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Academic literature on the topic 'Peacocks in art'

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Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Peacocks in art"

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Hidayat, Venny Agustin. "BENTUK VISUAL KOSTUM TARI MERAK JAWA BARAT KARYA IRAWATI DURBAN ARDJO." Joged 15, no. 1 (December 2, 2020): 84–95. http://dx.doi.org/10.24821/joged.v15i1.4664.

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Tari Merak Jawa Barat, merupakan jenis tarian tontonan (pertunjukan). Tari Merak pertama kali diciptakan oleh Rd. Tjetje Somantri pada tahun 1955. Kemudian pada tahun 1965, tari Merak dikemas kembali oleh Irawati Durban Ardjo, yang bertujuan untuk dipertunjukkan pada misi kesenian Soekarno. Tari Merak yang sering kita jumpai saat ini merupakan Tari Merak karya Irawati Durban Ardjo.Tarian ini mempresentasikan keindahan yang dimiliki oleh burung merak pada saat burung merak jantan melebarkan ekornya. Kebanyakan masyarakat Indonesia salah berasumsi jika tarian ini bercerita tentang kehidupan burung merak betina, sedangkan sang jantanlah yang memamerkan keindahan bulu ekornya. Sang jantan melakukan gerak-gerik yang tampak seperti tarian gemulai untuk menunjukkan pesona dirinya, sehingga sang betina terpesona dan bersedia kawin dengannya. Gerakan itulah yang mengekspresikan dibuatnya Tari Merak. Untuk mendukung keindahan tari, maka dibuat bentuk visual Merak pada kostum Tari Merak yang telah diinovasikan oleh Irawati. Irawati mengonsepnya melalui ide-ide kreatif dan mengindahkan esensi burung merak pada bentuk visual. Beberapa bagian kostum tari Merak Irawati, yaitu siger (mahkota), susumping, giwang (anting), kelat bahu, garuda mungkur, gelang tangan, kemben, ekor, Ikat pinggang, kacih, selendang, dan sinjang. Kostum yang memiliki banyak unsur estetika seperti garis (lurus, lengkung, bergelombang), bentuk (lingkaran, setengah lingkaran, persegi panjang, ekor merak, dan penyederhanaan burung merak), ornamen (ragam hias binatang, ragam hias tumbuhan, geometris, ulir). Beberapa motif yang digunakan yaitu motif ekor, bulu, ataupun keseluruhan bentuk burung merak. ABSTRACT Peacock Dance is a type of spectacle dance (performance). The Peacock Dance was first created by Rd. Tjetje Somantri in 1955. Then in 1965, the Merak dance was repackaged by Irawati Durban Ardjo, which aimed to be performed on Soekarno's art mission. The Peacock Dance that we often encounter at the moment is the Peacock Dance by Irawati Durban Ardjo. This dance presents the beauty of peacocks. The peacock is the inspiration for the creation of the Peacock dance and its beauty is found when the male peacock widens its tail. Most Indonesian people wrongly assume that this dance tells the story of the life of a female peacock, while the male exhibits the beauty of its tail feathers. The male performs movements that look like graceful dances to show his charms so that the female is fascinated and willing to marry him. That movement expresses the Peacock Dance. With the visual form of the Peacock Dance costume that has been innovated by Irawati. Irawati conceptualized it through creative ideas and heeded the essence of the peacock in visual form. Some parts of the Merraw Irawati dance costume, namely siger (crown), susumping, ear studs (earrings), kelat shoulders, garuda mungkur, wristbands, kemben, tail, belt, belts, shawls, and sinjang. Costumes that have many aesthetic elements such as lines (straight, curved, wavy), shapes (circles, semicircles, rectangles, peacock tails, and simplifications of peacocks), ornaments (various animal decoration, plant decoration, geometric, threaded). Some of the motifs used are the tail, feather, or overall shape motif.
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Vikrant, Dr Vikrant Shah. "“SANJHYA” THE GODDESS TRADITIONAL ART FORM OF INDIAN ART." International Journal of Research -GRANTHAALAYAH 9, no. 9 (September 30, 2021): 51–54. http://dx.doi.org/10.29121/granthaalayah.v9.i9.2021.4227.

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If there is any priority for mankind with bread, cloth and house then it will be said to be an expression of his art, his feelings. This is the reason why pre-historic man has also painted on the walls of caves, which today help historians to understand that ancient civilization are the center of interest of tourists. "Sanjhya" is a very ancient and the goddess traditional art form of Indian. Perhaps it is a spiritual image to connect the divine to the earth. Apart from Madhya Pradesh, "Sanjhya" is spread in the terrain of Punjab, Rajasthan, Uttar Pradesh, and Haryana etc. Most of the women and youth are making Sanjhya in specific art form. The specialty of these folk art is that these are three-dimensional art on wall consider it to be a reflection of simplicity and culture of ordinary living being through his arts. These artworks show how colorful the imagination of a human can make even a simple straight life. Animals such as peacocks, lions, bears, deer, crocodiles, fish, rivers, mountains, fields, trees, moon are the subjects of their art work, which these community give a multi-colored look on a wall of length and width. These artwork made from unique images of human and divine also. Sanjhya is used on the entrance of the house and on the walls in the courtyard and portrays the family wedding, death or other religious occasions. These pictures are a simple demonstration of the nature and living conditions of these people.
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Pandey, Anjali. "WOOD CRAFT OF BIHAR AND UTTAR PRADESH –A SURVEY." International Journal of Research -GRANTHAALAYAH 4, no. 2 (February 29, 2016): 239–42. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2834.

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The tradition of wood carving is old. Wood craft is quite popular in Bihar and Uttar Pradesh. Craftsmen of these states are using their skill for making the designs in traditional and innovative way. A unique engraving creativity of ‘Nakkashi work’ appears with floral and figures etched out by the craftsmen. Lacquer work is obviously one of the major handicrafts of these regions. Various motifs of birds, peacock, fish, carved on the wood, appeals the viewers. The items made out of bamboo and wood are crafted in the shapes of birds, human figures and animals. Figures of Gods and Goddesses, animals and many mythological figures are crafted by the local craftsmen. The dolls, peacocks, parrots, elephants, horses, goats, bulls and cows are the repertoire of rural children. Uttar Pradesh is world known for its carved and brass inlayed or tarkashi wooden handicrafts. The craftsmen of Saharanpur are excelled in the art of inlayed wood work it is now widely used to decorate the centre-table, ash-trays, fruit-basket, service tray and other furniture articles etc. Varanasi and Amroha are particularly well known for lacquered woodcraft of UP. Numbers of lacquered toys, miniature kitchen utensils for children are made in this state.
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Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval 31 (December 14, 2018): 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.

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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harshly condemned by Christian writers. Strange instruments made out of everyday objects like grills and distaffs, or ‘exotic’ animals like peacocks, mingle in the grotesque underworld of marginal miniatures, in which the noble art of music is often replaced by the cacophonous noises suggested by the devil.
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Lozano, João, Cristina Almeida, Manuela Oliveira, Adolfo Paz-Silva, and Luís Madeira de Carvalho. "Biocontrol of Avian Gastrointestinal Parasites Using Predatory Fungi: Current Status, Challenges, and Opportunities." Parasitologia 2, no. 1 (March 1, 2022): 37–44. http://dx.doi.org/10.3390/parasitologia2010004.

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This review describes the current research status regarding the implementation of predatory fungi in the biological control approach of bird gastrointestinal (GI) parasitosis. The main GI parasites of Galliformes (e.g., broilers, layers, peacocks, pheasants) and Ratites (e.g., ostriches, emus, rheas) are addressed, as well as their impact on farms, zoos, and private collections. The main characteristics regarding biocontrol with predatory fungi are briefly described, such as their mode of action and efficacy against GI parasites of different animal hosts. The state of the art regarding the use of predatory fungi in birds is reviewed here by describing all associated articles already published in the main databases, techniques, and their main findings. Ovicidal fungi such as Pochonia chlamydosporia, Metarhizium spp. and Acremonium spp., and larvicidal fungi, namely Duddingtonia flagrans, Arthrobotrys spp. and Monacrosporium thaumasium, have shown promising predacious activity against ascarid eggs and nematode larvae from chickens and ostriches, both in vitro and in vivo, also revealing tolerance to the GI passage in chickens and maintenance of predacious capacity. Further studies are needed to understand the fungi–parasite–host gut microbiota interactions and target other avian GI parasitic species, such as nematodes, coccidia, cestodes, and trematodes.
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Sookkaew, Jirawat, Nakarin Chaikaew, Donticha Chiewsuwan, and Somchai Seviset. "A creation in abstract 3D art insprired from Pavo muticus imperator." Indonesian Journal of Electrical Engineering and Computer Science 27, no. 3 (September 1, 2022): 1419. http://dx.doi.org/10.11591/ijeecs.v27.i3.pp1419-1427.

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Creation of art as abstract art by choosing athree-dimensional (3D)art formto be used for creativity, has brought the characteristics of the peacock inspired by its forms, color characteristics, including its habitats to be usedas a mixture and elements in creating this art. Therefore, when combined with the key elements of a 3D object with depth dimension of the object in the Z axis, adopting the colors of the space and the atmosphere of thepeacock's habitat to the surface of the 3D pieces, which provide creative approaches and techniques that enable abstract 3D art to be realized by the shapes and formed by perspectives as a whole. Z-axis can create directions to display hundreds of perspectives. In addition, the colors that have beenused to blend in with the 3D objects create beauty inspired by the colors that can be found in nature. The peacock's art has been passed through with the distinctive features of 3D objects, resulting in creating such abstract 3D artpieces.
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Printz, Jessica Kimball. "Marketable Bodies, Possessive Peacocks, and Text as Excess: Edwards-Yearwood's In the Shadow of the Peacock." Callaloo 15, no. 4 (1992): 1066. http://dx.doi.org/10.2307/2931921.

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Zahra, Fatima, and Dr Sarena Abdullah. "Aesthetic, Patriotic and Religious Peacock Motifs: Framing the Meanings of Pakistani Truck Art through Foss’ and Aristotle’s Rhetorical Approach." Journal of Social Sciences Research, no. 54 (April 6, 2019): 892–901. http://dx.doi.org/10.32861/jssr.54.892.901.

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Peacock motifs have a long historical background and mythological significance in the Indian subcontinent. It is one of the most dominant motifs used in Pakistani truck art. This paper examines and compares several selected peacock motifs painted on trucks from different regions in Pakistan. It analyses the different shapes and styles of peacock motifs based on their aesthetic forms and themes particularly of religious and patriotic elements. By employing visual rhetoric theory of artefact proposed by Sonja K. Foss and Aristotle’s rhetorical triangular spectrum, this paper explores the characteristics, features, and persuasions of these peacock motifs as well as its variety of stylised forms with intrinsic appearances, patterns, placements, and influences of the regions’ cultures in truck arts.
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Zahra, Fatima, and Dr Sarena Abdullah. "Aesthetic, Patriotic and Religious Peacock Motifs: Framing the Meanings of Pakistani Truck Art through Foss’ and Aristotle’s Rhetorical Approach." Journal of Social Sciences Research, Special Issue 5 (December 15, 2018): 610–19. http://dx.doi.org/10.32861/jssr.spi5.610.619.

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Peacock motifs have a long historical background and mythological significance in the Indian subcontinent. It is one of the most dominant motifs used in Pakistani truck art. This paper examines and compares several selected peacock motifs painted on trucks from different regions in Pakistan. It analyses the different shapes and styles of peacock motifs based on their aesthetic forms and themes particularly of religious and patriotic elements. By employing visual rhetoric theory of artefact proposed by Sonja K. Foss and Aristotle’s rhetorical triangular spectrum, this paper explores the characteristics, features, and persuasions of these peacock motifs as well as its variety of stylised forms with intrinsic appearances, patterns, placements, and influences of the regions’ cultures in truck arts.
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Nakagawa, Asako. "Changes to the Peacock Motif in Art Textiles." International Journal of Human Culture Studies 2022, no. 32 (January 1, 2022): 385–98. http://dx.doi.org/10.9748/hcs.2022.385.

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Dissertations / Theses on the topic "Peacocks in art"

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Fowler-Smith, Penelope Jane Art College of Fine Arts UNSW. "Peacock pilgrimage: an ode to India." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/41230.

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The project entitled PEACOCK PILGRIMAGE comprises two components: the screenplay for a feature film, entitled Peacock Angel, and an exegesis, which explores the underlying influences on the screenplay. Peacock Angel is the story of a young girl, Deva, who grew up in India with a fascination for peacocks, especially the fictional peacock angel. After a time of isolation as a teenager in the West, she returns to India to reconcile with a tragic past and reconnect with her true longings. India is the place that mends her wounded heart. Within the symbolic realms of the screenplay Deva, as the central character, becomes the peacock ‘goddess’. Her journey allows us to explore layers within the themes of identity, memory and fantasy. The project holds an East/West theme, of disillusionment with Western material values and appreciation of the depth of Indian culture, of “the land where the heart is king”. Field research on the peacock, the key motif of the project, has led me on a journey through India that has been full of synchronicity and given me a particularly rich taste of her timeless culture. The exegesis elaborates on aspects of my journey, on the concepts of synchronicity and pilgrimage, and on the motif of peacock – highlighting its symbolic and mythical meanings. It also situates Peacock Angel within the field of world cinema, in the category of Western films made in India and the genre of magic realism.
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Dreher, Anne M. ""Proud as a peacock" an historic and semiotic analysis of illustrated "Vogue" magazine covers from 1909 and 1911 /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798480841&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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McKay, Margaret. "Peacock's progress : aspects of artistic development in the novels of Thomas Love Peacock /." Stockholm : Almqvist och Wiksell, 1992. http://catalogue.bnf.fr/ark:/12148/cb35544250t.

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He, Man. "The Peacock on Stage and in Print: A Study of the 1920s New Drama Adaptations of Southeast Flies the Peacock." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250531758.

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Шеретюк, Руслана. "Образ павича в українському мистецтві і дизайні кінця ХІХ – початку ХХ ст.: символіка та художня інтерпретація." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17918.

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Вказано, що одним із головних зооморфних мотивів європейського мистецтва стилю модерн був павич. Досліджено символіку, а також художню інтерпретацію його образу в архітектурі, дизайні інтер’єрів, станковому малярстві, сакральному монументальному живописі, комунікативному дизайні, а також декоративному мистецтві України кінця ХІХ – початку ХХ ст. Висновується, що європейська модерна мрія про одвічну красу, символічно втілена в образі павича, виявилася суголосною етнокультурним особливостям української естетики.
It is indicated, that one of the main zoomorphic motives of the European Art of Nouveau style was a peacock. Symbolism, as well as art interpretation of his character in architecture, interior design, easel painting, sacred monumental painting, communicative design, as well as decorative art of Ukraine in the late nineteenth – early twentieth is researched. It is concluded, that the European modern dream of eternal beauty, symbolically embodied in the image of a peacock, turned out to be consonant with ethno cultural features of Ukrainian aesthetics.
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Roditi, Mattei Mary Muriel. "L'Héroine lawrencienne et sa spécificité d'après cinq romans de D.H. Lawrence The White Peacock, Women in Love, The Lost Girl, The Plumed Serpent, Lady Chatterley's Lover." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37595139k.

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Foord, Peter Michael, and res cand@acu edu au. "Theology Engaging Evolutionary Theory: Fresh insights into the nature of God." Australian Catholic University. School of Theology, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp45.29082005.

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This thesis explores the work of three theologians, Arthur Peacocke, John Haught and Denis Edwards, each of whom has made a significant contribution to the dialogue between contemporary evolutionary biology and the Christian understanding of God. The thesis explores and analyses how evolutionary theory throws light on key theological themes such as the nature of God's providence, especially in relation to pain, suffering and evil, and the meaning of Jesus Christ. The thesis involves a critical reading of the selected theologians' works, with their respective emphases on classical, process and kenotic types of theological thinking, and also draws on resources from the classical theological tradition, primarily St. Thomas Aquinas. The study gives a positive assessment of the contributions of the three chosen authors. It highlights the critical importance that theological methodology plays in formulating insights into the relationship of God to evolutionary processes. Peacocke emphasises the use of critical realism as the most credible methodology for theology, consistent with its use by science. Haught agrees with this approach stressing, however, that the data of theology is not the same as that for science. Consequently, he argues that theology ought to constitute the deepest layer of explanation for understanding reality and for understanding God as the ultimate explanation for evolution. Edwards argues that we must find a way of talking about God that is consonant with the reality of the world but that this God always remains ultimately Mystery. Peacocke, Haught and Edwards explore the usefulness of kenotic theology for explaining how belief in an omnipotent and supremely loving God can be reconciled with the existence of pain, suffering and evil in the creation. Although a kenotic approach can account for the scientific evidence of a “self-creative” and emergent cosmos along with the presence of suffering and evil, a more comprehensive theological viewpoint must include an understanding of how God is active in creation, sustaining it in existence and drawing it towards its divinely ordained end. Haught's argument for the presence of genuine contingency in the cosmos as evidence of God's on-going creativity is critically examined. Genuinely new possibilities, in evolutionary terms, new species, cannot be explained by material causation alone. In his “metaphysics of the future”, Haught argues that, despite the enormity of pain and suffering evidenced in evolution, God continues to lovingly draw the creation towards a hopeful and promised future in God. This thesis appreciates the value of Edwards’ trinitarian “God of evolution” for it combines a more classical theological approach with evolutionary theory. For Edwards, biological evolution is seen as a process within an ontologically relational creation that reflects the divine relations of the Trinity. The creation of being-in-relation flows out of, and reflects, the divine trinitarian relations of mutual love. Edwards’ insights into the nature of original sin and grace within an evolutionary context are also positively assessed. Both Peacocke and Edwards propose a Wisdom Christology as the most fruitful link between the biblical Sophia tradition and a creation theology, holding together insights on the divine Being, Wisdom and the Christ-event itself. Aspects of process and kenotic theologies can be usefully combined with Aquinas' expansive notion of God as ultimate Being. Through this synthesis, the drama of evolution is more intimately related with the ultimate reality, the Mystery of God. Throughout this thesis, gender-neutral language has been maintained except in some quotations of St. Thomas Aquinas.
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Darby, Garry. "G. E. Peacock and art in colonial Sydney, 1837-1857." Thesis, 1989. http://hdl.handle.net/2123/2449.

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"From the Divine to the Diabolical:The Peacock in Medieval and Renaissance Art." Master's thesis, 2016. http://hdl.handle.net/2286/R.I.41286.

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abstract: Peacocks are ubiquitous in art. Artists from societies across the globe, undoubtedly attracted to the male peafowl’s colorful plumage and unique characteristics, used images of the bird to form visual semantics intended to aid in the understanding of a work of art. This was particularly the case in Europe, where depictions of peacocks appeared in Christian art from the onset of the continent’s dominant religion. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were so frequent and widespread that they became the standard symbol for eternal life in Christian art consistently centered on recounting the stories of Christ’s birth and death. Overtime, peacock iconography evolved to include thematic diversity, as artists used the peacock’s recognizable physical attributes for the representation of new themes based on traditional ideas. Numerous paintings contain angels wings covered in the iridescent eyespots located on the male peafowl’s tail feathers. Scientifically known as ocelli, eyespots painted on the wings of angels became a widespread motif during the Renaissance. Artists also recurrently depicted the peacock’s crest on figures of Satan or Lucifer in both paintings and prints. Indicative of excessive pride, a believed characteristic of peacocks, the crest is used as an identifying characteristic of the fallen angel, who was cast from heaven because of his pride. Although the peacock is a known iconographic motif in medieval and Renaissance art history, no specific monographic study on peacock iconography exists. Likewise, representations of separate and distinctive peacock characteristics in Christian art have been considerably ignored. Yet, the numerous artworks depicting the peacock and its attributes speak to the need to gain a better understanding of the different strategies for peacock allegory in Christian art. This thesis provides a comprehensive understanding of peacock iconography, minimizing the mystery behind the artistic intentions for depicting peacocks, and allowing for more thorough readings of medieval and Renaissance works that utilize peafowl imagery.
Dissertation/Thesis
Masters Thesis Art History 2016
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Fan, Jui-Hsin, and 范瑞鑫. "To Play Methodological Peacock or Ostrich?: Differences, Similarities, Relationships and Implications in Two Debates between SSK and ANT." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/rakcmv.

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碩士
國立陽明大學
科技與社會研究所
107
Sociology of Scientific Knowledge (includes Strong Programme and Empirical Programme of Relativism) and Actor-network Theory are two significant theories and methodological approaches in Science, Technology and Society (STS) at present. There was twice serious debates between them, called “Epistemological Chicken” (1992) and “Anti-Latour” (1999). The aim and concern of this thesis is to explore the content of this academic controversy and thereby to clarify degree of differences and relationships of two schools and those possible implications to STS. Through showing relevant discussions and literature reviews, applying close reading to those debate texts in detail, and following up on their development by virtue of further prolonged reading, this study also takes “methodological space” as an auxiliary concept to the debates and delineates focus of problematique, discursive gesture, knowledge resources, theoretical purposes, wording and academic commitment presented by academic knowledge actors, namely David Bloor, Harry Collins and Bruno Latour. In addition to displaying current opinions from commentators and finding possible root of the conflicts, more importantly, this study reminds that those methodologies and its judgements as a knowledge style are quite special to scholars. A main characteristic of this knowledge condition is that knowledge actors have been able to modify, remake and criticize other’s ideas partly but creatively with peculiar coherence. We could understand actual outlook of the two debates better by means of this type of knowledge. Finally, this study answers the three initial questions. Firstly, it concludes that even if there are clear and apparent differences in the sense of methodologically relative particularity, there also are compatible similarities in general and vice versa. Secondly, the debates suggest a necessity for STS (and social science) researchers need to identify and extract methodological knowledge in and by individualizing them, thus we can find the differentials among various theories and methodologies. Thirdly, the controversy and its discussions alert us that we must pay attention to whether some theories and methodologies we use are merely showing off new insights (playing as peacock); and avoiding the recognition of, or need to deal with, substantial difficulties (playing as ostrich). They might be two sides of the same coin; the SSK-ANT debates have demonstrated that already.
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Books on the topic "Peacocks in art"

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Türk sanatında Tavus kuşu ikonografisi. Erzurum: Fenomen Yayıncılık, 2015.

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studio), Timorous Beasties (Design, and Dundee Contemporary Arts (Art center), eds. Peacocks among the ruins. [Dundee: Dundee Contemporary Arts], 2007.

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Righi, François. Summa pavonica. Limoges: Editions du F.R.A.C. Limousin, 1991.

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1945-, Lang Sen, ed. Hong Yun cheng xiang tu. Kunming Shi: Yunnan mei shu chu ban she, 2004.

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Ames, Lee J. Draw 50 birds: [the step-by-step way to draw flamingos, swans, woodpeckers, peacocks and many more...]. London: Kingfisher, 1998.

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Tonia, Di Risio, Bartlett Linda, and Mount Saint Vincent University. Art Gallery., eds. In absentia: Linda Bartlett, Elsii Caetano Faria, Rosalie Favell, Jan Peacock, Andrea Ward. Halifax, N.S: MSVU Art Gallery, 1998.

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Helen, Marzolf, Cachia Amanda 1978-, and Dunlop Art Gallery, eds. Cynthia Girard: The black glove and the peacock : Dunlop Art Gallery, June 26-August 29, 2010. Regina: Dunlop Art Gallery, 2010.

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Moore, William. The Northwest: A collector's vision : an exhibition of native art of the Pacific Northwest Coast from the Peacock Collection. Edited by Barrie Art Gallery. Barrie, Ont: Barrie Art Gallery, 1988.

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Cronin, Helena. The ant and the peacock: Altruism and sexual selection from Darwin to today. Cambridge: Press Syndicate of the University of Cambridge, 1991.

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Cronin, Helena. The ant and the peacock: Altruism and sexual selection from Darwin to today. Cambridge: Press Syndicate of the University of Cambridge, 1991.

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Book chapters on the topic "Peacocks in art"

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White, Robert S. "The chameleon and the peacock." In Kipling and Yeats at 150, 137–51. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge India, 2019. http://dx.doi.org/10.4324/9780429283857-10.

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Stewart-Williams, Steve. "Are Humans Peacocks or Robins?" In The Cambridge Handbook of Evolutionary Perspectives on Human Behavior, 342–52. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108131797.029.

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"CHAPTER 14 Art History and Anthropology: LOULY PEACOCK KONZ and JAMES PEACOCK." In Viewpoints, 327–58. University of Texas Press, 2009. http://dx.doi.org/10.7560/706712-018.

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Zolten, Jerry. "“Loves Me Like a Rock”." In Great God A'Mighty! The Dixie Hummingbirds, 255–94. 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190071493.003.0008.

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Abstract As rock ‘n’ roll evolved into the 1960s, gospel vocalizing and stagecraft continued to influence solo artists and vocal harmony groups that evolved from doo-wop to soul and Motown: Ray Charles, James Brown, Wilson Pickett, Aretha Franklin, the Miracles, the Temptations. The Dixie Hummingbirds and black gospel itself evolved against the backdrop of generational rebellion, civil rights unrest, war protest, and assassinations. The trend shifted from quartets to soloists and choirs, the gospel fan base broadening as the music became appreciated both as an art and as roots music form. President Kennedy was assassinated and in 1964, the Hummingbirds made their television debut on the program TV Gospel Time. They performed “Our Prayer for Peace” with a new verse about the assassination. The Hummingbirds adapted to the tastes of the times and remained Peacock’s most consistently bestselling gospel artists. Multiple tracks were recorded and strategically released as singles every few months followed by album collections. Robey sold the Peacock catalog to ABC records. The Hummingbirds had an international following and performed at venues such as Disneyland, Madison Square Garden, and both the Newport Jazz and Folk Festivals. Paul Simon invited the Hummingbirds to collaborate on “Loves Me Like a Rock,” which in their own rendition won them their first Grammy. They also recorded with Stevie Wonder. The Hummingbirds suffered a setback in 1976 with the death of bass singer William Bobo. They soldiered on and more than six decades into their career were dubbed the “Iron Men of Gospel.”
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Zolten, Jerry. "“Let’s Go Out to the Programs”." In Great God A'Mighty! The Dixie Hummingbirds, 199–254. 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190071493.003.0007.

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Abstract The 1950s were a mix of turbulence and triumph for the civil rights movement. Gospel music was the soundtrack. The first wave of rock 'n' roll was dominated by African American vocal groups emulating the gospel sound. The Dixie Hummingbirds as pioneers of soul gospel established themselves in the top tier of the genre. Gospel stars such as Clara Ward, Rosetta Tharpe, and Mahalia Jackson organized nationwide package tours that often featured the Dixie Hummingbirds. Black gospel had become an art form. In 1952, the Hummingbirds signed with Don Robey’s Houston-based Peacock Records. The records they cut featured the latest member, electric guitarist Howard Carroll. Many of their Peacock tracks were “hits” that established their legacy forevermore. The Hummingbirds were booked through Robey's Buffalo Booking Agency with Evelyn Johnson at the helm. They established a touring pattern: warm weather states in the winter, the north and west the rest of the year. Group anniversaries were celebrated in Philadelphia with gospel extravaganzas at the “Met.” The Hummingbirds as headliner helped inaugurate gospel shows at the Apollo Theater. Peacock launched an album series with a Dixie Hummingbirds release. The quintessential lineup was now in place: James Davis, Ira Tucker, James Walker, Beachey Thompson, William Bobo, and Howard Carroll.
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Bermúdez, José Luis. "The Sources of Self-Consciousness." In The Bodily Self. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9780262037501.003.0004.

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We can think about the sources of self-consciousness in either a genetic or an epistemic sense. That is, we can think either about the origins of the capacity to think self-conscious thoughts or about the warrant that we have for our self-conscious judgments. These two sets of questions are independent but related. This paper explores the role that the genetic dimension of self-consciousness plays in understanding the epistemology of self-consciousness. I will take as my foil a recent account of some key features of the epistemic dimension of a particular type of self-conscious judgment – the account offered by Christopher Peacocke in his book Being Known (Peacocke 1999). Working through the example of how the bodily self is represented in visual perception shows how the primitive foundations from which self-consciousness emerges in the course of cognitive development are also the foundation for the epistemic status of full-fledged self-conscious thoughts.
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Papineau, David. "The Structure of Experience." In The Metaphysics of Sensory Experience, 83–113. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198862390.003.0004.

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In this chapter, the qualitative view is outlined and shown to avoid the problems facing representationalism. The qualitative view is defended as a ‘pure paint’ view and distinguished from the ‘partial paint’ views of Block and Peacocke. The structure of experience is acknowledged. ‘Intentional objects’ are explained, and the dangers of equating them with elements of experience are exposed. The idea that mental ‘paint’ might ‘point’ is discredited.
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Loges, Natasha. "Hafiz between Nations: Song Settings by Daumer/Brahms and Peacock/Beamish." In Song Beyond the Nation, 13–29. British Academy, 2021. http://dx.doi.org/10.5871/bacad/9780197267196.003.0002.

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Consciously ‘othered’ cultural practices have long allowed musicians and poets to express different national identities to varying extents, without having to relinquish a geographically rooted sense of home. My aim is to examine such transnational links, symbols, and ties through a consideration of the songs ‘Wie bist du, meine Königin’ by Johannes Brahms (1833–97) and ‘Fish’ by Sally Beamish (b. 1956). Both are settings of translations of poetry by the Persian poet Hafiz, made respectively by Georg Friedrich Daumer (1800–72) and Jila Peacock (b. 1948). I offer insights into changing attitudes to Hafiz over time (the nineteenth and twenty-first centuries) and place (Germany, Persia/Iran, and Great Britain). I employ text- and score-based analysis, supplemented by interviews with Peacock and Beamish carried out in early 2019, which probed approaches to translation, text setting, and music, as well as issues of biography and national identity. I conclude that selective transnationalism, as I describe it, is a means of expanding one’s artistic range, while not entirely alienating the familiar self.
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Seaman, Bruce A. "Framing Nonprofit Arts and Culture Sectors Through Economic Theory." In The Oxford Handbook of Arts and Cultural Management, C7S1—C7N2. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197621615.013.7.

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Abstract The 1960’s contributions from Baumol and Bowen (1965, 1966) and Peacock (1969) were followed in the 1970s by Blaug (1976), Throsby and Withers (1979), and the inaugural issue (1977) of the nascent Journal of Cultural Economics. These developments generated understandable enthusiasm about the application of economics to the nonprofit arts and culture sector. Over a half century of experience with increasingly sophisticated efforts has both confirmed and tempered that enthusiasm. To critics who call for a “heterodox” approach, the tools of positive and normative (welfare) economics are simply inadequate to the task of addressing this dramatically evolving sector. This chapter narrows the focus of this debate largely to economic contributions to understanding arts/culture participation and the identification of relevant product and geographic market competitors; substitution versus complementary relationships in the allocation of time among entertainment options; and pricing and other revenue-generating strategies. Cultural economics has long been open to the contributions of nontraditional economic methods and the research of non-economists in the spirit of, for example, behavioral and Austrian economics, suggesting that further methodological reform rather than revolution is what is warranted.
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Wright, Crispin. "Further Reflections on the Sorites Paradox." In The Riddle of Vagueness, 107–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199277339.003.0005.

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This chapter revisits certain of the issues of Chapters 1 and 2. It is argued that Dummett’s ‘incoherentist’ response to the Sorites is unacceptable, and urges that we should distinguish a variety of types of Sorites, as individuated by the differing motivations for their various respective major premises, including what are here termed the No Sharp Boundaries paradox and the Tachometer paradox. The chapter rejects Christopher Peacocke’s contention that the major premises for Sorites can be motivated under the aegis of a behaviouristic conception of linguistic competence, so that jettison of the Governing View is beside the point as a response to Sorites paradoxes. It musters six objections to Peacocke’s own treatment of the Sorites, as representative of degree-theoretic approaches to vagueness in general. The chapter includes further discussion of the relationship between tolerance and observationality.
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Conference papers on the topic "Peacocks in art"

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Chupa, Anna M. "Peacock." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259105.

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Mikdar, Tresna Noventy. "Appreciation of Peacock Dance With Field Trip Method." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.010.

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McKeown, Gary. "Turing's menagerie: Talking lions, virtual bats, electric sheep and analogical peacocks: Common ground and common interest are necessary components of engagement." In 2015 International Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2015. http://dx.doi.org/10.1109/acii.2015.7344689.

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Liesner, Karsten, Robert Meyer, Matthias Lemke, Christoph Gmelin, and Frank Thiele. "On the Efficiency of Secondary Flow Suction in a Compressor Cascade." In ASME Turbo Expo 2010: Power for Land, Sea, and Air. ASMEDC, 2010. http://dx.doi.org/10.1115/gt2010-22336.

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An experimemtal investigation in a high speed compressor cascade has been carried out to show the effect of different types of secondary flow suction. In order to get deeper insight into the separated three dimensional flow topology and to determine appropriate suction positions, numerical simulations are performed additionally for the baseline cascade. To obtain the flow solution, an implicit, pressure based solver, elaN3D (by ISTA TU Berlin), is employed in steady RANS mode, whereby the Menter SST-k model is used for turbulence treatment. Both investigations are conducted at Mach number Ma = 0.67 and Reynolds number Re = 560.000. The aerodynamic design condition is used. The examined cascade consists of NACA65-K48 type vanes. The experiments include measurements with four different types of suction geometries plus reference measurements. Total pressure and flow angle measurements in the wake show the flow deflection, total pressure loss and the rise of the static pressure of the cascade. The best suction geometry follows the design of R.E. Peacock, designed for low Mach number cascades, with small changes. Using a maximum suction rate of 2% of the main flow the total loss coefficient was reduced by 23%. In this case the stage efficiency — calculated with a reference rotor — is increased by almost 1%. The vacuum pump energy consumption has been taken into account for this calculation. In another case the suction geometry has been chosen in a way that the suction slot is placed along the sidewall from suction side to pressure side following the wall streamlines. With an increased suction rate of 5% of the main flow, the vortex system in the passage is eliminated and the total loss coefficient is decreased to 0.055, which equals to a decrease of 37%. Taking into account that compressors in aero-engines provide bleed air for the plane’s air system, enormous efficiency increase is possible. For this the air bleed valves need to be redesigned.
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