Journal articles: 'Mosan Art'

1

de Winter, Patrick M. "Mosan Art: An Annotated Bibliography. Gretel Chapman." Speculum 64, no. 4 (October 1989): 930–31. http://dx.doi.org/10.2307/2852879.

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Philippe, Joseph. "Art mosan et art byzantin. A propos de l'ivoire de Notger et des fonts baptismaux mosans de Liège." Bulletin de la Société Nationale des Antiquaires de France 1984, no. 1 (1986): 228–30. http://dx.doi.org/10.3406/bsnaf.1986.9099.

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Jacoby, Thomas. "MOSAN ART: AN ANNOTATED BIBLIOGRAPHY. (Reference Publications in Art History). Gretel Chapman." Art Documentation: Journal of the Art Libraries Society of North America 7, no. 4 (December 1988): 166. http://dx.doi.org/10.1086/adx.7.4.27947974.

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SYCHEVA, Iu A. "The typological prefigurations of the Resurrection and the Harrowing of Hell in Rheno-Mosan Romanesque applied art and book illumination." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 3-1 (2022): 244–57. http://dx.doi.org/10.37485/1997-4663_2022_3_1_244_257.

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Sycheva, Iuliia A. "Aaron Marking a House with a Tau Cross: Typological Significance of the Scene in Rheno-Mosan Art of 12th Century." Actual Problems of Theory and History of Art 13 (2023): 411–22. http://dx.doi.org/10.18688/aa2313-4-33.

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Sycheva, Iuliia. "Image and text: to the question of textual sources of typological parallelism in the Iconography of Western European Art of the XII century." Философия и культура, no. 4 (April 2023): 155–66. http://dx.doi.org/10.7256/2454-0757.2023.4.40598.

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One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII – early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized.

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Sycheva, Yulia Andreevna. "TWO LEAVES WITH THE OLD TESTAMENT SCENES IN THE CONTEXT OF CURRENT STUDIES OF MODELS AND COPYING PROCESSES IN RHENO-MOSAN ART OF THE 12th CENTURY." LOMONOSOV HISTORY JOURNAL, no. 2023, №1 (June 5, 2023): 178–94. http://dx.doi.org/10.55959/msu0130-0083-8-2023-1-178-194.

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Th e Library of the University of Liege (Université de Liège. Biblio-thèque, Ms. 2613) and the Victoria and Albert Museum in London (Victoria and Albert Museum, Ms. 413) have two leaves created c. 1150–1170 and produced in the Meuse region. Although the question of the purpose of the leaves is under discussion, these two oeuvres of Romanesque book illumination have not yet received special scholarly attention. Th e leaves have a similar layout: each side contains two compositions based on stories from the Book of Genesis, and there are no inscriptions or biblical quotations. Th e Old Testament episodes included in the pictorial program of the leaves do not form a consistent narrative cycle. Th us, the scenes of the sacrifi ce by Cain and Abel and the murder of Abel by Cain in the leaf from the Victoria and Albert Museum are followed by an episode of the meeting of Abraham and Melchizedek. Th e leaf from Liège begins with the scene of the sacrifi ce of Isaac. Th e cycle does not contain a number of scenes with a fairly consistent iconographic tradition (for example, the story of Noah). Such narrative heterogeneity can be interpreted through the prism of the purpose of the pictorial series. Th e Sacrifi ce of Abel, the Gift s of Melchizedek and the Sacrifi ce of Isaac by Abraham are mentioned in the Eucharistic Canon of the Sacramentary of Pope Gelasius I and have been used in iconographic programs since the era of early Christianity as the main liturgical prototypes. Th e back of the leaf from the Library of the University of Liege contains another subject which alludes to the typological parallelism of the Testaments – the Blessing of Ephraim and Manasseh by Jacob. Th e designated subjects can be found in a number of contemporaneous works of decorative and applied arts and book miniatures of the Rhine-Meuse region, which are compiled on the basis of typological logic in the arrangement of stories. Th e selection of stories, as well as the stylistic and iconographic analy-sis of the range of oeuvres with typological iconography, suggests that the leaves could have been fragments of a model book and probably served as models in the process of the spreading of the compositional and iconographic techniques which were characteristic of the Rhine-Meuse region.

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Selmi, B., and N. Yu Svetova. "ON THE MUTUAL MULTIFRACTAL ANALYSIS FOR SOME NON-REGULAR MORAN MEASURES." Issues of Analysis 30, no. 1 (February 2023): 46–71. http://dx.doi.org/10.15393/j3.art.2023.12310.

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Sinnerbrink, Robert. "Pleasure, Art, Culture: Remarks on Mohan Matthen's ‘The Pleasure of Art’." Australasian Philosophical Review 1, no. 1 (January 2, 2017): 50–60. http://dx.doi.org/10.1080/24740500.2017.1296384.

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Freeland, Cynthia A. "Comments on Mohan Matthen's ‘The Pleasure of Art’." Australasian Philosophical Review 1, no. 1 (January 2, 2017): 29–39. http://dx.doi.org/10.1080/24740500.2017.1296378.

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Moran, Sarah Joan. "The right hand of Pictura’s perfection: Cornelis de Bie’s Het gulden cabinet and Antwerp art in the 1660s." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 64, no. 1 (2014): 370–99. http://dx.doi.org/10.1163/22145966-06401014.

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Gorodeisky, Keren. "Value First: Comments on Mohan Matthen's ‘The Pleasure of Art’." Australasian Philosophical Review 1, no. 1 (January 2, 2017): 79–84. http://dx.doi.org/10.1080/24740500.2017.1296373.

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Shaw, Joshua David Michael. "Transcarceral lawscapes enacted in moments of Aboriginalisation: a case-study of an Indigenous woman released on urban parole." International Journal of Law in Context 16, no. 4 (December 2020): 422–42. http://dx.doi.org/10.1017/s1744552320000427.

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AbstractThe field of carceral geography was lately developed by critical human geographers grappling with the spatiotemporal modes of social control and coercion particular to institutions of incarceration (Moran et al., 2018; Moran and Schliehe, 2017). This has included – in keeping with Michel Foucault's (1991) genealogy of the carceral as an art of disciplinary power – studying the disparate ways in which carceral techniques proliferate from and beyond the built site of the prison, becoming incorporated into other spatial formations. Carceral geographers have characterised this extension as transcarceral (Moran, 2014) or heterotopic (Gill et al., 2018; Moran and Keinänen, 2012). However, despite frequent references to law and legal institutions, carceral geographers generally do not theorise about law. Through a case-study involving an Indigenous woman paroled in Toronto, the author theorises about how carceral spaces are expressed through legal forms and techniques, affecting how paroled individuals, particularly those Aboriginalised, are emplaced within urban space.

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Van Der Laken, C. J., W. F. Lems, R. M. van Soesbergen, J. J. van der Sande, and B. A. C. Dijkmans. "Paraplegia in a patient receiving anti–tumor necrosis factor therapy for rheumatoid arthritis: Comment on the article by Mohan et al." Arthritis & Rheumatism 48, no. 1 (January 2003): 269–70. http://dx.doi.org/10.1002/art.10629.

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Guo, Wenhua, Wenqian Feng, Yiyan Qi, Pinghui Wang, and Jing Tao. "Mosar: Efficiently Characterizing Both Frequent and Rare Motifs in Large Graphs." Applied Sciences 12, no. 14 (July 18, 2022): 7210. http://dx.doi.org/10.3390/app12147210.

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Due to high computational costs, exploring motif statistics (such as motif frequencies) of a large graph can be challenging. This is useful for understanding complex networks such as social and biological networks. To address this challenge, many methods explore approximate algorithms using edge/path sampling techniques. However, state-of-the-art methods usually over-sample frequent motifs and under-sample rare motifs, and thus they fail in many real applications such as anomaly detection (i.e., finding rare patterns). Furthermore, it is not feasible to apply existing weighted sampling methods such as stratified sampling to solve this problem, because it is difficult to sample subgraphs from a large graph in a direct manner. In this paper, we observe that rare motifs of most real-world networks have “more edges” than frequent motifs, and motifs with more edges are sampled by random edge sampling with higher probabilities. Based on these two observations, we propose a novel motif sampling method, Mosar, to estimate motif frequencies. In particular, our Mosar method samples frequent and rare motifs with different probabilities, and tends to sample motifs with low frequencies. As a result, the new method greatly reduces the estimation errors of these rare motifs. Finally, we conducted extensive experiments on a variety of real-world datasets with different sizes, and our experimental results show that the Mosar method is two orders of magnitude more accurate than state-of-the-art methods.

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Sircar, Sanjay. "The Case of the Curious Comestible from Bengali into English: Rendering Sarcasm, Polysemy, Ambiguity, and Connotation by Direct Translation, Footnoting, Transliteration, and Addition." Asian Literature and Translation 9, no. 1 (April 30, 2022): 1–36. http://dx.doi.org/10.18573/alt.55.

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A translator's choices include directly translating source language words into the target language (with and without inverted commas), retaining these in transliteration, explaining them in footnotes, and inserting unmarked additional words (a few or many) as seems best. This essay focuses on a single word, a metaphor for reddening in anger, its literal referent most likely the word for a sweetmeat, the Bengali lāl-mohan, used sarcastically (so it seems) for the angry being to whom it is applied. This comes from Gaganendranath Tagore's classic humorous fantasy narrative Bhondaṛ Bahadur (1926), translated in Fantasy Fictions from the Bengal Renaissance (OUP, 2018). This word lāl-mohan has several referents, multiple etymologies, and pairs of positive/negative connotations. A sense of all these is automatically part of the linguistic capital of the Bengali speaker, and not that of Anglophone readers, pan-South Asian or other. Hence I attempt to justify my inclusion of what seemed to be the most important shades of meaning, and how I attempted this, and why I left out the others.

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Fricke, Martin F. "First Person Authority and Knowledge of One’s Own Actions." Crítica (México D. F. En línea) 45, no. 134 (December 11, 2013): 3–16. http://dx.doi.org/10.22201/iifs.18704905e.2013.688.

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What is the relation between first person authority and knowledge of one’s own actions? On one view, it is because we know the reasons for which we act that we know what we do and, analogously, it is because we know the reasons for which we avow a belief that we know what we believe. Carlos Moya (2006) attributes some such theory to Richard Moran (2001) and criticises it on the grounds of circularity. In this paper, I examine the view attributed to Moran. I rebut the charge of circularity, but also reject the theory as an adequate interpretation of Moran.

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Guyer, Paul. "A Complex of Pleasures: Comment on ‘The Pleasure of Art’ by Mohan Matthen." Australasian Philosophical Review 1, no. 1 (January 2, 2017): 40–49. http://dx.doi.org/10.1080/24740500.2017.1296382.

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19

Ehrmann, Lauren Elizabeth. "On the Edge of a New Perception: The Art of Moran and Watkins." IU Journal of Undergraduate Research 3, no. 1 (September 5, 2017): 18–23. http://dx.doi.org/10.14434/iujur.v3i1.23324.

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This essay examines the ways in which views about documentation and representation were shifting in mid-nineteenth-century America, using Thomas Moran’s The Grand Canyon of the Yellowstone (1872) and Carleton Watkins’s Grizzly Giant (1861) as case studies. The work of Moran and Watkins demonstrates an interest in utilizing and uniting concepts of the sublime and the scientific with economic concerns. The goal of the paper is to demonstrate that the advent of photography caused landscape artists and photographers to reexamine the ways in which they chose to portray landscapes, specifically the landscapes of the American West.

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Woodward, Guy. "Lisa Moran and Stephen O’Neill, Art and Self-Determination: A Reader." Irish University Review 54, no. 1 (May 2024): 169–73. http://dx.doi.org/10.3366/iur.2024.0666.

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Cisternas, Marcela, Miguel Gutiérrez, and Sergio Jacobelli. "Successful rechallenge with anti-tumor necrosis factor α for psoriatic arthritis after development of demyelinating nervous system disease during initial treatment: Comment on the article by Mohan et al." Arthritis & Rheumatism 46, no. 11 (November 2002): 3107–8. http://dx.doi.org/10.1002/art.10488.

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O’Hara, J. D. "Freud and the Narrative of “Moran”." Journal of Beckett Studies 2, no. 1 (January 1992): 47–64. http://dx.doi.org/10.3366/jobs.1992.2.1.5.

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Mohan, Urmila. "Clothing as Devotion in Contemporary Hinduism." Brill Research Perspectives in Religion and the Arts 2, no. 4 (August 9, 2018): 1–82. http://dx.doi.org/10.1163/24688878-12340006.

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AbstractIn Clothing as Devotion in Contemporary Hinduism, Urmila Mohan explores the materiality and visuality of cloth and clothing as devotional media in contemporary Hinduism. Drawing upon ethnographic research into the global missionizing group “International Society for Krishna Consciousness” (ISKCON), she studies translocal spaces of worship, service, education, and daily life in the group’s headquarters in Mayapur and other parts of India. Focusing on the actions and values of deity dressmaking, devotee clothing and paraphernalia, Mohan shows how activities, such as embroidery and chanting, can be understood as techniques of spirituality, reverence, allegiance—and she proposes the new term “efficacious intimacy” to help understand these complex processes. The monograph brings theoretical advances in Anglo-European material culture and material religion studies into a conversation with South Asian anthropology, sociology, art history, and religion. Ultimately, it demonstrates how embodied interactions as well as representations shape ISKCON’s practitioners as devout subjects, while connecting them with the divine and the wider community.

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Svoboda, Jakub, Soham Joshi, Josef Tkadlec, and Krishnendu Chatterjee. "Amplifiers of selection for the Moran process with both Birth-death and death-Birth updating." PLOS Computational Biology 20, no. 3 (March 29, 2024): e1012008. http://dx.doi.org/10.1371/journal.pcbi.1012008.

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Populations evolve by accumulating advantageous mutations. Every population has some spatial structure that can be modeled by an underlying network. The network then influences the probability that new advantageous mutations fixate. Amplifiers of selection are networks that increase the fixation probability of advantageous mutants, as compared to the unstructured fully-connected network. Whether or not a network is an amplifier depends on the choice of the random process that governs the evolutionary dynamics. Two popular choices are Moran process with Birth-death updating and Moran process with death-Birth updating. Interestingly, while some networks are amplifiers under Birth-death updating and other networks are amplifiers under death-Birth updating, so far no spatial structures have been found that function as an amplifier under both types of updating simultaneously. In this work, we identify networks that act as amplifiers of selection under both versions of the Moran process. The amplifiers are robust, modular, and increase fixation probability for any mutant fitness advantage in a range r ∈ (1, 1.2). To complement this positive result, we also prove that for certain quantities closely related to fixation probability, it is impossible to improve them simultaneously for both versions of the Moran process. Together, our results highlight how the two versions of the Moran process differ and what they have in common.

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Bhattacharya, Laboni. "Review: Global Digital Cultures: Perspectives from South Asia, edited by Aswin Punathambekar and Sriram Mohan." Afterimage 47, no. 1 (2020): 93–97. http://dx.doi.org/10.1525/aft.2020.471017.

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Chitrakar, Madan. "A Mural at the Southwest Corner of the Mohan Chowk: Piece of History – Rediscovered." SIRJANĀ – A Journal on Arts and Art Education 7, no. 1 (September 21, 2021): 44–49. http://dx.doi.org/10.3126/sirjana.v7i1.39343.

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During the restoration process, the experts from JAICA, made a chance discovery of a mural. But unfortunately, its viewing was/is almost totally blocked by an extra wall, built right in-front of the actual wall, with the murals. To demystify the contents, it has had remained a professional challenge, as it could be barely viewed by one end only – from within a space between 8-9 inches gap. It posed challenge for many reasons. First was its difficult location. Secondly, the painted wall was also damaged beyond descriptions – plaster-surface peeled off spread all over – making the task to read the images even harder. Most importantly, to read the contents or to identify the imageries in such a location, it asked for a professional ability of an art writer or an art historian, to be able to read and analyze. However, after a very meticulous effort and a proper reading of the postures, emblems and other iconographical features, the narratives are being made – explaining on and about the murals found. The essay is prepared and is made, after a series of exercises – begun by field visits, and followed by closer examination of the images on the spot and as is available in digital images. The writing is made - after the long afterthoughts, and in consultation with the available references.

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Morán Pérez, Ana Victoria. "Presentación." Alteridades 31, no. 61 (June 14, 2021): 3–6. http://dx.doi.org/10.24275/uam/izt/dcsh/alt/2021v31n61/moran.

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Macmillan, Malcolm. "Me? Blinkered? A reply to Moran." Australian Psychologist 22, no. 2 (July 1987): 165–67. http://dx.doi.org/10.1080/00050068708256927.

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Murgia, Camilla. "Domestic Space in France and Belgium: Art, Literature and Design, 1850–1920 ed. by Claire Moran." Modern Language Review 118, no. 1 (January 2023): 139–40. http://dx.doi.org/10.1353/mlr.2023.0022.

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30

García, Carlos Javier. "La Ausencia de interlocutor de Mosén Millán." Romanic Review 91, no. 1-2 (January 1, 2000): 189–99. http://dx.doi.org/10.1215/26885220-91.1-2.189.

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31

Yoon, Sungan, Ahmad Jalal, and Jeongho Cho. "MODAN: Multifocal Object Detection Associative Network for Maritime Horizon Surveillance." Journal of Marine Science and Engineering 11, no. 10 (September 28, 2023): 1890. http://dx.doi.org/10.3390/jmse11101890.

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In maritime surveillance systems, object detection plays a crucial role in ensuring the security of nearby waters by tracking the movement of various objects, such as ships and aircrafts, that are found at sea, detecting illegal activities and preemptively countering or predicting potential risks. Using vision sensors such as cameras to monitor the sea can help to identify the shape, size, and color of objects, enabling the precise analysis of maritime situations. Additionally, vision sensors can monitor or track small ships that may escape radar detection. However, objects located at considerable distances from vision sensors have low resolution and are small in size, rendering their detection difficult. This paper proposes a multifocal object detection associative network (MODAN) to overcome these vulnerabilities and provide stable maritime surveillance. First, it searches for the horizon using color quantization based on K-means; then, it selects and partitions the region of interest (ROI) around the horizon using the ROI selector. The original image and ROI image, converted to high resolution through the Super-Resolution Convolutional Neural Network (SRCNN), are then passed to the near-field and far-field detectors, respectively, for object detection. The weighted box fusion removes duplicate detected objects and estimates the optimal object. The proposed network is more stable and efficient in detecting distant objects than existing single-object detection models. Through performance evaluations, the proposed network exhibited an average precision surpassing that of the existing single-object detection models by more than 7%, and the false detection rate was reduced by 59% compared to similar multifocal-based state-of-the-art detection methods.

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András, Veöreös. "19. századi épületek értékvédelme Győr-Moson-Sopron megyében." Építés - Építészettudomány 46, no. 3-4 (September 2018): 253–70. http://dx.doi.org/10.1556/096.2018.005.

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Dharwadker, Aparna Bhargava. "Mohan Rakesh, Modernism, and the Postcolonial Present." South Central Review 25, no. 1 (2008): 136–62. http://dx.doi.org/10.1353/scr.2008.0008.

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Walsh, Mike. ": Film Policy: International, National and Regional Perspectives . Albert Moran." Film Quarterly 52, no. 2 (December 1998): 50–51. http://dx.doi.org/10.1525/fq.1998.52.2.04a00090.

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Sharma, Prakash. "Post – Partition Chaos in Mohan Rakesh’s "The Claim"." Dhaulagiri Journal of Contemporary Issues 2, no. 1 (July 2, 2024): 109–15. http://dx.doi.org/10.3126/djci.v2i1.67466.

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This paper attempts to analyze the representation of the Indo-Pak partition violence and the chaos aftermath in fictional works especially focusing on Mohan Rakesh's short story "The claim" using the critical insights of trauma theory. An effort is made to show how Rakesh is different from general fictional writers who just write from single perspective and never try to be realistic in the act of representation. Such writers either use the language of otherness or martyrdom. It means, they either glorify or villainies Hindus or Muslims. In contrast, the writer is nearer to reality in presenting the suffering related to partition violence. This research work reveals how Rakesh does not blame any side but artistically shows the real trauma caused by the event of partition to simple people. He presents all four main characters as victims of the partition event and attempts to expose the chaotic situation in post- partition India. It shows how Rakesh blames the bureaucracy of India for making the situation more traumatic by delaying the task of providing compensation for the victims of the partition. Analyzing the data from the primary text using the critical ideas of trauma theorists especially Gyanendra Pandey about the violence, trauma and representation, this paper discusses about the literary representation of the cultural trauma. It tries to reveal how realistically Rakesh presents the continuity of the chaotic situation in India even after the partition event.

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Megha Purohit Atre, Manjeeta Raturi ,. "A New form of Art Through Paper Messy Arts." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (October 16, 2023): 4162–64. http://dx.doi.org/10.52783/tjjpt.v44.i4.1637.

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Shri B. Mohan Negi Ji the pride of uttarakhand was a great person. who is known as the pride of uttarakhand, due to his glorious work and fame, he was been honoured with the God Vibhuti Samman of uttarakhand : from have a new look to the pictures of which the paper mache art. Arts and crafts are a profound expression of the emotional life of the people anywhere. A close and living relationship ties land to the people to the craft and culture. This is particularly true of uttarakhand. Here changes economic, social and religious during many centuries are reflected in our arts and crafts. The creative urge of our crafts people have thus varied at different periods. Uttarakhand is not only home to the vast cultural and ethnic diversity but also the myriad arts and crafts that have been carefully nurtured for the centuries. A variety of motifs, techniques and craft flourished in the land as the people from regions flocked through the beautiful place and many of the skilled craftsmen desided to settle amidst its charming abundance of natural beauty with time, these arts ave gained even more distinctiveness and paper mache, wood carving hand knotted carpets and let of other traditional crafts.In Uttarakhand one meets with all those arts and crafts which are in most cities, such as stone polishing, stone cutting, window cutting etc.

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Denoël, Charlotte. "Les Évangiles B.n.F., ms. lat. 15520 : un nouveau témoignage de l’art mosan au XIe siècle ?" Bulletin Monumental 170, no. 1 (2012): 3–13. http://dx.doi.org/10.3406/bulmo.2012.8216.

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Heyde, CC. "Patrick Alfred Pierce Moran 1917-1988." Historical Records of Australian Science 9, no. 1 (1992): 17. http://dx.doi.org/10.1071/hr9920910017.

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Medhavi, Dishha, and Kulveen Trehan. "Art for communicating crises: A semiotic analysis of COVID-19 murals." Journal of Alternative & Community Media 8, no. 2 (June 1, 2023): 191–211. http://dx.doi.org/10.1386/jacm_00126_1.

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The study aims to analyse and determine the symbolic significance of the COVID-19 murals in New Delhi, the capital of India, as an alternative medium for crisis communication. Many digital platforms were used to disseminate COVID-19-related information, but for those who were not a part of the digital ecosystem, murals served as a means of distributing pertinent information and pandemic-related health protocols. The study also aims to distinguish between murals painted by public and private organizations like Nehru Yuva Kendra Sangathan and Delhi Street Art, respectively. This is a qualitative research with a conceptual framework based on Mohan Dutta’s culture-centred approach. The application of Roland Barthes’s semiotic analysis yielded results indicating that the creation of murals focused on a particular target demographic facilitates successful communication on the topic matter. The inclusion of easily understandable acronyms and slogans, along with the use of language that is comprehensible to the target audience, helps achieve this. Additionally, the creation of murals is a collaborative process that involves engaging community members in the design and implementation, ensuring that the murals accurately reflect the cultural values and perspectives of the target demographic, and fostering a sense of ownership and connection to the message being conveyed.

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Liedl, Janice. "Moran, Bruce T. Paracelsus: An Alchemical Life." Renaissance and Reformation 44, no. 1 (July 26, 2021): 284–86. http://dx.doi.org/10.33137/rr.v44i1.37095.

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Berleant-Schiller, Riva. ": The Ecosystem Concept in Anthropology . Emilio F. Moran." American Anthropologist 87, no. 1 (March 1985): 176–77. http://dx.doi.org/10.1525/aa.1985.87.1.02a00480.

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42

Roeber, Blake. "REASONS TO NOT BELIEVE (AND REASONS TO ACT)." Episteme 13, no. 4 (December 2016): 439–48. http://dx.doi.org/10.1017/epi.2016.23.

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ABSTRACTIn “Reasons to Believe and Reasons to Act,” Stewart Cohen argues that balance of reasons accounts of rational action get the wrong results when applied to doxastic attitudes, and that there are therefore important differences between reasons to believe and reasons to act. In this paper, I argue that balance of reasons accounts of rational action get the right results when applied to the cases that Cohen considers, and that these results highlight interesting similarities between reasons to believe and reasons to act. I also consider an argument for Cohen's conclusion based on the principle that Adler, Moran, Shah, Velleman and others call “transparency.” I resist this argument by explaining why transparency is itself doubtful.

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Wells, Gary. "The Moon in the Landscape: Interpreting a Theme of Nineteenth Century Art." Culture and Cosmos 16, no. 1 and 2 (October 2012): 373–84. http://dx.doi.org/10.46472/cc.01216.0259.

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The image of the moon in the rural landscape is such a familiar and common theme in nineteenth century art that we should ask what made this theme so popular, widespread, and persistent. The similarity among these depictions borders on formula: a field or rustic farm, a broad horizon, a full moon rising or a thin crescent moon setting, perhaps a shepherd or field worker silhouetted against the twilight sky. But what made this image so appealing to nineteenth century artists and their audiences? This paper will examine the theme of the moon in the landscape, and will suggest that the persistence of the motif masks an evolving set of ideas about time, nature and change. From the personal visions of Samuel Palmer and Vincent van Gogh, to the contemplation of nature’s sublimity in Caspar David Friedrich and Thomas Moran, the expressive range of the subject is significant. But a common thread emerges when these images are seen within the context of the nineteenth century’s rapid industrialization, urbanization, and materialism. Rather than romantic invention or picturesque scenery, images of the moon in nineteenth century landscape art were used to explore a broad range of ideas about modernity, nature and humanity in an age of science and industry.

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Zhao, Kaixu, Xiaoteng Cao, Fengqi Wu, and Chao Chen. "Spatial Pattern and Drivers of China’s Public Cultural Facilities between 2012 and 2020 Based on POI and Statistical Data." ISPRS International Journal of Geo-Information 12, no. 7 (July 7, 2023): 273. http://dx.doi.org/10.3390/ijgi12070273.

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In the context of globalization and the intensification of international competition, the construction of public cultural facilities has long been not limited to meeting the cultural needs of the people but has become an important initiative to shape the competitiveness of cities. This paper collected POI and socio-economic statistics from 2012 to 2020 from 285 Chinese cities and employed the coefficient of variation (CV), Gini index (GI), ESDA, and GeoDetector to analyze the spatial patterns and driving mechanisms of public cultural facilities. Findings: (1) Public cultural facilities in Chinese cities were featured by evident regional gradient differences and uneven spatial distributions, with a CV greater than 1.3 and a GI greater than 0.5 in both years. They also showed signs of aggregation at weak levels, with a Moran I of 0.15 in both years and a cluster pattern of “hot in the east and cold in the west”. (2) Different types of public cultural facilities had differences in their differentiation, aggregation, and change trends. The CV changed from 1.39~2.69 to 1.06~1.92, and the GI changed from 0.53~0.80 to 0.47~0.62, with the differentiation of libraries, museums, theaters, art galleries, and cultural centers decreasing gradually, while that of exhibition halls increased day by day. As the Moran I increased from 0.08~0.20 to 0.12~0.24, libraries, museums, art galleries, and cultural centers showed weak aggregation with an increasingly strong trend. Theaters and exhibition halls also showed weak aggregation but in a declining trend, with the Moran I changing from 0.15~1.19 to 0.09~0.1. (3) The five driving variables exhibit significant differences in their strength across time and across regions, with the economic and infrastructure factors being the strongest and the urbanization factor the weakest. There are significant differences in the strength of the driving forces among the factors, with the total retail sales of consumers, the number of subscribers to internet services, regular higher education institutions, and undergraduates in regular HEIs playing both direct and interactive roles as the core factors. (4) The 285 cities in China are divided into four policy zonings of star, cow, question, and dog cities. Star cities should maintain their status quo without involving too much policy intervention, whereas the core and important factors should be the focus of policy in dog cities and cow cities, and the auxiliary factors should be the focus of policy in question cities. This paper contributes to the in-depth knowledge of the development pattern of public cultural facilities and provides a more refined basis for the formulation of public cultural facility promotion policies in China and similar countries.

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St-Pierre, Paul. "Translation as Writing Across Languages: Samuel Beckett and Fakir Mohan Senapati." TTR : traduction, terminologie, rédaction 9, no. 1 (March 20, 2007): 233–57. http://dx.doi.org/10.7202/037246ar.

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Abstract Translation as Writing Across Languages: Samuel Beckett and Fakir Mohan Senapati — This paper attempts to demonstrate that translation cannot be divorced from writing, that originality and creativity are not characteristic only of the latter, that translation is not mere reproduction. This is developed in relation to Samuel Beckett's translations of his own works and five translations of a passage of a late nineteenth-century Indian novel. In the case of Samuel Beckett, translation is seen as a way both to begin and to continue the writing process, a way for him to explore one of the principal themes of his work, the relation of writing to language(s). In that of the five translations into English of a passage from the Oriya novel by Fakir Mohan Senapati, Chha Mana Atha Guntha, the differences between them are examined for the purpose of showing the extent to which the practice of translation is always an act of creative writing.

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Richards, Paul. "Liberia: the violence of democracy ? By Mary H. Moran." Journal of the Royal Anthropological Institute 13, no. 2 (June 2007): 496–97. http://dx.doi.org/10.1111/j.1467-9655.2007.00439_19.x.

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Wasamba, Peter. "The concept of heroism in Samburu moran ethos." Journal of African Cultural Studies 21, no. 2 (December 2009): 145–58. http://dx.doi.org/10.1080/13696810903259343.

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Venning, Dan. "Party in The Bardo by Laurie Anderson and Jason Moran." Theatre Journal 74, no. 2 (June 2022): 248–53. http://dx.doi.org/10.1353/tj.2022.0047.

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Barrick, Kenneth. "Preserving the Photographic Negatives of Harrison R. Crandall, Official Photographer of the Grand Teton National Park." UW National Parks Service Research Station Annual Reports 34 (January 1, 2011): 15–21. http://dx.doi.org/10.13001/uwnpsrc.2011.3847.

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A long time ago, in 1922 to be exact, a man and his young bride packed all their possessions into a Model T Ford truck, and navigated the primitive road eastward across Teton Pass. Harrison and Hildegard Crandall were undertaking an adventure to live out their American dream. They intended to raise a family in Jackson Hole, and interpret their âideal landscapeââthe Teton countryâin oil paintings and photographs. Like so many energetic Americans before them, the Crandall family had the fortitude and perseverance to make their dreams come true. There were many tough years of dry homesteading in Jackson Hole, building and running an art business during the Great Depression, and weathering the controversies of frontier life during turbulent times. Nonetheless, the Crandall family successfully operated their art studio for 34 years near Jenny Lake in the Grand Teton National Park. They also operated a studio in the shadow of Jackson Lake Dam at the old village of Moran. Today, we can celebrate the Crandall family legacy by studying Harrisonâs many fine paintings and photographs that are found in collections and homes far and wide.

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Glassner, Jean-Jacques, Lucio Milano, G. Buccellati, M. Kelly-Buccellati, and M. Liverani. "Mozan 2: The Epigraphic Finds of the Sixth Season." Journal of the American Oriental Society 114, no. 1 (January 1994): 134. http://dx.doi.org/10.2307/604996.

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Journal articles on the topic 'Mosan Art'

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