Log in

Relevant bibliographies by topics / Mourning customs in art / Journal articles

Journal articles on the topic 'Mourning customs in art'

To see the other types of publications on this topic, follow the link: Mourning customs in art.

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Mourning customs in art.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Akhmetbek, G., and O. Baqytbek. "THE QUINTESSENCE OF THE WORKS OF CHINESE LITERARY GIANT LI BAI AND THE DESCRIPTION OF TRADITIONAL KAZAKH POEMS." Bulletin of the Korkyt Ata Kyzylorda University 59, no. 4 (2021): 243–50. http://dx.doi.org/10.52081/bkaku.2021.v59.i4.119.

Full text

Abstract:

In the modern world, the process of integration between Kazakhstan and China is intensifying. As a result, there is a growing interest and demand for each other's language, culture and literature among the citizens of the two countries. Acquaintance with the mentality and culture of the country begins with the works of the literary giants of this country. And Li Bai is a giant of Chinese literature. However, until now we have considered his works of art only through translations and concepts of Russian scientists, so now it is necessary to study them from a new point of view by Kazakhstani researchers. Only then can the previously unknown secrets of Li Bai's poems be revealed.Furthermore, the poem is a small poetic work. A sequence of real words, the rhythm of which are normalized, the syllables are in a certain order. The peculiarities of Kazakh poems and Chinese literary giant Li Bai’s works are identical. There are some similarities and differences between them. Poems in Kazakh folklore are associated with labor (hunting, four products, March poems), ancient beliefs (shamanic, seduction), customs (rituals, weddings, mourning poems), black poetry, historical poems, aitys poems. While, Li Bai wrote about nature and its beauty.

APA, Harvard, Vancouver, ISO, and other styles

2

Khalili Kolahian, Shiva. "An analytical study of the ritual ceremonies in Iranian performing arts, a case study of Travellers." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 217–46. http://dx.doi.org/10.5195/cinej.2020.260.

Full text

Abstract:

Rites and myths are important parts of the identity and the culture of every nation. Iranian rites and performing arts, as a part of Iranian art and culture, which has always got attention throughout history, can help us recognize ancient Iranian culture and history. Cinema, among other interactive arts, has sometimes been able to portray ritual arts well. Travellers movie, made by Bahram Beyzai, is one of the most prominent examples of the visualization of ritual arts in Iran, because the movie consists of three parts, like the three theaters, in which the rites are portrayed as the main story of the movie, and the Persian culture and customs have been exhibited. This paper, which its research method is descriptive-analytical, examines the standing of rites and ritual arts in Travellers movie and analyzes its atmosphere regarding to performing rituals. Its scene design changes as the script process, so that the application of elements such as light and color, and their intensity and reduction in different mental conditions, from pleasure to mourning, has been considered wisely, and the atmosphere has a dramatic impact on the audience in different scenes. The lighting and the coloring of the scenes in the movie, indicates a tribute to beliefs and faith in rites and ritual arts.

APA, Harvard, Vancouver, ISO, and other styles

3

Ahluwalia, Susan. "Worldwide mourning customs." Bereavement Care 22, no. 2 (June 2003): 30. http://dx.doi.org/10.1080/02682620308657575.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Edwards, Thornton B. "Mourning customs in Greece." Folk Life - Journal of Ethnological Studies 33, no. 1 (January 1, 1994): 74–88. http://dx.doi.org/10.1179/043087794798238498.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

AL-Bakar, Asem. "The Repercussions of COVID-19 Pandemic, its Socio-economic Changes, in the Jordanian Family and Ways to Prevent them (A Sociological Study)." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 21–42. http://dx.doi.org/10.35516/hum.v49i1.1643.

Full text

Abstract:

The repercussions of COVID-19 pandemic, its Socio-economic changes, in the Jordanian family and ways to prevent them A sociological study Abstract The current study aimed to identify the Socio-economic changes caused by the COVID-19 pandemic in the Jordanian family from the point of view of university students and the role of the Jordanian family in preventing it. Social sample surveying approach and stratified random sampling were applied. The sample consisted of (215) male and female students. Descriptive approach (percentages, advanced statistical methods were used. The results revealed that there were significant changes caused by COVID-19 on Jordanian family, including social changes represented by lack of participation in social events motivated by mitigating the negative aspects of COVID-19 and the rise in social responsibility. The results showed a change in the rituals of mourning and marriage customs; also, an increase in media follow-up by family members. The results revealed educational burden on family regarding e-learning, and indicated that the COVID-19 affected, to a moderate degree, families in terms of social stigmatization. Regarding the economic changes, there were high level economic changes affecting the Jordanian family, such as the emergence of woman’s role in the family due to her increased production responsibilities, and new productive roles like producing bread and household products to reduce family members’ leaving house to preserve their health and reduce expenses. There were additional financial burdens shouldered by family which was satisfied with providing basic materials only.

APA, Harvard, Vancouver, ISO, and other styles

6

Epstein, Alex. "On the Mourning Customs of Elephants." Iowa Review 38, no. 2 (October 2008): 86. http://dx.doi.org/10.17077/0021-065x.6478.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Yedidya, Asaf. "From Collective Shiva to a Fast for the Ages: Religious Initiatives to Commemorate and Mourn the Victims of the Holocaust, 1944–1951." Religions 13, no. 3 (March 11, 2022): 242. http://dx.doi.org/10.3390/rel13030242.

Full text

Abstract:

Religious Jewish tradition has specific rituals for mourning the loss of a relative. They include receiving visitors during shiva, the recitation of the Kaddish in the first year, and the annual marking of the Yahrzeit. There are also customs for commemorating collective disasters. Foremost among them are the diminution of joy on specific dates, and setting permanent fast days. Towards the end of World War II, when the extent of the destruction became apparent, initiatives began around the world to process the collective mourning and to perpetuate the disaster in religious settings. Many survivors later joined these initiatives, seeking to establish new customs, out of a deep sense that this was an unprecedented calamity. The growing need to combine private and collective mourning stemmed from an awareness of the psychological and cultural power of private mourning customs. Proposals therefore included the observance of a community yahrzeit, a collective Jewish shiva, along with a fast for the ages. This article explores the initiatives undertaken between 1944 and 1951—the time when intensive processing was needed for the survivors and the relatives of those who had perished—discussing their motivations, unique characteristics, successes and failures, and the reasons for them.

APA, Harvard, Vancouver, ISO, and other styles

8

Jacobs, David L. "The Art of Mourning." Afterimage 23, no. 6 (1996): 8–11. http://dx.doi.org/10.1525/aft.1996.23.6.8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Gergely, Zoltán. "Mourning and Funeral Folk Songs in the Northern Part of the Transylvanian Plain." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 237–48. http://dx.doi.org/10.24193/subbmusica.2020.2.15.

Full text

Abstract:

"Mourning and the farewell from the young, unmarried deceased are such occasional folk customs, which have survived only in the memory of the older generations. In the northern part of the Transylvanian Plain the traditional singing repertoire consists of mourning and funeral songs – besides the songs of the sitting, performed from the hymnals. The presented examples of mourning songs in general have a formal structure, their performance is individual, while the funeral songs are sung in groups, occasionally accompanied by musicians. Keywords: Funeral, mourning, Transylvanian Plain "

APA, Harvard, Vancouver, ISO, and other styles

10

Antal, Eva. "Jacques Derrida’s (Art)Work of Mourning." Perichoresis 15, no. 2 (July 1, 2017): 25–39. http://dx.doi.org/10.1515/perc-2017-0008.

Full text

Abstract:

Abstract Derrida’s highly personal mourning texts are collected and published in a unique book under the title The Work of Mourning edited by Pascale-Anne Brault and Michael Naas, two outstanding translators of Derrida’s works. The English collection is published in 2001, while the French edition came out later in 2003 titled Chaque fois unique, la fin du monde (Each Time Unique, the End of the World). In his deconstructed eulogies, Derrida, being in accordance with ‘the mission impossible’ of deconstruction, namely, ‘to allow the coming of the entirely other’ in its otherness, seems to find his own voice. In my paper, I will focus on this special segment of Derrida’s death-work (cf. life-work); namely, on his mourning texts written for his dead friends, paying special attention to the rhetoric ‘circling around’ fidelity, friendship, and the other in his textual mourning.

APA, Harvard, Vancouver, ISO, and other styles

11

Ogden, Thomas H. "Borges and the Art of Mourning." Psychoanalytic Dialogues 10, no. 1 (January 15, 2000): 65–88. http://dx.doi.org/10.1080/10481881009348522.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Gold, Joshua M. "Generating a Vocabulary of Mourning: Supporting Families Through the Process of Grief." Family Journal 28, no. 3 (June 2, 2020): 236–40. http://dx.doi.org/10.1177/1066480720929693.

Full text

Abstract:

While grief and loss are common and universal life transitions, the language and customs of grieving differ based on the intersection of family practice and spiritual/religious affiliation. One aspect of cultural awareness and sensitivity to differing mourning processes may be the counselor’s awareness of meaningful verbiage and practice. This literature-based article will introduce family counselors to the differing nomenclature and practices of bereavement and offer implications for culturally relevant and sensitive counseling practice to support the family members’ mourning processes ( n = 80).

APA, Harvard, Vancouver, ISO, and other styles

13

Bedikian, Sonia A. "The Death of Mourning: From Victorian Crepe to the Little Black Dress." OMEGA - Journal of Death and Dying 57, no. 1 (August 2008): 35–52. http://dx.doi.org/10.2190/om.57.1.c.

Full text

Abstract:

Mourning is a natural response to loss. In the late eighteenth century and throughout the nineteenth century, in England and France, the bereaved was expected to follow a complex set of rules, particularly among the upper classes, with women more bound to adhere to these customs than men. Such customs involved wearing heavy, concealing, black costume and the use of black crepe veils. Special black caps and bonnets were worn with these ensembles. Widows were expected to wear these clothes up to four years after their loss to show their grief. Jewelry often made of dark black jet or the hair of the deceased was used. To remove the costume earlier was thought disrespectful to the deceased. Formal mourning culminated during the reign of Queen Victoria. Her prolonged grief over the death of her husband, Prince Albert, had much to do with the practice. During the succeeding Edwardian rule, the fashions began to be more functional and less restrictive, but the dress protocol for men and women, including that for the period of mourning, was still rigidly adhered to. When World War I began, many women joined the workforce. Most widows attempted to maintain the traditional conventions of mourning, but with an increase in the number of casualties, it became impractical for them to interrupt their work in order to observe the seclusion called for by formal mourning etiquette. Never had the code of mourning been less strictly applied than during this period. The mourning outfits of the time were modest and made of practical materials. Little jewelry and few other accessories were used. Certain aspects of traditional mourning were still followed, such as the use of jet beading, crepe trim, and widows' caps. However, the hemlines fell above the ankle, the veil was used to frame the face instead of cover it, and the v-neckline left the chest and neck bare. During the following decades, gradually the rules were relaxed further and it became acceptable for both sexes to dress in dark colors for up to a year after a death in the family.

APA, Harvard, Vancouver, ISO, and other styles

14

Wallace, Amanda Russhell. "Mourning Methods." Meridians 21, no. 2 (October 1, 2022): 436–54. http://dx.doi.org/10.1215/15366936-9882130.

Full text

Abstract:

Abstract There is no encapsulated decisive moment in mourning. Rather, it manifests as time based and time oriented collaging amalgamated from broad notions of the archive. Particularly, the author’s practice of historical collaging interlaces the past and present with a hopeful thread of futures reliant upon her performing as an artist-magician aspiring to break the mourning. Optical undoing is the point of departure that the author’s art practice often takes while running back and forth with the dead and dying. For this issue, the author discusses what could be methods of visual critical fabulation (to borrow Saidiya Hartman’s term) via the metaphorical weaving, burning, excision, and preservation as mourning methods that span her predominantly lens-based work.

APA, Harvard, Vancouver, ISO, and other styles

15

Shapiro, H. A. "The Iconography of Mourning in Athenian Art." American Journal of Archaeology 95, no. 4 (October 1991): 629. http://dx.doi.org/10.2307/505896.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Canham, Hugo. "Thanatopolitics and Fugitive Mourning in Pandemic Death." Social and Health Sciences 19, no. 1 (November 17, 2021): 1–17. http://dx.doi.org/10.25159/2957-3645/10329.

Full text

Abstract:

COVID-19 has reminded us that death is not only inevitable but also, for those who are constructed as death bound, imminent and immanent. In this paper, I contend that this season of mass death has led to an intensified thanatopolitics where the state has sought to take over full control of corpses and the death world. This has major implications for how we order and relate to the African death world. Mourning and funeral rites are important sites of sociality for the processing of loss, ritual cleansing and renewal. The COVID-19 pandemic and the dramatic rise in deaths associated with it mean that mourning, rites, sociality and potential renewal are fundamentally disrupted. This disruption occurs because rituals and customs associated with how Africans honour and bury the dead have to change as a result of health protocols and government regulations that are promulgated against contagion. However, through media reports on those killed by COVID-19, I demonstrate that thanatopolitics remains fragile in the face of the erotics of mourning and fugitive mourning that families and communities engage in. This paper is an effort to engage with the subject of pandemic death and the meaning of what we lose when ritual and relation are threatened. It presents the erotics of mourning and fugitive mourning as forms of resistance that the black underclasses are always insurgently engaged in.

APA, Harvard, Vancouver, ISO, and other styles

17

Matejić, Bojana. "Manipulating Memory and Mourning in Post-socialist Art." Monitor ISH 19, no. 2 (December 4, 2017): 23–48. http://dx.doi.org/10.33700/1580-7118.19.2.23-48(2017).

Full text

Abstract:

When it comes to global contemporary art practice, the present-day humanitarian discourse abounds in a variety of self-explanatory notions and imperatives such as: political art, community- based art, post-studio practices, participatory art, contextual art, socially engaged art, collaborative art, interactive art. It long ago became apparent that artistic practice can no longer revolve around producing objects for consumption by a passive audience, but must take an active part in interfacing with social reality. In perceiving the modality of a work of art and artistic practice, such a change goes hand in hand with the post-Fordist economic changes and the immaterial and flexible labour imperatives. Claire Bishop has already extensively depicted such artistic phenomena in several of her publications. Since the early 90s, after the fall of the Iron Curtain in 1989, we have been informed that we ought to be involved with the humanist struggle for the ‘politics of human rights’, and for ‘Art against terrorism’, or engaged with social groups and minorities with the aim of integrating them into a ‘legal sphere’ of life. The humanitarian/humanist imperative, present in everyday political discourse, art and culture, presupposes an opposition between good and evil, where art as a human, humanist and humanitarian activity, is supposed to assume a ‘responsible’ role. In the view of such rhetoric, Art must be ‘political’, ‘socially engaged’ and ‘participatory’, to the extent that it indicates the sharp distinction between the places of violence and those of justice. However, as Marx indicated so many times, the division between those who have the right to be seen (the ‘polis’, or public sphere) and those who do not have a right to a voice (private sphere), assents to social division as such, as well as a rather contingent ethical contraposition between good and evil. Humanitarianism/Humanism in art only affirms the existing democratic phraseology. The humanitarian/humanist regime of art validates a separation between civil society and the abstract society of political equality. Therefore, the aim of this paper is to trace the conceptual distinction between the humanitarian ideology of the current time in the post-socialist context of art and culture, and the thinking and practical application of the concept of the dehumanisation of art. The manuscript consists of three parts: In the first part, I will recall Adorno’s thesis regarding the ‘after-Auschwitz’ ethic of representation; in the second part, I will discuss the controversy and the implementation of this thesis following 9/11 as related to culture; and finally, in the third part, I will address the issue of how this thesis, as the main current ideological weapon, conditions the contemporary state of affairs in the post-socialist spaces of art and culture, by indicating several key symptoms in artistic production.

APA, Harvard, Vancouver, ISO, and other styles

18

&NA;. "Traditional mourning customs and the spread of HIV-1 in rural Rwanda." AIDS 8, no. 6 (June 1994): 858. http://dx.doi.org/10.1097/00002030-199406000-00028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Stirling, Grant, and Carole Maso. "Mourning and Metafiction: Carole Maso's "The Art Lover"." Contemporary Literature 39, no. 4 (1998): 586. http://dx.doi.org/10.2307/1208727.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Moore, Kelli. "Techniques of Abstraction in Black Arts." Meridians 21, no. 2 (October 1, 2022): 413–35. http://dx.doi.org/10.1215/15366936-9882119.

Full text

Abstract:

Abstract This review essay discusses recent exhibitions and accompanying art books published at the threshold of Black philosophy and aesthetics in relation to feminist mourning practices: Nicole Fleetwood’s book and exhibition Marking Time: Art in the Age of Mass Incarceration (2020); Grief and Grievance, an exhibition (2021); a book (2020) conceived by the late Nigerian curator Okwui Enwezor; and Saturation: Race, Art, and the Circulation of Value (2020), edited by C. Riley Snorton and Hentyle Yapp. These books and several others elucidate how relationships between transnational feminism, mourning, and Black works of art speak to Frantz Fanon’s idea of “the leap into existence,” Hortense Spillers’s “dialectics of a global new woman,” and David Marriott’s psycho-political analysis of invention.

APA, Harvard, Vancouver, ISO, and other styles

21

Krebs, Victor J. "Between Mourning and Desire." Conversations: The Journal of Cavellian Studies, no. 6 (December 27, 2018): 6–13. http://dx.doi.org/10.18192/cjcs.v0i6.4097.

Full text

Abstract:

During the month of November 1998, Stanley Cavell visited Caracas, Venezuela, invited by the Museum of Fine Arts and the philosophy department of Simon Bolivar University, to hold a three-day seminar on art and philosophy. During those days, Cavell presented and commented on the films Jean Dillman, by Chantal Ackerman and Sans Soleil by Chris Marker, as well as two lectures on material he was working on at that time: “The World as Things: Collecting Thoughts on Collecting,” which was published in a volume by the Guggenheim Museum with the Pompidou Center, where he also read that conference that same year (it later appeared in a final version in 2005 in Philosophy the Day After Tomorrow). The second lecture was “Trials of Praise,” where he talked about Henry James and Fred Astaire.

APA, Harvard, Vancouver, ISO, and other styles

22

Bassin, Donna. "From “bystander to witness”: The art of mourning and the Veterans’ Art Movement." International Forum of Psychoanalysis 26, no. 4 (August 2017): 236–41. http://dx.doi.org/10.1080/0803706x.2017.1342867.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Tsoumas, Johannis. "Mourning jewelry in late Georgian and Victorian Britain." Convergences - Journal of Research and Arts Education 15, no. 30 (November 30, 2022): 121–34. http://dx.doi.org/10.53681/c1514225187514391s.30.150.

Full text

Abstract:

Mourning or memorial jewelry constituted one of the most emblematic traditions of death rituals in the cultural history of Great Britain since medieval times and even earlier. They symbolized the power of the human mind and soul to face death, to honor the memory of the dead and to keep it alive and intact in time and during the great challenges of life. Since the end of the eighteenth century and during the long nineteenth century, in addition to being indicative values of the cultural and social development of the English people, they constituted symbols that defined the concept of social order. They also became important fashion objects as they represented thoroughly the royal court mood and reflected its preferences, temper and taste. This research focuses on the importance of different types and symbolism of mourning jewelry in late Georgian and mid to late Victorian Britain. Through the magnifier of the historical, cultural, artistic and technological changes of the time the author examines and comments on the roles of the royal court and mainly on Queen Victoria’s personality in enhancing and even reshaping the idea of mourning customs within which Memento Mori and memorial jewelry thrived.

APA, Harvard, Vancouver, ISO, and other styles

24

Komziuk, V. T., and A. A. Komziuk. "Topical issues of improving Ukrainian legislation regulating the prevention and counteraction to smuggling and certain legal elements of customs rules’ violation." Bulletin of Kharkiv National University of Internal Affairs 82, no. 3 (November 27, 2018): 20–29. http://dx.doi.org/10.32631/v.2018.3.02.

Full text

Abstract:

The authors of the article analyze the measures for preventing and counteracting smuggling defined in the Customs Code of Ukraine and other acts of customs legislation, the imperfection of the normative consolidation of such measures in the Customs Code and the problematic issues of their implementation. The most important measures aimed at counteracting smuggling were suggested, which were defined by normative acts of the Cabinet of Ministers and the President of Ukraine, and were offered to strengthen them in legislation, in Section 17 of the Customs Code, which determined (though depleted) measures to prevent and counteract to smuggling. In particular, the expediency of introducing amendments to the Art. 456 of the Customs Code of Ukraine is substantiated, which would generally define the procedure for the controlled delivery of drugs, psychotropic substances and precursors, which should be detailed in the relevant normative act that should be promptly adopted by the competent authorities. It is also suggested to amend the Art. 456 of the Customs Code of Ukraine, which does not correctly define the objects of smuggling, which are subject to prevention and counteraction with regard to their illegal trafficking across the customs border of Ukraine. There are also certain deficiencies in the normative definition of some legal elements of customs rules’ violation enshrined in the Customs Code, in particular concerning exceeding the term of temporary import or temporary export of goods. It is also offered to amend the Art. 481 of the Customs Code of Ukraine, recognizing commercial vehicles as the objects of the offenses. The proposed amendments resulting from the study are to improve the current legislation that regulates the prevention and counteraction of smuggling, the specific element of customs rules’ violation, will enhance the effectiveness of the fight against smuggling and violations of customs rules in general.

APA, Harvard, Vancouver, ISO, and other styles

25

Levison, John. "THE ROMAN CHARACTER OF FUNERALS IN THE WRITINGS OF JOSEPHUS." Journal for the Study of Judaism 33, no. 3 (2002): 245–77. http://dx.doi.org/10.1163/157006302760257559.

Full text

Abstract:

AbstractBecause Josephus consistently casts Jewish funerary customs in Roman hues, his contribution to our knowledge of Roman funerary practices is extensive. Three dimensions of his writings in particular evince taut alliances between Roman and Jewish funerals. The first is a précis of Jewish burial custom in Contra Apionem 2.205, in which Josephus portrays the Jewish constitution as one that eschews funerary excess—a characterization that mirrors Cicero's depiction of modest Roman burial custom in De legibus 2.59-64. The second is Josephus's transformation of the biblical portrait of David's mourning through the addition of numerous elements that are familiar principally from literary sources which depict Roman funerary custom. The third dimension is comprised of Josephus's descriptions of funerary opulence, which reach their pinnacle in Herodian funerals, whose customs and cortèges mirror the lavish obsequies of the Roman aristocracy.

APA, Harvard, Vancouver, ISO, and other styles

26

Liwoch, Beata. "Znaczenie włosów w obrzędach żałobnych wybranych kultur antycznych: grecko-rzymskiej i egipskiej." Załącznik Kulturoznawczy, no. 1 (2014): 103–15. http://dx.doi.org/10.21697/zk.2014.1.05.

Full text

Abstract:

Hair carried a significant symbolic value among the cultures of ancient Greece, Rome and Egypt. In this article I analyse the connection between hair and funeral customs, ceremonies and the mourning. Firstly I discuss Greek and Roman rituals. Subsequently I try to confront mentioned notions with Egyptian culture. Main rituals that undergo comparison are: shaving, cutting, growing and letting hair loose. I also try to explain these ceremonial gestures. In the analysis that I carried out I use examples of literary nature as well as historic ones.

APA, Harvard, Vancouver, ISO, and other styles

27

Voishcheva, Kristina Aleksandrovna, Aleksei Valerievich Bondarenko, Larisa Sergeevna Pritchina, and Valentin Yur’evich Vakhrushev. "Digitalization of customs control of cultural properties in international trad." Mezhdunarodnaja jekonomika (The World Economics), no. 5 (May 1, 2021): 363–75. http://dx.doi.org/10.33920/vne-04-2105-04.

Full text

Abstract:

The development of international trade and the growing influence of visual images on the consciousness of modern society have led to a steadily growing demand for art objects. However, the art market is a gold mine for professional thieves. Every month, more than a thousand works of art are stolen in the world. The criminal art business ranks third after drug trafficking and the arms trade. The level of detection of crimes related to the theft of art objects is still negligibly low (only 1.5 % of court cases end in favor of the owners), the amount of money is colossal (according to general estimates, the global value of stolen works is 3.7 billion pounds), and the interest of the internal authorities of different countries in training specialized search personnel is scanty. The relevance of the presented topic lies in the fact that the globalization of international trade in cultural values and the high corruption component require improving customs administration and improving the quality of customs activities. Today, innovative technologies are able to automate the process of control over cultural values, speed up and simplify the process of interaction between foreign trade participants and customs authorities, as well as ensure complete safety of transportation of cultural heritage objects. Objective: to develop proposals for improving customs control over the movement of cultural property, in particular, by creating an information interdepartmental system for monitoring the movement of cultural property using blockchain technologies and the Internet of Things, which can provide greater transparency in the movement of art objects. Object of research: ensuring customs control over the movement of cultural heritage objects. Subject of research: cutting-edge technologies as a means of improving the effectiveness of customs control over the movement of cultural property.

APA, Harvard, Vancouver, ISO, and other styles

28

Lee Joo-hee and 원희랑. "An Analytical Psychological Consideration on the Meaning of Vanitas Art in Mourning Art Therapy." Korean Journal of Art Therapy 25, no. 6 (December 2018): 831–50. http://dx.doi.org/10.35594/kata.2018.25.6.006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Ditzig, Kathleen, Robin Lynch, and Debbie Ding. "Dynamic global infrastructure: The freeport as value chain." Finance and Society 2, no. 2 (December 19, 2016): 180–88. http://dx.doi.org/10.2218/finsoc.v2i2.1732.

Full text

Abstract:

In an interview with China Daily in 2014, Wang Yudong, director of the art trade centre at the Beijing Culture Free Port, declared: “We have mapped out a global free-port strategy. Our aim is to build an art free-port network in Asia” (Deng, 2014: para. 5). Facilitated by state partners from Geneva to Singapore, Luxembourg, Germany, Paris and the state-affiliated Beijing Gehua Cultural Development Group of the Beijing Freeport of Culture, freeports are believed by many governmental organisations to be a fast-track to a more mature and sustainable art market. In broad terms, freeports are special customs areas, or small customs territories, in which customs regulations are generally less strict, or for which there are no customs duties. Though each freeport varies slightly in terms of its individual jurisdictional arrangement with the respective states, they have established themselves as prominent nodes for international wealth and its traffic.

APA, Harvard, Vancouver, ISO, and other styles

30

Sprigge, Martha. "Dresden's Musical Ruins." Journal of the Royal Musical Association 144, no. 1 (2019): 83–121. http://dx.doi.org/10.1080/02690403.2019.1575590.

Full text

Abstract:

AbstractIn studies of memory politics in post-war Germany, the role that music played in responding to the Allied bombing of Dresden on 13–14 February 1945 has been overlooked. This article examines one of the first musical reactions to this traumatic event: Rudolf Mauersberger's mourning motet Wie liegt die Stadt so wüst (How Deserted Lies the City, 1945). I argue that Mauersberger, who served as cantor of the world-famous Kreuzchor from 1930 until his death in 1971, used allegory rather than testimony to formulate a response to the firebombing that resonated with historical customs familiar to the city's residents. When premièred in the bombed-out Kreuzkirche, Mauersberger's music provided a communal setting to confront the effects of the air war, transforming a space of destruction into one of contemplation and mourning. Both his compositional process and the performance transformed rubble (the material aftermath of the attack) into a ruin (an aesthetic object).

APA, Harvard, Vancouver, ISO, and other styles

31

Braaten, Laurie. "All Creation Groans: Romans 8:22 in Light of the Biblical Sources." Horizons in Biblical Theology 28, no. 2 (2006): 131–59. http://dx.doi.org/10.1163/019590806x156091.

Full text

Abstract:

AbstractIt is widely held that Romans 8:22 contains a hendiadys portraying creation as "groaning in travail." This paper argues that the two terms connote diverse ideas and therefore should be translated as "groaning and in travail." The thesis of this paper is that the groaning of creation is creation's mourning due to ongoing human sin and a concomitant divine judgment — as attested nine times in the Hebrew prophets, but most fully expressed in Joel 1-2. This view challenges the prevailing interpretation that creation's plight is due to her distress originating from the curse of the Fall (Gen 3:17). Furthermore, Israelite mourning customs require that the entire community join the mourner in order to restore the mourner to the proper place in the social order. This practice elucidates Paul's references to believers joining with the groaning creation in Romans 8, where creation is presented as an object of God's redemption.

APA, Harvard, Vancouver, ISO, and other styles

32

Belousova, T. I., E. I. Antonova, and N. A. Shalanina. "State-Of-The-Art Technologies Of Customs Administration." CUSTOMS POLICY OF RUSSIA IN THE FAR EAST 1 (March 2017): 16–27. http://dx.doi.org/10.17238/issn1815-0683.2017.1.16.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Хаmidova, Dilfuzа U. "HISTORY OF BRICKWARES OF ZOROASTRIAN RELIGION." JOURNAL OF LOOK TO THE PAST 4, no. 10 (October 30, 2021): 92–96. http://dx.doi.org/10.26739/2181-9599-2021-10-11.

Full text

Abstract:

History of the brickwares related to Zoroastrian religion is examined in this article. Features, forms and decorations of the artefacts found at archaeological excavations in the different regions of Uzbekistan, are studied in him. The focus is on the history of the Ostodons, which reflects the customs and rituals of historical periods, such as mourning events. The history of the ceramics found in the monuments is analyzed, the processes of restoration and repair are studied, scientific research works are classified and studied.Index Terms:ceramics, artefact, archaeology, monument, Zoroastrian religion, ritual, maintenance, study, Middle Asia, region

APA, Harvard, Vancouver, ISO, and other styles

34

Grimberg, Salomon. "Landfalls and Departures: Images of Mourning in Joy Laville's Art." Woman's Art Journal 10, no. 2 (1989): 3. http://dx.doi.org/10.2307/1358204.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Bellis, Peter J. "MOURNING, GENDER, AND CREATIVITY IN THE ART OF HERMAN MELVILLE." Resources for American Literary Study 18, no. 2 (January 1, 1992): 228–31. http://dx.doi.org/10.2307/26366816.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Sten, Christopher, and Neal L. Tolchin. "Mourning, Gender, and Creativity in the Art of Herman Melville." American Literature 61, no. 2 (May 1989): 286. http://dx.doi.org/10.2307/2926705.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Bellis, Peter J. "MOURNING, GENDER, AND CREATIVITY IN THE ART OF HERMAN MELVILLE." Resources for American Literary Study 18, no. 2 (January 1, 1992): 228–31. http://dx.doi.org/10.2307/resoamerlitestud.18.2.0228.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Heti, Sheila. "A Common Seagull: On making art, mourning, and Pierre Bonnard." Yale Review 107, no. 4 (2019): 24–35. http://dx.doi.org/10.1353/tyr.2019.0138.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Noverr, Douglas A., and Neal L. Tolchin. "Mourning, Gender, and Creativity in the Art of Herman Melville." Journal of American History 75, no. 4 (March 1989): 1320. http://dx.doi.org/10.2307/1908685.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Halttunen, Karen, and Neal L. Tolchin. "Mourning, Gender, and Creativity in the Art of Herman Melville." American Historical Review 95, no. 2 (April 1990): 576. http://dx.doi.org/10.2307/2163926.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Stewart, Ellen Greene. "Mourning, Memory and Life Itself: Essays by an Art Therapist." Art Therapy 29, no. 1 (January 2012): 45–46. http://dx.doi.org/10.1080/07421656.2012.652018.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Atkinson, Dennis. "School Art Education: Mourning the Past and Opening a Future." International Journal of Art & Design Education 25, no. 1 (February 2006): 16–27. http://dx.doi.org/10.1111/j.1476-8070.2006.00465.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Harvey, Bruce, and Neal L. Tolchin. "Mourning, Gender, and Creativity in the Art of Herman Melville." New England Quarterly 62, no. 1 (March 1989): 130. http://dx.doi.org/10.2307/366218.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Heti, Sheila. "A Common Seagull: On making art, mourning, and Pierre Bonnard." Yale Review 107, no. 4 (October 2019): 24–35. http://dx.doi.org/10.1111/yrev.13552.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

HOEKMAN, BERNARD M., and PETROS C. MAVROIDIS. "Nothing Dramatic (… regarding administration of customs laws)." World Trade Review 8, no. 1 (January 2009): 31–44. http://dx.doi.org/10.1017/s1474745608004242.

Full text

Abstract:

AbstractThis paper discusses the 2005 dispute between the European Community (EC) and the United States (US) regarding the customs classification of two specific products and the ambit of Art. X GATT (Publication and Administration of Trade Regulations). The Dispute Settlement Panel and the Appellate Body (AB) essentially upheld the position advocated by the EC, with one exception that is of no practical import, as the EC had already modified its regime. While the AB followed prior case law, it added two new findings. First, the WTO-consistency of laws can be challenged under Art. X GATT if they concern the implementation or application of laws concerning customs administration and enforcement. Second, the obligation included in Art. X.3(b) GATT to establish tribunals or procedures to review and correct administrative actions relating to customs matters concerns courts of first instance only. Thus it is quite possible that their decisions might not be uniform, and absence of uniformity at this level is not a violation of Art. X.3(b).

APA, Harvard, Vancouver, ISO, and other styles

46

Fisman, Raymond, and Shang-Jin Wei. "The Smuggling of Art, and the Art of Smuggling: Uncovering the Illicit Trade in Cultural Property and Antiques." American Economic Journal: Applied Economics 1, no. 3 (June 1, 2009): 82–96. http://dx.doi.org/10.1257/app.1.3.82.

Full text

Abstract:

We empirically analyze the illicit trade in cultural property and antiques, taking advantage of different reporting incentives between source and destination countries. We generate a measure of illicit trafficking in these goods by comparing imports recorded in United States' customs data and the (purportedly identical) trade recorded by customs authorities in exporting countries. This reporting gap is highly correlated with corruption levels of exporting countries. This correlation is stronger for artifact-rich countries. As a placebo test, we do not observe any such pattern for US imports of toys. We report similar results for four other Western country markets. (JEL F14, K42, Z11, Z13)

APA, Harvard, Vancouver, ISO, and other styles

47

Aminov, Abdulfattokh Khakimovich. "Folklore Aspects of Funeral and Mourning Rites of Badakhshan Residents." Ethnic Culture 4, no. 3 (September 27, 2022): 8–11. http://dx.doi.org/10.31483/r-102835.

Full text

Abstract:

The article is devoted to one of the spheres of the spiritual culture of the inhabitants of Badakhshan – funeral and mourning rites, which reflected many of the traditional ideas of the local population. The purpose of the article is to reveal the distinctive cultural features in the funeral and mourning rites of the inhabitants of Badakhshan. The content of the article is based on the material accumulated by the author from folk stories, beliefs and customs of funerals and mourning ceremonies, the results of surveys of local residents, experts on local rituals and active participants in the relevant rites, as well as the views of previous researchers. On the basis of the method of participant observation, interviews, comparative methods, various aspects of the features of funeral and memorial rites were analyzed, such as reading a prayer for the dead (janoz), funeral lighting of the lamp “Charogravshan” (Lighting the lamp), which form the basis of the religious rites of the mourning Shiite families. Ismailis of Badakhshan. At the end of the article, conclusions are given about the main elements of the rite “Charogravshan”: reading the verses of the Koran associated with light; reading “Kandilname (Charogname)”; prayers for lighting a lamp; reading laudatory verses from the poetry of Nasir Khosrov; praise in the name of the Prophet Muhammad (peace and blessings be upon him); prayers and special verses related to grief; checking the lamp by the caliph and those present; prayers and blessings for the repose of the soul of the deceased.

APA, Harvard, Vancouver, ISO, and other styles

48

Lah, Nataša. "Instalacija "K 19" Zlatka Kopljara - upis etičkog koncepta u prostor." Ars Adriatica, no. 4 (January 1, 2014): 399. http://dx.doi.org/10.15291/ars.511.

Full text

Abstract:

The recently-created spatial installation K 19 by visual artist Zlatko Kopljar, set up in downtown Zagreb, is directed through its meaning and content towards the remembrance of Holocaust victims. The installation consists of five sculptures, which are made from the bricks originally used to build the walls of the concentration camp at Jasenovac and then re-used for the construction of post-war houses. These same bricks have now been used to create the K 19 sculptures, which have been placed on bases created from standardized Euro-pallets used in construction. Laid into horizontal courses, the bricks form vertical blocks with irregular upper surfaces, and, at the same time, place fragments of a fictitious whole in a semi-circular spatial ring of a monument-like character. The nature of the material and its description, therefore, act as signifiers for the installation K 19, while its interpretation acquired a defined field of signification, a language of context, or, simply put, a discourse. The non-material became a constituent part of the installation by being added through the symbolization inherent in its description and resulted in a “reality remade”, which sprang from the fragile foundations of an “indeterminate denotation and representation-as” with regard to the origin of its material (bricks from Jasenovac and Euro-pallets). The vulnerability of that which is represented draws its strength (growing or healing itself) from a reversible movement being performed by the meaning and content of this artwork which simultaneously travels from present time towards history and from history towards the present.The depiction of a memory of a concentration camp, in the symbolic context of the artwork under discussion, is a process related to a kind of documentation, but it also acts as a testimony achieved through narrative without the possibility of showing the expressed narrative itself. Starting with the observation that the installation K 19 documents a specific historical situation possessing an unrepresentable narrative, the aim of the article is to demonstrate that this does not betray the nature of the medium chosen for this artwork. The article’s theory-based argument is rooted in a number of different interpretative strategies which study the anchoring of cultural representations in artworks by considering them as ethical concepts which are inscribed in a space. Such an inscription in space, having found a newly-created habitat, generates geographical categories from the past which are laden with moral narratives as their points of origin. Through this, the connection between cognitive mapping and contemporary art functions as a link between artistic practices and moral geography based on the fact that certain people, things and practices belong in certain spaces, places and landscapes, and not in others. Moral geography, therefore, obliges us to understand and theorize interrelationships between geographical, social and cultural classes. In this sense, installation K 19 does indeed render a “re-use” of the past actual, and re-contextualizes heritage through the choice of its material (bricks from Jasenovac) and in doing so finds reason and meaning for archaeology in the cultural space of a post-war “prosaic age” when people (at least in this case) used things out of existential necessity and not out of the desire to render the near past symbolical. In that respect the installation K 19 uses the heritage of a collective memory of the event, to which it refers in order to create a new conceptual synonym, and through its mourning character acquires not only the past but the spirit of the new age too. In order to recognize the artist’s individual experience of objectifying mnemopoetic perspectivism (in other words, Kopljar’s mnemopoetic approach to the creation of installation K 19) through the reversible signifying process, in the collective experience of the conceptualization of heritage, one requires intersubjective representations. This is because art and its own mnemopoetic perspectivism is rooted in collective thought while memory restores the integrity to the “commonplace ability to think and remember”. Through this, thought and memory represent our rootedness in time which, unlike moral geographies, is confirmed through a communion with “mobile people” who do not need to cohabit with us in the same space nor be provided with the same ideological patterns that became entrenched as customs inside the narrow territorial and mental boundaries of sedentary cultures. In this sense, it is possible to answer the question about the encounter between subjective and collective memory in an artwork only in a remade reality of an interpretation, that is, in a “secondary discourse of commentary” which opens up a new context for the understanding of the old world. By encouraging the meeting between “the seen and the read” as the meeting between “the visible and the expressible”, the article points to the effects of fictionalization and theatricalization which are present in this installation. Without corrupting testimonial aspects of a (bygone) reality, they help it become manifest in communication with the world. The article’s conclusion congratulates the artist’s mnemopoetic strategies and highlights the encounter of the installation with the world, together with its fictitious elements (the reversible narrative of its content) and theatricalization, as an inscription of an ethical concept in space, and, by this, encourages the encounter between “the seen and the read”, and between “the visible and the expressible”, as if it were possible still.

APA, Harvard, Vancouver, ISO, and other styles

49

Kurinnyy, Yevhen. "FEATURES OF LEGISLATIVE REGULATION OF ADMINISTRATIVE RESPONSIBILITY FOR VIOLATION OF CUSTOMS RULES IN UKRAINE." Scientific Notes Series Law 1, no. 9 (2020): 78–84. http://dx.doi.org/10.36550/2522-9230-2020-1-9-78-84.

Full text

Abstract:

In this article, the issues concerning the main features of the legislative regulation of administrative liability for violation of customs rules are considered. In particular, it is emphasized that successful counteraction to violations of customs rules is based on at least three components - perfect legal tools governing this activity, qualified staff with appropriate powers, who are able and willing to implement them for the benefit of the state, as well as favorable social circumstances. relevant societal needs and demands that underlie these interests. It is noted that the concepts of administrative misconduct and violation of customs rules are correlated as the main and derivative, ie the provisions of Art. 9 of the Code of Administrative Offenses, and as a derivative, respectively, the content of Art. 458 of the Customs Code of Ukraine, which details the relevant objects of administrative and legal protection.

APA, Harvard, Vancouver, ISO, and other styles

50

Bonanzinga, Sergio. "Musical Mourning Rituals in Sicily. By Sergio Bonanzinga. Translated by Giacomo Valentini." Ethnomusicology Translations, no. 5 (January 18, 2017): i—93. http://dx.doi.org/10.14434/emt.v0i5.23159.

Full text

Abstract:

This article surveys various vocal and instrumental performances (chants, laments, calls, sounds of church bells and drums, band music) connected to the ritual celebration and commemoration of the dead that are still characterized in Sicily by a manifest syncretism between Christian Church rules and folk customs and beliefs. These “sounds of mourning” are examined in terms of both their musical aspects and their social and symbolic functions, with special attention given to the changing dynamics between the present day and the recent past. The focus also extends to include celebrations in which “fictitious funerals” are performed, such as those for Christ during the Easter procession and for Nannu (“Grandpa”) in Carnival ceremonies.Originally published in Italian as “Riti musicali del cordoglio in Sicilia,” Archivio Antropologico Mediterraneo 17, no. 16, 1 (2014): 113-156. Online at https://www.academia.edu/7954331/Riti_musicali_del_cordoglio.Note to Reader: This 64 mb PDF file includes texts, photographs, musical transcriptions, and embedded audio tracks.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!