized in the spatial dimension between the investigator and the location of the manuscript, and in the difficulty of finding and verifying other copies of manuscripts, as well as the difficulty of achieving texts in the manuscripts themselves. As for ease; It is the scientific pleasure that the investigator finds as a result of the investigation and this is due to the embrace of a group of sources in various other sciences, and the enrichment of the valuable scientific information that contains the manuscript. As for what this paper contains, what are the manuscripts and their importance, and it contains the definition of manuscripts, the parts of the manuscript, their types, and their cultural and intellectual importance. As well as the way to benefit from them, the conditions of investigation, the stages of investigation, the difficulties of investigation, the ways to treat them and the way to benefit from the manuscripts. The manuscripts also reveal the paths of scientific and intellectual exchange between nations and the images of influence and influence on the books produced by human minds. The importance of the investigation lies in preserving the nation’s heritage, highlighting the historical cultural heritage produced by historians over the years and investing it by modern technological means to spread knowledge and benefit.
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Savant, Sarah Bowen, and Majid Montazer Mahdi. "The History of Iranian Cities through their Books: What Ms. Köprülü 01589 Tells Us about 8th/14th Century Shiraz." Eurasian Studies 16, no. 1-2 (December 7, 2018): 430–64. http://dx.doi.org/10.1163/24685623-12340059.
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AbstractWhat can the history of books tell us about Iranian cities and their histories? This article introduces the manuscript of a multi-text compilation (majmūʿa) for the purpose of illustrating its potential usefulness as a source for studying the social and cultural history of Shiraz in the turbulent period that followed the collapse of Mongol rule in the area. We specifically seek to show that Köprülü 01589, now housed in Istanbul, helps us to see how books were produced and consumed, and provides insight into the operations of a busy workshop for copying texts. Despite the rarity and historical significance of several of the pieces that it contains, the availability of images of the manuscript for some time in Istanbul and Iran, and attention to it in catalogues, it has not received scholarly attention as a whole.1 Although this article is only a preliminary study of a single manuscript, we believe it is important for the current volume in showing what manuscripts can reveal of the social world that produced them, the networks of people and ideas that animated city life, and the cultural resources of specific times and places. Furthermore, our approach to Köprülü 01589 can be expanded and applied to other manuscripts originating in Shiraz and other cities.
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Ganter, Granville. "Mistress of Her Art: Anne Laura Clarke, Traveling Lecturer of the 1820s." New England Quarterly 87, no. 4 (December 2014): 709–46. http://dx.doi.org/10.1162/tneq_a_00418.
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This essay examines Anne Laura Clarke, a public lecturer from 1822 through the mid-1830s. Her topics ranged from western history to world clothing customs, and she employed hand-crafted historical charts and magic lantern images. The essay is a contribution to feminist history and recovers Clarke's manuscript lectures and visual materials.
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Olson, R. J. M., and J. M. Pasachoff. "Historical Comets Over Bavaria: The Nuremberg Chronicle and Broadsides." International Astronomical Union Colloquium 116, no. 2 (1991): 1309–41. http://dx.doi.org/10.1017/s0252921100012914.
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Abstract.The first widely distributed printed comet images appear in the Nuremberg Chronicle, whose Latin edition appeared in 1493, followed closely by a German edition. In the first section, we begin our consideration with the comet image that has frequently been cited as a representation of the A.D. 684 apparition of Comet P/Halley. To better understand this image, we present a thorough survey of the 13 comet images that appear in the Chronicle, all reproduced from four woodblocks, representing 14 apparitions between A.D. 471 and A.D. 1472. In the second part, we present an analysis of the unpublished preparatory drawings for the comet images in the handwritten Exemplars (manuscript layout dummies) for both the Latin and German editions in the Stadtbibliothek, Nuremberg. Finally, in the third part, we demonstrate how the Chronicle presaged the proliferation of broadsides--woodcut prints that functioned like tabloids of the sixteenth and seventeenth centuries. We examine broadsides recording historical comets over such Bavarian cities as Nuremberg and Augsburg. In spite of their superstitious, hysterical journalism, fed by turbulent political and religious upheavals, these broadsides reveal a nascent scientific attitude.
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Edwards, E. "Nigerian Collections in Pitt Rivers Museum Archives, University of Oxford." African Research & Documentation 55 (1991): 51–52. http://dx.doi.org/10.1017/s0305862x00015892.
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Pitt Rivers Museum is one of the major anthropological museums in the world and as such has considerable object collections from Nigeria. Less known is its archive collection which contains a small but interesting collection of material relating to Nigeria. The Museum has been collecting archival material since its foundation in 1884 and the collections are still growing annually as more material is donated. At present the entire collection stands in the region of sixty manuscript collections of varying sizes and about 70,000 photographic images. The archive collections do not document specific objects in the museum collections (any material of this nature belongs with specific object records) but the broader historical and intellectual contexts which shaped anthropology in general and the Museum's collection in particular. The Nigerian material, although it is somewhat uneven, typifies this collecting policy and comprises both manuscripts and photographs.
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Evans, Gary. "The Nanking Atrocity: Still and Moving Images 1937–1944." Media and Communication 2, no. 2 (July 23, 2014): 55–71. http://dx.doi.org/10.17645/mac.v2i2.145.
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This manuscript investigates the facts of publication of the images of the Nanking Atrocity (December 1937–January 1938) in LIFE and LOOK magazines, two widely read United States publications, as well as the Nanking atrocity film clips that circulated to millions more in American and Canadian newsreels some years later. The publishers of these images were continuing the art of manipulation of public opinion through multimodal visual media, aiming them especially at the less educated mass public. The text attempts to describe these brutal images in their historical context. Viewing and understanding the underlying racial context and emotive impact of these images may be useful adjuncts to future students of World War II. If it is difficult to assert how much these severe images changed public opinion, one can appreciate how the emerging visual culture was transforming the way that modern societies communicate with and direct their citizens' thoughts.
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يوسف احمد إبراهيم, د. دولت. "أمراء المهدية والثبات على المبدأ (دراسة وثائقية لمواقف أمراء المهدية 1881م -1898م )." Omdurman Islamic University Journal 14, no. 1 (May 9, 2018): 95–134. http://dx.doi.org/10.52981/oiuj.v14i1.1622.
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The research studies the criteria vital of three Mahdist heroes. They are: Emir Yaqoub, brother of Khalif Abdullah and (servant) the leader of Mahdist troops, Emir Scholar and warrior Al-Hassan Al-Haj Saad and Emir Ibrahim Al-Khaleel. Although those Emirs were different in ages, ethics and cultures, they stood firmly behind the Mahdist principles. Many unneutral historical sources presented the Mahdist leaders as tyrannies controlling ignorant phanatic hungry troops whose aims were stealing, plundering and killing.
This studies aims at making apparent images of the true believers in Mahdist, who were pious, loyal and trustworthy. The research was based on the manuscript produced by prominent Sudanese historian Mohammed Abbdul-Rahim who was an eye- witness of many events of Mahdia history.
The researcher companed the information of the manuscript with reliable historical sources, finally the research pointed out important results emphasizing that the Mahdist men were true believers of their maxim to the extent that they died for it. They were aware of the true meaning of martyrdom.
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Evans, Gary. "The Nanking Atrocity: Still and Moving Images 1937–1944." Media and Communication 1, no. 1 (February 17, 2014): 51–67. http://dx.doi.org/10.17645/mac.v1i1.74.
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This manuscript investigates the facts of publication of the images of the Nanking Atrocity (December 1937–January 1938) in <em>LIFE </em>and <em>LOOK</em> magazines, two widely read United States publications, as well as the Nanking atrocity film clips that circulated to millions more in American and Canadian newsreels some years later. The publishers of these images were continuing the art of manipulation of public opinion through multimodal visual media, aiming them especially at the less educated mass public. The text attempts to describe these brutal images in their historical context. Viewing and understanding the underlying racial context and emotive impact of these images may be useful adjuncts to future students of World War II. If it is difficult to assert how much these severe images changed public opinion, one can appreciate how the emerging visual culture was transforming the way that modern societies communicate with and direct their citizens' thoughts.
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Barazzetti, Luigi, Mattia Previtali, Lorenzo Cantini, and Annunziata Maria Oteri. "Digital Recording of Historical Defensive Structures in Mountainous Areas Using Drones: Considerations and Comparisons." Drones 7, no. 8 (August 3, 2023): 512. http://dx.doi.org/10.3390/drones7080512.
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Digital recording of historic buildings and sites in mountainous areas could be challenging. The paper considers and discusses the case of historical defensive structures in the Italian Alps, designed and built to be not accessible. Drone images and photogrammetric techniques for 3D modeling play a fundamental role in the digital documentation of fortified constructions with non-contact techniques. This manuscript describes the use of drones for reconstructing the external surfaces of some fortified structures using traditional photogrammetric/SfM solutions and novel methods based on NeRFs. The case of direct orientation based on PPK and traditional GCPs placed on the ground is also discussed, considering the difficulties in placing and measuring control points in such environments.
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Babović, Dželila, and Madžida Mašić. "Digitalna pohrana kulturnohistorijskog blaga Bosne i Hercegovine: rukopisne zbirke = Digital Archiving of Cultural and Historical Treasure of Bosnia and Herzegovina: Manuscripts Collections." Bosniaca 21, no. 21 (December 2016): 59–68. http://dx.doi.org/10.37083/bosn.2016.21.59.
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Potreba za čuvanjem, zaštitom, organiziranjem, ali i otvorenim pristupom dokumentima, rukopisima, knjigama i drugim materijalnim svjedocima opće i kulturne historije postaje sve izraženija. Polazeći od značaja kulturnog i historijskog naslijeđa, ova civilizacija nastoji izgraditi sistem u kojem će sve što je nastalo i nastaje biti adekvat-no zaštićeno i dostupno za korištenje u naučne, obrazovne i kulturne svrhe. U odnosu na različite mogućnosti materijalne destrukcije, kao mjesto sigurne pohrane i čuvanja kulturnog naslijeđa i sjećanja javlja se digitalni arhiv – digitalni repozitorij slika, knjiga, rukopisa i drugih dokumenata.U kojoj je mjeri značajno raditi na digitalnoj pohrani i zaštiti rukopisa govori nam i činjenica da su u toku agresije na Bosnu i Hercegovinu stradali brojni arhivi, biblioteke i rukopisne zbirke. U ovome radu na primjeru Orijental-nog instituta u Sarajevu pokazat ćemo koliko je značajno da proces obnove rukopisnih zbirki i različite arhivske građe, pored klasičnih metoda, obuhvata i primjenu savremenih IT tehnologija. = The need to keep, protect, organise, but also to have an open access documents, manuscripts, books, and other material testimonies of general and cultural history is becoming ever more prominent. Considering the importance of cultural and historical heritage, this civilisation attempts to build a system that would properly protect and make available anything that has been and is being made to serve scientific, educational and cul-tural purposes. As a response to different possibilities of destruction, and frustration accompanying the loss of memory of heritage, digital archive – digital repository of images, books, manuscripts, and other documents – comes on the scene.The fact that during the aggression on Bosnia and Herzegovina numerous archives, libraries and manuscript collections have been destroyed, tells us about importance to work on digital storage and protection. In this paper, on the example of the Oriental Institute in Sarajevo, we will show how important is the process of re-construction of manuscript collections and archives, in addition to traditional methods, scope and application of modern IT technologies.
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Frankel, David. "Illustration, allusion, and commentary: Choosing the four sons in 1695." IMAGES 4, no. 1 (2010): 18–24. http://dx.doi.org/10.1163/187180010x547611.
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AbstractThe Amsterdam Haggadot of 1695 and 1712 had exceptional influence on subsequent manuscript copies and printed editions, not least because of the copperplate illustrations by Abraham ben Jacob. A reanalysis of the sources from which the figures of the Four Sons were taken reveals that these were not selected at random but that they involve specific allusions to both Jewish and non-Jewish events, providing a form of additional commentary. Their selection demonstrates the visual and historical knowledge and understanding of disparate material on the part of those responsible for choosing these and other images.
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Фадеев, Евгений. "Soteriological Images, Toposes and Symbols in the Hymnography of the Sunday Octoechos." Слово и образ. Вопросы изучения христианского литературного наследия, no. 1(2) (August 15, 2020): 34–56. http://dx.doi.org/10.31802/wi.2020.2.1.002.
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В статье рассматриваются сотериологические образы, топосы и символы в гимнографии Воскресного Октоиха. Приводится классификация образов, которые можно выделить в текстах Октоиха. В комментарии к юридическому образу приводится историческое и экзегетическое объяснение термина «рукописание». В комментарии к образу побежденного ада приводится пояснение того, кем являются привратники ада в различных культурных традициях, и какие функции они исполняют. This article examines the soteriological images, toposes and symbols in the hymnography of the Sunday Octoechos. It also gives a classification of images that can be highlighted in the texts of the Octoechos. In the commentary on the legal image a historical and exegetical interpretation of the term “manuscript” is given. The commentary on the image of the defeated hell explains who the gatekeepers of hell are in various cultural traditions, and what functions they perform.
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Venkovits, Balázs. "Reconstructing a Transatlantic Business Venture: Aladár Pataky’s Unknown Manuscript from 1927." Hungarian Cultural Studies 15 (July 19, 2022): 62–76. http://dx.doi.org/10.5195/ahea.2022.465.
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This paper reconstructs the story of a so far unknown manuscript, a handwritten, personal account detailing a 1927 journey to the United States and Canada with the primary purpose of selling Hungarian wine as part of a more extensive international venture. The article introduces the research that led to the identification of the writer of the manuscript –written on sheets of paper from a Canadian hotel – and outlines the background of a fascinating business project, thereby positioning the text not only as a unique example to be studied with the tools of microhistory but also placing it in the broader, transatlantic historical and political environment of the time. The text is also studied and presented as a piece of travel writing that provides unique insights into Hungarian perceptions of North America in the 1920s and the Hungarian images of Canada and the United States.
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Bell, Peter, and Leonardo Impett. "Ikonographie und Interaktion. Computergestützte Analyse von Posen in Bildern der Heilsgeschichte." Das Mittelalter 24, no. 1 (July 11, 2019): 31–53. http://dx.doi.org/10.1515/mial-2019-0004.
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Abstract The last few years have seen an explosion of medieval images in digital form, chiefly as a result of photo-library and manuscript digitisation projects. An entire corpus of images, even selected solely by scene or iconography, becomes an unwieldy object of study by traditional art-historical means. This is even more the case for medieval images, where authorship and dating are often cloudy and unclear, and the image itself is in many cases the first resource for scholarly inquiry.We take the digital image – in particular, the digital image of the body – as our object of study in a wide-ranging computationally-augmented reading of an image-corpus; ours is made up of thousands of depictions of the ‘Annunciation’ and ‘Baptism’, selected not only for their primacy in Christian art but for their dialogical interaction. Our corpus of 6,564 ‘Annunciations’ and 883 ‘Baptisms’, whilst not necessarily representative in density, includes a wide range of stylistic, theological and historical tendencies.We computationally extract not only body images but poses, gestures and interactions. Such a range of gestures allows for a morphological treatment of bodily motifs, whose multi-dimensional, quantitative nature allows us to complicate and problematise iconographic taxonomies, populating the spaces between categories. Finally, our gestural manifolds provide a morphological pointer to dissecting the microtemporalities of the scenes, and their relative dynamics and inconsistencies.
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Järvinen, Hanna. "Historical materiality of performance: On the costumes ofThe Rite of Spring(1913)." Studies in Costume & Performance 5, no. 2 (December 1, 2020): 153–73. http://dx.doi.org/10.1386/scp_00023_1.
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By focusing on surviving costumes of the 1913 production ofThe Rite of Spring, this article asks how a close examination of costumes and their role in historical performance practice can change our understanding of a canonical work of art. It argues for methodological pluralism in examining material remains together with manuscript annotations, images and reviews of the production rarely considered in previous research and, consequentially, for a critical examination of all previous claims, including the so-called reconstruction (1987) ofThe Rite of Spring. Compared with designs and costumes of other productions by the Ballets Russes company, those of the 1913 production explain much of the contradictory ways in which the work figured in discourses relating to art and modernism in France and Russia at the time. Most importantly, the costumes exemplify a particular tradition of making theatre that has been obscured by the prevailing Orientalist view of the Ballets Russes company that is hegemonic in what is claimed to be ‘known’ aboutThe Rite of Springand its reception.
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Harris, Julie. "POLEMICAL IMAGES IN THE GOLDEN HAGGADAH (BRITISH LIBRARY, ADD. MS 27210)." Medieval Encounters 8, no. 2-3 (2002): 105–22. http://dx.doi.org/10.1163/15700670260497006.
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AbstractCareful examination of two miniatures in the fourteenth-century Golden Haggadah (British Library, Add. MS 27210) reveals polemical content which seems at odds with the tolerant atmosphere in which the Aragonese Jews associated with the manuscript are thought to have lived. Specifically, the Haggadah includes a rarely illustrated scene—the Spoiling of the Egyptians (fol. 13)—which draws its polemical flavor from a visual context in which spoils are shown as church plate, and Egyptians, one folio later, are shown as contemporary Spanish knights. Although the earlier scene's configuration depends on the Midrash, in contrast to this source and even to the biblical description of events, the illumination shows the Israelites plundering an unattended treasury. The miniature's divergence from text and its combative iconography point to historical and theological developments which are the subject of this paper. The meaning of its polemical interpolations will be considered in view of the Haggadah's special role in the Passover Seder—a ritual which conflates past and present so that participants feel as if they themselves experienced the Exodus and are awaiting a final redemption.
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Popova, Tatiana G. "New Testament Names in the Text of the Ladder of John Climacus." Вопросы Ономастики 20, no. 2 (2023): 247–69. http://dx.doi.org/10.15826/vopr_onom.2023.20.2.022.
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The paper explores eleven New Testament names featured in the text of the Ladder by John Climacus, a translated monument of early Slavic writing. These personal names are a special kind of biblical quotations referring to the events of the holy history. The research is based on comparative analysis of the Greek texts of the Ladder published by Jacques Paul Migne (Patrologia Graeca, Vol. 88), four ancient Byzantine codes and five Slavic manuscripts which contain the first Slavic translation of the book made by Preslav scribes in the first half of the 10th century. The article follows research on the collective church memory of medieval scribes which manifests itself in the commonality of topics, images, plots, ideas, and expressions that go back to the text of the Bible. The New Testament characters that are featured in the Greek text of the Ladder and its Slavic traslations are: Jesus Christ, Mary, John the Baptist, John the Apostle, Lazarus, Peter, Paul, Timothy, Herod, Pontius Pilate, Judas. The author identifies the key biblical images in the Greek text of the Ladder (Jesus Christ and the supreme apostles Peter and Paul) and specifies the functions of New Testament names in the text: referential, symbolic, emphatic and indexical. The oldest Russian manuscript showcases spelling inconsistencies in relation to New Testament names as well as multiple errors indicating both the inexperience of the scribe and his poor knowledge of gospel stories. These errors were eliminated from the text of later manuscripts. The analysis identified four words that are absent in the historical dictionaries of the Russian and Old Slavonic languages (bezvrednitsa ‘dispassion’, besslovesne ‘wordlessly’, zluderzhanie ‘rancor’, suprotivpremeneniе ‘transformation’).
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Causer, Tim, and Melissa Terras. "Crowdsourcing Bentham: Beyond the Traditional Boundaries of Academic History." International Journal of Humanities and Arts Computing 8, no. 1 (April 2014): 46–64. http://dx.doi.org/10.3366/ijhac.2014.0119.
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The Bentham Papers Transcription Initiative 2 (Transcribe Bentham for short) is an award-winning crowdsourced manuscript transcription initiative which engages students, researchers, and the general public with the thought and life of the philosopher and reformer, Jeremy Bentham (1748–1832), by making available digital images of his manuscripts for anyone, anywhere in the world, to transcribe. Since its launch in September 2010, over 2.6 million words have been transcribed by volunteers. This paper will examine Transcribe Bentham's contribution to humanities research and the burgeoning field of digital humanities. It will then discuss the potential for the project's volunteers to make significant new discoveries among the vast Bentham Papers collection, and examine several examples of interesting material transcribed by volunteers thus far. We demonstrate here that a crowd-sourced initiative such as Transcribe Bentham can open up activities that were traditionally viewed as academic endeavors to a wider audience interested in history, whilst uncovering new, important historical primary source material. In addition, we see this as a switch in focus for those involved in digital humanities, highlighting the possibilities in using online and social media technologies for user engagement and participation in cultural heritage.
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Vorontsova, Galina N. "Samara within the scope of “The Eighteenth Year” novel by A.N. Tolstoy." Semiotic studies 3, no. 2 (July 17, 2023): 55–59. http://dx.doi.org/10.18287/2782-2966-2023-3-2-55-59.
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The article considers one of the aspects of depicting Samara in the novel by A.N. Tolstoy The Eighteenth Year (19271928), namely the use of Notes on the 1918 Czechoslovak Rebellion to show the battles on the city streets in June 1918, which are now kept as part of the writer's archive in the Manuscript Department of the A.M. Gorky Institute of World Literature under RAS. Tolstoy re-conceptualized the information and supplemented it with artistic images to describe the events and give them historical reliability. The article gives examples of the writer's work with documentary materials that were reflected both in the chronological context of the narrative and in single episodes of the novel.
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Golovnev, I. A., and E. V. Golovneva. "Images of Sakhalin in the research legacy of B.O. Pilsudsky (based on materials of the Far-Eastern archives)." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2(53) (May 28, 2021): 129–37. http://dx.doi.org/10.20874/2071-0437-2021-53-2-12.
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In modern anthropology, researchers pay increasing attention to photographic data as a category of histori-cal/ethnographic documents. This article is based on visual and anthropological materials of Bronislaw Pilsudsky (1866–1918), a renowned researcher of Sakhalin ethnic groups, collected by the authors from the archives and museums in the Far East during the expedition in June — August 2019. The study is focused on Pilsudsky’s pho-tographic and manuscript collections on the thnography of the Nivkhs reposited in holdings of the Sakhalin Re-gional Museum (Yuzhno-Sakhalinsk) and the Society for Research on the Amur Region (Vladivostok). Many of these photographic documents, being unique evidence of the evolution of the material and spiritual culture of the indigenous people of Sakhalin at the turn of the 19th and 20th centuries, are introduced into the scientific discourse for the first time. The photographic materials are analyzed from the historical and anthropological perspectives, in conjunction with the published papers and archival manuscripts of the scientist (in particular, “Wants and needs of the Sakhalin Gilyaks”). Correlation of the textual and visual materials shows that B. Pilsudsky represented Sakhalin in a series of images: the island of native dwellers (traditional lifestyle of the Gilyaks) — the island of convicts (colonization of the territory, involuntary-settlement community) — the island of autonomies (cultural and economic zoning). In the course of his studies, B. Pilsudsky used concurrently textual description of the impressions and their photographic cap-ture. The key feature of the scientific work of B. Pilsudsky of this period was the absence of a “metric” perspective — he photographed his characters in their natural habitat, in their daily routine. The conclusion is drawn on the archive photo-graphs as multi-layered visual-anthropological documents on their time, which under a proper critical research perspec-tive constitute valuable historical sources of scientific interest for studies in a wide range of the humanities.
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De Gregorio, Giuseppe, Giuliana Capriolo, and Angelo Marcelli. "End-to-End Transcript Alignment of 17th Century Manuscripts: The Case of Moccia Code." Journal of Imaging 9, no. 1 (January 13, 2023): 17. http://dx.doi.org/10.3390/jimaging9010017.
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The growth of digital libraries has yielded a large number of handwritten historical documents in the form of images, often accompanied by a digital transcription of the content. The ability to track the position of the words of the digital transcription in the images can be important both for the study of the document by humanities scholars and for further automatic processing. We propose a learning-free method for automatically aligning the transcription to the document image. The method receives as input the digital image of the document and the transcription of its content and aims at linking the transcription to the corresponding images within the page at the word level. The method comprises two main original contributions: a line-level segmentation algorithm capable of detecting text lines with curved baseline, and a text-to-image alignment algorithm capable of dealing with under- and over-segmentation errors at the word level. Experiments on pages from a 17th-century Italian manuscript have demonstrated that the line segmentation method allows one to segment 92% of the text line correctly. They also demonstrated that it achieves a correct alignment accuracy greater than 68%. Moreover, the performance achieved on widely used data sets compare favourably with the state of the art.
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Joshi, Kalpesh. "Handwritten Text Recognition from Image." International Journal for Research in Applied Science and Engineering Technology 11, no. 6 (June 30, 2023): 1528–30. http://dx.doi.org/10.22214/ijraset.2023.53364.
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Abstract: A computer vision program called Handwritten Text Recognition (HTR) attempts to recognize and translate handwritten text from scanned or photographed images. In this project, we suggest implementing an HTR system using Tesseract and OpenCV. English, Chinese, and Arabic are all supported by the popular open-source optical character recognition (OCR) engine known as Tesseract. It is employed to find and identify printed text within photographs. On the other hand, OpenCV is a well-liked computer vision library that offers several tools for processing and analyzing images. The pre-processing step of the proposed system uses OpenCV to increase the input image's quality and OCR accuracy. After that, Tesseract receives the pre-processed image for text recognition. The extracted text is then saved in a text file after being identified. To enhance the quality of the input image, the project will use several pre-processing techniques, including deskewing, noise removal, and binarization. With the help of a sizable dataset of handwritten photographs, the Tesseract OCR engine is taught to recognize handwritten text more accurately. The HTR system can be used in a variety of fields, including document analysis, historical manuscript digitalization, and postal automation. It can also be applied in academic settings to help students translate their notes and assignments. Therefore, it is anticipated that the proposed HTR system employing Tesseract and OpenCV will offer a reliable and effective method for identifying and transcribing handwritten text from photographs.
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Tsiborovska-Rymarovych, Iryna. "Vyshnivetsky Castle Library of Prince Mychailo Servaty Vyshnivetsky – Historical Book Heritage and Object of Bibliological and Historical Reconstruction." Bibliotheca Lituana 3 (December 22, 2014): 166–82. http://dx.doi.org/10.15388/bibllita.2014.3.15569.
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The article has as its object the elucidation of the history of the Vyshnivetsky Castle Library, definition of the content of its fund, its historical and cultural significance, correlation of the founder of the Library Mychailo Servaty Vyshnivetsky with the Book.The Vyshnivetsky Castle Library was formed in the Ukrainian historical region of Volyn’, in the Vyshnivets town – “family nest” of the old Ukrainian noble family of the Vyshnivetskies under the “Korybut” coat of arm. The founder of the Library was Prince Mychailo Servaty Vyshnivetsky (1680–1744) – Grand Hetman and Grand Chancellor of the Grand Duchy of Lithuania, Vilno Voievoda. He was a politician, an erudite and great bibliophile. In the 30th–40th of the 18th century the main Prince’s residence Vyshnivets became an important centre of magnate’s culture in Rich Pospolyta. M. S. Vyshnivetsky’s contemporaries from the noble class and clergy knew quite well about his library and really appreciated it. According to historical documents 5 periods are defined in the Library’s history. In the historical sources the first place is occupied by old-printed books of Library collection and 7 Library manuscript catalogues dating from 1745 up to the 1835 which give information about quantity and topical structures of Library collection.The Library is a historical and cultural symbol of the Enlightenment epoch. The Enlightenment and those particular concepts and cultural images pertaining to that epoch had their effect on the formation of Library’s fund. Its main features are as follow: comprehensive nature of the stock, predominance of French eighteenth century editions, presence of academic books and editions on orientalistics as well as works of the ideologues of the Enlightenment and new kinds of literature, which generated as a result of this movement – encyclopaedias, encyclopaedian dictionaries, almanacs, etc. Besides the universal nature of its stock books on history, social and political thought, fiction were dominating.The reconstruction of the history of Vyshnivetsky’s Library, the historical analysis of the provenances in its editions give us better understanding of the personality of its owners and in some cases their philanthropic activities, and a better ability to identify the role of this Library in the culture life of society in a certain epoch.
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Farfan, Penny. "Ibsen Postcards / Postcard Ibsens: Domesticating Modernism." Modern Drama 65, no. 3 (October 1, 2022): 271–354. http://dx.doi.org/10.3138/md-65-3-1222.
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Playwright Henrik Ibsen was featured on countless postcards during the postcard craze of the late nineteenth and early twentieth centuries. Encompassing photographic portraits, snapshots, sculptures, monuments, etchings, paintings, and caricatures, the historical interest of these postcards arises not simply from the range of images of the playwright they featured but from the quantity of cards that were published and circulated, how the cards were used and by whom, and what their uses suggest about Ibsen’s popular reputation, reception, significance, impact, and reach. This essay considers the range of Ibsen postcards and also their uses, taking into account the messages inscribed on the cards, the senders and recipients, and the ways the postcards circulated as much as the Ibsen images themselves. In doing so, it considers how the postcards animate the singular figure of the iconic playwright they represent and collectively constitute a lively archive – print and manuscript, visual and textual – that conjures a variety of different Ibsens. In their diversity, myriad uses, and international range, the sampling of Ibsen postcards – and postcard Ibsens – collected here illuminate the popular status, wide reach, and domestication of a key figure in the canon of modern drama and world literature and a beacon of first-wave feminism.
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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.
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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.
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Cilia, Nicole Dalia, Claudio De Stefano, Francesco Fontanella, Claudio Marrocco, Mario Molinara, and Alessandra Scotto di Freca. "An Experimental Comparison between Deep Learning and Classical Machine Learning Approaches for Writer Identification in Medieval Documents." Journal of Imaging 6, no. 9 (September 4, 2020): 89. http://dx.doi.org/10.3390/jimaging6090089.
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In the framework of palaeography, the availability of both effective image analysis algorithms, and high-quality digital images has favored the development of new applications for the study of ancient manuscripts and has provided new tools for decision-making support systems. The quality of the results provided by such applications, however, is strongly influenced by the selection of effective features, which should be able to capture the distinctive aspects to which the paleography expert is interested in. This process is very difficult to generalize due to the enormous variability in the type of ancient documents, produced in different historical periods with different languages and styles. The effect is that it is very difficult to define standard techniques that are general enough to be effectively used in any case, and this is the reason why ad-hoc systems, generally designed according to paleographers’ suggestions, have been designed for the analysis of ancient manuscripts. In recent years, there has been a growing scientific interest in the use of techniques based on deep learning (DL) for the automatic processing of ancient documents. This interest is not only due to their capability of designing high-performance pattern recognition systems, but also to their ability of automatically extracting features from raw data, without using any a priori knowledge. Moving from these considerations, the aim of this study is to verify if DL-based approaches may actually represent a general methodology for automatically designing machine learning systems for palaeography applications. To this purpose, we compared the performance of a DL-based approach with that of a “classical” machine learning one, in a particularly unfavorable case for DL, namely that of highly standardized schools. The rationale of this choice is to compare the obtainable results even when context information is present and discriminating: this information is ignored by DL approaches, while it is used by machine learning methods, making the comparison more significant. The experimental results refer to the use of a large sets of digital images extracted from an entire 12th-century Bibles, the “Avila Bible”. This manuscript, produced by several scribes who worked in different periods and in different places, represents a severe test bed to evaluate the efficiency of scribe identification systems.
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Clanchy, Michael. "Images of Ladies with Prayer Books: What do they Signify?" Studies in Church History 38 (2004): 106–22. http://dx.doi.org/10.1017/s042420840001576x.
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Monastic illumination of manuscripts gave to writings a force and prestige which was unprecedented. Throughout the millennium of western monasticism (500-1500 A.D.), the rich founded monasteries so that monks might pray and worship on their behalf. The monks displayed the fruit of their labours to their patrons in their churches and other works of art, particularly in their books. When with growing prosperity from about 1250 onwards the demand for individual prayer reached down to the middle class of knights and burgesses, they began to want wonderworking books of their own. They could not afford to buy a chantry chapel or a jewelled reliquary, but a small illuminated manuscript came within their means as the first step towards the purchase of paradise. Ladies in particular took to reciting the Latin Psalter and treasuring illuminated Books of Hours. In fifteenth-century depictions of the Annunciation, Mary is often shown seated in a sunlit bower with an open Book of Hours on her lap or displayed on a lectern. Likewise she is sometimes depicted with the Child Jesus on her knee, showing him a Book of Hours. The habit of possessing books might never have reached the laity if writing had not been so luxurious and so covetable. Illumination introduced the laity to script through images which could not fail to attract the eye. The children of the prosperous were introduced to the Psalter by their mothers or a priest for the purpose both of learning to read and of beginning formal prayer. To own a Psalter was therefore an act of familial as well as public piety.These words were written twenty years ago, for a conference at the Library of Congress in 1980 on ‘Literacy in historical perspective’. Since then, these themes have been addressed in several lectures and research papers at conferences, and I would stand by the main ideas expressed in that passage. Monks had indeed given extraordinary prestige to books and in particular to the illuminated liturgical book, which is a medieval invention. By the thirteenth century such books were being adapted for lay use and ownership, typically in Books of Hours. However, it is mistaken to say that lay use ‘began’ then, as the aristocracy – particularly in Germany – had been familiar with prayer books for centuries. In the twelfth century, Hildegard of Bingen was said to have learned only the Psalter ‘as is the custom of noble girls’. A Psalter for lay use dating from c.1150, which belonged to Clementia von Zähringen, has been preserved. It contains a full-page portrait of a lady – presumably Clementia herself – at folio 6v between the end of the Calendar and the Beatus page beginning the Psalms. This book has 126 folios in its present state (possibly one folio is missing at the end) and it measures 11 cm X 7 cm, no larger than a woman’s hand. The biography of Marianus Scotus, the eleventh-century Irish hermit who settled at Regensburg, describes how he wrote for poor widows and clerics ‘many little books and many Psalter manuals’ (‘multos libellos multaque manualia psalteria’). The diminutive form ‘libellos’ and the adjective ‘manualia’ emphasise that these manuscripts were small enough to hold in the hand, like Clementia von Zähringen’s book.
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Bauduin, Tessel M., and Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)." Journal of European Periodical Studies 4, no. 1 (June 30, 2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.
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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art from a wide variety of periods and geographic locations, and in very differing media, including jewelry and vessels, murals, bronze church doors, and manuscript illuminations. The glossy art review Minotaure, which came with coloured inserts, was more conventional in its selection, reproducing primarily late-medieval and renaissance art works, mainly (panel) paintings. However, the intention is just as contrary, as late-medieval and renaissance art in Minotaure is framed in terms of surrealist aesthetics in a manner undermining the conventional canon. In Documents medieval art primarily serves to makes points about style and iconography, which is often posited as primitive or exotic. In Minotaure, medieval art serves to make points about Surrealism, about the oneiric qualities of form or iconography. Both periodicals offered an interesting array of medieval and renaissance art and introduced this art into the surrealist discours.
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Roman-Negoi, Ana-Maria. "Nicolae Iorga and the Ardelean School. Gheorghe Şincai, re-evaluation of a portrait." Revista de istorie a Moldovei, no. 1-2(129-130) (November 2022): 166–73. http://dx.doi.org/10.58187/rim.129-130.08.
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Nicolae Iorga’s research on Transilvania, published in the second volume of Istoriei literaturii române, sugestively titled Epoca lui Petru Maior (The epoch of Petru Maior) is a landmark for the theme of Școala Ardeleană, opening new investigation paths. The historiography of the Romanian Enlightenment in Transylvania or the history of books and printing are topics that have the first edition of Istoria literaturii române în secolul al XVIII-lea as mandatory bibliographic reference even now, more than 100 years after its publication. Within the work, the research dedicated to Gheorghe Şincai resulted in a portrait combining the general analysis of the life path and historical work from the positions and with the instruments of the literary historian. Nicolae Iorga’s study played the role of a model, its form and background being invoked in many subsequent pieces of research. One of the images of Gheorghe Șincai, perpetuated in the pages of historiography, we also owe to Nicolae Iorga: „a different nature than the gentle monk of Blaj, a fiery, stubborn, harsh temperament. An apostle other than the preacher with the spirit of meekness, a warrior who proclaims the new truth in the hearing of all, a prophet by the sword, who has come to bring war”. Regarding the contribution to the development of the Romanian historical writing, Șincai is considered by Nicolae Iorga a compiler, and his representative work, Hronica românilor, a compilation. In the light of the progress of the methods of text analysis, of the inclination towards the detailed research of the manuscript collections of the Transylvanian Enlightenment, the present study proposes a re-evaluation of Gheorghe Șincai’s scientific profile and a reconsideration of the role of his historical writing on the road to modernity.
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Pinassi, Andrés, Hubert B. Van Hoof, and Patricia Susana Ercolani. "Perceptions about cultural heritage and recreational sites among older adults in Bahia Blanca, Argentina." Journal of Cultural Heritage Management and Sustainable Development 7, no. 1 (February 6, 2017): 72–90. http://dx.doi.org/10.1108/jchmsd-12-2015-0047.
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Purpose The purpose of this paper is to report on a study that was done among older adults in the city of Bahia Blanca, Argentina regarding their awareness and use of cultural heritage and commercial recreational sites. Design/methodology/approach This exploratory study among this historically understudied segment of the population used interviews and historical images to analyze their perceptions about such spaces and to establish a link between those perceptions and their civic identity. Findings The study found that appreciation of local cultural heritage sites was considerably lower than appreciation of commercial recreational areas and suggests possible interventions to enhance the use and appreciation of cultural heritage sites. Social implications This paper about Bahia Blanca derives its relevance from venturing into an analysis of the opinions about such sites among an age segment, the elderly, that has been poorly addressed in other studies, in particular in the Latin American context. The study reported here generated firsthand information that may serve public servants in making decisions in the context of locally developed cultural policies and presents a methodological model and data collection and analysis techniques that may be of interest for development elsewhere. Originality/value In Argentina there is a lack of research studies in the “older adults” age bracket. The contribution of this manuscript lies in creating a connectivity among concepts such as recreation/leisure, heritage and lived space, by using new contributions in the geography of leisure that are associated with the geography of everyday life. The concepts are integrated in the study of subjective spaces of individuals.
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Sebo, Erin. "Translating Symphosii Scholastici Aenigmata: The problems of translating an enigmatic genre." Journal of the Australian Early Medieval Association 14 (2018): 35–49. http://dx.doi.org/10.35253/jaema.2018.1.3.
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The tendency to dismiss Symphosius as frivolous has been expressed in the translations of his work. This, of course, has the effect of reinforcing the attitude since many readers read Symphosius first in translations; even if they then read the text in the original, it is hard to shake first impressions. This attitude is a reflection of our cultural associations with riddles, which are very different from those of late antiquity. Moreover, there are a range of problems associated with translating Symphosius' 'Aenigmata', including the difficulty of establishing a source text from the range of variations found in the manuscript tradition, and the cultural and historical barriers to making the text intelligible to a modern audience. However, these difficulties arise in translating all ancient texts. The greatest difficulty in translating 'Aenigmata' is the nature of the genre itself. Riddles are designed to be enigmatic. How can a translator produce a translation which gives the reader the clues required to solve the riddles without destroying ambiguity, the central feature of the genre? This is exacerbated by the requirements of producing scholarly translations; that the translated text is culturally accurate and precisely reflects specific cultural metaphors, images, symbols, paradoxes, and associations. This study examines previous translations and considers how and to what extent it is possible to satisfy such fundamentally contradictory requirements.
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Pánya, István. "Hájszentlőrinc mezőváros topográfiája." Belvedere Meridionale 34, no. 3 (2022): 162–81. http://dx.doi.org/10.14232/belv.2022.3.9.
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In my study, I summarize the outer and inner topography of the market town of Hájszentlőrinc which existed in the southern part of the historical Kingdom of Hungary, in today’s Serbia. My aim is to provide a methodological example for researchers of the historico-geography of settlements. First, I examine the border of the settlement, its surroundings and the neighbouring settlements, and then I reconstruct the former built-up area of the market town. Spatial analysis is made possible by medieval certificates, 18th-century manuscript maps, and satellite images. Hájszentlőrinc existed east of today’s Küllőd (Kolut, SRB). During the Middle Ages, it was an important centre of Bodrog County: in the 13-14th century it functioned as a place of authentication (locus credibilis), in the 15-16th centuries it was a market town (oppidum). In the late Middle Ages, meetings of the noble judiciary (sedria) of Bodrog County were held here most of the time. Based on the medieval boundary descriptions, the western and southern neighbours of the settlement can be clearly defined. Based on remote sensing sources, it was possible to determine the former inner, built-up area, which was about 800 meters long and had a spindle structure (german Angersdorf). An important result was that the location of the medieval cathedral chapter (capitulum) could also be identified.
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Semenova, Angelina I. "“The Last of the Mohicans of the Russian Thought”: Pavel S. Popov about Gustav G. Shpet. Popov, Pavel S. “Shpet, Publication by Angelina I. Semenova." Voprosy Filosofii, no. 7 (2021): 105–24. http://dx.doi.org/10.21146/0042-8744-2021-7-105-124.
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The article is devoted to the analysis of the intellectual heritage of the famous Russian philosopher, literary scholar and translator Pavel Sergeevich Popov (1892-1964), whose works have been preserved in his family archive. The article precedes the publication of the chapter on Gustav Gustavovich Shpet from Popov’s unpublished memoirs Images of the Past. Memories from university, gymnasium and childhood years (P.S Popov began to write this book in the 1920s and finished in the 1940s). Popov's manuscript is primarily of historical and philosophical value, opening up new interesting pages for us in the history of domestic Russian thought in the first half of the 20th century. It allows to take a fresh look at both Popov and Shpet, clarifies the nuances of the relationshipbetween philosophers of that time, confirms the ideological and biographical assumptions of researchers (for example, about the existence of a typewritten version of the second volume of Shpet’s A View on the History of Russian philosophy»). In addition, thanks to these memories, various details of the intellectual life in the first half of the 20th century are discovered (including the internal ideological connections within the Psychological Society, and the intellectual atmosphere of the “editing” of Shpet's translation of the G.W.F Hegel’s The Phenomenology of Spirit. The author defends on P.S. Popov’s archival materials the idea of the existence of a continuity between the philosophy of pre-revolutionary Russia and the Soviet period. Their link, according to the author, is the work of university philosophers (precisely, the generation that caught the interruption of the pre-revolutionary and the formation of the Soviet philosophy: G.G. Shpet, P.S. Popov, B.A. Fokht, V.F. Asmus etc.), since the university style of thinking is, in principle, aimed at preserving and transmitting the historical intellectual experience of generations.
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Nikolaos, Ntogas, and Ventzas Dimitrios. "Binarization of pre‐filtered historical manuscripts images." International Journal of Intelligent Computing and Cybernetics 2, no. 1 (March 27, 2009): 148–74. http://dx.doi.org/10.1108/17563780910939282.
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Hollaus, Fabian, Ana Camba, Stefan Fiel, Sajid Saleem, and Robert Sablatnig. "Manuscript Investigation in the Sinai II Project." Digital Presentation and Preservation of Cultural and Scientific Heritage 4 (September 30, 2014): 200–205. http://dx.doi.org/10.55630/dipp.2014.4.23.
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This work is concerned with the analysis of historical manuscripts. The manuscripts investigated are partially in a bad condition, due to their age, bad storage conditions etc. These circumstances impede a transcription of the ancient writings, as well as the application of document image analysis methods. Therefore, the writings are imaged with a portable MultiSpectral Imaging acquisition system. By using this non-invasive investigation technique the contrast of the degraded and faded-out writings can be enhanced. In order to gain a further contrast enhancement, a post-processing method has been developed. Additionally, two document analysis methods have been developed in order to facilitate the work of scholars: First, an Optical Character Recognition is described. Second, a method designed for the automated identification of writers of ancient Slavic manuscripts is explained. This paper provides an overview on the manuscript investigation techniques mentioned.
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Fakhriati, Fakhriati. "Interconection and Local Wisdom of Malay and Arabs Ulamas Works: Study on Malay and Arabic Manuscripts’ Papers." Al-Qalam 24, no. 1 (August 12, 2018): 1. http://dx.doi.org/10.31969/alq.v24i1.464.
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<p align="justify">Malay and Arabs are two continents, located in different area, Southeast Asia and Middle East. Historically, writers as <em>ulama</em>s<em> </em>(religious prominent figures) tended to use watermarked papers for writing many things both related to religious, historical knowledge, and also their experience. Looking at the manuscripts existing nowadays, almost all Malay and Arabic manuscripts’ papers have unique and similar watermark images and countermark inside. It cannot be denied that historical background and context appeared behind the papers. Historically, the relationship among the countries since the coming of Islam to Malay -- that was in Aceh at the first -- gave the effect of produced and using the papers. Trade and diplomatic relation can be assumed as the biggest factor taken places in this aspect. Besides, Western countries also took important role in exporting their paper to other countries. In addition, they had colonized some Muslims countries both Southeast Asian and Middle East. As the most popular producers of watermark images, Western countries also exported their papers to other countries, including their colonized countries. This paper tries to elaborate ulamas’ paper in these two nations in its similarity and diversity to find local wisdom inside. Thereafter, to analyze the relationship among the countries is another focus of this paper. This paper tries to use Philological, codicological, and socio-historical approach in dealing with the content and physics of the manuscripts, and its historical context.</p>
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Sanusi, Anwar, and Tendi Tendi. "THE IMAGE OF PRINCE GEBANG IN BABAD SUTAJAYA MANUSCRIPT." IBDA` : Jurnal Kajian Islam dan Budaya 17, no. 2 (December 31, 2019): 226–41. http://dx.doi.org/10.24090/ibda.v17i2.2063.
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Prince Gebang was one of the local rulers who collaborated with the VOC at the end of the 17th century. His domain, named as the Principality of Gebang (Kepangeranan Gebang), extended from the northern coastal area of Gebang Sea to the south side of the Cijolang River bordering on Galuh. Although the name of Sutajaya is clearly written as Prince Gebang (Pangeran Gebang) in the colonial archives, his identity and his travel process towards the power of the Gebang area was not clearly explained at all. This paper seeks to reveal the image of Prince Gebang through Babad Sutajaya manuscript stored in Pangeran (Prince) Pasarean Museum. From the ancient manuscripts, taken a number of essences related footage Sutajaya figure to study. The historical elements contained in the affinity of the story, comparated with records of colonial archives and sources of oral traditions that exist. From this research it is known that Babad Sutajaya depicts the image of Prince Gebang as an important figure, who came from the royal court of Cirebon. In addition, this manuscript also illustrates Prince Gebang's abilities and reveals how he gained the territory of Gebang as his controlled area
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Maleko, Elena Valer'evna. "Specificity of Artistic Image-Symbol Interpretation in the Light of Change of Cultural-Historical Epochs." Manuskript, no. 2 (February 2020): 204–8. http://dx.doi.org/10.30853/manuscript.2020.2.38.
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Vidas, Marina. "Un Deu Enemi. Jews and Judaism in French and English Medieval Illuminated Manuscripts in the Royal Library." Fund og Forskning i Det Kongelige Biblioteks Samlinger 55 (March 3, 2016): 105. http://dx.doi.org/10.7146/fof.v55i0.118912.
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Marina Vidas: Un Deu Enemi. Jews and Judaism in French and English Medieval Illuminated Manuscripts in the Royal Library
The article analyzes images of and texts about Jews and Judaism in five medieval illuminated manuscripts in the collection of the Royal Library, Copenhagen. I begin by examining the references to Jews in a bestiary (MS GKS 3466 8º) composed in the twelfth century by Philippe de Thaon for Queen Adeliza of England and copied a century later in Paris. Then I analyze depictions of Jews in a French early thirteenth-century personal devotional manuscript (MS GKS 1606 4º) as well as in a number of related de luxe Psalters and Bibles in foreign collections. Textual references to Judaism and Jews are examined in a compilation of saints’ lives (MS Thott 517 4º) as well as depictions of individuals of this faith in an Hours (MS Thott 547 4º), both made in fourteenth-century England for members of the Bohun family. Lastly, I analyze images illustrating legends derived from the Babylonian Talmud in a Bible historiale (MS Thott 6 2º), executed for Charles V of France (r. 1364–1380).I argue that images depicting Jews in narrative cycles had a number of meanings, some of which can be interpreted as anti-Jewish. I suggest that the images also played a role in shaping the piety of their audiences as well as the intended viewers’ understanding of their social identity. Indeed, depictions of Jews in the manuscripts seem mostly unrelated to the actually existing Jews. Members of the Hebrew faith were often represented in contexts in which their appearance, beliefs, and activities were distorted to emphasize the holiness, goodness, and perfection of Christ and the Virgin Mary. It is also suggested that their representations may have spurred a reflection on, and sometimes even a criticism of, Christian behavior and attitudes.
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He, Sheng, Petros Samara, Jan Burgers, and Lambert Schomaker. "Image-based historical manuscript dating using contour and stroke fragments." Pattern Recognition 58 (October 2016): 159–71. http://dx.doi.org/10.1016/j.patcog.2016.03.032.
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Bilotta, Maria Alessandra, and Gianluca Del Monaco. "Imago, ius, religio. Religious Images in Medieval Legal Manuscripts: An Overview." Eikon / Imago 12 (January 28, 2023): 1–10. http://dx.doi.org/10.5209/eiko.85807.
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Editorial introduction to “Imago, ius, religio. Religious Iconographies in Illustrated Legal Manuscripts and Printed Books (9th-20th)”. The aim of this monographic issue is to analyse the use of religious iconographies in legal manuscripts and printed books, to create a basis for discussion and exchange on the diverse artistic, historical, and social aspects of these iconographies.
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Jabborova, Matluba. "ON THE GENESIS OF THE IMAGE OF JAMSHID." Golden scripts 1, no. 2 (June 10, 2019): 71–85. http://dx.doi.org/10.52773/tsuull.gold.2019.2/orwh7162.
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There are many Turkic superheroes depicted in the ancient folklore, literary fiction, and historic prose. For centuries, people in many regions of ancient Uzbekistan and Iran glorified the extraordinary traits of brave Jamshid who is famous for his immortality, symbol of happiness, and creator of all handcrafts and professions.This article introduces the historical ethno genesis of Jamshid, how his characters developed with time into a symbol of bravery, immortality, glory, and prosperity. The very first image of Jamshid can be found in the Iranian manuscripts of ancient “Avesto” and Indian mythology. Additionally, the author observes the interpretation of Jamshid in various historically works and literary fiction.
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Shweka, R., Y. Choueka, L. Wolf, and N. Dershowitz. "Automatic extraction of catalog data from digital images of historical manuscripts." Literary and Linguistic Computing 28, no. 2 (February 23, 2013): 315–30. http://dx.doi.org/10.1093/llc/fqt007.
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