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Published: 4 June 2021
Last updated: 3 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Nadel, Hannah, and Helena Cronin. "The Ant and the Peacock." Florida Entomologist 77, no. 4 (December 1994): 522. http://dx.doi.org/10.2307/3495711.

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12

Ryan, Michael J. "The ant and the peacock." Cell 71, no. 3 (October 1992): 367–68. http://dx.doi.org/10.1016/0092-8674(92)90506-8.

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13

Harvey, Paul, and Helena Cronin. "The Ant and the Peacock." Journal of Animal Ecology 61, no. 3 (October 1992): 797. http://dx.doi.org/10.2307/5634.

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14

Wcislo, William T. "The Ant and the Peacock." Annals of the Entomological Society of America 88, no. 1 (January 1, 1995): 104. http://dx.doi.org/10.1093/aesa/88.1.104.

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15

Harris, Wilson. "Book Art - Palace of the Peacock - Callaloo 18:1." Callaloo 18, no. 1 (1995): 157. http://dx.doi.org/10.1353/cal.1995.0030.

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16

Pandya, Vishvajit. "Hot Scorpions, Sweet Peacocks." Journal of Material Culture 3, no. 1 (March 1998): 51–75. http://dx.doi.org/10.1177/135918359800300103.

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17

Hardiman, Louise. "“An Extraordinary Feeling for Ornament”: Elena Polenova and the Neo-Russian Style in Embroideries and Painted Textile Panels." Experiment 22, no. 1 (November 15, 2016): 53–71. http://dx.doi.org/10.1163/2211730x-12341278.

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This article examines several important designs by Elena Dmitrievna Polenova (1850-1898) for art embroideries and textile panels. These are the least studied of Polenova’s works, but offer new insights into the artist’s role as a leader of the neo-national movement in late nineteenth-century and early twentieth-century Russian art. Linking extant designs with photographs of exhibition displays and unpublished archival sources, including contemporary accounts by the British art journalist Netta Peacock (1864-1938), this project seeks to initiate the important process of identifying and analysing Polenova’s designs within the context of the movement.
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18

Wegener, Claudia. "BRIDE AND PEACOCK." Performance Research 11, no. 1 (January 2006): 60–63. http://dx.doi.org/10.1080/13528160600807679.

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19

Jo, Ah-Hyun, Jung-Won Kim, and Jeong-Hyun Lee. "Development of Hair Art Products with Patterns of Animal and Plant using Waste Hair and Epoxy Resin." Korean Society of Beauty and Art 21, no. 3 (September 20, 2020): 7–16. http://dx.doi.org/10.18693/jksba.2020.21.3.7.

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In the modern society, a variety of designs have been developed in the process of reevaluation for traditional and modern cultures. In particular, Korean traditional patterns inspire to the artists and they are used as multiple materials of creative styles. Therefore in this study, designs of hair art items were developed using hair wastes and epoxy with the motives of peacock and dragon in animals and apricot blossom and pine tree in plants, upon studying the shapes and symbols of patterns by concepts and symbolic meanings of traditional patterns, theoretical and conceptual reviews of epoxy resin and hair art. Hence, the developmental potential of hair art using traditional patterns was found in this study and it is considered to approach the general consumers closely with the momentum of new design development.
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20

Kettley, Sarah. "Peacocks and wallflowers: (in)visibility with digital jewellery." Visual Communication 7, no. 3 (August 2008): 303–15. http://dx.doi.org/10.1177/1470357208092321.

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21

Anđelković, Jelena, Dragana Rogić, and Emilija Nikolić. "Peacock as a Sign in the Late Antique and Early Christian Art." Arheologija i prirodne nauke 6 (2010): 231–48. http://dx.doi.org/10.18485/arhe_apn.2010.6.13.

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22

Humphrey, Nicholas. "Left-footedness in Peacocks: An Emperor's Tale." Laterality: Asymmetries of Body, Brain and Cognition 3, no. 4 (October 1998): 289. http://dx.doi.org/10.1080/713754316.

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23

Somerstein, Rachel. "Review: The Lost Rolls 1988–2012, by Ron Haviv, edited by Robert Peacock." Afterimage 43, no. 6 (May 1, 2016): 31–32. http://dx.doi.org/10.1525/aft.2016.43.6.31.

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24

Barnett, Steven, and David Docherty. "The Peacock Debate in the UK." Screen 27, no. 3-4 (May 1, 1986): 24–29. http://dx.doi.org/10.1093/screen/27.3-4.24.

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25

Williams, Wynne. "Reading Greek Like a Man of the World: Reading Greek Like a Man of the World: Macaulay and the Classical Languages." Greece and Rome 40, no. 2 (October 1993): 201–16. http://dx.doi.org/10.1017/s0017383500022798.

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In his journal for December 31st, 1851, Thomas Babington Macaulay recorded an encounter with Thomas Love Peacock: ‘I met Peacock; a clever fellow and a good scholar. I am glad to have an opportunity of being better acquainted with him. We had out Aristophanes, Aeschylus, Sophocles and several other old fellows, and tried each other's quality pretty well. We are both strong enough in these matters for gentlemen. But he is editing the Supplices: Aeschylus is not to be edited by a man whose Greek is only a secondary pursuit’ (Life II, 556). This encounter is an illustration of the fact that in nineteenth-century Britain the close study of the Greek and Latin languages was far from being the exclusive preserve of professional scholars and teachers of the classics. Macaulay once wrote that he read Greek ‘like a man of the world’ (Letters III, 111), that is, as someone actively involved in public life, not cloistered in a university or a school. This applied to Peacock as much as it did to Macaulay. By 1851 Peacock had already published six of the seven novels for which he is best known today, but he had also spent about thirty years in the service of the East India Company, during which he had risen to the rank of Examiner: he was in effect a very senior civil servant. His formal schooling had ended when he was twelve, so that he was largely self-taught as a classicist. It was perhaps characteristic of such an autodidact that ‘he delighted to ask an Oxford first-class man who Nonnus was, and to find he could get no information’, and that he should pepper his novels with recondite classical quotations.
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Mayer, David R., and Kurosawa Fumiko. "Pfauendarstellungen in Kunst und Kunstgewerbe Japans. Pfauensymbolik und ihre Darstellungsformen in der ostasiatischen Kunst. [Representations of the Peacock in Japanese Art and Crafts. Symbolism of the Peacock and Its Expression in Eastasian Art]." Asian Folklore Studies 48, no. 1 (1989): 163. http://dx.doi.org/10.2307/1178544.

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27

Spindler-Brown, Angela. "The Peacock Committee and UK Broadcasting Policy." Historical Journal of Film, Radio and Television 30, no. 2 (June 2010): 255–57. http://dx.doi.org/10.1080/01439681003779358.

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28

Sutianah, Cucu, and Bandi Sobandi. "Project-Based Learning Through Digital Printing Techniques To Improve Students' Local Cultural Innovation Creativity." Journal of Education Technology 6, no. 3 (August 31, 2022): 450–58. http://dx.doi.org/10.23887/jet.v6i3.46164.

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Aligning the needs of students, vocational schools and the world of work, many of whom have failed due to low mastery of soft skills. The purpose of this study, to describe the Project-Based Learning (PjBL) model in the manufacture of batik products with the motif of the peacock ngibing batik on the local cultural heritage of Tasikmalaya, and Secondary Vocational Education (SMK). In this study, the author will design a motif inspired by the ngibing peacock motif combined with Tasikmalaya batik for adult women with digital printing techniques so that the younger generation is more familiar with and interested in Tasikmalaya batik. The making of this motif will then be made into sheets of primissima cotton cloth that can be used to meet the fashion needs of the target market. This study uses a mix method with a quasi-experimental approach, as well as data collection techniques using questionnaires, observations, in-depth interviews and documentation. The results of this research study illustrate that the inheritance of local culture in SMK uses the PJBL model in passing down creativity and innovation of crafts and batik/textile creations from generation to generation. The Tasikmalaya batik pattern has its own charm as well as a beautiful and beautiful character with a combination of bright colors and patterns derived from flora and fauna. The philosophical value contained in this batik is that the peacock symbolizes the beauty of nature with its various flora and fauna. Ngibing symbolizes the customs and culture of a harmonious and peaceful society. Through the combination of Tasikmalaya batik with street style, it is hoped that it will produce innovative works and convey the meaning of the philosophy contained in it. The added value of this design is that it maintains the work of Indonesian art which makes attractive fashion designs with contemporary styles that have more value in the eyes of the world.
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Hardiman, Louise. "Invisible Women." Experiment 25, no. 1 (September 30, 2019): 295–309. http://dx.doi.org/10.1163/2211730x-12341344.

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Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.
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Neal, J. Wesley, and Karina M. Olivieri-Velázquez. "Notes on Propagation of Butterfly Peacock BassCichla ocellaris(Bloch & Schneider, 1801) in a Tropical Fish Hatchery." Aquaculture Research 46, no. 7 (October 31, 2013): 1785–87. http://dx.doi.org/10.1111/are.12315.

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Wozniak, Steven. "Peacocks, Chameleons, Centaurs: Gay Suburbia and the Grammar of Social Identity." Archives of Sexual Behavior 34, no. 1 (February 2005): 126–28. http://dx.doi.org/10.1007/s10508-005-1009-5.

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Owen-Crocker, Gale R. "Squawk talk: commentary by birds in the Bayeux Tapestry?" Anglo-Saxon England 34 (December 2005): 237–54. http://dx.doi.org/10.1017/s0263675105000116.

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A brief history of the tradition of birds as motifs on textiles is followed by a catalogue of the birds in the Bayeux Tapestry and a discussion of their function. The possible significance of identifiable birds (cocks, doves, peacocks, storks), the birds of Aesop's fables and the creatures in the border ‘bird scaring scene’ is analysed. The individuality, in colouring and position, of all the border birds is demonstrated and the apparent interest which many of them take in the action of the main register is highlighted to suggest that the border birds present a commentary on, and audience-participation in, the narrative.
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Jue-Steuck, Jennifer. "John J. Graham: Behind the Peacock's Plumage." Design Issues 19, no. 4 (October 2003): 91–96. http://dx.doi.org/10.1162/desi.2003.19.4.91.

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34

Badcock, Christopher. "The ant & the peacock: Altruism & sexual selection from Darwin to today." Personality and Individual Differences 14, no. 6 (June 1993): 867–68. http://dx.doi.org/10.1016/0191-8869(93)90108-f.

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Wilson, M. "The ant and the peacock: altruism and sexual selection from darwin to today." Trends in Ecology & Evolution 7, no. 8 (August 1992): 279–80. http://dx.doi.org/10.1016/0169-5347(92)90179-f.

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36

McDowall, Duncan. "A Game of Thrones, 1936-Style: How Three Canadians Shaped the Abdication of Edward VIII." University of Toronto Quarterly 90, no. 1 (June 2021): 1–20. http://dx.doi.org/10.3138/utq.90.1.01.

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King Edward VIII’s 1936 abdication has remained fixed in modern memory as a traumatic constitutional crisis wrapped in what many consider the most fateful love story of the century. The King’s determination to marry Wallis Simpson, “the woman he loved,” still feeds the mills of popular and academic history. The narrative, however, habitually focuses on the Anglocentric world of the Court of St. James, the Anglican hierarchy, and Stanley Baldwin’s Conservative government. This focus overlooks the key role of non-British participants in the crisis. This article views the abdication through a significant Canadian prism. In London, Ontario-born banker Sir Edward Peacock (1871–1962) served as the Receiver-General of the Duchy of Cornwall, the investment trust designed to support the duties of the Prince of Wales. As such, Peacock became Edward’s most intimate financial advisor as abdication loomed, a role now fully elaborated in light of hitherto unconsulted papers held at Queen’s University. Press baron Lord Beaverbrook played a more public role, joining with Churchill, as the King’s champion, using his mass-circulation newspapers to curry public sympathy for the beleaguered monarch. In Ottawa, Prime Minister Mackenzie King trod a characteristically cautious line between guarding Canada’s autonomy, won under the 1931 Statute of Westminster, while still preserving its filial tie to Britain.
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Peacock, James L., and Héléne Bouvier. "Ludruk Revisited: An Epistolary Interview with James L. Peacock." Theatre Research International 19, no. 1 (1994): 9–16. http://dx.doi.org/10.1017/s0307883300018770.

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Hélène Bouvier (HB): How did you first become interested in theatre?James L. Peacock (JLP): Most interesting to me, though perhaps less interesting to anyone else, is the question, ‘Why should I, the son of an engineer (one feature shared with Victor Turner whose mother, however, was an actress), study theatre?’ I had no background in it, and I had hardly even seen a play before I went to Java. I think I know a source. It is during World War II, my father is preparing to invade Normandy, while my mother, my sister and I have moved in with her widowed mother in rural Alabama. My mother's sister, a concert pianist, and her sister's son had also moved in because the sister's husband, also a pianist, was also overseas. This boy and my sister play act. I don't. I make things. Every morning I put on my shorts (nothing else, no shoes, no shirt) at the crack of dawn and go outside to play in the yard, especially the ‘sand pile’ where I construct forts and tunnels. (The one dream I remember is of finding a soldier I lost in the sand: my absent father, perhaps?) While my cousin and sister play, sometimes I watch. We grow up. He goes to New York and becomes an actor and musician. I become an anthropologist.I have never acted in a play (except a pornographic skit in my college fraternity, in which I was a great success among the ‘brothers'), but I have always stared at people (today, women, but when I was growing up, men), and I would draw them, not while looking at them but later, alone—as teenager cartoon fantasies, like the Phantom or Superman, except more human.
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Scheick, William J. "Reflexive Matriarchal Art as Re-Vision of Nuclear Fear: Stephanie S. Tolan's Pride of the Peacock." Lion and the Unicorn 18, no. 2 (1994): 171–77. http://dx.doi.org/10.1353/uni.0.0254.

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Yeni, Delfita. "Kreasi Bentuk Bulu Merak sebagai Motif dalam Fashion (Peacock Feather Shape Creations as a Motive in Fashion)." INVENSI 4, no. 2 (August 15, 2019): 144–54. http://dx.doi.org/10.24821/invensi.v4i2.3224.

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AbstrakPenelitian ini bertujuan untuk mengembangkan kreatifitas dalamberkarya seni yang terinspirasi dari bentuk bulu burung merak,bentuk dari bulu merak dibuat dengan teknik sulaman, batik danpayet. Metode yang digunakan dalam proses pembuatan karyamelalui tiga tahapan penciptaan seni kriya. Pertama adalah tahapeksplorasi yang meliputi aktifitas penjelajahan menggali sumber idedengan langkah identifikasi dan perumusan masalah; penelusuran,penggalian, pengumpulan data, referensi, dan analisis data yangmenjadi dasar perancangandan tahap perwujudan karya. Kedua,tahap perancangan berdasarkan hasil analisis data dalam bentuksketsa alternatif dan sketsa terpilih. Hasil karya yaitu baju danselendang yang berfungsi untuk fashion peragaan dan dapatdigunakan untuk acara tertentu. Teknik yang digunakan dalampembuatan karya yaitu dengan menggabungkan teknik sulam rantai,sulam batang, sulam balik, sulam pipih, sulam daun paku, sulamduri, dan sulam rantai bulu untuk bagian sulam, sedangkan padakeseluruhan karya ini menggabungkan sulaman pada kain yang telahdi batik lalu di payet.AbstractThis study aims to develop creativity in the work of art that is inspired bypeacock feathers, the shape of peacock feathers made with embroideredtechniques, batik and sequins. The method used in the process of makingworks through three stages of craft art creation. The first is an exploratorystage that includes exploration activities exploring the source of ideas withthe step of identification and problem formulation; searching, extracting,data collection, reference, and data analysis on which to base the designand stage of the work embodiment. Second, the design phase based on theresults of data analysis in the form of alternative sketches and sketchesselected. The work of shirt and shawl that serves for fashion show and canbe used for certain events. The technique used in making the work is bycombining the technique of embroidery chain, embroidered stems,embroidered, flat embroidered, embroidered nail leaf, embroidery thorns, and embroidery chains for the embroidery section, while in the whole work combine embroidery on cloth that has been in batik then in sequins.
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Morgan, Jennie. "Assembling the New: Studying Change Through the ‘Mundane’ in the Museum as Organization." Museum and Society 16, no. 2 (July 30, 2018): 157–70. http://dx.doi.org/10.29311/mas.v16i2.2799.

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Change is highly valued within the museum sector and related literatures. Despite this emphasis, it is claimed that the field struggles to adequately understand and explain change processes, and that new critical and methodological tools are needed to move discussion forward (Peacock 2013). This paper offers one possible route by developing an anthropologically informed, ethnographic approach to studying the museum as organization. Illustrated through selected empirical materials from the case of the refurbishment of the Kelvingrove Art Gallery and Museum in Glasgow, the paper focuses on a period immediately following this major capital project. It argues that change is implemented and sustained by the many different players and practices constituting the inner life-worlds of museums as organizations. By analysing the mediatory capacities of, what in some frameworks might be considered, ‘mundane’ everyday activities (such as maintenance work and tour-guiding) the paper seeks to expand understandings of what shapes the dynamics of change in museums.
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Toliver, Victoria. "Vodun Iconography in Wilson Harris's Palace of the Peacock." Callaloo 18, no. 1 (1995): 173–90. http://dx.doi.org/10.1353/cal.1995.0018.

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Dutton, Steve. "Apocotropes Dutton and Peacock The Dog and Duck Dutton and Swindells." Journal of Visual Art Practice 6, no. 3 (December 7, 2007): 251–56. http://dx.doi.org/10.1386/jvap.6.3.251_1.

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Anderson, Robert. ": The Anthropological Lens: Harsh Light, Soft Focus . James L. Peacock." American Anthropologist 89, no. 4 (December 1987): 949. http://dx.doi.org/10.1525/aa.1987.89.4.02a00190.

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Fluri, Jennifer. "Armored peacocks and proxy bodies: gender geopolitics in aid/development spaces of Afghanistan." Gender, Place & Culture 18, no. 4 (July 29, 2011): 519–36. http://dx.doi.org/10.1080/0966369x.2011.583343.

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Bitrus, I., I. Shittu, C. A. Meseko, and T. M. Joannis. "Occurrence and molecular detection of avian coronavirus in selected live bird markets, northwestern, Nigeria." Sokoto Journal of Veterinary Sciences 18, no. 4 (February 18, 2021): 226–29. http://dx.doi.org/10.4314/sokjvs.v18i4.7.

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Infectious bronchitis (IB) is one of the most common highly infectious viral respiratory diseases of poultry having wide geographical distribution. Yet, little is known about the infection in the northwestern states of Nigeria. In this study, a total of 263 pooled cloacal and tracheal swab samples were collected from apparently healthy avian species (duck, dove, geese, guinea fowl, local chicken, ostrich, parrot, pigeon, peacock, and turkey). The samples were from nine live bird markets in three states (Kaduna, Kano and Jigawa) of northwestern, Nigeria collected from September through November 2017. Total RNAs were extracted directly from the swab samples and screened for infectious bronchitis virus (IBV) using real-time reverse transcription-polymerase chain reaction. An overall prevalence of 38.0% (100/263)was recorded. IB was detected in 70 % (7/10) of the avian species with prevalence of 100 % in dove, local chicken 45.9 %, duck 42.3 %, geese 26.6 %, pigeon 23.5 %, turkey 20.0 % and guinea fowl 6.2 %. Conversely, no detection was made from ostrich, parrot, and peacock. Widespread distribution of IBV was observed and evidence of subclinical infection in seven out of ten (70 %) of the avian species sampled. These avian species harbouring IBV may act as reservoirs with an influence on the ecology and epidemiology of the disease. Continuous surveillance and characterization of the different serotypes in avian species are recommended to inform the adoption of suitable vaccination strategy and control measures for the disease in Nigeria. Keywords: Infectious bronchitis virus, Live bird markets (LBMs), Molecular detection, Nigeria, Poultry
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Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.

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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.
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Mandoki, Katya. "The status of aesthetics today." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 57–66. http://dx.doi.org/10.5937/saj1501057m.

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In this paper I argue for the possibility of expanding the field of aesthetics not only beyond art and beauty but also beyond everyday aesthetics (or prosaics) centered in human sensibility. This implies considering sensibility or aesthesis in all live beings to understand the vastness of bio-aesthetics. Part of this query is zoo-aesthetics. We have such growing evidence, enriched day by day, that animals are capable of creating, recreating, imitating, enjoying, exhibiting and expressing sensibility or aesthetic taste in various forms that it is harder to deny the more we record and witness their behavior. Moreover, as there are various artistic genres, we can equally speak of similar genres in zoo-poetics, namely: a) musical b) visual (both architectonic and decorative), c) drama, and d) dance. Are females enamored by the male bat or bird mating song? Do peahens feel pleasure at the sight of a male peacock's tail? As Nagel asked 'what is it like to be a bat?' I would really like to know what it is like to be a peahen. This full inquiry is being published in The indispensable excess of the aesthetics: evolution of sensibility in nature. (Lexington 2015).
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Häring, Hugo. "Conversation with Chen Kuan Lee about roof profiles (1947)." Architectural Research Quarterly 12, no. 1 (March 2008): 26–28. http://dx.doi.org/10.1017/s1359135508000900.

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We spoke about the usability and further development of the Chinese roof profile in Chinese buildings today. How did this roof, this remarkable Chinese roof, which gives Chinese architecture a special signature against which other features pale into insignificance, come about? It is a saddle roof with an exaggerated rounding of the ridge and wide out-swinging eaves, and the surface is raised to the highest shine through the intensity of gleaming glazed tiles which display all the colours of nature: light and dark red, lemon yellow and golden yellow, sky blue and peacock blue, rare green and brown glazes of every kind. Through the wave profile of the over- and under-lapping tiles – which all adds to the formal effect – it survives every kind of weather.
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Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (May 2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.

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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus cast, there was not a single Indian actor with a speaking part. The intended objective was grandeur, and the production achieved that with elaborate sets and costumes, two live zebras, and elephants. Seven years later, the Ryder–Holme team returned with Ryder's translation of Kalidasa's Shakuntala, “bear cubs, a fawn, peacocks, and an onstage lotus pool with two real waterfalls.” While the archival materials do not indicate the involvement of any Indian actors (barring one Gobind B. Lal, who enacted the Prologue), its importance is evinced by the coverage it received in the Oakland Tribune, the Overland Monthly and Out West Magazine, and the Los Angeles Times.
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Shaw, Gregory. "Wilson Harris's Metamorphoses: Animal and Vegetable Masks in Palace of the Peacock." Callaloo 18, no. 1 (1995): 158–70. http://dx.doi.org/10.1353/cal.1995.0017.

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