Relevant bibliographies by topics / Humanities -> art -> intro to art history

Academic literature on the topic 'Humanities -> art -> intro to art history'

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Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Humanities -> art -> intro to art history"

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FARRUJIA DE LA ROSA, A. JOSÉ. "A HISTORY OF RESEARCH INTO CANARIAN ROCK ART: OPENING UP NEW THOUGHTS." Oxford Journal of Archaeology 28, no. 3 (August 2009): 211–26. http://dx.doi.org/10.1111/j.1468-0092.2009.00325.x.

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Do Thi, Thach. "Adapting literature works taught in schools into music." Journal of Science Social Science 66, no. 2 (May 2021): 54–63. http://dx.doi.org/10.18173/2354-1067.2021-0025.

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Thanks to the interference and encounter with many arts, literary texts can be “recreated” to new forms of art which include music. This article will deal with the concept of adaptation, the formation history and the process of adaptation, the close relationship between music and literature, which is the basic of literary adaptation. In terms of music adaptation activitities in schools this article points out the pros and cons, thereby proposing some matters involving in methods of adapting literature to music.
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Mandolini, Nicoletta. "The Art of Smearing: How Is Feminist Decolonizing Artivism Received by Italian Newspapers? The Case of Montanelli’s Statue." Comunicação e Sociedade 42 (December 16, 2022): 245–58. http://dx.doi.org/10.17231/comsoc.42(2022).4025.

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On March 8, 2019, during a demonstration organised on occasion of the International Women's Day in Milan, members of the feminist collective Non Una Di Meno (not one woman less) Milano threw washable pink paint on the statue that commemorates the Italian journalist Indro Montanelli (1909–2001). The aim of exposing at a visual level the acclaimed writer’s controversial past was crucial to the group’s symbolic action. In fact, despite being a reference figure for many Italian intellectuals, Montanelli participated in the Abyssinian war in 1935 and, as a member of the fascist army, he engaged in a relationship with a 12-year-old local girl who acted as his wife and sexual object. The collective’s action, which can be labelled as a feminist decolonizing performance, has already been read as a form of artivism that manipulated the Italian’s artistic heritage with the objective of criticising the existing narrative on Italy’s colonial past. In this sense, an analysis of the resonance that journalistic coverage assigned to the event proves crucial for understanding the impact that such an action has had on Italian public opinion and the progress towards the country's mental decolonization. This article presents the findings of a qualitative analysis conducted on a corpus of 10 online newspaper articles published in the aftermath of the artivist performance on Montanelli’s statue. The study employs Foucauldian critical discourse analysis in order to identify the rhetorical strategies used by journalists to criticise or legitimate the feminist collective’s action. Among these strategies, particular attention is paid to those discursive techniques adopted to portray the act as a form of vandalism or, on the contrary, as a form of art. The aim is to show how the discourse on art versus non-art/vandalism is used to confirm (or overcome) the discursive limits imposed by the still dominant narratives on the nation’s colonial history as well as on the disposability of “othered” women’s bodies.
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Wheeler, Brannon M. "Report on the International Workshop on the Integration of lslamic Studies into Liberal Arts Curricula." American Journal of Islam and Society 15, no. 2 (July 1, 1998): 159–66. http://dx.doi.org/10.35632/ajis.v15i2.2192.

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On March 6-7, 1998 the incipient program in Comparative IslamicStudies at the University of Washington (UW) hosted an internationalworkshop on the Integration of Islamic Studies into Liberal ArtsCurricula. This workshop was sponsored by the Department of NearEastern Languages and Civilization, the Walter Chapin SimpsonCenter for the Humanities, the Henry M. Jackson School forInternational Studies, the Comparative Religion Program, the MiddleEast Studies Program, and the South Asian Studies Program. Aims of the WorkshopThe general aim of the workshop, discussing the integration of Islamicstudies into liberal arts curricula, can be divided into three areas. First,the workshop brought together about forty teachers and scholars, abouttwenty from the UW and twenty from across the United States andCanada. Most of these participants were professors teaching IslamicStudies or related discipliies at private and public colleges and Universities,although some secondary-level teachers also participated. The disciplinesrepresented ranged from religion, art history, geography, ethnomusicoIogy,history, comparative literahm, women’s studies, anthropology,biblical studies, and political science. This meeting allowed foropen cornmetion and the exchange of ideas among scholars who areotherwise separated from one another by institutional boundaries ...
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CALLOW, CHRIS. "Oral Art Forms and their Passage into Writing - Edited by Else Mundal and Jonas Wellendorf." Early Medieval Europe 18, no. 4 (October 27, 2010): 480–82. http://dx.doi.org/10.1111/j.1468-0254.2010.00307_7.x.

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Walkusz, Marta. "Discovered music collection of Friedrich Wilhelm Jüncke (1842–1897) as the beginning of research into the reconstruction of the old musical inventory." Z Badań nad Książką i Księgozbiorami Historycznymi 17, no. 3 (December 28, 2023): 471–94. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.806.

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This article attempts to determine the function of the discovered small collection of 19 pieces of music, owned by Friedrich Wilhelm Jüncke (1842–1897) stored in the Library of the Stanisław Moniuszko Academy of Music in Gdańsk. In the face of limited knowledge about the life of this merchant from Gdańsk, and then from Sopot, the discovery that, apart from numismatic items and so-called Gdansk door, he also collected musical items was a big surprise for the employees of the Art Inkubator, an institution that, since 2019, has been taking care of, e.g. Jüncke’s villa and cherishes the memory of the former owner of the building. The musical and bibliological characteristics of the music prints showed that Jüncke gathered them for collecting rather than for utilitarian purposes. The provenance entries found in two prints prove that Jüncke was not their first owner. In addition, the entries found in the next five prints may prove that after Jüncke’s death some items were in the possession of the Gdańsk NSDAP, and after the war they ended up in the aMuz Library. Undoubtedly, finding this small book collection contributes to supplementing the information about Jüncke and – indirectly – to expanding knowledge about the musical culture of Gdańsk in the period 1939–1945.
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McKeon, Penny. "The Sense of Art History in Art Education." Journal of Aesthetic Education 36, no. 2 (2002): 98. http://dx.doi.org/10.2307/3333760.

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Bonfiglio, Thomas Paul, and Mark A. Cheetham. "Kant, Art, and Art History: Moments of Discipline." German Studies Review 25, no. 1 (February 2002): 110. http://dx.doi.org/10.2307/1433254.

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Marmor, Max. "Art History and the Digital Humanities." Zeitschrift für Kunstgeschichte 79, no. 2 (December 30, 2016): 155–58. http://dx.doi.org/10.1515/zkg-2016-0014.

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Taylor, Sue. "Art History and Psychoanalysis." Journal of the American Psychoanalytic Association 52, no. 4 (December 2004): 1303–4. http://dx.doi.org/10.1177/00030651030520040103.

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Dissertations / Theses on the topic "Humanities -> art -> intro to art history"

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Fozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.

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Having a personal connection through several family members to the life and work of Ngaanyatjarra Elder Mr Ward, I found his death in custody in outback Western Australia unsettling and incomprehensible. As the circumstances of his death were revealed, I became aware of glaring omissions in the telling of his story and the circumstances that led to his death. Through my engagement with the subsequent media reporting, official documents and personal conversations, I recognised a profound lack of understanding of difference and otherness within a shared history and space in Western Australia. The initial aim of my project was to investigate the incomprehensible through the lens of Ngaanyatjarra Elder Mr Ward’s death; however, ethically, this proved a difficult path to negotiate. Through my research, I came to understand that the continued use of the dominant language of the coloniser, which is embedded in social practices and academic discourse is, in part, continuing to perpetuate white privilege. The ethical problems raised inspired me to develop an approach, which although oblique, would nevertheless enable fresh insight into otherness and difference in a multi-cultural society. The particular concern of this practice-led research project is not to exploit the trauma of others but to raise awareness of this social space through my work, giving rise to new understandings and possible relations. This research gathered key texts from Walter Benjamin and Theodor Adorno, to facilitate the transfer of the written form of Denkbild, a literary device manipulating the codes of language to visualise the process of thought, into a painting practice. The Denkbild (thought-image) is a Euro-centric genre of exploratory philosophical writing, crafted in response to a society witnessing tremendous change as a result of the devastating impact of WWI and WWII. Through this creative project, the challenge was to re-activate the Denkbild through painting and accompanying text to investigate deaths in custody and interrogate the connected issues of ethics, politics and inequality, which is written into the shared spaces of Western Australia. The Denkbild is then developed further with the addition of Henri Lefebvre’s threedimensional spatial application of dialectical thinking and the creative practice of selected Australian artists. Through this addition, the binary dialectical framework of the Denkbild is expanded to reflect contemporary thinking on the concept of space as a social product. This perspective emerges to enable fresh insight into Aboriginal understandings of space as representing an ‘eternal now’, such that a mutual understanding of space is manifested. My painting practice reflects and informs this transition, as I moved from the painting studio to selected locations to record information and experiences that developed my research position. To achieve the project’s aims, I engaged in reflexivity and praxis as the methodological tools to guide my research. Through painting, my research extended across interdisciplinary fields including visual arts practices, philosophical history and literature, to interrogate a spatial dynamic, revealing marginalised insights and connecting interrelationships between sites. For the purpose of this research, the paintings, exhibitions and exegesis function on two levels: as an avenue into mediation of Western Australian culture and as a methodological approach to visual art practice. My research culminated in the exhibition, Ghostcards of WA 2017 at the Spectrum Project Space, ECU, Mount Lawley. This project is significant as it renews the Denkbild to further the unique relationship between conceptual and representational categories that binds together experience, object and practice to form an interrogative tool for critical inquiry. In the application of this method to a Western Australian context, new thinking is encouraged through the inclusive reading of space and the collapsing of misunderstandings perpetuated in historicism through a shared recognition of the inherent value of space/sites which— far from being incomprehensible, reactive, nostalgic and solipsistic—are comprehensible, active, prescient, abundant and social.
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Messemer, Heike, Walpola Layantha Perera, Matthias Heinz, Florian Niebling, and Ferdinand Maiwald. "Supporting Learning in Art History – Artificial Intelligence in Digital Humanities Education." TUDpress, 2020. https://tud.qucosa.de/id/qucosa%3A73553.

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In recent years and especially in the context of the coronavirus pandemic, digital distance learning increases. But for academic students, the selection of adequate learning materials for educational purposes is becoming more and more complex. This marks only one starting point where the use of artificial intelligence (AI) offers additional value. AI has a great potential to enhance and support research and education in the field of digital humanities (DH). As international organisations have just expressed their thoughts on the subject, AI is the topic par excellence and will decisively shape the future development of educational processes.
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Flores, Pedro. "Transculturation and Hybridization in New World Baroque Art: A Study of a New World Identity as Defined by History and Art." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/54.

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The purpose of this thesis is to analyze New World Baroque art as a medium of syncretism allowing the reconciliation and fusion of discrepant cultures. This study will explore the region of New Spain as defined by the Baroque period by analyzing Mexico as a place whose identity was defined by the transcultural and hybrid components of the Baroque and as a place where a New World Baroque aesthetic first started to appear. Transculturation and hybridization will be analyzed historically and aesthetically as factors for the creation of a New World Identity. The term New World Baroque will be used to define art in the Spanish colonies during the Baroque period, the term New Spain will be used to refer to colonial Mexico, transculturation will refer to the exchange of ideas and intermingling of cultures and hybridization will refer to the outcomes of such. This analysis will begin by providing a definition of Baroque with the purpose of establishing an understanding of the main characteristics of the movement aesthetically and chronologically. Spain will be analyzed to provide evidence of the effects of coming into contact with a multicultural society on the Baroque aesthetic; followed by a historical analysis of the events that would result in the creation of the new world. Then transculturation will be analyzed as an answer to the conquest and as guided by the Catholic Church. Then a timeline will list important events leading up to the Baroque period, and finally an exploration of hybrid art will serve to exemplify a well-established hybrid identity culminating with a brief analysis of some of Frida Kahlo’s work as an embodiment of the New World Baroque aesthetic.
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Bretschneider, Miette. "The Bauhaus: Understanding its History and Relevance to Art Education Today." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/53.

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I am interested in how the ideas of the Bauhaus shaped not only today’s world of art education, but also the outlook of the German nation during the early 20th century and today. It appears that art is not as prevalent as it once was, whereas fields like science and engineering have become popular. However, the ingenuity of the Bauhaus has lasted into this century and continues to have an impact on our American education system, as well as our ideas about art. As part of my thesis, I am comparing the classes I have taken at East Tennessee State University with those courses taught at the Bauhaus. Many of my art pieces are exploration of materials and my subjective artistic outlook. For example these subjects included weaving, metalsmithing, printmaking, and ceramics. I am placing most emphasis on the significance of the famous Bauhaus Preliminary Course, the Vorkurs, and how our education was closely linked to that of 1920s Germany.
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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.

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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.
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Caceres, Jara Luis Fernando. "A PICTORIAL ESSAY ABOUT ART AND MIGRATION." Thesis, Konstfack, Institutionen för Konst (K), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6343.

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The essays opens with a discussion about the terms: Storia and Storie and their English equivalent History’ and ‘Story/Stories’.   As a migrant artist I explore, transform and translate Andean – and other ancient – myths, legends and rituals into contemporary pieces of art, for which Storia and Storie are fundamental. Aiming to critically engage with and contextualize my own practice, several historical examples of artists who have used pictorial narrations are presented. On the process of contextualizing my own practise, the essay engages in understanding the multi-layered components of some historic paintings such the Miracle of the cross by Bellini, or The slave ship by Turner to offer more complete and complex reading of its existence.   The final part start defining the concept of the word protrusion. Taking from the language of science of conservation, the word on the essay is applied to the discussion of migration and art. On the presumption that art is a reflection of cultural heritage and traditions, art pieces can symbolically recapture past people’s forms of thoughts and re-embody their emotions individual and collective memory.
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Walker, Jan Bridwell. "The evidence of Bias within Art Historical Methodolgy and the Potentiality of Viewer Dialog as a Pedegogical Tool." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etd/891.

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The evidence of cultural and social partiality within the methodology of art history has influenced the manner in which art is presented to the public. The formally structured and often obsolete methods of the earliest art historians continue to influence the telling of art history today, relying on and emphasizing art historical fact over the viewer's personal interaction and interpretation. The traditional structure of both the public art museum and art education course rely on the classical methodologies of the past, resulting in the presentation of the object as historically and socially removed from the viewer's own experience. The role of the art historian should cease to be one of translator, but rather one of facilitator to the artistic exchange. It is through this intentional dialog between artist, viewer and art object that authentic enlightenment occurs.
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Depew, Michael Lee. "The Tension between Art and Science in Historical Writing." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1057.

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A perennial question in the philosophy of history is whether history is a science or an art. This thesis contests that this question constitutes a false dichotomy, limiting the discussion in such a way as to exclude other possibilities of understanding the nature of the historical task. The speculative philosophies of Augustine, Kant, and Marx; the critical philosophies of Ranke, Comte along with the later positivist, and the historical idealist such as Collingwood will be surveyed. History is then examined along side art to discuss not only the similarities but, the differences. Major similarities—narrative presentation, emplotation, and the selective nature of historical evidence—between history and fiction are critiqued. A word study of the Greek word ίστοριά will show the essential difference between history and literature. The essential nature of the historical task can best be revealed in the differences between history and art.
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Wescoat, Ruby. "The History of the World." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1177.

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This Thesis is my effort to understand what subjects I find interesting and why. In the processes of writing and making sculpture, I discovered that my underlying fascination is in history. I am interested in places and objects for their individual qualities, but I also want to know how they relate to the world. If I am drawn to an ancient place or object, I want to examine how it fits into the contemporary world, and visa versa. The complexity of these relationships is increased by the vast number of histories (or stories) that are intertwined in the world. Over the course of the thesis I write about my various influences, and the development of my work from undergraduate to graduate school. This progression has been from observation of natural world to a more complex questioning of how the world came to be what it is. I conclude by defining the direction in which I want my work to continue: directly along the border between myth and reality.
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Aisha, Al-Sowaidi. "Finding History In The Future." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3140.

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Change and development over an extremely fast period of time in Qatar have shifted the atmospheric sense of the country. The distance created by the skyscrapers and their scale to people has a great impact on the behavior and interaction between the people and the city. In my research, I aim to incorporate the old experiences and behaviors with contemporary design in objects used within the house to maintain the feeling of being home through reliving the fading behaviors and traditions as well as bringing closer the modern city into the home through the use of materials. Through experimentation with human behaviors, materials and senses, I create a series of projects that deal with memory, nostalgia, and traces of time.
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Books on the topic "Humanities -> art -> intro to art history"

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Davies, Penelope J. E., 1964- and Janson H. W. 1913-, eds. Janson's history of art: The western tradition. 7th ed. Upper Saddle River, NJ: Pearson Education, 2007.

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Jacobus, Lee A. Humanities: The evolution of values. New York: McGraw-Hill, 1986.

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Brown, Kathryn, ed. The Routledge Companion to Digital Humanities and Art History. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188.

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Dupré, Sven, Anna Harris, Julia Kursell, Patricia Lulof, and Maartje Stols-Witlox, eds. Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728003.

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Performative methods are playing an increasingly prominent role in research into historical production processes, materials, bodily knowledge and sensory skills, and in forms of education and public engagement in classrooms and museums. This book offers, for the first time, sustained, interdisciplinary reflections on performative methods, variously known as Reconstruction, Replication and Re-enactment (RRR) practices across the fields of history of science, archaeology, art history, conservation, musicology and anthropology. Each of these fields has distinct histories, approaches, tools and research questions. Researchers in the historical disciplines have used reconstructions to learn about the materials and practices of the past, while anthropologists and ethnographers have more often studied the re-enactments themselves, participating in these performances as engaged observers. In this book, authors bring their experiences of RRR practices within their discipline into conversation with RRR practices in other disciplines, providing a basis for interdisciplinary cross-fertilization.
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Sporre, Dennis J. Perceiving the arts: An introduction to the humanities. 6th ed. Upper Saddle River, N.J: Prentice Hall, 2000.

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Sporre, Dennis J. Perceiving the arts: An introduction to the humanities. 3rd ed. Englewood Cliffs, N.J: Prentice-Hall, 1989.

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Matteo, Lafranconi, ed. Gli storici dell'arte e la peste. Milano: Mondadori Electa, 2006.

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Academy, British, ed. Creating the AHRC: An Arts and Humanities Research Council for the United Kingdom in the twenty-first century. Oxford: Oxford University Press, 2008.

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Valenta, Leonard. Historija - Povijest za 8. razred devetogodišnje osnovne škole. Sarajevo: Dječija knjiga, 2011.

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Preliminary guide to the collections, Archives of the History of Art. Santa Monica, Calif. (401 Wilshire Blvd., Suite 400, Santa Monica 90401-1455): Getty Center for the History of Art and the Humanities, 1985.

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Book chapters on the topic "Humanities -> art -> intro to art history"

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Cranston, Jodi. "Mapping Paintings, or How to Breathe Life Into Provenance." In The Routledge Companion to Digital Humanities and Art History, 109–19. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-11.

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Brown, Kathryn, and Elspeth Mitchell. "Feminist Digital Art History." In The Routledge Companion to Digital Humanities and Art History, 43–57. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-6.

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Vincentis, Stefania De, and Luca Nicolò Vascon. "Digital Languages for Art History." In The Routledge Companion to Digital Humanities and Art History, 275–86. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-24.

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Baur, Christl. "Art With a Lifespan." In The Routledge Companion to Digital Humanities and Art History, 254–65. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-22.

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Nathanson, Alex. "Introduction." In A History of Solar Power Art and Design, 1–8. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003030683-intro.

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Mersmann, Birgit. "6.1. Embracing World Art Art History’s Universal History and the Making of Image Studies." In The Making of the Humanities, edited by Rens Bod, Thijs Weststeijn, and Jaap Maat, 329–44. Amsterdam: Amsterdam University Press, 2014. http://dx.doi.org/10.1515/9789048518449-022.

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Impett, Leonardo. "Analyzing Gesture in Digital Art History." In The Routledge Companion to Digital Humanities and Art History, 386–407. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-33.

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Klinke, Harald. "The Digital Transformation of Art History." In The Routledge Companion to Digital Humanities and Art History, 32–42. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-5.

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Brosens, Koenraad, Bruno Cardoso, and Fred Truyen. "Slow Digital Art History and KUbism." In The Routledge Companion to Digital Humanities and Art History, 58–70. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-7.

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Olin, Margaret. "Formal Analysis: Art and Anthropology." In Ideas of 'Race' in the History of the Humanities, 89–111. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49953-6_3.

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Conference papers on the topic "Humanities -> art -> intro to art history"

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Didmanidze, Ibraim, and Irma Bagrationi. "INFORMATION PARADIGMS OF ART FROM THE HISTORY OF SOCIAL AESTHETICS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s07.06.

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The present scientific paper deals with the worldview understanding of features of information and communication functions of art according to the �Theory of Environment� and �Conception of Organotropism� from the history of Europeanworldview philosophical and aesthetic thought, particular: According to the main principle of Social Aesthetics of French philosopher and sociologist Jean-Marie Guyau [in the work �Problems of Contemporary Aesthetics�] the aesthetic ideal of art has a meaning by presentive only social sympathy aesthetics; A German philosopher and aesthetician Alexander Gottlieb Baumgarten discusses the highest aesthetic value of art by social point of view [in the work �Aesthetics�], supports the main principle of his theory of art � life reaches its highest intensity in the socium as cooperation and collaboration and communication and in order to make it solid, it must deserve social sympathy � and unchangeably takes it into his theory of aesthetics. A famous French philosopher, thinker, writer, historian, one of the leaders of the French Enlightenment Francois Marie Arouet de Voltaire, French sociologist Charles de Montesquieu, German historian and theorist of art Johann Joachim Winckelmann, German philosopher, man of letters and critic Johann Gottfried Herder, English aesthetician and critic of art John Ruskin, German philosopher, founder of the philosophy of dialectical and historical materialism Karl Marx, French idealist philosopher, historian and theorist of art Hippolyte-Adolphe Taine by their original and completely social-aesthetic doctrine consider phenomenon of art by Organotropic formula that means they outline the peculiarities of the information function of art is pre-defined with some social conditions, especially geographic, geologic, climatic, biologic, social, political, cultural and historical factors. As it is seen from the paper, these are selected models of some searching aesthetic paradigms that have been identified to suggest that information content and status of the artistic creation works for the peculiar and special level of social condition and situation.
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Rienzo, Maria Gabriella. "ELECTRIC ENERGY IN THE EARLY MODERN HOME: THE CASE OF ITALY XIX-XX CENTURIES." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. http://dx.doi.org/10.35603/sws.iscah.2024/fs09.19.

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This paper aims to afford the issue of the role of energy in the early modern home and the relations between energy transition and social consumer behavior in Italy between the XIX and XX centuries. While the history of electric energy has been exploited by economic historians within the fields of studies on the industrial revolution, less attention was paid to the effects of energy transition on households and on their material culture. At the beginning the use of electricity in civil life was above all light, as a symbol of modernity, but Italians in the 1920s still had a deep distrust towards electric tools, electricity was still synonymous of danger. The prices of household appliances were high and their frequent use represented a considerable increase in the domestic expenses. The spread in the use electricity, promoted in other countries by more prosperous income situations, was still minimal in Italy and was considered expression of a model of late economic growth. Only later the mysterious energy, which inspired the writings of Jules Verne, progressively integrated into civil life, becoming an asset irreplaceable.
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Safronova, Anna. "FEATURES OF THE VISUAL LANGUAGE OF DOCUMENTARY PHOTOGRAPHY IN UKRAINIAN PHOTO BOOKS DEDICATED TO REVOLUTIONARY EVENTS IN UKRAINE." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.09.

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The purpose of the article is to analyze the features of the visual language of documentary photography and the actual ways of its presentation in the media space on the example of Ukrainian photo books dedicated to revolutionary events in Ukraine. The main problems of modern photojournalism connected with the development of digital technologies are presented, the value of a photo book as an independent project of a photographer is argued, since commercial photojournalism is largely determined by the narratives of its customer. The issues of the transformation of the language of photography both in modern journalism and in the photo project are considered, the main methods of creating the content of a photo story or photo series in photo books are substantiated. Traditional reportage documentary photography, intended for use primarily for commercial purposes in illustrated magazines, is also an important means of creating independent documentary projects or photo books. Such an approach is especially valuable if it reproduces important historical events, as in the Ukrainian photo books under consideration. Ukrainian photo books are distinguished by a variety of techniques for creating content and post-processing methods that appeal to the aesthetics of postmodernism. The use of filmy contrast black and white photography, grainy or blurry images, disruption of the composition, introduce a unique and original form of expressiveness into the photo book. Due to the documentary photography, direct nature of non-staged shootings and the original style of representation, Ukrainian photo books, which are both a document of history and a reflection of the subjective vision of the author, continue to arouse interest and resonate with the viewer.
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Dimitrakopoulou, Georgia. "�NOVELLA GRECA.� ?. SERAO�S 19TH CENTURY GREECE. ITS REALITIES AND ITS ANTITHESES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.17.

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In the short story Novella Greca, in her book: Fior di Passione, 1888, the author M. Serao narrates the true story of Calliope Stavro, the heroine (Calliopi Stavrou in Greek), in Leucade - Santa Maura (Lefkada - Agia Mavra in Greek), an island of the Ionian Sea, in 19th century Greece. At that time, the country was just freed from the Turkish occupation, trying to recover from more than 400 years of slavery and subjugation to the Ottoman Empire. Calliope Stavro represents the woman of her time, imprisoned in the small society of her island, suffocated, asphyxiated, disillusioned and unfulfilled. Thus, she decides to commit suicide not having a way out in her island, which although it is a naturally beautiful place due to its greenery, it is a barren rock �thrown� into the Ionian Sea without any promising future for its inhabitants. Serao realistically exposes the true story of the heroine�s female identity, whose death signifies her suffocation within the patriarchal society of her time. The writer presents the outlets of human existence, the small society of the island, the negative influence of the heroine�s microcosm, which mostly depends on the raisin trade, its production and export, with which almost all the males of the island are preoccupied, since it provided a profitable income in that time. Faced with the crushing reality of her life, the non-existence of love, no romance, male dominance, and indifference, even misogynism, she chooses death, she surrenders to her doomed destiny and the futility of existence, because she is not allowed to live a free life according to her will. Her fatal fall from Lefkata�s cape, where in ancient times there was a temple of god Apollo, god of music, light, and patron of the arts and divination, signifies the death of the gods of Olympus. Their place has been taken by a harsh reality, the revelation of the demands of the human soul, its desires, and its dead ends. Greece will need and still needs a long way to go to find the place it deserves in history, free from patriarchal structures, prejudices, and the impasses that they entail. The story of Calliope Stavro proves in practice the predicament of the female under the patriarchal standards of her era and the unsatisfied desires of the human psyche, which are sacrificed for the sake of survival, most times with unpredictable, unpleasant and unhappy results.
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Iblova, Radmila. "LANDSCAPE OF HUMANISM." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. http://dx.doi.org/10.35603/sws.iscah.2024/fs06.16.

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The place to live and the living space fundamentally shape each person and the possibilities of their own existence. The landscape of humanism defines an environment where the unique local landscape and architecture inspire people to free their minds from the principles and rules that protect the supremacy of the powerful in a way that invites new exploration. The landscape of humanism, as conceived in my work, begins to be born during the early 13th century in central Italy. The progenitor who initiated this transformation by his life example is Saint Francis of Assisi. The life of this man subsequently influenced European civilization not only in the spiritual and philosophical sphere, but also in the sphere of material aesthetics, represented by beautiful art and architecture. The landscape of humanism, thanks to the personal influence of Saint Francis, has helped to give birth to a new creative generation whose works are beginning to speak not only in the local italian language, but at the same time are beginning to use the local landscape and architecture to tell the life stories of people who are not written about in The Bible and who are not the powers of this world. Through this milestone, it is the creative freedom of the new generation that has helped to change the mindset, the rules and the laws of those who set them. In the landscape of humanism, works whose creators are already known by name and whose authorship can be documented appear in art and architecture. A whole new chapter of art history begins here, as citizen investors appear whose influence on the subject of the artwork is evident. The business relationship between the investor and the artist sets new rules and this collaboration begins to influence the creation and existence of the artwork itself. The artistic centre of the landscape of humanism is the Florentine Republic, whose exceptionally successful commercial potential in 13th-century Europe granted it an unexpected autonomy and a position of eminence. Florentine Republic was so influenced by the legacy of Saint Francis that it became the cradle of artists who began to write new rules, were personally responsible for their work to the investor, and received financial rewards for their work, of which there is already written evidence. Florence is the city that is the cradle of a new generation of artists able to author the expression of their work for their client. The personalities who transformed central Italy into a landscape of humanism, and at the same time represent the artistic beginning of the liberation of the mind and spirit from the dictates of the times, are the subject of this work. The authorial differences of the selected artists, differing in their elaboration and in the way of depicting the same assignment, are the purpose of my thesis. The aim of this thesis is to present the landscape of humanism through the artists whose works of art represent this transformation, which at the same time has provided artists with a dignified and desirable place in the hierarchy of the society. The artists working in the landscape of humanism that will be examined in my thesis are Bonaventura Berlinghieri, Coppo di Marcovaldo, Giunta Pisano and Cimabue.
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Congress, IJHER. "Full Text Book of IJHER Congress 8." In VIII. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress8-7.

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The relationship between the self and the 'other' in Arab theatre encompasses multifaceted manifestations, ranging from confrontation and role exchange to marginalization and mutual accusations. The 'other' is significant in Arab cultural memory and history, influencing the formation of identity and occasionally sparking creativity, as conflict remains central to existence and dialectics shape this presence. This research paper aims to deeply explore a series of relationships that have depicted the presence of the 'other' in Arab theatrical performances, intending to uncover and understand the nature of this presence, which has taken on diverse forms and features. It seeks to delve into the layers of theatrical art in contemporary Arab culture, with a desire to embrace the uniqueness of Arab thought and intellect in its interaction with the other especially the foreign. It also examines the ability of theatrical art to express this fusion between art, culture, and thought
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Xu, Baoliang. "Research on Illusion Teaching and Curriculum Advancement in Art History." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.96.

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Wang, Jing, and Shuyan Yi. "The Vision of Research on the New Art History Words and Images." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.92.

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Niu, Xuyu. "Art History Research in the Digital Humanistic Era: Paradigm Shift and Method Transformation." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.151.

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Kravchenko, Oksana, and Halyna Kucher. "Social work with elderly people in the territorial community." In Sociology – Social Work and Social Welfare: Regulation of Social Problems. Видавець ФОП Марченко Т.В., 2023. http://dx.doi.org/10.23939/sosrsw2023.129.

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Abstract. Dyvosvit University of the Third Age is a joint project of the Department of Labour and Social Protection of the Population of Uman City Council and Pavlo Tychyna Uman Pedagogical University. The main goal is to implement the principle of lifelong learning of elderly people and support physical, psychological, and social abilities. Its task is to provide educational services, attract the elderly to an active social life, preserve their physical, mental, and spiritual health, learn the history of their native land, information technology, etc. The University hosts: the Faculty of Local History Education and Organization of Recreation and Tourism; the Faculty of Humanities and Law Education; the Faculty of Applied and Decorative Arts; the Faculty of Folk Singing; the Faculty of Computer Competence. The provision of such an educational service should ensure: arrangement of conditions for and promotion of holistic development of elderly people; reintegration of elderly people into the active life of society; assistance to elderly people in adapting to modern living conditions by mastering new knowledge, in particular on the ageing process and its features; modern methods of preserving health; acquisition of self-help skills; shaping of the principles of a healthy lifestyle; the framework legislation regarding elderly people and its application in practice; shaping and development of skills for using the latest technologies, primarily information and communication technologies; potential and opportunities for volunteer work; improving the quality of life of elderly people by providing them with access to state-of-the-art technologies and adapting them to technological transformations; development of practical skills; opportunity to expand communication and exchange experience. Keywords: social service, elderly people, lifelong learning, university of the third age.
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Reports on the topic "Humanities -> art -> intro to art history"

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Maron, Nancy, and Peter Potter. TOME Stakeholder Value Assessment: Final Report. Association of American Universities, Association of Research Libraries, and Association of University Presses, August 2023. http://dx.doi.org/10.29242/report.tome2023.

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The Association of American Universities, the Association of Research Libraries, and the Association of University Presses have published a final report assessing the success of their five-year pilot project to encourage sustainable digital publication of and public access to scholarly books. The associations launched the Toward an Open Monograph Ecosystem (TOME) project in 2018 to publish humanities and social science scholarship on the internet, where these peer-reviewed works can be fully integrated into the larger network of scholarly and scientific research. The project engaged a network of more than 60 university presses and ultimately produced more than 150 open-access scholarly works. The books cover a wide range of topics in many disciplines, including philosophy, history, political science, sociology, and gender and ethnic studies. The pilot was designed to last five years, and the sponsoring associations committed to assessing its value to its target audience at the end of that period. The report analyzes whether the community of authors, institutions, libraries, and presses that participated in the pilot found it helpful. Author Nancy Maron of BlueSky to BluePrint surveyed and interviewed authors and TOME contacts at participating institutions to assess how each benefited from the pilot—from increased global readership to stronger relationships among libraries, research deans, and faculty.
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The COVID Decade: understanding the long-term societal impacts of COVID-19. The British Academy, 2021. http://dx.doi.org/10.5871/bac19stf/9780856726583.001.

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The British Academy was asked by the Government Office for Science to produce an independent review on the long-term societal impacts of COVID-19. This report outlines the evidence across a range of areas, building upon a series of expert reviews, engagement, synthesis and analysis across the research community in the Social Sciences, Humanities and the Arts (SHAPE). It is accompanied by a separate report, Shaping the COVID decade, which considers how policymakers might respond. History shows that pandemics and other crises can be catalysts to rebuild society in new ways, but that this requires vision and interconnectivity between policymakers at local, regional and national levels. With the advent of vaccines and the imminent ending of lockdowns, we might think that the impact of COVID-19 is coming to an end. This would be wrong. We are in a COVID decade: the social, economic and cultural effects of the pandemic will cast a long shadow into the future – perhaps longer than a decade – and the sooner we begin to understand, the better placed we will be to address them. There are of course many impacts which flowed from lockdowns, including not being able to see family and friends, travel or take part in leisure activities. These should ease quickly as lockdown comes to an end. But there are a set of deeper impacts on health and wellbeing, communities and cohesion, and skills, employment and the economy which will have profound effects upon the UK for many years to come. In sum, the pandemic has exacerbated existing inequalities and differences and created new ones, as well as exposing critical societal needs and strengths. These can emerge differently across places, and along different time courses, for individuals, communities, regions, nations and the UK as a whole. We organised the evidence into three areas of societal effect. As we gathered evidence in these three areas, we continually assessed it according to five cross-cutting themes – governance, inequalities, cohesion, trust and sustainability – which the reader will find reflected across the chapters. Throughout the process of collating and assessing the evidence, the dimensions of place (physical and social context, locality), scale (individual, community, regional, national) and time (past, present, future; short, medium and longer term) played a significant role in assessing the nature of the societal impacts and how they might play out, altering their long-term effects.
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