Journal articles on the topic 'Modern 20th century Australia Exhibitions'
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1
Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
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Raumkunst by Teodor Axentowicz
Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
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Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 1 (March 1, 2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.
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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
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Akhtamzyan, Nurlan Ildarovich, and Viktoria Viktorovna Chernenko. "Modern Technology Based Methodologies for Visitor Studies at the Museum Exposition." Общество: философия, история, культура, no. 10 (October 2020): 82–86. http://dx.doi.org/10.24158/fik.2020.10.15.
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In the second half of the 20th century, important changes took place in the relationship between the museum world and society, which led to appearance of new approaches in museum theory and practice. First of all, they affected the principles of interaction between museums and their audience. The evolve-ment of communication approach to museology, where a visitor is considered the main figure in mu-seum activity, dates back to this time. The peculiari-ties of museum audience behaviour were studied from the beginning of the 20th century. The exposi-tion is the main channel of communication between a museum and its visitors, therefore, the use of modern technical means that allow an objective as-sessment of the quality of such communication is a priority when studying the museum audience. Due to the development of technical progress by the beginning of the 21st century there is a possibility of using technological methods of qualitative and quantitative recording and analytics of main indica-tors of interrelation between museums and their target audience. The present research considers new technical means of studying specific features inher-ent to visitors behaviour at exhibitions (tracking, eye tracking, video analytics). Such studies have been carried out in some of Russian museums in recent years.
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VV.AA., VV AA. "Dennis Sharp." Art and Architecture, no. 42 (2010): 120–22. http://dx.doi.org/10.52200/42.a.6r1ukft9.
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Dennis died on the 6th May after a serious illness that bothered him for several years. He leaves behind his wife Yasmin, his daughter Melani, his son Deen and many friends all over the world. He was a universal man: architect, scholar, critic, writer, teacher, bookseller, cook and walking encyclopedia. He collaborated with architects like Santiago de Calatrava. His books Modern Architecture and Expression (1966) and 20th century architecture - a visual history (1972) became classics. He made exhibitions, was the editor of the magazine World Architecture, he was professor at the Open University and for the development of docomomo he was of vital importance.
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Weibel, Peter. "Music, Machines, Media and the Museum." Organised Sound 14, no. 3 (December 2009): 231–35. http://dx.doi.org/10.1017/s1355771809990197.
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The ZKM|Center for Art and Media in Karlsruhe is called Center because it is a museum and more than a museum. As a museum it has a classical museological function as a support and distribution system: Collection and archive, exhibitions and events. But in addition to it, the ZKM has two institutes for research, development and production (Institute for Music and Acoustics and Institute for Visual Media). The ZKM is a center for all media and for all art forms created in the 20th century. The machine based moving image has shifted the image from the classical position as space based art to time based art. Therefore the ZKM is the only museum of the world that integrated the mother of time based art, namely music, in his permanent collection and in its temporary exhibitions. This article describes the logic in the evolution of modern art, which is followed by the mission statement of the ZKM.
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Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications." Journal of Visual Culture 17, no. 1 (April 2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.
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The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment have changed over time. In particular, the article examines the different meanings and practices inferred by the concepts of the exhibition and the experiment in the first decades of the 20th century and in the present. It outlines how correspondences between cultural and scientific paradigms can be deployed to tease unacknowledged synergies between two modes of knowledge production (i.e. the art exhibition and the experiment) and address questions of presentness, authority and legitimacy that they imply.
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Dmitry, Soloviev. "Inkwell and Dates: Labor in Exhibitions “Objects of Pride and Shame” and “Gastev. How to Work”." TECHNOLOGOS, no. 3 (2022): 7–16. http://dx.doi.org/10.15593/perm.kipf/2022.3.01.
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This article investigates labor through the interpretation of modern artistic practices. Two exhibitions have been chosen as examples. The first one is the exhibition of Vladimir Arkhipov's collection of folk things; the second one is “Gastev. How to Work'' dedicated to Alexey Gastev. The exhibitions were held at the PERMM Museum of Contemporary Art in 2021. The author conducts a comparative cross-temporal study of the results of labor and the labor process focusing on the phenomenon of a folk thing investigated by artist Vladimir Arkhipov for more than two decades and idealistic reference ideas of scientifically regulated labor norms and standards developed by Alexei Gastev and the Central Institute of Labor in the 1920s. The comparative study will rely on the paradigms of re-thinking the labor in the mid-20th and early 21st centuries by scientists such as A. Honneth, Z. Bauman, M. Heidegger, G. Standing, and H. Arendt and the contemporary philosophical research on the issue of ontologies, namely the flat ones, undertaken by B. Latour and T. Morton. The methods designed during the evolution of the theoretical representation and understanding of labor in the second half of the 19th century and at the end of the 20th century allow for tracing and exploring the path from the forced labor to the free one focusing on artistic practices. This comparison will refer to the analysis of labor as a process. Contemporary approaches in the field of ontology, namely the flat ontology, have been used as a methodology for analyzing the transformation of perceiving the labor outcomes. Both the labor process and its results have been analyzed along the trajectory of the subject-object relations. The paper proposes a definition of the perception and product of labor under the modern socio-economic and sociopolitical conditions through the prism of artistic ideas.
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Shelach-Lavi, Gideon. "Archaeology and politics in China: Historical paradigm and identity construction in museum exhibitions." China Information 33, no. 1 (May 11, 2018): 23–45. http://dx.doi.org/10.1177/0920203x18774029.
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In China, as in many other modern and contemporary states, the past is often used to inform public opinions and legitimate the political regime. This article examines two examples of archaeological exhibitions in China: at the National Museum of China (中国国家博物馆) in Beijing and the Liaoning Provincial Museum (辽宁省博物馆) in Shenyang. It discusses the development and change over time in the content of these archaeological exhibitions, the way they were organized and presented to the public, and the explanations that accompanied the prehistoric artefacts. I argue that the way the past, and in particular the distant, prehistoric and proto-historic past, is presented in Chinese museums reveals a process of entrenchment of the standardized narrative of Chinese history, with a powerful sense of connection and continuity between the past, no matter how distant, and the present. I also argue that although the general outline of the historical trajectory of the ‘Chinese civilization’ is universally accepted, small variations in the way it is presented and the different emphases of the two exhibitions can inform us about various ways of constructing local and national identities in China during the 20th century and up to the current time.
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Cheng, Christopher. "Beacons of modern learning: Diaspora-funded schools in the China-Australia corridor." Asian and Pacific Migration Journal 29, no. 2 (June 2020): 139–62. http://dx.doi.org/10.1177/0117196820930309.
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In the early 20th century, modern school curricula and new-style schools mushroomed in the Chinese remittance landscape of southern China. Breaking away from the two-and-a-half millennia of Confucian tradition, their creation marked a pivotal point of departure between the nation’s past and future. Since overseas migration and modern education both provide a fruitful context for the circulation of new objects and a cross-fertilization of ideas, new schools serve as barometers of social-material change. Research in the present-day cities of Zhongshan and Zhuhai (formerly Heung San County) suggests that diaspora-funded schools were beacons of modern learning within the China–Australia corridor. Both their physical structures and material manifestations invited a new engagement with the modern world.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.
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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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Karpenko, Vladimir E., and Nikolay I. Shchepetkov. "Light Forms in Urban Environment." Light & Engineering, no. 04-2021 (August 2021): 6–15. http://dx.doi.org/10.33383/2021-033.
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The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.
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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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Day, Cheryl. "Does my bum look big in this? Reconsidering anorexia nervosa within the culture context of 20th century Australia." Surveillance & Society 6, no. 2 (February 27, 2009): 142–50. http://dx.doi.org/10.24908/ss.v6i2.3254.
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Anorexia Nervosa is a mental health issue that has a history over many centuries, but has relatively recently been identified as a ‘real’ mental illness. A condition that predominantly afflicts young, middle class women it had long been subsumed among the ‘natural weaknesses’ of women, not unlike the manner in which ‘Hysteria’ was diagnosed within the Freudian understanding of women’s health. However, since the 1970s, and especially with the deaths of some high profile young women it has undergone a reassessment. While clinical understandings of Anorexia Nervosa remain contentious, there is an increasing recognition that the condition is also grounded within specific cultural understandings. The article presents a brief historical overview of the construction of ‘self-starvation’ as applied to ‘fasting saints’ and to modern anorexic women. However, the major focus of the paper is an examination of the cultural situation as exemplified in contemporary Australia. Drawing on the Foucaudian notions of self surveillance the article suggests that TV programs can be used as a vehicle for modern day ‘self surveillance ’and as guidelines for the construction of self. Briefly, TV programs, especially so called ‘reality TV,’ portray a mirror image of how we as consumers should behave. The programs I have chosen to highlight are the phenomenally popular cooking shows that are aired daily on Australian TV screens. Through an examination of the social meanings constructed around food with the TV programs as a primary carrier of these cultural references, the article seeks to address some of the contradictions with other images presented in different but contemporaneous media. While this can never be a definitive explanation of all anorectic behavior, the paper examines the images of womanhood as presented by these programs. These ‘competent and enthusiastic cooks’ are contrasted with the slim, athletic ideal as portrayed in the fashion magazines and many other ‘lifestyle’ TV programs such as holiday shows.
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Katzounov, Valeri. "Endangered Photo Collections about the Participation of Preindustrial Bulgaria in Three Wars in the Beginning of the 20th Century." Digital Presentation and Preservation of Cultural and Scientific Heritage 6 (September 30, 2016): 255–60. http://dx.doi.org/10.55630/dipp.2016.6.27.
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The resources of the modern technology presuppose an initiative development in order to unite the efforts and activities for the collaboration in digitalization of the most important pieces of cultural and historical heritage. In a number of cases they have received the support of scientific projects for the creation of an open communication environment with a purpose of promoting the cultural values of the community. This report presents work on a research project for the conservation of cultural heritage at risk. The problem is with national priority and occupies a significant place in the European integration process. The two collections with which we apply in the British Library need special attention due to their poor structural condition even at the time of their transfer to the Bulgarian Academy of Sciences more than 50 years ago. The first collection was created by Colonel Petar Darvingov and consists of 3100 black and white old photos, maps and sketches. The second collection of Aleksandar Bozhinov contains 2050 old photos, sketches, caricatures and cartoons with pencil and ink. The documents have an exceptional historical and informational value, but their physical conditions hinders their scientific use. The creation of digital copies will enable working with them, which in turn will protect the originals from further damage. The copied documents will build a distinct insurance fund and the institution will be able to broadcast scientific information through various forms of promotion of the fund – exhibitions, presentations, etc.
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Spanier, Ehud, Kari L. Lavalli, Jason S. Goldstein, Johan C. Groeneveld, Gareth L. Jordaan, Clive M. Jones, Bruce F. Phillips, et al. "A concise review of lobster utilization by worldwide human populations from prehistory to the modern era." ICES Journal of Marine Science 72, suppl_1 (May 7, 2015): i7—i21. http://dx.doi.org/10.1093/icesjms/fsv066.
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Abstract Lobsters are important resources throughout the world's oceans, providing food security, employment, and a trading commodity. Whereas marine biologists generally focus on modern impacts of fisheries, here we explore the deep history of lobster exploitation by prehistorical humans and ancient civilizations, through the first half of the 20th century. Evidence of lobster use comprises midden remains, artwork, artefacts, writings about lobsters, and written sources describing the fishing practices of indigenous peoples. Evidence from archaeological dig sites is potentially biased because lobster shells are relatively thin and easily degraded in most midden soils; in some cases, they may have been used as fertilizer for crops instead of being dumped in middens. Lobsters were a valuable food and economic resource for early coastal peoples, and ancient Greek and Roman Mediterranean civilizations amassed considerable knowledge of their biology and fisheries. Before European contact, lobsters were utilized by indigenous societies in the Americas, southern Africa, Australia, and New Zealand at seemingly sustainable levels, even while other fish and molluscan species may have been overfished. All written records suggest that coastal lobster populations were dense, even in the presence of abundant and large groundfish predators, and that lobsters were much larger than at present. Lobsters gained a reputation as “food for the poor” in 17th and 18th century Europe and parts of North America, but became a fashionable seafood commodity during the mid-19th century. High demand led to intensified fishing effort with improved fishing gear and boats, and advances in preservation and long-distance transport. By the early 20th century, coastal stocks were overfished in many places and average lobster size was significantly reduced. With overfishing came attempts to regulate fisheries, which have varied over time and have met with limited success.
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Drewes, G. W. J., Taufik Abdullah, Th End, T. Valentino Sitoy, R. Hagesteijn, David G. Marr, R. Hagesteijn, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 143, no. 4 (1987): 555–613. http://dx.doi.org/10.1163/22134379-90003324.
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- G.W.J. Drewes, Taufik Abdullah, Islam and society in Southeast Asia, Institute of Southeast Asian studies, Singapore, 1986, XII and 348 pp., Sharon Siddique (eds.) - Th. van den End, T.Valentino Sitoy, A history of Christianity in the Philippines. The initial encounter , Vol. I, Quezon City (Philippines): New day publishers, 1985. - R. Hagesteijn, David G. Marr, Southeast Asia in the 9th to 14th centuries, Singapore: Institute of Southeast Asian studies and the research school of Pacific studies of the Australian National University, 1986, 416 pp., A.C. Milner (eds.) - R. Hagesteijn, Constance M. Wilson, The Burma-Thai frontier over sixteen decades - Three descriptive documents, Ohio University monographs in international studies, Southeast Asia series No. 70, 1985,120 pp., Lucien M. Hanks (eds.) - Barbara Harrisson, John S. Guy, Oriental trade ceramics in South-east Asia, ninth to sixteenth century, Oxford University Press, Singapore, 1986. [Revised, updated version of an exhibition catalogue issued in Australia in 1980, in the enlarged format of the Oxford in Asia studies of ceramic series.] 161 pp. with figs. and maps, 197 catalogue ills., numerous thereof in colour, extensive bibliography, chronol. tables, glossary, index. - V.J.H. Houben, G.D. Larson, Prelude to revolution. Palaces and politics in Surakarta, 1912-1942. VKI 124, Dordrecht/Providence: Foris publications 1987. - Marijke J. Klokke, Stephanie Morgan, Aesthetic tradition and cultural transition in Java and Bali. University of Wisconsin, Center for Southeast Asian studies, Monograph 2, 1984., Laurie Jo Sears (eds.) - Liaw Yock Fang, Mohamad Jajuli, The undang-undang; A mid-eighteenth century law text, Center for South-East Asian studies, University of Kent at Canterbury, Occasional paper No. 6, 1986, VIII + 104 + 16 pp. - S.D.G. de Lima, A.B. Adam, The vernacular press and the emergence of modern Indonesian consciousness (1855-1913), unpublished Ph. D. thesis, School of Oriental and African studies, University of London, 1984, 366 pp. - J. Thomas Lindblad, K.M. Robinson, Stepchildren of progress; The political economy of development in an Indonesian mining town, Albany: State University of New York Press, 1986, xv + 315 pp. - Pauline Lunsingh Scheurleer, J.E. van Lohuizen-de Leeuw, Indo-Javanese Metalwork, Linden-Museum, Stuttgart, Staatliches Museum für Völkerkunde, 1984, 218 pp. - H.M.J. Maier, V. Matheson, Perceptions of the Haj; Five Malay texts, Singapore: Institute of Southeast Asian studies (Research notes and discussions paper no. 46), 1984; 63 pp., A.C. Milner (eds.) - Wolfgang Marschall, Sandra A. Niessen, Motifs of life in Toba Batak texts and textiles, Verhandelingen KITLV 110. Dordrecht/Cinnaminson: Foris publications, 1985. VIII + 249 pp., 60 ills. - Peter Meel, Ben Scholtens, Opkomende arbeidersbeweging in Suriname. Doedel, Liesdek, De Sanders, De kom en de werklozenonrust 1931-1933, Nijmegen: Transculturele Uitgeverij Masusa, 1986, 224 pp. - Anke Niehof, Patrick Guinness, Harmony and hierarchy in a Javanese kampung, Asian Studies Association of Australia, Singapore: Oxford University Press, 1986, 191 pp. - C.H.M. Nooy-Palm, Toby Alice Volkman, Feasts of honor; Ritual and change in the Toraja Highlands, Urbana and Chicago: University of Illinois Press, Illinois Studies in Anthropology no. 16, 1985, IX + 217 pp., 2 maps, black and white photographs. - Gert J. Oostindie, Jean Louis Poulalion, Le Surinam; Des origines à l’indépendance. La Chapelle Monligeon, s.n., 1986, 93 pp. - Harry A. Poeze, Bob Hering, The PKI’s aborted revolt: Some selected documents, Townsville: James Cook University of North Queensland. (Occasional Paper 17.) IV + 100 pp. - Harry A. Poeze, Biografisch woordenboek van het socialisme en de arbeidersbeweging in Nederland; Deel I, Amsterdam: Stichting tot Beheer van Materialen op het Gebied van de Sociale Geschiedenis IISG, 1986. XXIV + 184 pp. - S. Pompe, Philipus M. Hadjon, Perlindungan hukum bagi rakyat di Indonesia, Ph.D thesis Airlangga University, Surabaya: Airlangga University Press, 1985, xviii + 308 pp. - J.M.C. Pragt, Volker Moeller, Javanische bronzen, Staatliche Museen Preussischer Kulturbesitz, Museum für Indische Kunst, Berlin, 1985. Bilderheft 51. 62 pp., ill. - J.J. Ras, Friedrich Seltmann, Die Kalang. Eine Volksgruppe auf Java und ihre Stamm-Myth. Ein beitrag zur kulturgeschichte Javas, Stuttgart: Franz Steiner Verlag Wiesbaden GmbH, 1987, 430 pp. - R. Roolvink, Russell Jones, Hikayat Sultan Ibrahim ibn Adham, Berkeley: Center for South and Southeast Asia Studies, University of California, Monograph Series no. 57, 1985. ix, 332 pp. - R. Roolvink, Russell Jones, Hikayat Sultan Ibrahim, Dordrecht/Cinnaminson: Foris, KITLV, Bibliotheca Indonesica vol. 24, 1983. 75 pp. - Wim Rutgers, Harry Theirlynck, Van Maria tot Rosy: Over Antilliaanse literatuur, Antillen Working Papers 11, Caraïbische Afdeling, Koninklijk Instituut voor Taal-, Land- en Volkenkunde, Leiden, 1986, 107 pp. - C. Salmon, John R. Clammer, ‘Studies in Chinese folk religion in Singapore and Malaysia’, Contributions to Southeast Asian Ethnography no. 2, Singapore, August 1983, 178 pp. - C. Salmon, Ingo Wandelt, Wihara Kencana - Zur chinesischen Heilkunde in Jakarta, unter Mitarbeit bei der Feldforschung und Texttranskription von Hwie-Ing Harsono [The Wihara Kencana and Chinese Therapeutics in Jakarta, with the cooperation of Hwie-Ing Harsono for the fieldwork and text transcriptions], Kölner ethopgraphische Studien Bd. 10, Berlin: Dietrich Reimer Verlag, 1985, 155 pp., 1 plate. - Mathieu Schoffeleers, 100 jaar fraters op de Nederlandse Antillen, Zutphen: De Walburg Pers, 1986, 191 pp. - Mathieu Schoffeleers, Jules de Palm, Kinderen van de fraters, Amsterdam: De Bezige Bij, 1986, 199 pp. - Henk Schulte Nordholt, H. von Saher, Emanuel Rodenburg, of wat er op het eiland Bali geschiedde toen de eerste Nederlanders daar in 1597 voet aan wal zetten. De Walburg Pers, Zutphen, 1986, 104 pp., 13 ills. and map. - G.J. Schutte, W.Ph. Coolhaas, Generale missiven van Gouverneurs-Generaal en Raden aan Heren XVII der Verenigde Oostindische Compagnie, VIII: 1725-1729, Rijks Geschiedkundige Publicatiën, Grote Serie 193, ‘s-Gravenhage, 1985, 275 pp. - H. Steinhauer, Jeff Siegel, Language contact in a plantation environment. A sociolinguistic history of Fiji, Cambridge: Cambridge University Press, 1987, xiv + 305 pp. [Studies in the social and cultural foundations of language 5.] - H. Steinhauer, L.E. Visser, Sahu-Indonesian-English Dictionary and Sahu grammar sketch, Verhandelingen van het KITLV 126, Dordrecht: Foris Publications, 1987, xiv + 258 pp., C.L. Voorhoeve (eds.) - Taufik Abdullah, H.A.J. Klooster, Indonesiërs schrijven hun geschiedenis: De ontwikkeling van de Indonesische geschiedbeoefening in theorie en praktijk, 1900-1980, Verhandelingen KITLV 113, Dordrecht/Cinnaminson: Foris Publications, 1985, Bibl., Index, 264 pp. - Maarten van der Wee, Jan Breman, Control of land and labour in colonial Java: A case study of agrarian crisis and reform in the region of Ceribon during the first decades of the 20th century, Verhandelingen of the Royal Institute of Linguistics and Anthropology, Leiden, No. 101, Dordrecht: Foris Publications, 1983. xi + 159 pp.
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Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.
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Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
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Shamraeva, Elena Yu. "The Mentality of a Museum on a Library Site: Book Exhibitions and the Representative Function." Observatory of Culture 19, no. 3 (July 5, 2022): 236–46. http://dx.doi.org/10.25281/2072-3156-2022-19-3-236-246.
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The development of digital culture has made significant changes in the field of culture and information, in particular in the field of library activities. Digitization of library collections forms a digital resource of knowledge, which requires reflection and identification of its potential, strengths and weaknesses. The strengths of the digital resource include a multiple increase in the availability of the book collections and a qualitative change in the opportunity of their research. The problematic aspects of digitalization include the issue of reliability of the digital sources and authenticity of a book unit translated into digital format. One of the verification solutions to this issue may be creating a digital information block accompanying a digital book to collect, accumulate and preserve information about the paper book unit and the history of its existence.Due to the development of digital technologies, a paper book ceases to be the only medium of information. From an information document, it turns into an object of culture with a memory value, historical and artistic features. The translation of the book into the category of a cultural object brings together the position of libraries and museums as medium socio-communicative institutions that act as a platform for the presentation of their collections, one of the most optimal forms of which are exhibitions. The article considers the issues of representativeness of book exhibits and book exhibitions in the conditions of development of the digital environment and digital technologies. There is examined the representativeness of book exhibitions using the example of thematic and artistic-mythological exposition methods.The article considers the activities of the Museum of Painting Culture (MZHK) and the Higher Art and Technical Workshops (VKHUTEMAS) and their experimental searches of the first third of the 20th century in the field of creating new museum exposition forms and exhibition formats. The author draws parallels between universal methods of working with an art object developed by MZHK and VKHUTEMAS and working with book exhibits when creating an exhibition today. The article briefly outlines the tasks solved by the curatorial and design group to strengthen the representative function of an exhibit-book. There are analyzed modern forms of real and virtual exhibitions, their interrelation and mutual influence, formats of interaction. The article notes the importance of exhibitions for the self-presentation of cultural institutions in the digital space.
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Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.
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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
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Suzdaltsev, Ilya. "Modern English Historiography of the Communist International: A General Overview." Novaia i noveishaia istoriia, no. 4 (2021): 18. http://dx.doi.org/10.31857/s013038640013465-9.
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The article is devoted to the analysis of the 21st-century English-language historiography of the Communist International. Contemporary historians are showing increasing interest in the study of this international organization. Three available conceptual approaches to this topic (“traditionalist”, “revisionist”, and “post-revisionist”) are considered and characterized, the works of historians from Great Britain, the USA, Canada, Ireland, Australia, New Zealand are analyzed. The article demonstrates an increase in research interest in the Communist International. In a fairly large volume of studies, there are monographs and articles devoted to the organization both directly (the historiography of the Comintern, the activities of its sections around the world, etc.) and indirectly, i.e., to related issues such as the history of communism, in particular, and the left forces, in general, international relations of Soviet Russia, the communist movement in individual countries, etc. These studies touch on the period of the Comintern's activity from 1920 to the end of the 1930s, including several controversial issues: the impact on the policy of the national communist parties of the “The Twenty-one Conditions”, united front tactics, Bolshevization, Stalinization, and the Popular Front. The author believes that most of the studies (especially those published in the first decade of the 21st century) are based on studies published long before the 2000s, however, archival materials are being used in increasing volumes, which makes modern research more objective. This gives grounds for a conclusion about the revision of the historiographic tradition of the Comintern that existed in the 20th century: new approaches (“revisionist” and “post-revisionist”) entailed a change in emphasis and a revision of some established points of view. Authors adhering to these approaches rely mainly on modern literature (including Russian) and a wide source base represented by materials from both national archives and the Russian State Archives of Social-Political History.
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Qin, Xiaofeng, and Natalia A. Fedorovskaya. "Specifics of Russian-Chinese Cross-Cultural Communication in the Field of Fine Art of the Second Half of the 20th — Early 21st Century." Observatory of Culture 17, no. 6 (February 10, 2021): 582–93. http://dx.doi.org/10.25281/2072-3156-2020-17-6-582-593.
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Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is demonstrated that these features are largely related to the fact that the process of cross-cultural interaction occurs not only at the level of communication between representatives of the two peoples, but also in the process of artistic and stylistic exchange at the level of art works perception. Thus, cross-cultural communication refers to the process of information exchange at different levels. Russian-Chinese communication features include the intrapersonal perception of Russian art, style and genre features of the Russian realistic school, that influenced the style of Chinese artists; the interaction between individual artists and students, the unique contacts between a teacher-master and a student studying individually in the art studio. In the period under review, the communications were often unilateral — Chinese students and artists adopting the traditions of the Russian realistic school of painting, both by inviting Russian artists to China and studying in Russia. The specificity is also shown in the interaction between professional creative unions of artists, joint holding of exhibitions, and organization of plein-airs, during which a multi-level exchange of cultures can happen.
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Buyak, Halyna. "THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)." Scientific Herald of Uzhhorod University. Series: History, no. 2 (47) (December 20, 2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.
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This article attempts to investigate the development of Bohdan Khavarivskyi as a philologist, teacher, archivist, local historian, artist, personality, public-political and cultural-educational figure in the second half of the 20th century and the beginning of the 21st century. This significant list of his interests testifies to this person's uniqueness, comprehensiveness, and talent. Based on the analysis of archival materials, it was found that the formation of B. Khavarivskyi took place in the traditions of family upbringing, his parents and teachers who encouraged him to draw, write poems, recite, and sing was an example to follow in childhood. Bohdan-Roman was a comprehensively gifted individual who could realize his talents later in life. His activities were traced during his studies at the philological faculty of Chernivtsi State University. He attended the literary studio named after Stepan Budny, designed and edited its handwritten newspapers "Sunny Clarinets" and "Vesely Ostap," and gave speeches at scientific conferences. Acquaintance with famous Ukrainian science and culture figures from Chernivtsi contributed to his formation as a mature personality with an active life position and deep national convictions. It has been proven that the beginnings of his pedagogical work were connected to his teaching activities in a rural school in the Ternopil region. Over time, Bohdan Khavarivskyi worked as an educator in the dormitory of Ternopil Technical School № 2. Also, as a teacher at Ternopil Special Vocational Technical School № 3. It was found that the center of the future writer's organization, a professional center of artists, free from the restrictions of the standards of socialist realism, was formed in this educational institution. Subsequently, he was a senior researcher at the Ternopil Regional State Archives, a teacher at the Ternopil State Pedagogical Institute, the head of the public education department of the Ternopil Regional Executive Committee, the director of the State Archives of the Ternopil Region. It is known that he thoroughly mastered the subjects he taught. He practiced original modern forms and teaching methods, involved pupils and students in Ukrainian and world cultural achievements, and worked in close contact with the Ternopil Art Gallery, the Ternopil Museum of Local History, and the creative organizations of the city. He organized fine art weeks and involved artists from Ternopil and Lviv in exhibitions of paintings and graphics.
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Kuo, Mei-fen. "The Making of a Diasporic Identity: The Case of the Sydney Chinese Commercial Elite, 1890s-1900s." Journal of Chinese Overseas 5, no. 2 (2009): 336–63. http://dx.doi.org/10.1163/179303909x12489373183091.
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AbstractThis article is about a short moment in Chinese-Australian history at the turn of the 20th century when Chinese fruit and vegetable traders in Sydney were on the verge of major international success. The concerns of this new urban elite can be gleaned from their Chinese-language newspapers and civil societies which played an important role in the evolution of the diasporic identity of the Chinese in “White-Australia” — an experience involving more than merely a refinement of native kinship practices and inherited identities — in a process that invoked a distinctively modern sense of time, space, and the unfolding of history. This is an attempt to recount their experience chiefly by reference to the developments recorded in Chinese newspapers and the narratives related to the social institutions and networks associated with them in the Federation Era (1890s-1900s).
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Perović, Miloš, and Jean Gottmann. "An interview with Jean Gottmann on urban geography." Ekistics and The New Habitat 70, no. 420/421 (August 1, 2003): 140–46. http://dx.doi.org/10.53910/26531313-e200370420/421280.
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The author is Professor of History of Modern Architecture at the Faculty of Architecture, University of Belgrade, received his M.Sc in architecture and town-planning in Belgrade and at the Athens Center of Ekistics, Athens, Greece, and his Ph. D at the Faculty of Architecture, University of Belgrade. He is the author of many books including Computer Atlas of Belgrade (Belgrade, 1976, second edition in Serbian and English as Research into the Urban Structure of Belgrade, Belgrade, 2002), Lessons of the Past (Belgrade, 1985), four volumes on the history of modern architecture in the world 1750 to present, Serbian 20th Century Architecture: From Historicisim to Second Modernism (Belgrade, 2003), and numerous articles published in scientific and professional journals. He has had one-man exhibitions of his experimental town-planning projects in Ljubljana (1977), Zagreb(1978), Belgrade (1978), Paris (1981), Dublin (1981), and at the Gallery of the Royal Institute of British Architects in London (1986). He has lectured at New York University, the Institute of Fine Arts (New York), Princeton University, Columbia University (New York), Ohio State University (Columbus), Athens Center of Ekistics, University of Cambridge (UK), and the Royal Institute of British Architects. The text that follows was one of several interviews of Dr Perovió with selected participants in the Delos Symposia (international meetings on boardship organized by the Athens Center of Ekistics, 1963-1972) first published in the journal Sinteza (Ljubljana) and later in a separate book entitled Dialogues with the Delians in both Serbian and English, Ljublijana, 1978.
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HAMILTON, REBECCA, and DAN PENNY. "Ecological history of Lachlan Nature Reserve, Centennial Park, Sydney, Australia: a palaeoecological approach to conservation." Environmental Conservation 42, no. 1 (April 8, 2014): 84–94. http://dx.doi.org/10.1017/s0376892914000083.
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SUMMARYReconstructing the environmental history of protected areas permits an empirically-based assessment of the conservation values ascribed to these sites. Ideally, this long-term view can contribute to evidence-based management policy that is both ecologically ‘realistic’ and pragmatically feasible. Lachlan Nature Reserve, a protected wetland in Centennial Park, Sydney, is claimed to be the final remnant of early and pre-European swamplands that were once extensive in the area, and the site is thus considered to have indigenous cultural and natural conservation significance. This study uses palynological techniques to reconstruct vegetation communities at the Reserve from the late Holocene to the present in order to assess whether these values adequately reflect the history, character and development of the site. The findings indicate that the modern site flora is a modified Melaleuca quinquenervia low forest assemblage formed in response to aggregated anthropogenic disturbance since colonial settlement. This assemblage replaces an Epacris-dominated heath-swampland community that was extirpated in the mid-20th century. These results emphasize the value of long-term studies in contributing to a realistic management policy that explicitly reflects the normative basis of conservation, and values the influence of past land-uses on contemporary protected ecosystems.
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Rane, Halim. "“Cogent Religious Instruction”: A Response to the Phenomenon of Radical Islamist Terrorism in Australia." Religions 10, no. 4 (April 3, 2019): 246. http://dx.doi.org/10.3390/rel10040246.
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Over the past 15 years, 47 Muslim Australians have been convicted for terrorism offences. Australian courts have determined that these acts were motivated by the offenders’ “Islamic” religious beliefs and that interpretations of Quranic verses concerning jihad, in relation to shariah, caliphate, will of God and religious duty contributed to the commission of these crimes. This paper argues that these ideas, derived from certain classical-era Islamic jurisprudence and modern Islamist thought, contradict other classical-era interpretations and, arguably, the original teachings of Islam in the time of the Prophet Muhammad. In response to the call for “cogent religious instruction” to combat the phenomenon of radical Islamist terrorism, this paper outlines a deradicalization program that addresses late 20th- and early 21st-century time-period effects: (1) ideological politicization associated with Islamist jihadism; (2) religious extremism associated with Salafism; and (3) radicalization associated with grievances arising from Western military interventions in Muslim-majority countries. The paper offers a counter narrative, based on a contextualized reading of the Quran and recent research on the authentication of the Covenants of the Prophet Muhammad. It further contends that cogent religious instruction must enhance critical-thinking skills and provide evidence-based knowledge in order to undermine radical Islamist extremism and promote peaceful coexistence.
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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-1-1-89-99.
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An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-70-1-89-99.
Full textAbstract:
An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
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Tesdell, Omar Imseeh. "Territoriality and the Technics of Drylands Science in Palestine and North America." International Journal of Middle East Studies 47, no. 3 (July 28, 2015): 570–73. http://dx.doi.org/10.1017/s0020743815000586.
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At the turn of the 20th century, agricultural experts in several countries assembled a new agro-scientific field: dryland farming. Their agricultural research practices concomitantly fashioned a new agro-ecological zone—the drylands—as the site of agronomic intervention. As part of this effort, American scientists worked in concert with colleagues in the emerging Zionist movement to investigate agricultural practices and crops in Palestine and neighboring regions, where nonirrigated or rainfed agriculture had long been practiced. In my larger manuscript project, I consider how the reorganization of rainfed farming as dryfarming is central to the history of both the Middle East and North America, where it was closely related to modern forms of power, sovereignty, and territoriality. I suggest that American interest in dryfarming science emerged out of a practical need to propel and sustain colonization of the Great Plains, but later became a joint effort of researchers from several emerging settler enterprises, including Australia, Canada, and the Zionist movement. In contrast to a naturally ocurring bioregion, I argue that the drylands spatiality was engineered through, rather than outside, the territorialization of modern power.
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Zhang, Xinzhong, Yu Li, Wangting Ye, Simin Peng, Yuxin Zhang, Hebin Liu, Yichan Li, Qin Han, and Lingmei Xu. "Wet–dry status change in global closed basins between the mid-Holocene and the Last Glacial Maximum and its implication for future projection." Climate of the Past 16, no. 5 (October 30, 2020): 1987–98. http://dx.doi.org/10.5194/cp-16-1987-2020.
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Abstract. Closed basins, mainly located in subtropical and temperate drylands, have experienced alarming declines in water storage in recent years. An assessment of long-term hydroclimate change in those regions remains unquantified at a global scale as of yet. By integrating lake records, PMIP3–CMIP5 simulations and modern observations, we assess the wet–dry status of global closed basins during the Last Glacial Maximum, mid-Holocene, pre-industrial, and 20th and 21st century periods. Results show comparable patterns of general wetter climate during the mid-Holocene and near-future warm period, mainly attributed to the boreal summer and winter precipitation increasing, respectively. The long-term pattern of moisture change is highly related to the high-latitude ice sheets and low-latitude solar radiation, which leads to the poleward moving of westerlies and strengthening of monsoons during the interglacial period. However, modern moisture changes show correlations with El Niño–Southern Oscillation in most closed basins, such as the opposite significant correlations between North America and southern Africa and between central Eurasia and Australia, indicating strong connection with ocean oscillation. The strategy for combating future climate change should be more resilient to diversified hydroclimate responses in different closed basins.
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Francis, Roger. "Duplex Stainless Steels: The Versatile Alloys." Corrosion 76, no. 5 (November 14, 2019): 500–510. http://dx.doi.org/10.5006/3403.
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Duplex stainless steels were first manufactured early in the 20th century, but it was the invention of argon oxygen decarburization melting and the addition of nitrogen that made the alloys stronger, more weldable, and more corrosion resistant. Today, there is a family of duplex stainless steels covering a range of compositions and properties, but they all share high strength and good corrosion resistance, especially to stress corrosion cracking, compared with similar austenitic stainless steels. This paper briefly reviews the range of modern duplex stainless steels and why they are widely used in many industries. They are the workhorse corrosion-resistant alloy in the oil and gas industry. In this paper, their use in three industries common in Australia and New Zealand is reviewed: oil and gas, mineral processing, and desalination. The corrosion resistance in the relevant fluids is reviewed and some case histories highlight both successes and potential problems with duplex alloys in these industries.
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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Laming, Alice, Michael-Shawn Fletcher, Anthony Romano, Russell Mullett, Simon Connor, Michela Mariani, S. Yoshi Maezumi, and Patricia S. Gadd. "The Curse of Conservation: Empirical Evidence Demonstrating That Changes in Land-Use Legislation Drove Catastrophic Bushfires in Southeast Australia." Fire 5, no. 6 (October 26, 2022): 175. http://dx.doi.org/10.3390/fire5060175.
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Protecting “wilderness” and removing human involvement in “nature” was a core pillar of the modern conservation movement through the 20th century. Conservation approaches and legislation informed by this narrative fail to recognise that Aboriginal people have long valued, used, and shaped most landscapes on Earth. Aboriginal people curated open and fire-safe Country for millennia with fire in what are now forested and fire-prone regions. Settler land holders recognised the importance of this and mimicked these practices. The Land Conservation Act of 1970 in Victoria, Australia, prohibited burning by settler land holders in an effort to protect natural landscapes. We present a 120-year record of vegetation and fire regime change from Gunaikurnai Country, southeast Australia. Our data demonstrate that catastrophic bushfires first impacted the local area immediately following the prohibition of settler burning in 1970, which allowed a rapid increase in flammable eucalypts that resulted in the onset of catastrophic bushfires. Our data corroborate local narratives on the root causes of the current bushfire crisis. Perpetuation of the wilderness myth in conservation may worsen this crisis, and it is time to listen to and learn from Indigenous and local people, and to empower these communities to drive research and management agendas.
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Vukotic-Lazar, Marta, and Jasmina Djokic. "Complex history as a source of planning problems: Old Belgrade fairground." Spatium, no. 13-14 (2006): 34–40. http://dx.doi.org/10.2298/spat0614034v.
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The Old Belgrade Fairground complex is the large area in the center of Belgrade that is completely isolated from other parts of Belgrade: it is one of the most devastated city areas, populated by poor inhabitants, often by those from the marginal groups, burdened with tragic history and it represents one of hardest problems for planners to solve. It is situated on the left bank of the Sava River between two bridges and downtown New Belgrade. Opposite to it, the Sava Amphitheatre slopes down the Belgrade Ridge towards the river. The complex was built in the thirties of the 20th century across the River Sava in the area that was an unpopulated swamp - Belgrade was situated on the right Sava bank. It was meant to be modern extension of oriental city, which could represent the western tendencies of the young state (Kingdom of Yugoslavia) and its capital. Modern and monumental complex of exhibition and commercial pavilions was built, and started its life with national and international fairs and exhibitions. World War 2 changed its destiny: German occupation forces transformed the complex into the concentration camp, where thousands of people were tortured and killed. After the war, new republican government, both communist and antifascist, had double frustration regarding this space: it?s tragic (during the War) and "capitalist" (before the War) past, so complex that was absolutely ignored in the period of the postwar renewal, and the result is described at the beginning of this text. This paper discusses the possibility to conciliate historical roles of the complex, and to realize it?s potentials in the modern world. Facts of the complex?s history are presented in the first part of the paper. Further on, these facts are analyzed in the context of contemporary city development of Belgrade in particular but globally, too.. Finally, some guidelines for crossing the gap between this area and the rest of the city are presented in the third part of the paper.
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Mitsuguchi, Takehiro, Nobuaki Okabe, Yusuke Yokoyama, Minoru Yoneda, Yasuyuki Shibata, Natsuko Fujita, Takahiro Watanabe, and Yoko Saito-Kokubu. "129I/127I and Δ14C records in a modern coral from Rowley Shoals off northwestern Australia reflect the 20th-century human nuclear activities and ocean/atmosphere circulations." Journal of Environmental Radioactivity 235-236 (September 2021): 106593. http://dx.doi.org/10.1016/j.jenvrad.2021.106593.
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Brocchini, Debora, Luca Deravignone, and Gianni Dellavalle. "Unveil the traces of ancient mining." Acta Geoturistica 8, no. 1 (July 1, 2017): 11–19. http://dx.doi.org/10.1515/agta-2017-0002.
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Abstract The Archaeological Mines Park of San Silvestro is part of the Campiglia mining area. It represents its most important historical core. The Park covers a surface of around 450 hectares on the mountains Calvi, Rombolo, Poggio all’Aione and along the valleys Temperino, Lanzi and Manienti. The main characteristic of the Park is the richness of mining activity traces towards copper, lead and silver. The mining activity started during the 7th century BC with the Etruscan civilization and continued until 1979, when the last mine was closed. Many karst cavities of the Campiglia are “cave-mines’: they are the result of a natural event and the action of ancient miners, who searched metalliferous minerals. In Campiglia there are traces of hundreds of Etruscan, medieval and modern mining operations, tunnels from the 19th and 20th centuries. The aim of the Archaeological and Mining park of San Silvestro is to highlight historical landscape, the result of centuries of mining activities. Some of the buildings, originally used for productive and administrative purposes, have been restored to house exhibitions and services for visitors. The impressive ruins of the medieval village of San Silvestro and two of the modern mining tunnels, have been equipped for guided tours. The accessibility of ancient mining works is however still difficult and this represents a limit in the enhancement and protection of these sites. Speleologists, archaeologists and geologists will be involved in making a project to let everyone discover the most ancient underground mines. We have three main targets: (1) produce high quality pictures of the most interesting and impressive mining traces; (2) create 3D models useful for scientific and cultural purposes; (3) equip some of the ancient shafts with light structures to allow small groups to visit them. We will describe the morphological characteristics of one of these ancient mines, giving some advice for the production of high quality picture in this contest. We will also describe the technique used for the production of a 3D model and how to equip the mine for the visit of small groups of people.
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Saladžinskas, Sigitas Vladas, and Kristina Vaisvalavičiene. "Professional activities of Latvian born Lithuanian architect and engineer Karolis Reisonas (1894–1981) in Šiauliai." History of Engineering Sciences and Institutions of Higher Education 2 (November 1, 2018): 100–116. http://dx.doi.org/10.7250/hesihe.2018.008.
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The article introduces the life of not well-known in Latvia Latvian born Lithuanian Karolis Reisonas (in Latvian: Kārlis Reisons; 1894–1981) and his professional activities in Šiauliai city, as well as highlights the main features of the architect’s creative work and the importance of his work in the history of Lithuanian architecture. K. Reisonas was one of the most prominent creators of modern architecture of the 20th century during interwar period in Lithuania. He is the author and co-author of representative buildings in the cities of Lithuania, as well as in Riga and Adelaide (Australia). K. Reisonas graduated from Riga Real School (1913) and St. Petersburg Institute of Civil Engineers (1920). He has worked as the Engineer of the Šiauliai city and Head of the Construction Department of the Municipality (1922–1930), the Director of the Tenth1 Courses of Šiauliai Construction (1925), later – the Director of the Šiauliai Vocational School (1926), and an Advisor of Lithuania Chamber of Agriculture (1927–1928). Fourteen building to his design in Kaunas and Šiauliai cities are included in the list of cultural values of Lithuania. K. Reisonas’ early projects are characterized by historicism, eclectic elements, of «brick style». Later projects have the features of aesthetic rationalism, functionalism, and adaptation to urban and cultural-historical context. After the Second World War, he and his family immigrated to Germany, later Adelaide in Australia, where he participated in the life of the Adelaide Lithuanian community.
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Li, Chenhong, Shannon Corrigan, Lei Yang, Nicolas Straube, Mark Harris, Michael Hofreiter, William T. White, and Gavin J. P. Naylor. "DNA capture reveals transoceanic gene flow in endangered river sharks." Proceedings of the National Academy of Sciences 112, no. 43 (October 12, 2015): 13302–7. http://dx.doi.org/10.1073/pnas.1508735112.
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For over a hundred years, the “river sharks” of the genus Glyphis were only known from the type specimens of species that had been collected in the 19th century. They were widely considered extinct until populations of Glyphis-like sharks were rediscovered in remote regions of Borneo and Northern Australia at the end of the 20th century. However, the genetic affinities between the newly discovered Glyphis-like populations and the poorly preserved, original museum-type specimens have never been established. Here, we present the first (to our knowledge) fully resolved, complete phylogeny of Glyphis that includes both archival-type specimens and modern material. We used a sensitive DNA hybridization capture method to obtain complete mitochondrial genomes from all of our samples and show that three of the five described river shark species are probably conspecific and widely distributed in Southeast Asia. Furthermore we show that there has been recent gene flow between locations that are separated by large oceanic expanses. Our data strongly suggest marine dispersal in these species, overturning the widely held notion that river sharks are restricted to freshwater. It seems that species in the genus Glyphis are euryhaline with an ecology similar to the bull shark, in which adult individuals live in the ocean while the young grow up in river habitats with reduced predation pressure. Finally, we discovered a previously unidentified species within the genus Glyphis that is deeply divergent from all other lineages, underscoring the current lack of knowledge about the biodiversity and ecology of these mysterious sharks.
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Saladžinskas, Sigitas Vladas, and Kristina Vaisvalavičienė. "Professional Activities (1930–1981) of Latvian-Born Lithuanian Architect and Engineer Karolis Reisonas (1894–1981) in Kaunas, Panevėžys and Adelaide Cities." History of Engineering Sciences and Institutions of Higher Education 3 (October 15, 2019): 35–51. http://dx.doi.org/10.7250/hesihe.2019.003.
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The article introduces the professional activities of Latvian-born Lithuanian architect and engineer Karolis Reisonas (in Latvian: Kārlis Reisons; 1894–1981) in the second half of his life – from 1930 in Kaunas, Panevėžys and Adelaide cities – and his role in the history of Lithuanian architecture. K. Reisonas was one of the most prominent creators of modern 20th-century interwar Lithuanian architecture and together with other famous Lithuanian architects formed a special style of Kaunas modern architecture in interwar period. K. Reisonas is the author or co-author of representative buildings in Šiauliai, Kaunas and other Lithuanian cities, as well as in Riga and Adelaide cities. Architect and engineer K. Reisonas worked as Šiauliai City Engineer and Head of Municipal Construction Department (1922–1930), Director of Šiauliai Vocational School (1926), Consultant of Lithuanian Chamber of Agriculture (1927–1928), Head of Construction Department of Kaunas Municipality (1930– 1938), Panevėžys City Engineer (1940) and Burgomaster (1941–1944). From 1949, the Reisonas family lived in Adelaide city, Australia. To his projects three monuments of independence were built in Lithuania – Monument of Independence in Šiauliai city, Podium of the Freedom Monument of Kaunas city and Roman Catholic Christ’s Resurrection Church in Kaunas city. Fourteen of buildings in Lithuania (in Kaunas and Šiauliai cities) designed by him are included in the list of cultural values of Lithuania. Early K. Reisonas’ projects are characterized by historism, elements of eclecticism and «brick style», later projects are characterized by austere rationalism, functionalism, adaptation to urban construction and cultural and historical context.
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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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Budai, G., and N. D. Afanasieva. "Teaching the Russian Language in Hungary: History of Cultural Interactions." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 121–31. http://dx.doi.org/10.24833/2541-8831-2021-1-17-121-131.
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The paper is dedicated to outlining the main specific features of the spread and reception of Russian language in Hungary, with attention paid to the chronological perspective and the current situation. The text aims at revealing the factors, institutional and personal agents that fuel the interest to studying and teaching Russian in the atmosphere of Hungary. Russian history, culture, literature, traditions, and, consequently, the Russian language have always been of interest in Hungary. The Hungarian national culture developed in parallel with the rise of enthusiasm toward Russia — and in 1849 the Department of Slavic Philology was introduced at the University of Pest. Russian was popularized and spread in Hungary by textbooks and translations of famous oeuvres of Russian writers. The turn of the 19th century and the beginning of the 20th marked the growing interest of students to Russian, with the First World War, the October revolution in Russia and the subsequent Russian exodus intensifying mundane interactions. The Second World War, its outcomes and the split of Europe into two zones showed the clout that the Russian language acquired. In 1949, Russian became the only compulsory foreign language at school; Russian was introduced in higher educational institutions on a broader basis, including pedagogical institutes which were training Russian teachers for middle schools. After 1989, Hungary, like other Central and Eastern European countries, saw a sharp decline in the number of Russian language learners due to geopolitical reasons. The current stage of the spread of the Russian language in Hungary is characterized by positive changes: strengthening of economic relations between the countries, expansion of cultural and educational ties that is gradually leading to an increase in emphasis on the Russian language. In particular, it is owed to the liberalization of book industry and publishing of new Russian textbooks, digital promotion via Internet, construction of the Baksi nuclear power plant, and numerous exhibitions and festivals. What can be concluded is that cultural bonds connecting the Hungarians and the Russian language have a long path dependency relative to the post-1917 diaspora, the period of socialism and favourable relations with the USSR. Their effect is maintained by modern funds and associations. Economic ties that have foundation in both historical industrial cooperation and modern projects also foster attention to maintaining closer cultural interactions — and, thus, to studying Russian.
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Pryshchenko, Svitlana, Yevhen Antonovych, and Tetyana Senchuk. "Media Design: the Research of Terminology Base and Visual Stylistics." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 2 (October 31, 2022): 243–60. http://dx.doi.org/10.31866/2617-7951.5.2.2022.266910.
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Technological changes of the late 20th and early 21st century dramatically influenced the development of the global communication space – all communication channels are rapidly changing to a digital format. The topicality of the article lies in the growing role of visual communications of various formats and computer technologies in modern society. There is an active movement toward digital presentations of the world’s cultural and artistic heritage, multimedia art museums, virtual exhibitions, and virtual tours are appearing, which also require advertising. Main objective of this study is to conduct a comparative analysis of the existing terminology and visual stylistics of the media. Methods. The research methodology is based on a multimodal approach. A number of scientific methods were used to achieve the set goal: system-structural, art historical, and comparative. The scientific novelty of this work consists in expanding and deepening ideas about the development of media as a component of design activity. The authors of the article emphasize that a fundamentally new type of communication – multi media – has acquired its own meanings, meanings and visual images. Modern visual advertising appeals should have a clear communicative structure, aesthetic level and stimulate the intellectual activity of the consumer. It is proposed to define colour graphics as a basic means of media design, and aesthetic dimensions (parameters) as cultural-aesthetic ones. Colour semantics and regional imagery are distinguished to provide the aesthetic evaluation of objects in ethnic style. Postmodernism has its own typological features: the use of any ready forms from art to utility, widespread of photography and computer special effects, deliberate violation of commensurable quantities of visual elements, borrowing the ideas from other types of art, remake, interpretation, combination, fragmentation, epatage, installation, collageness and replicability of the projects. Conclusions. The results of our comparative analysis of terminology and stylistic aspects of media resources are presented. It has been proven that visual media is not a constant, but rather a dynamic process aimed at enhancing the effectiveness of those ideas, products, services, companies, or individuals that are being promoted. Media design is defined as the design of a visual info space, an innovative stage of designing for the virtual world, and a qualitatively new stage of its development. In summary, we note that research materials allow its continuation and expansion in order to prepare a course of lectures for Masters in the specialties "Design", "Management of sociocultural activities", "Advertising and PR", "Tourism", etc.
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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Chmielewská, Eva. "Brief survey of water supply and sanitation with special reference to East European Countries." Green Chemistry & Technology Letters 8, no. 2 (August 25, 2022): 01–06. http://dx.doi.org/10.18510/gctl.2022.821.
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Purpose of the study: This article is a brief history of development of water sanitation systems in European countries. One of the aims is educating people about importance of water treatment in today’s world.
Methodology: Bellow article briefly discuss some history of drinking water supply and municipal wastewater sanitation, i.e., construction of historical water engineering system like water wells, first flush toilets, indoor plumbing and simple pressurized showers, sewage farms and irrigation, in China, ancient Greece, Roman Empire, Asia minor, India, by Mayans in America and in Australia.
Main Findings: By the 1840s the luxury of indoor plumbing, which mixes human waste with water and flushes it away, eliminated the need for cesspools. As Britain was the first country to industrialize, it was also the first to experience the consequences of major urbanization and outbreaks of diseases like typhoid and cholera from contaminated water and was the first to construct a modern sewerage system. Most cities in the Western world added more expensive systems for sewage treatment in the early 20th century, after scientists at the University of Manchester Ardern and Lockett discovered the sewage treatment process of activated sludge in 1912.
Implications of the study: More than 100 years have been passed since the activated sludge process was explored, since the time when the mankind started to realize how important is the water sanitation in diseases prevention. However, the water treatment technology is permanently improving and enriched with new innovative solutions, the basic principle from the year 1912 i.e., activated sludge process remains as the main process of all conventional wastewater treatment plants.
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Oyebode, Femi. "9 Psychopathology & the nature of the Self." Journal of Neurology, Neurosurgery & Psychiatry 93, no. 12 (November 14, 2022): e3.42. http://dx.doi.org/10.1136/jnnp-2022-bnpa.9.
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Femi Oyebode graduated from University of Ibadan with distinction in Medicine in 1977 & trained as a psychiatrist in Newcastle-Upon-Tyne. He has been Consultant Psychiatrist in Birmingham since 1986 & retired in 2021. He has been Honorary Professor of Psychiatry at the University of Birmingham since 1999. He was Head of Department of Psychiatry from 2003–2009. He is Honorary Professor, Department of Anthropology & African Studies University of Birmingham. He is Associate Editor the British Journal of Psychiatry, & on the Editorial Boards of BJPsych Bulletin and BJPsych Advances. He was Chief Examiner of the Royal College of Psychiatrists from 2002 to 2005. He has been ASB Visiting Professor at University of Auckland, Raine Visiting Professor at University of Western Australia, & Visiting Professor University of Ibadan. His research interests include clinical psychopathology, delusional misidentification syndromes, medical humanities and medical ethics. He is author of Sims’ Symptoms in the Mind (4–6th editions), Psychopathology of Rare and Unusual Syndromes, Madness and the Theatre and edited Mindreadings: Literature and Psychiatry. He is also a poet and literary critic. His volumes of poetry include Naked to your softness & other dreams, Master of the Leopard Hunt and Adagio for Oblong Mirrors. He contributed critical essays to the Oxford Companion to 20th century Poetry and Oxford Companion to Modern Poetry. He received the Royal College of Psychiatrists’ Lifetime Achievement Award in 2016 and the highest award of the Royal College of Psychiatrists, the Honorary FRCPsych., in 2019.AbstractPsychopathology is the systematic study of abnormal psychological experience and includes the precise description, definition and categorisation of abnormal phenomena. In this lecture I will focus on the potential role of psychopathology as a means of revealing the underlying brain processes that make possible our experience of reality. I will examine phantom limb phenomenon, Charles Bonnet Syndrome, musical hallucinations and autoscopy to illustrate and develop my thesis. My ultimate aim is to demonstrate that the value of psychopathology is over and above the merely descriptive and that its value includes theorising about neural mechanisms.
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Saladžinsks, Sigits Vlads, and Kristina Vaisvalavičiene. "Latviešu izcelsmes Lietuvas arhitekts un inženieris Kārlis Reisons (1894–1981) un viņa profesionālā darbība Šauļos." Inženierzinātņu un augstskolu vēsture 2 (November 1, 2018): 97–113. http://dx.doi.org/10.7250/iav.2018.008.
Full textAbstract:
Raksts iepazīstina ar Latvijā mazzināma latviešu izcelsmes Lietuvas arhitekta un inženiera Kārļa Reisona (Karolis Reisonas; 1894–1981) dzīvi un profesionālo darbību Šauļos, kā arī aktualizē svarīgākās arhitekta daiļrades mantojuma iezīmes un viņa darbu nozīmi Lietuvas arhitektūras vēsturē. K. Reisons bija viens no spilgtākajiem 20. gadsimta starp-karu perioda Lietuvas modernās arhitektūras radītājiem. K. Reisons ir reprezentatīvu celtņu Lietuvas pilsētās, kā arī Rīgā un Adelaidā (Austrālija) autors vai līdzautors. Rīgas reālskolas (1913) un Sanktpēterburgas civilinženieru institūta (1920) absolvents K. Reisons strādāja par Šauļu pilsētas inženieri un pašvaldības Būvniecības nodaļas vadītāju (1922–1930), Šauļu būvniecības desmitnieku1 kursu (1925), vēlāk arī Šauļu arodskolas direktoru (1926), Lietuvas Lauksaimniecības kameras konsultantu (1927–1928). 14 no viņa projektētām celtnēm Kauņā un Šauļos ir iekļautas Lietuvas Kultūras vērtību reģistrā. Agrīniem K. Reisona projektiem raksturīgs historisms ar eklektisma elementiem un tā sauktais «ķieģeļu stils». Vēlākie projekti iezīmējas ar modernajai arhitektūrai raksturīgu askētisko racionālismu, funkcionālismu un piemērošanos pilsētbūvniecības un kultūrvēsturiskajam kontekstam. Pēc Otrā pasaules kara viņš ar ģimeni emigrēja uz Vāciju, vēlāk – uz Adelaidu, piedalījies Adelaidas lietuviešu kopienas dzīvē. The article introduces the professional activities of Latvian-born Lithuanian architect and engineer Karolis Reisonas (in Latvian: Kārlis Reisons; 1894–1981) in the second half of his life – from 1930 in Kaunas, Panevėžys and Adelaide cities – and his role in the history of Lithuanian architecture. K. Reisonas was one of the most prominent creators of modern 20th-century interwar Lithuanian architecture and together with other famous Lithuanian architects formed a special style of Kaunas modern architecture in interwar period. K. Reisonas is the author or co-author of representative buildings in Šiauliai, Kaunas and other Lithuanian cities, as well as in Riga and Adelaide cities. Architect and engineer K. Reisonas worked as Šiauliai City Engineer and Head of Municipal Construction Department (1922–1930), Director of Šiauliai Vocational School (1926), Consultant of Lithuanian Chamber of Agriculture (1927–1928), Head of Construction Department of Kaunas Municipality (1930–1938), Panevėžys City Engineer (1940) and Burgomaster (1941–1944). From 1949, the Reisonas family lived in Adelaide city, Australia. To his projects three monuments of independence were built in Lithuania – Monument of Independence in Šiauliai city, Podium of the Freedom Monument of Kaunas city and Roman Catholic Christ’s Resurrection Church in Kaunas city. Fourteen of buildings in Lithuania (in Kaunas and Šiauliai cities) designed by him are included in the list of cultural values of Lithuania. Early K. Reisonas’ projects are characterized by historism, elements of eclecticism and «brick style», later projects are characterized by austere rationalism, functionalism, adaptation to urban construction and cultural and historical context.
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Лаврина, Анастасия Сергеевна. "REMINISCENCES GENRE IN THE SPEECH OF THE REPRESENTATIVES OF THE AUSTRALIAN BRANCH OF THE RUSSIAN EASTERN EMIGRATION (AS EXEMPLIFIED IN THE STORIES ABOUT HARBIN)." Tomsk state pedagogical university bulletin, no. 3(215) (May 24, 2021): 7–16. http://dx.doi.org/10.23951/1609-624x-2021-3-7-16.
Full textAbstract:
Введение. Представлены рассказы о Харбине русских реэмигрантов из Китая в Австралию в речевом жанре воспоминание. Необходимость анализа данных текстов обусловлена интересом современной лингвистики к говорящей личности и воплощаемым ею текстам, которые отражают уникальность личного и исторического опыта, в данном случае – опыта представителей русской реэмиграции из Китая в Австралию. Цель – описать жанр воспоминание и особенности его лингвистической реализации в речи русских реэмигрантов из Китая в Австралию в ХХ в. Материал и методы. Материалом исследования послужили записи интервью с русскими реэмигрантами из Китая в Австралию (10 интервью). В качестве основного метода был выбран метод лингвистического описания жанра воспоминание в речи с точки зрения его тематического и языкового своеобразия. Результаты и обсуждение. Показано тематическое своеобразие рассказов о Харбине, обусловленное особенностями жизни русских эмигрантов в восточном зарубежье. В соответствии с этим выделены микротемы: русский облик Харбина, переселение в Харбин, русские и китайцы, японская оккупация в Харбине. Установлены жанровые особенности и языковая специфика. При анализе специфики рассказов о Харбине русских реэмигрантов из Китая в Австралию обнаружены типичные и специфичные признаки. Среди типичных отмечены следующие особенности: употребление глаголов прошедшего времени, использование в речи разговорной и нейтральной лексики и метатекстовых лексических единиц. Установлены специфичные языковые особенности рассказов о Харбине, воплощенные в жанре воспоминание, к которым относятся использование синтаксических средств и конструкций, свойственных письменной речи, употребление книжной, высокой, устаревшей лексики, а также собственно харбинской лексики и заимствований из китайского языка. Заключение. Анализ рассказов о Харбине русских реэмигрантов из Китая в Австралию, воплощенных в речевом жанре воспоминание, позволил выявить их тематическое своеобразие, обусловленное особенностями жизни русских эмигрантов в восточном зарубежье, жанровую и языковую специфику. Introduction. The paper presents the stories about Harbin told by Russian re-emigrants from China to Australia in the speech genre “Reminiscences”. The need to analyse these texts arises from the interest of modern linguistics in the speaking personality and the texts this personality produces. The texts reflect the unique personal and historical experience. In this case study they reflect the experiences of Russian re-emigrants from China to Australia. The purpose of the article is to describe the reminiscence genre and its linguistic implementation in the speech of Russian re-emigrants, who came from China to Australia in the 20th century. Material and methods. The research is based on the study of the recorded interviews with Russian re-emigrants from China to Australia (10 interviews). The method of linguistic description of the «Reminiscences» genre was used as the main method to analyse their speech from the point of view of its thematic and linguistic distinctiveness. Results and discussion. The paper presents the thematic originality of stories about Harbin, determined by the particular lifestyle of Russian eastern emigration. A number of micro-themes have been identified in the framework of the study: The Russian appearance of Harbin, resettlement to Harbin, Russians and Chinese, Japanese occupation of Harbin. Genre features and linguistic specificities have been determined. The analysis of the Russian re-emigrants’ stories about Harbin made it possible to identify some typical and specific features. Among the typical features are: the use of past-tense verbs, the use of spoken and neutral vocabulary and metatext lexical units. The specific features of the stories about Harbin, embodied in the «Reminiscences» genre, have been determined. They include the use of syntactic means and structures characteristic of written speech, the use of bookish, high-flown and obsolete vocabulary, as well as Harbin vocabulary and borrowings from the Chinese language. Conclusion. Recorded reminiscence-stories of Russian re-emigrants about Harbin, demonstrate thematic originality, determined by the particular lifestyle of Russian eastern emigration, genre features and linguistic specifics.