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Männig, Maria. "The Tableau Vivant and Social Media Culture." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 132–55. http://dx.doi.org/10.2478/ausfm-2021-0009.
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Abstract The article aims to analyse the tableau vivant in social media culture by emphasizing its intermedial relation to technical visual media, particularly digital photography and film. By focusing on the living picture’s specific mimetic qualities, the study traces back the tableau vivant’s history in a media archaeological perspective primarily regarding photography. It explores the current revival of the tableau vivant within social media. The article examines living pictures and the aspect of self-staging, relevant to contemporary digital culture. The tableau vivant develops between two polarities: a primarily analytical approach that allows a profound exploration of a particular artwork and the performative aspects of self-staging.
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Setiadi, Criscentia Jessica. "The Significance of Photography as Archives and Cultural Memory." Humaniora 8, no. 2 (April 30, 2017): 175. http://dx.doi.org/10.21512/humaniora.v8i2.3894.
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This research was conducted by using textual, qualitative approach while looking closer at the significant of the information that was produced in the form of photography. The aim of this research was to take a stance of the importance of photography as archives and cultural memory in its ability in promoting truths. Photography was observed as three forms; they were singular, plural, and archival. Singular forms suggested the selective association between the photographers and the photographs were taken. Plural formed resonance ideas and overall aspects in what sets of photography could bring. Archival forms offered memories as references. The result of this research shows that photography, despite its ability or inability in promoting truths, is a great pool of resources of gaining information and tracing history. Further to this research, looking closer to current social media applications that put photography forward can be one option to explore within this topic.
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Kong, Camillia. "Ethical dangers of facial phenotyping through photography in psychiatric genomics studies." Journal of Medical Ethics 45, no. 11 (July 30, 2019): 730–35. http://dx.doi.org/10.1136/medethics-2019-105478.
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Psychiatric genomics research protocols are increasingly incorporating tools of deep phenotyping to observe and examine phenotypic abnormalities among individuals with neurodevelopmental disorders. In particular, photography and the use of two-dimensional and three-dimensional facial analysis is thought to shed further light on the phenotypic expression of the genes underlying neurodevelopmental disorders, as well as provide potential diagnostic tools for clinicians. In this paper, I argue that the research use of photography to aid facial phenotyping raises deeply fraught issues from an ethical point of view. First, the process of objectification through photographic imagery and facial analysis could potentially worsen the stigmatisation of persons with neurodevelopmental disorders. Second, the use of photography for facial phenotyping has worrying parallels with the historical misuse of photography to advance positive and negative eugenics around race, ethnicity and intellectual disability. The paper recommends ethical caution in the use of photography and facial phenotyping in psychiatric genomics studies exploring neurodevelopmental disorders, outlining certain necessary safeguards, such as a critical awareness of the history of anthropometric photography use among scientists, as well as the exploration of photographic methodologies that could potentially empower individuals with disabilities.
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Abashev, Vladimir V. "VISUALIZING THE CITY IN ROOFTOPPING PHOTOGRAPHY." Ural Historical Journal 70, no. 1 (2021): 80–88. http://dx.doi.org/10.30759/1728-9718-2021-1(70)-80-88.
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The article examines the representation of the city in rooftopping photography. Methodologically, the research is based on A. Lefebvre’s concept of social space, and also M. de Certeau’s concept of spatial practices as agents of its production. The principal notions in this analytical framework employed in the article are the urban imaginary and the gaze in constructivist understanding, which not only reflects, but also forms the object of vision. Rooftopping photography is considered in the context of the history of the view of the city from above, which has become an important factor in the urban imagination. The expansion of rooftopping photography into the public space and the presentation of cities is associated with the development of new communication and optical representation technologies in the 2010s. The analysis of the rooftoppers’ visualizing of the city carried out in semantic, aesthetic and rhetorical aspects revealed its substantive and aesthetic qualities. Rooftoppers photos capture the moment when a person faces the city as a whole. The city converges with natural and landscape objects. In the night panoramas that make up the bulk of roofer photography, the city is represented as a space of energy flows. In rhetorical terms, in contrast to the metonymy of a promenade, roofer photography is metaphorical. In general, it is concluded that the subject of rooftopper photography is not so much the identity of the city as its universal urban beginning embodied in the centers of the world’s megalopolises. Following D. Nye and his interpreters, the aesthetic mode of the city in roofer visuality is interpreted as urban version of the sublime.
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Kukiełko-Rogozińska, Kalina. "Following the Footprints of Edward S. Curtis: A Tale of the Vanishing Race." Przegląd Socjologii Jakościowej 16, no. 2 (May 31, 2020): 36–45. http://dx.doi.org/10.18778/1733-8069.16.2.03.
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In 2007, Marie Clements, a Canadian playwright, was asked to prepare a play about the cultural history of Canada. She decided to write a play about Edward S. Curtis, the author of an epic series of photographic works titled The North American Indian, published between 1900 and 1930. Clements invited to the project Rita Leistner, a Canadian photographer, who was responsible for the graphic aspect of the play. Her task was to recreate the way taken by Curtis while immortalizing scenes from the life of the indigenous peoples. Both artists took a fascinating journey following the footsteps of Curtis documenting today’s presence of the First Nations in the United States and Canada. This article, based on the project of Clements and Leistner, discusses the ambiguity of the medium of photography, one which ‘recreates’the reality and at the same time allows the authors to‘create’ it. It presents three basic themes: the mission and work of Edward S. Curtis; the play titled The Edward Curtis Project: A Modern Picture Story by Marie Clements; and the photographs – prepared by Rita Leistner – which were used in play and then published in the book of the same title. The purpose of this text is to present the project of the Canadian authors in the context of visual sociology and anthropology, and to show the potential of photography as a means of building social discourse and creating a narrative of a specific community. It is founded on the assumption that the artistic project in question – based on (both passive and active) participation of the authors in the everyday life of the community presented in it – becomes a source of valuable research material, which can then be subjected to scientific interpretations.
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Nordgaard, Ingrid. "Documenting/Performing the Vulnerable Body: Pain and Agency in Works by Boris Mikhailov and Petr Pavlensky." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 85–107. http://dx.doi.org/10.5195/contemp.2016.184.
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This article explores the concepts of pain and agency in the photography series Case History (1997–1998) by the Ukrainian photographer Boris Mikhailov, and in four performance-actions (2012–2014) by the Russian performance-activist Petr Pavlensky. Although they represent different generations and respond to different historical contexts, Mikhailov and Pavlensky share a focus on the wounded body. Taking both the documentary and performative aspects of these artworks into account, Nordgaard argues that the wounded body stands forth as a body of agency which also reflects the social, political, and historical settings in which it exists. The relational consideration of the two artists therefore offers important insights for understanding post-Soviet Ukraine and present-day Russia, and reflects on the correlation between the private and the public body. By placing Mikhailov and Pavlensky in dialogue with a broader discussion on spectatorship and the role and significance of “shock imagery” and spectacle in contemporary media, the article further suggests why artworks depicting the body in pain have both an ethical and political function.
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Henderson, Linda Dalrymple. "Editor's Introduction: I. Writing Modern Art and Science – An Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century." Science in Context 17, no. 4 (December 2004): 423–66. http://dx.doi.org/10.1017/s0269889704000225.
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This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's cultural context, and developments in science have often played a critical role in defining that milieu. Collected together, these essays also represent methodological models of historical work on art and science that serve as useful examples in this developing field.
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Dingle, Lesley. "Legal Oral Histories in the Cambridge ESA: Some Examples of Researching Personal, Institutional and Social Developments." Legal Information Management 19, no. 3 (September 2019): 192–207. http://dx.doi.org/10.1017/s1472669619000458.
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AbstractThe Eminent Scholars Archive (ESA) was established to record aspects of the history of the Faculty of Law at Cambridge University. It is based on 28 interviews with scholars and, currently, has 66 hours of audio recordings and transcripts, but also includes over 800 photographs and numerous associated items including biographies, bibliographies, obituaries and eulogies. Entries for faculty members cover the period from WWII to the present, while 13 entries focus on the incumbent Goodhart Visiting Professor of Legal Science. The archive is a rich source of information for researching aspects of legal communities, and in this contribution I focus on three aspects: personal histories of scholars, faculty history, and more socially-broad topics. In the first category I seek to show how the ESA identifies crossroads in the personal legal journeys of professors Higgins, Baker, Smith and Crawford, while I use their common remembrances to record an institutional landmark. For the latter, I selected the 1995 Faculty move from the Old Schools to the Foster building on the Sidgwick site. Finally, I show how ESA illustrates components of legal life writing in a broader societal context. Here I compare the experiences of curators of family histories at the British Library, and ‘group biographies’ of court officials as researched at LSE, with aspects of documenting careers of senior legal academics at Cambridge.
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Catravas, P., K. Bubriski, M. D. Frey, M. E. Hagerman, B. Cohen, J. J. McGee, and S. S. Bowser. "NanoGrande: Electron Microscopy Education and Outreach Through a Collaboration of Scientists and Artists." Microscopy Today 21, no. 2 (March 2013): 42–46. http://dx.doi.org/10.1017/s1551929513000023.
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NanoGrande is the culmination of an art-science effort that brought undergraduate students and faculty from science, engineering, and the visual arts together with professional microscopists of the Capital District Microscopy and Microanalysis Society for electron microscopy education and outreach. Students from two independent undergraduate courses, an advanced photography course and a microscopy laboratory course, collaborated on the project. The participants represented a wide range of majors, including chemistry, biology, electrical engineering, computer engineering, mechanical engineering, bioengineering, psychology, neuroscience, sociology/social sciences, history, and the visual arts. Emphasis was placed on both the scientific and the artistic aspects of the imaging process. The creation of electron microscopy images that were at the same time scientifically meaningful and visually compelling depended critically on communication of insights and ideas between paired students. The collaboration generated an art-science exhibition, NanoGrande, that has been presented to over four-thousand K through 12 students.
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Hoffmann, Christoph, and Barbara Wittmann. "Introduction: Knowledge in the Making: Drawing and Writing as Research Techniques." Science in Context 26, no. 2 (April 30, 2013): 203–13. http://dx.doi.org/10.1017/s0269889713000033.
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ArgumentDrawing and writing number among the most widespread scientific practices of representation. Neither photography, graphic recording apparatuses, typewriters, nor digital word- and image-processing ever completely replaced drawing and writing by hand. The interaction of hand, paper, and pen indeed involves much more than simply recording or visualizing what was previously thought, observed, or imagined. Both writing and drawing have the power to translate concepts and observations into two-dimensional, manageable, reproducible objects. They help to develop research questions and they open up an interaction between the gathering of phenomena and the formation of theses. Related to the manifold studies of representational activities in the sciences and the humanities, this topical issue tries to refine our understanding of the capacities of drawing and writing as research techniques; i.e. as productive epistemic practices. In particular the contributions address three aspects: the material conditions and configurations of the “scene of drawing and writing,” the involved procedures of production, and the languages of inscription.
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Harris, Anna, Andrea Wojcik, and Rachel Vaden Allison. "How to make an omelette: A sensory experiment in team ethnography." Qualitative Research 20, no. 5 (December 4, 2019): 632–48. http://dx.doi.org/10.1177/1468794119890543.
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Sensory ethnographers deploy methods such as drawing, video and photography in order to examine the more ineffable and non-representational aspects of practices. Usually, these studies are conducted by individual researchers who deal only with their own material. What happens when a team of ethnographers explores questions of a sensory or non-representational nature? How do they share their findings not only with their audiences, but also with each other? Team ethnography is becoming increasingly common across the social sciences and humanities, yet to date there has been little attention paid to the important work of communicating findings within a group. To explore this further, we conducted a methodological ‘proof of concept’ study, observing and documenting people learning to make omelettes. We found that sensory methods have a role not only in studying practices but crucially, in also facilitating a form of immersion into the ethnographic practices and imaginations of others within the team. In the end, we suggest that experiments with sensory methods, such as through proof of concept methodological studies, are useful for thinking about how teams of social scientists work together, whether their research deals with sensory topics or not.
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Jo'rayev, Sherali. "Description of photos dedicated to Bukhara in Dmitriev-Kavkazsky's work "In Central Asia"." Infolib 25, no. 1 (March 30, 2021): 64–71. http://dx.doi.org/10.47267/2181-8207/2021/1-048.
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This article will describe photographs in the style of etching, telling about the history, social and cultural life of Central Asia at the end of the XIX century. The data presented in the work of the author of Dmitriev-Kavkazsky’s drawings «On Central Asia»are analyzed. The specifics of the work are described separately. The photos are also compared with each other, and scientific conclusions are given. Information about the architectural structures of Bukhara, their description, construction and appearance will be given. Social relations in the emirate and interesting aspects of ethnographic research will be explored.
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Hoar, Peter. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 2–3. http://dx.doi.org/10.24135/backstory.vi2.18.
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Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history.
This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy.
New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds.
The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s.
The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.
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Kamola, Aleksander, Sebastian Różycki, Paweł Bylina, Piotr Lewandowski, and Adam Burakowski. "Forgotten Nazi Forced Labour Camps: Arbeitslager Riese (Lower Silesia, SE Poland) and the Use of Archival Aerial Photography and Contemporary LiDAR and Ground Truth Data to Identify and Delineate Camp Areas." Remote Sensing 12, no. 11 (June 3, 2020): 1802. http://dx.doi.org/10.3390/rs12111802.
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The “Riese” project was a huge construction project initiated by German Nazi authorities, which was located in the northeast of the Sowie Mountains (Ger. Eulengebirge) in southwestern Poland. Construction of the “Riese” complex took place in 1943–1945 but was left unfinished. Due to the lack of reliable sources, the exact intended function of the Riese complex is still unknown. The construction was carried out by prisoners, mostly Jews, from the main nearby concentration camps, KL Gross-Rosen and KL Auschwitz-Birkenau. Thanks to the discovery in the National Archives (NARA, USA) of a valuable series of German aerial photographs taken in February 1945, insight into the location of labour camps was obtained. These photographs, combined with LiDAR data from the Head Office of Geodesy and Cartography (Warsaw, Poland), allowed for the effective identification and field inspection of the camps’ remains. The location and delimitation of the selected labour camps were confirmed by an analysis of the 1945 aerial photograph combined with LiDAR data. These results were supported by field inspection as well as archival testimonies of witnesses. The field inspection of the construction remains indicated intentionally faulty construction works, which deliberately reduced the durability of the buildings and made them easy to demolish. The authors believe that it is urgent to continue the research and share the results with both the scientific community and the local community. The authors also want to emphasize that this less-known aspect of Holocaust history is gradually disappearing in social and institutional memory and is losing to the commercial mythologization of the Riese object.
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Ayeni, Olubimpe A., Olubukunola O. Ayeni, and Robert Jackson. "Observations on the Procedural Aspects and Health Effects of Scarification in Sub-Saharan Africa." Journal of Cutaneous Medicine and Surgery 11, no. 6 (November 2007): 217–21. http://dx.doi.org/10.2310/7750.2007.00026.
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Background: Scarification involves cutting or making an incision into the skin and then allowing the wound to heal, leaving a permanent scar. The purpose of this article is to examine the origins of scarification and its social and medical significance in sub-Saharan Africa. Methods: We conducted a computerized search in the MEDLINE electronic database with combinations of the following terms: scarification, tribal marks, keloid, hypertrophic scar, Africa, and sub-Saharan Africa. Inclusion criteria were studies published in English involving human participants. We reviewed the bibliography of each article that met our inclusion criteria for additional relevant studies. We abstracted data on the historical, social, and medical aspects of scarification from eligible studies. Results: This review of scarification in sub-Saharan Africa highlights the complex interplay that exists between biology and society. Photographs, artwork, and literary descriptions reveal that scarification results in hypertrophic or atrophic scars, although these types of scars are often mistakenly referred to as keloids. In terms of the procedural aspects of scarification, specific tools and substances were consistently used by various ethnic groups. Although much is known about the history of scarification as a form of identification in Africa, it appears that the practice also had medical applications. Scarification was used to treat conditions such as epilepsy, although it was also known to exacerbate conditions such as sarcoidosis, lichen planus, and psoriasis. Evolving cultural beliefs, in addition to the association of scarification with an increased risk of contracting hepatitis B and human immunodeficiency virus (HIV), are contemporary threats to this long-standing practice. Conclusions: Given the remarkably consistent appearance of scars that are described in the literature and depicted in images, scarification does not appear to be a random or accidental occurrence. Instead, it is a deliberate attempt to reproduce a custom that has been perfected after many years of practice in sub-Saharan Africa.
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Bordeniuk, Serhii, and Viktoriia Byshovets. "Psychological Aspects of Social Photography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 78–83. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235089.
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The purpose of the research is to analyze the main features of social photography in the psychological aspect of the photographer. The research methodology is based on the application of a system-integrated approach to the review of this problem, within the framework of which a whole range of cultural, philosophical, psychological and professional qualities that affect viewers when viewing photographs is considered. The scientific novelty lies in the analysis of modern typological features and characteristics of social photography. The opinions of scientists from different times on issues of the psychological aspects of social photography were also systematized and generalized. Conclusions. We have analyzed the components of the psychological aspect of social photography. With the help of the analysis, the value of psychology in the work of the photographer specializing in the field of social photography has been established. Structural components that form a psychological aspect in the photo have been developed in detail. The factors that influence the rating of social photography have been summarized. The importance of the psychological aspects of social photography has been determined, since during the work at the same time the process of becoming the author himself, and his main task is to not just capture the environment but through his work to express feelings, emotions and thoughts.
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Adeng, Adeng. "SEJARAH SOSIAL KOTA BEKASI." Patanjala : Jurnal Penelitian Sejarah dan Budaya 6, no. 3 (September 1, 2014): 397. http://dx.doi.org/10.30959/ptj.v6i3.171.
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AbstrakKegiatan penelitian dan penulisan sejarah sosial baru dilakukan sekitar tahun 1950-an, baik di negara-negara maju maupun di negara-negara yang sedang berkembang. Di negara-negara yang sedang berkembang seperti Indonesia, kegiatan penelitian dan penulisan Sejarah Sosial masih sedikit dilakukan terutama yang bercorak sejarah sosial daerah. Penelitian dan penulisan sejarah yang sering dilakukan bercorak Sejarah Politik dan Sejarah Militer. Sejarah politik isinya menguraikan tentang pemerintahan kerajaan-kerajaan di Indonesia, pada masa pemerintahan Belanda, dan pendudukan Jepang. Sejarah Militer isinya tentang pertempuran-pertempuran baik melawan agresi Belanda maupun facisme Jepang. Dengan tersusunnya Sejarah Sosial Kota Bekasi diharapkan dapat diperoleh gambaran atau potret seluruh aspek kehidupan sosial daerah Kota Bekasi pada masa kini, dengan latar belakang masa lampau untuk memberikan proyeksi pada masa yang akan datang. Untuk merekontruksi digunakan metode sejarah yang meliputi empat tahap, yaitu: heuristik, kritik, interpretasi, dan historiografi. Kota Bekasi sebelumnya sebuah kecamatan dari Kabupaten Bekasi. Pada tahun 1982 Kecamatan Bekasi ditingkatkan statusnya menjadi kota administrasi. Pada tahun 1996 kembali ditingkatkan statusnya menjadi kotamadya. Dalam perkembangannya Kota Bekasi menjadi kawasan industri dan kawasan tempat tinggal kaum urban. Kota yang berada dalam lingkungan megapolitan ini merupakan salah satu kota besar urutan keempat di Indonesia yang terdapat di Provinsi Jawa Barat. AbstractThe Research and writing of the new social history made around the 1950s, both in developed countries and in emerging countries. In countries like Indonesia as one of the emerging countries, research and writing of Social History is few, especially about the history of social region. Research and writing of history is often done patterned with Political History or Military History. The contents of Political history usually outlining with the era of kingdoms, and the governments in Indonesia at the time of Dutch and Japanese occupation. The contents of Military History usually discussed the battles either against the aggression of the Dutch and Japanese fascism. With the completion of the Social History of Bekasi City, hopefully it can get a photograph all aspects of the social life of the city of at present, with a background in the past to provide projections of future. This research used historical method which includes four phases: heuristic, criticism, interpretation, and historiography. In the past Bekasi well known as sub-district of Bekasi District. In 1982 the sub-district of Bekasi upgraded to municipality or administration city. Bekasi become a city in 1996. In their development, Bekasi become a central of industrial area and as residence of urban society. The town is located in a megapolitan city of Jakarta, and one of the biggest cities in in the province of West Java.
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du S. Read, Leslie. "Social Space in Ancient Theatres." New Theatre Quarterly 9, no. 36 (November 1993): 316–28. http://dx.doi.org/10.1017/s0266464x00008228.
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How do modern archeological discoveries mesh with and affect present views of ancient theatrical techniques – specifically, of the interrelationship between performers and audience? Looking especially at the ways in which the audience itself was able to interact through the construction of the areas devoted to its own accommodation and circulation, Leslie du S. Read here blends narrative comment and photographic illustration to create a picture of the essential sociability of ancient theatre spaces – an aspect usually ignored by scholars primarily concerned with dramaturgical techniques. Leslie du S. Read, who is presently Head of the Drama Department at the University of Exeter, has for a number of years been researching both visible and known remains of classical theatres, and writing on the social context of stagecraft. He has at present a collection of over 4,000 slides of some 300 theatres, and is in the final stage of completing a history and guide to ancient theatre sites. All photographs in the present article were also taken by the author.
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Oliveira, Maria Augusta Martiarena de, and Giana Lange do Amaral. "A Escola de Agronomia e Veterinária Eliseu Maciel em fotografias: aspectos da história de uma instituição de ensino superior / The School of Agronomy and Veterinary Eliseu Maciel in photographs: aspects of the history of an higher education institution." Revista Pedagógica 14, no. 28 (June 6, 2013): 555. http://dx.doi.org/10.22196/rp.v14i28.1381.
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No âmbito da História da Educação, a pesquisa sobre história das instituições educacionais estabeleceu-se como um dos ramos em que existe maior produção historiográfica, ao mesmo tempo que ainda existe uma grande demanda de instituições a serem investigadas. A Escola de Agronomia eVeterinária Eliseu Maciel constitui-se em um estabelecimento educacional de renomada importância para a cidade de Pelotas (RS). A presente pesquisa analisa a história dessa instituição durante a Primeira República, utilizando-se de fotografias e textos divulgados na imprensa local. O objetivo dessa investigação reside em evidenciar a estreita relação entre essa instituição e a elite econômica e social pelotense. Além disso, estudar em que estrutura e contexto histórico se dava o ensino agronômico nas primeiras décadas do século XX.
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Neiva, Maria de Jesus Lopes Mousinho, Benevina Maria Vilar Teixeira Nunes, Inez Sampaio Nery, and Silvana Santiago Da Rocha. "A CRIAÇÃO DO CONSELHO REGIONAL DE ENFERMAGEM DO PIAUÍ: ASPECTOS HISTÓRICOS." Enfermagem em Foco 7, no. 3/4 (February 7, 2017): 75–80. http://dx.doi.org/10.21675/2357-707x.2016.v7.n3/4.921.
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Objetivo: descrever as circunstâncias históricas que antecederam e viabilizaram a criação do Conselho Regional de Enfermagem do Piauí. Metodologia: é uma pesquisa histórico-social, fundamentada nos conceitos de história e memória, e de história oral. Utilizou-se fontes orais, que foram os depoimentos de oito colaboradoras, membros do Conselho no período do estudo e fontes escritas e iconográficas (atas, resoluções, jornais e fotografias), e fontes secundárias como artigos, livros e a legislação sobre o tema. Resultados: com a promulgação da Lei 5.905/1973, foram implantados os Conselhos Regionais nos estados, por meio do trabalho de Juntas Especiais. No Piauí, as enfermeiras da Associação Brasileira de Enfermagem - Seção Piauí instalaram o novo órgão, em 1975. Conclusão: o processo histórico de criação do Conselho Regional de Enfermagem foi permeado de lutas das enfermeiras, que participavam da Associação Brasileira de Enfermagem Secção Piauí.Descritores: História da enfermagem, Sociedades de Enfermagem, Enfermagem.THE CREATION OF THE REGIONAL NURSING COUNCIL OF PIAUI: ASPECTS HISTORICALObjective: The study’s aim was to describe the historical circumstances that precede and made viable the creation of Regional Nursing Council of Piaui. It is a historical-social research, based upon the concepts of history and memory, and oral histoy. It was used as oral sources the testimonials of eight collaborators that were members of the Council during the period studied, and also iconographic and written sources (minutes, resolutions, newspapers and photographs), and, as secondary sources, papers, books and the related legislation. After the enactment of the act 5.905/1973, was established the Regional Councils in the states, through the work of Special Joints. In Piaui, the nurses of the Brazilian Nursing Association -- Section Piaui, istalled the new organ in 1975. It was concluded that the historical proccess of creation of the Regional Counci of Nurse was permeated by the struggles of nurses who participated in the Piaui Section of the Brazilian Nurse Association.Descriptors: History of nursing; nursing societies; nursing.LA CREACIÓNDEL CONSEJO REGIONAL DE ENFERMERÍA DE PIAUÍ: ASPECTOS HISTÓRICOObjetivo: El objetivo del estúdio fue describir las circunstancias históricas que preceden y hacenviable la creación del Consejo Regional de Enfermería de Piauí. Se trata de una investigación histórico-social, basadaen los conceptos de historia y memoria, y la historia oral. Se utilizó como fuentes orales los testimonios de ocho colaboradoras que eran miembros del Consejo durante el período estudiado, así como lãs fuentes iconográficas y escritas (minutos, resoluciones, periódicos y fotografías), y, em fuentes secundarias, documentos, libros y legislaciónes acerca del tema. Después de la promulgación de la Ley 5.905/1973, se creólos Consejos Regionales en los estados, através del trabajo de las juntas especiales. En Piauí, lãs enfermeras de la Asociación Brasileña de Enfermería - Sección Piauí, instalarán el nuevo órganoen 1975. Se concluyó que el proceso histórico de creación del Consejo Regional de Enfermería fue permeado por la lucha de lãs enfermeras que participaronen la Sección Piaui de la Asociación de Enfermeras de Brasil.Descriptores: Historia de la Enfermería; sociedades de enfermería, enfermería.
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Ferreira, Carlos Miguel, and Sandro Serpa. "Photography in Social Science Research." Journal of Educational and Social Research 10, no. 4 (July 10, 2020): 62. http://dx.doi.org/10.36941/jesr-2020-0065.
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Visual communication is critical in contemporary societies. Research in social sciences increasingly tends to mobilize the image, for example, in the form of photography, in its processes (in the collection and interpretation of information) and products (in the communication of research results), which leads to the need to reflect critically on its specificities. This paper aims to add to the analysis of the potentialities, limitations and challenges of the use of photography in social sciences research. For this purpose, the paper presents and discusses empirically collected documentary expressions, selected from an organizational case study based on their heuristic capacity to illustrate the argumentation put forth herein. It is concluded that the potential of the use of photography in research in social sciences is high, but it is essential that the researcher considers, besides more technical aspects and ethical complexities, that photography is, in part, also the materialization of a certain socially constructed representation of reality.
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Pinho, Maria De Fátima de Morais, and Sônia Maria de Meneses Silva. "NO SILÊNCIO OBSEQUIOSO, PREPARO MINHA PRÓPRIA DEFESA PADRE CÍCERO: arquivista de si mesmo." Revista Observatório 3, no. 2 (April 1, 2017): 172. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n2p172.
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O presente trabalho tem por objetivo analisar a prática contumaz do padre Cícero Romão Baptista em, ao longo de sua trajetória religiosa e política, copiar e guardar todos os documentos escritos, hemerográficos e iconográficos, constituindo um considerável e consistente arquivo de si que dava conta, igualmente, de aspectos da história política, econômica e social não apenas da localidade em se estabelecera, Juazeiro do Norte, mas do Ceará e do Brasil nas primeiras décadas da República Velha. O chamado “grande arquivo do padre Cícero” é composto por cartas e telegramas tanto de natureza eclesiástica quanto cartorial, fotografias, artigos de jornais, películas de filmes, etc. Neste trabalho tomando como referência as reflexões do historiador francês Philippe Artierés publicadas na revista Estudos Históricos em 1998, intituladas “Arquivar a própria vida”.
PALAVRAS-CHAVE: Arquivo, padre Cícero, arquivo, documentos.
ABSTRACT
This study aims to analyze the contumacious practice of Father Cicero Romao Baptista in over their religious and political trajectory, also copy and save all written documents, print newspapers and iconographic, making a considerable and consistent file of himself about aspects of political, economic and social history not only of the locality had established, Juazeiro, but of Ceará and Brazil in the first decades of the Old Republic. The called "large file of Priest Cicero" consists of letters and telegrams from both ecclesiastical nature and notarial, photographs, newspaper articles, movies, films, etc. In this work having as reference the reflections of the French historian Philippe Artierés published in the journal Historical Studies in 1998, entitled "To file life itself."
KEYWORDS: Archive, Father Cicero, documents.
RESUMEN
Este estudio tiene como objetivo analizar la práctica contumaz del Padre Cícero Romao Baptista en más de su trayectoria religiosa y política, copiar y guardar todos los documentos escritos, hemerográficos y iconográficos, haciendo un considerable y constante de ustedes que se dio cuenta de archivo, también los aspectos de la historia política, económica y social no sólo de la localidad se había asentado, Juazeiro, pero de Ceará y Brasil en las primeras décadas de la antigua República. El llamado "archivo de gran tamaño del Padre Cicero" se compone de cartas y telegramas, tanto de carácter eclesiástico y notario, fotografías, artículos de periódicos, películas, películas, etc. En este trabajo, con referencia a las reflexiones del historiador francés Philippe Artierés publicados en la revista Estudios Históricos en 1998, titulado "Archivo vida en sí."
PALABRAS CLAVE: Archivo, Padre Cicero, archivos, documentos.
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Popple, Simon. "Photography, crime and social control." Early Popular Visual Culture 3, no. 1 (May 2005): 95–106. http://dx.doi.org/10.1080/17460650500057137.
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Bunting, Lynda, and Ani Matosian. "Classifying photography." Art Libraries Journal 36, no. 4 (2011): 44–49. http://dx.doi.org/10.1017/s030747220001720x.
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Photography has long been a part of the Library of Congress classification tables. At the time of its inclusion, photography was not considered an art form and thus was placed in the T – Technology schedule instead of the N – Fine Arts schedule. This article will discuss various aspects of photography classification, including its history, the reasons behind and development of alternative schedules, the challenges of classifying artists’ books with a photographic basis, and the feasibility of maintaining alternative schedules with the proliferation of shelf-ready books.
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Sousa, Gustavo Rugoni de. "Desafios em torno da pesquisa sobre o mobiliário escolar: uma conversa com Marcus Levy Bencostta." Revista Educação e Emancipação 13, no. 3 (December 9, 2020): 324. http://dx.doi.org/10.18764/2358-4319.v13n3p324-340.
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Nesta entrevista, Marcus Levy Bencostta, professor e pesquisador da Universidade Federal do Paraná, discorre sobre os aspectos que envolvem a produção historiográfica e a potencialidade em torno da construção de pesquisas que tomam como objeto de estudo o mobiliário escolar. Ao longo de sua trajetória profissional, Marcus Levy Bencostta tem elaborado um conjunto significativo de trabalhos acerca da História da Educação no Brasil e, mais precisamente, sobre a cultura material escolar, com a qual tem contribuído com referenciais analíticos utilizados por muitos pesquisadores que investigam a realidade educativa. Destaca-se também sua inserção como Professor Visitante em diferentes Universidades Brasileiras e Estrangeiras e os cargos ocupados em Revistas Acadêmicas e Associações como a ANPED e a SBHE. É doutor em História Social pela Universidade de São Paulo (USP, 1999), realizou pós-doutorado pela École Nationale Supérieure d´Architecture de Versailles, França (2007-2008) e aperfeiçoamento em Arquitetura Escolar pela Université du Québec à Montréal (2004). É fundador do Núcleo de Estudos e Pesquisas em História da Arquitetura Escolar - NEPHArqE e do Núcleo de Estudos e Pesquisa em História da Educação e Modernidade – NEPHEM, ambos sediados na UFPR. Tem se dedicado, principalmente, a pesquisar os seguintes temas: Arquitetura Escolar, Culturas Escolares, Fotografias Escolares, Colégios Confessionais. Palavras-chave: Mobiliário escolar. Cultura material escolar. História da Educação.Challenges surrounding School Furniture research: a conversation with Marcus Levy BencosttaABSTRACTIn this interview, Marcus Levy Bencostta, professor and researcher at the Federal University of Paraná, discusses the aspects that involve the historiographic production and the potentiality around the construction of research that take as an object of study the school furniture. Throughout his professional career, Marcus Levy Bencostta has elaborated a significant set of works on the History of Education in Brazil and, more precisely, on the material school culture, to which he has contributed with analytical references used by many researchers who investigate the educational reality. He is also a Visiting Professor at different Brazilian and Foreign Universities and has held positions in Academic Journals and Associations such as ANPED and SBHE. He holds a Ph.D. in Social History from the University of São Paulo (USP, 1999), a post-doctoral degree from the École Nationale Supérieure d'Architecture de Versailles, France (2007-2008), and further education in School Architecture from the Université du Québec à Montréal (2004). He is the founder of the Núcleo de Estudos e Pesquisas em História da Arquitetura Escolar - NEPHArqE (Center for Studies and Research in the History of School Architecture) and the Núcleo de Estudos e Pesquisa em História da Educação e Modernidade - NEPHEM (Center for Studies and Research in the History of Education and Modernity), both based at UFPR. It has been mainly dedicated to researching the following themes: School Architecture, School Cultures, School Photographs, Confessional Colleges. Keywords: School furniture. School material culture. History of Education.Desafíos en torno a la investigación sobre mobiliario escolar: una conversación con Marcus Levy BencosttaRESUMENEn esta entrevista, Marcus Levy Bencostta, profesor e investigador de la Universidad Federal de Paraná, discute los aspectos que involucran la producción historiográfica y la potencialidad en torno a la construcción de investigaciones que toman como objeto de estudio el mobiliario escolar. A lo largo de su carrera profesional, Marcus Levy Bencostta ha elaborado un importante conjunto de obras sobre la historia de la educación en el Brasil y, más concretamente, sobre la cultura material escolar, a las que ha contribuido con referencias analíticas utilizadas por muchos investigadores que investigan la realidad educativa. También es profesor visitante en diferentes universidades brasileñas y extranjeras y ha ocupado cargos en revistas académicas y asociaciones como la ANPED y la SBHE. Tiene un doctorado en Historia Social de la Universidad de São Paulo (USP, 1999), un posdoctorado de la École Nationale Supérieure d'Architecture de Versailles, Francia (2007-2008) y una formación complementaria en Arquitectura Escolar de la Université du Québec à Montréal (2004). Es fundador del Núcleo de Estudos e Pesquisas em História da Arquitetura Escolar - NEPHArqE (Centro de Estudios e Investigaciones en Historia de la Arquitectura Escolar) y del Núcleo de Estudos e Pesquisa em História da Educação e Modernidade - NEPHEM (Centro de Estudios e Investigaciones en Historia de la Educación y de la Modernidad), ambos con sede en la UFPR. Se ha dedicado principalmente a la investigación de los siguientes temas: Arquitectura Escolar, Culturas Escolares, Fotografías Escolares, Colegios Confesionales. Palabras clave: Muebles escolares. Cultura material escolar. Historia de la Educación.
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Gao, James Z. "Shooting Social Suffering: Photography and China's Human Disasters." Chinese Historical Review 18, no. 2 (September 2011): 99–124. http://dx.doi.org/10.1179/tcr.2011.18.2.99.
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Lange, Łucja. "An Attempt to Restore the Ordinary Death to the Visual Realm—Artistic, Therapeutic, and Ethical Aspects of the Post-Mortem Photography of Children in the 21st Century. Short Introduction." Qualitative Sociology Review 16, no. 3 (August 7, 2020): 106–16. http://dx.doi.org/10.18778/1733-8077.16.3.07.
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Post-mortem photography was a transcendental element in the 19th century, which not only democratized portraiture, but also helped in the bereavement process. The comeback of post-mortem photography as a psychological tool helping parents of deceased children to cope with death was only a matter of time. The role and importance of memento-moris has to be taken into account in order to make significant changes in the grieving process, but all of the aspects of this kind of photography need to be considered. The artistic, therapeutic, and ethical dimensions of post-mortem photography in the 21st century has its rules, and those rules need to be followed. The article constitutes only a part of the research devoted to the bereavement process from a sociological perspective.
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Johnston, William. "The History of Japanese Photography (review)." Journal of Japanese Studies 31, no. 1 (2005): 248–52. http://dx.doi.org/10.1353/jjs.2005.0010.
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Pinheiro, Nuno. "Photographhy and social history: the use of photography as a source for history." Revista Estudos do Século XX, no. 11 (2011): 105–19. http://dx.doi.org/10.14195/1647-8622_11_7.
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Sushko, A. V., and D. I. Petin. "“Send Us Some Guns and Grenades ...”: Appeal of Young Ukrainian Nationalists from Siberia to Their Confederates from the OUN–UPA in Ukraine in 1950." Herald of an archivist, no. 1 (2021): 232–47. http://dx.doi.org/10.28995/2073-0101-2021-1-232-247.
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The article is to study the Soviet special services’ attempt to prevent youth extremist organization of Ukrainian nationalists deploying their activities in the Omsk region in early February 1951, as they expressed an obvious readiness wage an anti-Soviet fight using agitation and terror. It is based on the analysis of a completely unknown and previously unintroduced into scientific use historical source, which remains in departmental storage. The source is fully reproduced in the final part of the article. Its facsimile copy and photograph used in the article as an illustration is exhibited in the History Hall of the FSB Directorate of Russia for the Omsk Region. High relevance of the publication is associated with the fact that neither aspects of political existence of the Ukrainian special settlers in Siberia in the late 1940s–50s, nor operational activities of the Soviet special services in this connection have been a subject of research. Among key reasons explaining this gap in historiography are peculiarities of departmental storage of archival documents of the state security agencies and complicated procedure for allowing researchers to get acquainted with them. Due to specifics of the study, the authors used a comprehensive methodological approach based on a combination of source study criticism (external and internal) with anthropological approach, biographical and problem-chronological methods. This theoretical amalgamation has allowed the authors to interpret the revealed document, linking its appearance with concrete historical situation and personalities. The publication may be of interest to researchers of the Ukrainian nationalist and separatist movement, of the political exile in the USSR in period of the Second World War, and of the work of Soviet state security agencies aimed at countering radical (ultra-right) forms of social and political thought.
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Al Faruqi, Ismail, and Lamya’ Al Faruqi. "The Cultural Atlas of Islam." American Journal of Islam and Society 3, no. 1 (September 1, 1986): 169–70. http://dx.doi.org/10.35632/ajis.v3i1.2768.
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This magnifrcent book, published by Macmillan a month after the Faruqis’deaths, presents the entire world view of Islam-its beliefs, traditions, institutions,and its place in the cultures in which it has taken mot. THE CULTURALATLAS OF ISLAM is not only a comprehensive introduction to the Islamicexperience in history and the modern world. It is an authoritative and deeplyfelt statement of the faith of Islam, written for those of all faiths. Isma‘il andLois Lamya’ al Faruqi’s book is, in fact, Islam explaining itself.Rich with more than 300 photographs, drawings, and other illustrations,and with some 75 original maps, this is a unique guide to the meaning ofIslam and its shaping force on cultures from the Mediterranean to the Pacific.This is, however, much more than a history of events; it is a clear presentationof the essence of Islamic civilization in all its spheres, from everydaypractices of Muslims around the world to the Islamic legacy in art, science,law, politics, and philosophy.The authors begin with the ancient setting of Islam, examining the differentstrands of influence-Arab, Mesopotamian, Canaanite, and Hebrew-that wereits frontrunners. Islam, the authors demonstrate, brought together diverse traditionsand from them forged the unique body of belief, thought, and practicethat continues to animate Muslim life today throughout the world.Part Two explains the concept of Tawhid-the essence of Islam that bindstogether the lives of its believers. Tawhid is the affirmation of God as One,Absolute, and Ultimate; it deeply affects all aspects of Islamic thought, expression,and behavior.Part Three shows how this core of belief takes shape in scripture, socialinstitutions, and the arts-the forms which God’s revelations to Muhammadassumed in the historical fabric of Islam. There is a concise introduction tothe fundamental nature of the Quran, and to the collection of Muhammad’ssayings and deeds that clarify its statements-the Sunnah. The ways in whichIslam affects social life and its institutions-from education and family lifeto the making of the Hajj, or pilgrimage, to Mecca-is also examined. So,too, is the central role of the Qur'an in defining artistic expression.part Four is a remarkable exploriltion of the manifestations of Islam in all ...
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STREET, RICHARD STEVEN. "Lange's Antecedents: The Emergence of Social Documentary Photography of California's Farmworkers." Pacific Historical Review 75, no. 3 (August 1, 2006): 385–428. http://dx.doi.org/10.1525/phr.2006.75.3.385.
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Photographers focusing on California farmworkers are often described as heirs to a tradition that emerged midway through the Great Depression, mainly from the heroic efforts of one iconic photographer, Dorothea Lange. By calling attention to a diverse group of underappreciated antecedents who have never been linked together, this article presents a more sequential, less tidy account of how social documentary photography focused on farmworkers in the Golden State in the years before Lange moved out of her studio into the countryside. Without ever referring to their work as social documentary photography, these photographers, largely on their own and with little knowledge of one another, broke with standard commercial practices, turned a probing eye on the fields, recorded history as it unfolded, and created a visually stunning, realistic,often uncomfortable body of work.
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Caicedo Barreto, Sandra Liliana. "Photography as a Visual Literacy Tool." Colombian Applied Linguistics Journal, no. 8 (June 2, 2016): 228. http://dx.doi.org/10.14483/22487085.10514.
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This article is an attempt to show some theoretical issues founded on how visual literacy processescome about through a photography project. The framework explained is based on Wendy Ewald’s literacythrough photography study (LTP), and on Freire’s reading conception which stare at literacy as a processfor social inclusion. Further a literature review, I provide some practical aspects based on a visual literacyexperience carried out in a private school in Bogotá. Likewise, I describe some key moments of the visualliteracy process that can be developed by an image’s viewer. All this process is based on the socio culturalperspective.
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Tok, Selay Yurtkuran, Ian Kaplan, and Yavuz Taneli. "Photography in architectural education: A tool for assessing social aspects of the built environment." Procedia - Social and Behavioral Sciences 2, no. 2 (2010): 2583–88. http://dx.doi.org/10.1016/j.sbspro.2010.03.377.
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Setayesh, Saeedeh Rahman, and Mahgan Farhang Khaghanpour. "Sociology of Social Documentary Photography in Forming Social Movements and its Effect on Iran Islamic Revolution." Journal of Arts and Humanities 6, no. 4 (March 27, 2017): 10. http://dx.doi.org/10.18533/journal.v6i4.1114.
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<p>Photography is taken as one of the modern disciplines of the art world. Social documentary photography, with its realistic, impartial and truthful nature, is aimed at keeping a record of social events. It is a document of an event happened in front of the camera which may symbolize history and identity of a society. As a science, sociology has emerged concurrently. Sociology of art is aimed at introducing the art or style of a given era which has been created by a given society. Reflection and formation are two significant approaches of sociology of art. It is aimed to highlight the effect of sociology of photography in forming social movements especially Iran Islamic revolution.</p>
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Sichel, Kim, and Maren Stange. "Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950." Journal of American History 77, no. 2 (September 1990): 689. http://dx.doi.org/10.2307/2079269.
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Moeller, Susan, and Maren Stange. "Symbols of Ideal Life: Social Documentary Photography in America, 1890- 1950." American Historical Review 95, no. 4 (October 1990): 1274. http://dx.doi.org/10.2307/2163662.
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Dorofeeva, Yuliya, and Aleksey Moiseev. "Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience." E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.
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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait photography have been described; the global and domestic experience of teaching photography has been summarized. The proprietary integrated methods for teaching advertising and portrait photography has been tested by the authors in the systems of higher education, secondary vocational education, and continuing professional education in various fields and areas: design, computer graphics, art photography / photo art, the history, theory, techniques, and technology of photography, including advertising and portrait photography. The following institutions have become the main testing platforms: GOU VO MO Moscow State Regional University, the Arts and Design School under ANO VO Business and Design Institute, the School of ANOO VO Russian University of Cooperation under the Central Union of Consumer Societies of the Russian Federation (Centrosoyuz of Russia). The article suggests a classification of the aspects essential for advertising and portrait photography, provides recommendations for how to teach these types of photography, along with featuring the statistics on successful/failed students’ assignments and providing examples of copyrighted photographs taken for magazines.
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Mitchell, Daniel Jon. "Reflecting nature: chemistry and comprehensibility in Gabriel Lippmann's ‘physical’ method of photographing colours." Notes and Records of the Royal Society 64, no. 4 (October 13, 2010): 319–37. http://dx.doi.org/10.1098/rsnr.2010.0072.
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The origins of colour photography are typically traced to mid-nineteenth-century ‘three-colour’ processes based on a mixture of three primary colours. At the time, however, images produced by these means were pejoratively labelled ‘photographs in colours’ and not ‘colour photographs’ because they did not result solely from the direct action of light. In 1891, the French physicist Gabriel Lippmann claimed to have developed a direct, ‘physical’ method of colour photography, which the French industrialists Auguste and Louis Lumière subsequently improved. This article charts the rise and fall of so-called ‘interferometric’ colour photography and evaluates Lippmann's suppression of the chemical aspects of his work, in the context of his award of the 1908 Nobel Prize in Physics.
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Halilović, Muamer. "Philosophical and social aspects of al Ya'qubi's history." Kom : casopis za religijske nauke 8, no. 2 (2019): 85–113. http://dx.doi.org/10.5937/kom1901085h.
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Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (May 2007): 208a. http://dx.doi.org/10.1017/s0020743807070341.
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This article examines Arab photography in Ottoman and Mandate Lebanon. It begins to explain how the photographic image naturalized the discourses of individualism, class identity, and nationalism that were germinated in the political economy and the organic intellectual culture of the late Ottoman Empire. Inspired less by Orientalist imagery or mimicry of the West than by specific ideological planks of capitalism and modernity, images produced by professionals Sabunji and the Kovas and such amateurs as Salim Abu Izz al-din and Marie Khazen instituted a new process of desiring capitalist production, accumulation, and commodity consumption in Lebanon. Photography reified the imago (the discursive imagined self) of the Lebanese bourgeois as a composite of private and public and sectarian and secular identities—but first and foremost as an individual. However, theWestern narrative that associates photography with the secularism of the bourgeois self finds its limits in the sectarian political economy and power sharing of Lebanon.
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Horevalov, Serhiy, and Natalia Zykun. "Photography and Development of Photo Industry in Ukraine: History and Modernity (to the 180th Anniversary of Photography)." Scientific notes of the Institute of Journalism, no. 1 (76) (2020): 53–65. http://dx.doi.org/10.17721/2522-1272.2020.76.4.
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In the article the multi-subject phenomenon of photography, which clearly combines the fea-tures of a document, a work of art, modern technologies and a means of communication is stud-ied in the diachronic aspects using the methods of comparative analysis, systematization and generalization. It summarizes the information about the long history of photography as a form of fixation of reality, as a way of storing and transmitting information. The changes in functional and instru-mental characteristics of photography are outlined. The rapid expansion of the direction of development of photography in many Ukrainian regions as early as the late nineteenth and in the early twentieth centuries is indicated: formation of infrastructure; emergence of professional and amateur photo societies and organizations that have been active in professional and educational and promotional activities. It is proved that active photography activity formed a public request for scientific study of pho-tography, its theory formation; caused the emergence of specialized periodical photo editions (“Photo-Cinema” (1924), “Photo for Everyone” (1928-1930) and “Photo – Socialistic Construction” (1932-1934). All this contributed to the emergence of a system of professionals training in photography, formal photo education, study of photography in art educational institutions. The prerequisites and the first steps of formation of photojournalism and the system of photo genres are traced. The active participation of Ukrainian masters in production and improvement of photographic equipment is stated. It is said that in the 30’s of the twentieth century a significant step of state policy was made in development of the plants of mechanical engineering and chemical industry of Ukraine, which created the preconditions for development of photo industry. The considerable attention is paid to the major achievements of Ukrainian production of photographic equipment, first of all at the Kyiv Arsenal Factory.
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ENGEL, ELISABETH. "Southern Looks? A History of African American Missionary Photography of Africa, 1890s–1930s." Journal of American Studies 52, no. 2 (May 2018): 390–417. http://dx.doi.org/10.1017/s002187581700192x.
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This article traces and analyzes the missionary photography of the African Methodist Episcopal Church (AME), the most important independent black American institution that began to operate in colonial South Africa at the onset of the politics of racial segregation in the 1890s. It argues that AME missionary photography presents a neglected archive, from which a history of black photographic encounters and a subaltern perspective on the dominant visual cultures of European imperialism and Christian missions in Africa can be retrieved. Focussing in particular on how AME missionaries deployed tropes of the culturally refined “New Negro” and the US South in their visual description of South Africa, this article demonstrates that photography was an important tool for black subjects to define their image beyond the representations of black inferiority that established visual traditions constructed.
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Woźny, Jacek. "Archeology as a Metaphor in Contemporary Culture." Qualitative Sociology Review 17, no. 1 (February 8, 2021): 28–38. http://dx.doi.org/10.18778/1733-8077.17.1.3.
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The scientific discipline of archeology has gone through various stages of its development and improvement of research methods. First, it was combined with ancient history and the history of art. In the mid-nineteenth century, the base of its chronology was on biblical events. Modernist archeology of the twentieth century focused on classifying monuments and reconstructing cultural processes. In the second half of the twentieth century, archeology inspired other disciplines of culture and science to “stratigraphically” look at their own history. In this way, the stratification of scientific thought (archeology of knowledge), the history of photography (archeology of photography), and the media (archeology of media) began to be analyzed. Archeology has become a cognitive metaphor in contemporary culture. Lack of knowledge of the theoretical and methodological achievements worked out by archaeologists may, after some time, lead to the trivialization and petrification of the archaeological metaphor, although today it still seems fresh and innovative for “archeology of media,” “archeology of photography,” or “archeology of modernism.”
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Brown, Douglas A. "The modern romance of mountaineering: Photography, aesthetics and embodiment." International Journal of the History of Sport 24, no. 1 (December 2006): 1–34. http://dx.doi.org/10.1080/09523360601005389.
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Mazur, Adam. "Brief Glimpses of Beauty. Thinking about the History of Lithuanian Photography." Acta Academiae Artium Vilnensis, no. 99 (July 5, 2021): 342–62. http://dx.doi.org/10.37522/aaav.99.2020.21.
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The article proposes a critical rethinking of the multi-layered phenomenon of Lithuanian photography. From the beginning, in the 19th century Lithuanian photography cherished an exceptional status within a cultural landscape, being considered a vehicle of lofty, patriotic emotions. The article is reassessing the social and cultural role of Lithuanian photo- graphers and is looking into a symptomatic lack of synchronicity with the medium’s grand narratives. The Lithuanian history of photography seems to be a consistent and exceptional narrative developed within a relative- ly small milieu of artists based in their homeland as well as Lithuanian émigrés. According to the author, indexical and documentary qualities of photography constitute the core of the phenomenon. The text is advocating inclusivity for non-Lithuanian authors, be it Polish Lithuanians, Russians, Jews, Germans, or Lithuanian Americans. Looking at photographs from the perspectives of literature (quoting Marcelijus Martinaitis and Tomas Venclova) and contemporary art (Jonas Mekas and Fluxus) may be also useful in reshaping and opening up the discourse of the discipline.
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Steckel, Richard H. "Big Social Science History." Social Science History 31, no. 1 (2007): 1–34. http://dx.doi.org/10.1017/s0145553200013638.
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Social science historians engage in relatively few large, collaborative projects, yet many of their activities, especially data collection and several aspects of analysis, benefit from what economists call economies of scale. Here I briefly review the historical background of big projects, place research by social science historians in perspective relative to other disciplines, and ponder possible explanations for the dearth of collaborative efforts. Large projects are not to everyone’s taste, and they demand vision, logistical skills, and fund-raising. In conclusion, I suggest 15 large projects that are interesting and feasible.
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Bradley, John, Philip Adgemis, and Luka Haralampou. "“Why Can't They Put Their Names?”: Colonial Photography, Repatriation and Social Memory." History and Anthropology 25, no. 1 (July 9, 2013): 47–71. http://dx.doi.org/10.1080/02757206.2013.813851.
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Hayes, Micheál. "Indigenous Otherness: Some Aspects of Irish Traveller Social History." Éire-Ireland 41, no. 3 (2006): 133–61. http://dx.doi.org/10.1353/eir.2007.0006.
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Sanderson, Steven E., Clark W. Reynolds, and Carlos Tello. "U.S.-Mexico Relations: Economic and Social Aspects." Hispanic American Historical Review 68, no. 3 (August 1988): 627. http://dx.doi.org/10.2307/2516563.
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