Relevant bibliographies by topics / Theosophy and art

Academic literature on the topic 'Theosophy and art'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Theosophy and art"

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Davenport, Nancy. "Paul Sérusier: Art and Theosophy." Religion and the Arts 11, no. 2 (2007): 172–213. http://dx.doi.org/10.1163/156852907x199161.

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AbstractThe art of Paul Sérusier and that of his artist friends has been interpreted in this essay as having its roots in the Theosophical themes prevalent in an interdependent circle of authors and spiritualists in 18th and 19th century France. These mystical thinkers were less concerned with the writings and indomitable presence of the acknowledged leading light of Theosophy Helena Petrovna Blavatsky than with a more specifically French national yearning for its imagined Celtic and traditionally Roman Catholic roots, smothered, in their view, by secular and materialistic modern sensibilities. Theosophy, “the essence of all doctrines, the inmost truth of all religions” as defined by the doyenne of French Theosophy Maria, Countess of Caithness and Duchess of Medina-Pomar, led Sérusier to seek elemental truth for his art in a remote inland village in Brittany where he painted for many years, to a Benedictine monastery on the Danube where formerly Nazarene artist/monks had created a system of drawing and painting believed to be based on the original design of the universe, and to the widely read text Les Grands Initiés (1899) by the mystic writer, Edouard Schuré. Sérusier's broad-reaching search for the Theosophical roots of art was one aspect of the fin de siècle malaise that led the arts out of the world into dreams.
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Raynova, Yvanka B. "The Painting "Confessions" of Nikolay Raynov." Labyrinth 20, no. 2 (March 15, 2019): 201. http://dx.doi.org/10.25180/lj.v20i2.144.

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The aim of the following paper is to show that it is not possible to penetrate into the depths of Nikolay Raynov's universe and to comprehend its wholeness, without posing and investigating the question about the origin or the foundation of his various creative occupations, i.e his novels, philosophic and theosophic writings, art history and critique, paintings, decorative design etc. This question is far too complex to be answered briefly without being simplified, and therefore two main directions will be articulated: the recption of Orphism developed in Plotinus' and Porphyry's Neoplatonism – which is the basis of modern Theosophy –, and the synthetic understanding of art, which puts Raynov's views in close proximity to Wassily Kandinsky and Nicholas Roerich.
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Faxneld, Per. "‘Mirages and visions in the air’." Approaching Religion 11, no. 1 (March 20, 2021): 63–76. http://dx.doi.org/10.30664/ar.98199.

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Around the year 1900, European discourse on art was becoming increasingly ‘esotericized’. The 1890s saw esoteric art salons create a sensation in Paris, and art critics and theorists painted a picture of the true artist and the esotericist as overlapping figures. There was also at the time a conflict regarding mediumistic art, a phenomenon initially made popular through Spiritualist mediums. This debate, as we shall see, had interesting gendered dimensions. In what follows, I will discuss how the Swedish female esotericist and artist Tyra Kleen (1874–1951) attempted to situate herself in connection to the concept of the artist as a magus, and the tensions between the positive view of mediumism in Spiritualism and the more negative or cautious approach to it in Theosophy, as well as in relation to the attendant gender issues.
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ByungKil Choi. "The Effect of Theosophy upon the Process of Dehumanization in Avant-garde Art." Misulsahakbo(Reviews on the Art History) ll, no. 33 (December 2009): 243–84. http://dx.doi.org/10.15819/rah.2009..33.243.

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Helme, Sirje. "THEOSOPHY AND THE IMPACT OF ORIENTAL TEACHING ON THE DEVELOPMENT OF ABSTRACT ART." Baltic Journal of Art History 7 (November 19, 2014): 81. http://dx.doi.org/10.12697/bjah.2014.7.05.

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Introvigne, Massimo. "The Sounding Cosmos Revisited." Nova Religio 21, no. 3 (February 1, 2018): 29–46. http://dx.doi.org/10.1525/nr.2018.21.3.29.

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Starting with the 2013 conference Enchanted Modernities in Amsterdam, a number of academic events, exhibitions, and publications (including a 2016 special issue of Nova Religio) documented the growing interest of both art historians and scholars of new religious movements in the influence of the Theosophical Society and other esoteric groups on the birth and development of modern art. At the center of this renewed interest is the controversial work of Finnish art historian Sixten Ringbom (1935–1992), who in the late 1960s “discovered” the Theosophical connections of Russian pioneer of abstract art Wassily Kandinsky (1866–1944), discussed in his book The Sounding Cosmos. In this paper, I discuss Ringbom’s background, his almost coincidental discovery of Theosophy, the ostracism his work received from those who did not want modern art to be associated with irrationalist and disreputable “cults,” and his posthumous influence on the birth of a new subfield within the study of new religious movements, devoted to their relationships with the visual arts.
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Шахматова, Елена Васильевна. "ANTHROPOLOGICAL IDEAS IN THE PHILOSOPHICAL-ART SYNTHESIS OF MIKHAIL MATYUSHIN." Вестник Тверского государственного университета. Серия: Философия, no. 3(53) (October 30, 2020): 188–96. http://dx.doi.org/10.26456/vtphilos/2020.3.188.

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В статье обосновывается положение о том, что антропологические модели русского авангарда были тесно связаны с метафизикой Всеединства русской религиозной философии рубежа ХIX-XX вв., теософией, философией жизни и древнеиндийскими учениями. Жизнестроительные тенденции эпохи отражали эсхатологические мотивы культуры и искусства Серебряного века. Органическое направление русского авангарда продолжило линию Всеединства, утверждая равенство между микро- и макрокосмом. Предложенный М. Матюшиным метод «ЗОР-ВЕД» отражал антропологические идеи воспитания совершенного человека средствами искусства. The article substantiates the position that the anthropological models of the Russian avant-garde were closely related to the metaphysics of the unity of Russian religious philosophy at the turn of the 19th-20th centuries, theosophy, the philosophy of life, and ancient Indian teachings. Vital tendencies of the era reflected eschatological motifs of culture and art of the Silver Age. The organic direction of the Russian avant-garde continued the line of Unity, asserting the equality between micro and macrocosm. The «ZOR-VED» method proposed by M. Matyushin reflected the anthropological ideas of educating a perfect person by means of art.
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Stoeber, Michael. "Theosophical Influences on the Painting and Writing of Lawren Harris: Re-Imagining Theosophy through Canadian Art." Toronto Journal of Theology 28, no. 1 (March 2012): 81–104. http://dx.doi.org/10.3138/tjt.28.1.81.

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Ryynänen, Sanna. "The painter Meri Genetz and the endless quest for spiritual wisdom." Approaching Religion 11, no. 1 (March 20, 2021): 156–73. http://dx.doi.org/10.30664/ar.100545.

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Meri Genetz (1885–1943) was a Finnish painter, esotericist, and a spiritual seeker. Around 1925, she began truly dedicating herself to spiritual seeking and started to make notes of her studies in black notebooks. This article will go through four of those notebooks which today offer a vivid picture of Genetz’s seeking between the years 1925 and 1943. In the beginning, Genetz acquainted herself with Gnosticism, Theosophy, and Kabbalah, as well as the works of Christian mystics, such as Emanuel Swedenborg and Jakob Böhme, the writings of, for example, Paracelsus, and texts attributed to the mythic figure Hermes Trismegistus. Gradually Genetz started to outline her own views, ideas, and theories regarding higher truth and spiritual wisdom. In the beginning of the 1930s her main quest came to be to find her ‘other half’ and become whole. She started attending Spiritualist séances, where she would ask about her other half and discuss the state of her soul, the souls of others, her art and marriage, and the books she had read. In time, Genetz’s quest for true wisdom and self-fulfilment became more and more restless and impatient. When she died in 1943, she was still seeking.
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Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy." Modernist Cultures 12, no. 3 (November 2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.

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Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.
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Dissertations / Theses on the topic "Theosophy and art"

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Nycander, Olga. "Deconstructing Thought Forms : Ett bokformgivningsprojekt om ett färg- och formsystem över hur tankar och känslor ser ut." Thesis, Konstfack, Grafisk design & illustration, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7992.

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Ett bokformgivningsprojekt som visar färg- och formteorierna i boken Thought Forms (1905) som ett tidigt konst- och designteoretiskt verk. Boken Thought Forms (1905) av Annie Besant and C. W. Leadbeater är en teosofisk bok som presenterar ”tankeformer” som visar hur tankar och känslor ser ut för den klärvoajanta. Boken tros ha inspirerat abstrakta konstnärer som till exempel Vasilij Kandinski och Hilma af Klint som båda var medlemmar i det teosofiska samfundet. Genom en serie på tre böcker presenterar jag färg- och formsystemen i Thought Forms som ett tidigt konst- och designteoretisk verk. Projektet är lika delar en undersökning av känslor och andliga idéers påverkan på formgivning som ett ut utforskande av bokformens påverkan på läsningen av ett innehåll. Projektet består av tre handgjorda böcker som presenterar bilderna, förgläran och formerna ur Thought Forms: Deconstructing Thought Forms: The Figures Deconstructing Thought Forms: The Colours  Deconstructing Thought Forms: The Shapes
A book design project that shows the theories of color and form in the book Thought Forms from 1905 as an early of art- and design theoretical work. The book Thought Forms by Annie Besant and C. W. Leadbeater is a theosophical book that shows "thought forms". Colourful shapes formed by thoughts and feelings, only visible for the clairvoyant. The book is believed to have inspired abstract artists such as Wassily Kandinsky and Hilma af Klint, who were both members of the Theosophical Society. Through a series of three books, I present the color and shape systems from Thought Forms as an early art and design theoretical work. This project is both an investigation of the influence of emotions and spiritual ideas on design as an exploration of the book designs effect on how we receive a content.    The result is a series of three books: Deconstructing Thought Forms: The Figures  Deconstructing Thought Forms: The Colors Deconstructing Thought Forms: The Shapes
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Soud, William David. "Toward a divinised poetics : God, self, and poeisis in W.B. Yeats, David Jones, and T.S. Eliot." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:331a692d-a40c-4d30-a05b-f0d224eb0055.

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This thesis examines the traces of theological and broader religious discourses in selected works of three major twentieth-century poets. Each of the texts examined in this thesis encodes within its poetics a distinct, theologically derived conception of the ontological status of the self in relation to the Absolute. Yeats primarily envisions the relation as one of essential identity, Jones regards it as defined by alterity, and Eliot depicts it as dialectical and paradoxical. Critics have underestimated the impact on Yeats’s late work of his final and most sustained engagement with Indic traditions, which issued from his friendship and collaboration with Shri Purohit Swami. Though Yeats projected Theosophical notions on the Indic texts and traditions he studied with Purohit, he successfully incorporated principles of Classical Yoga and Tantra into his later poetry. Much of Yeats’s late poetics reflects his struggle to situate the individuated self ontologically in light of traditions that devalue that self in favor of an impersonal, cosmic subjectivity. David Jones’s The Anathemata encodes a religious position opposed to that of Yeats. For Jones, a devout Roman Catholic committed to the bodily, God is Wholly Other. The self is fallen and circumscribed, and must connect with the divine chiefly through the mediation of the sacraments. In The Anathemata, the poet functions as a kind of lay priest attempting sacramentally to recuperate sacred signs. Because, according to Jones’s exoteric theology, the self must love God through fellow creatures, The Anathemata is not only circular, forming a verbal templum around the Cross; it is also built of massive, rich elaborations of creaturely detail, including highly embroidered and historicized voices and discourses. Critics have long noted the influence of Christian mystical texts on Eliot’s Four Quartets, but some have also detected a countercurrent within the later three Quartets, one that resists the timeless even as the poem valorizes transcending time. This tension, central to Four Quartets, reflects Eliot’s engagement with the dialectical theology of Karl Barth. Eliot’s deployment of paradox and negation does not merely echo the apophatic theology of the mystical texts that figure in the poem; it also reflects the discursive strategies of Barth’s theology. The self in Four Quartets is dialectical and paradoxical: suspended between time and eternity, it can transcend its own finitude only by embracing it.
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Allan, Michele Margaret. "‘LIQUID SPACE’: a visual investigation of the sea as an empirical, experiential and metaphoric space." Phd thesis, 2013. http://hdl.handle.net/1885/13491.

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Artworks produced in this studio-based research (option D) involve exploration of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the way the sea looks, but also with what the sea inspires. They explore the spatial dynamics of underwater terrains, convergences of inner and outer ‘space’, and question if and how the numinous and immaterial might be made manifest in the material. References to the traditional story of Jonah and the Whale operate as a contemporary metaphor for the sea as a site of death and renewal. Through the creation of series of paintings, works on paper and engraved glass overlays, the sea is examined as a synthesis of the complex and diverse on many fluidly interacting levels, including the empirical, experiential and metaphoric. As a poetic space with many levels of resonance, it becomes ground for exploring the creative process, the nature of being and processes of transformation and change within each. Research questions include: What might a contemporary expression of the interaction of the physical and metaphysical self be like? How might a synthesis of abstraction and representation be created in the visual language of painting? How might concepts of unity be reconciled with rhythms of death and renewal, transformation and change? Does unity necessarily mean uniform? A significant aspect of this research has been the generation of artworks on or through field trips to locations by the sea - Cape Leveque in North-east Australia, Heron Island Research Station on the Great Barrier Reef and South Bruny Island in Tasmania. In exploring the interface between abstraction and representation, unity and diversity, and the inner and outer worlds, I have discovered the sea rich ground for reenvisioning these seeming opposites as co-creative, relational and finally inseparable. The ‘Wave’ structure of the Exegesis is more than usually organic in form. Conventional chapters are replaced by multiple and varied sections, each called a WAVE and written in changing ‘voice’. Echoing the shifting rhythms of the sea, and in order to correspond more directly to the way practice-driven research creates meaning, the wave structure reflects the wider concerns of the research to synthesise the unexpected and diverse.
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Books on the topic "Theosophy and art"

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J, Regier Kathleen, ed. The Spiritual image in modern art. Wheaton, Ill., U.S.A: Theosophical Pub. House, 1987.

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Guglielmo, Bilancioni. Architectura esoterica: Geometria e teosofia in Johannes Ludovicus Mattheus Lauweriks. Palermo: Sellerio, 1991.

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Steiner, Rudolf. Art as spiritual activity: Rudolf Steiner's contribution to the visual arts. Hudson, NY: Anthroposophic Press, 1997.

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Naturalismus als Weltanschauung?: Biologische, theosophische und deutsch-völkische Bildlichkeit in der von Fidus illustrierten Lyrik (1893-1902) : mit einem Anhang, Organisationen der Deutschgläubigen Bewegung. Frankfurt am Main: P. Lang, 1995.

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Arundale, Rukmini Devi. Some selected speeches & writings of Rukmini Devi Arundale. Chennai: Kalakshetra Foundation, 2003.

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Mary, Gray. Mary Gray's The gateway of liberation ; and, Spiritual laws: Rules of the evolutionary arc. 3rd ed. Tahlequah, Okla: Sparrow Hawk Press, 1992.

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Jinarajadasa, C. Theosophy And Art. Kessinger Publishing, LLC, 2005.

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Society, Theosophical Publishing. Theosophy And Art. Kessinger Publishing, LLC, 2005.

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Steiner, Rudolf, and Michael Howard. Art As Spiritual Activity: Rudolf Steiner's Contribution to the Visual Arts (Vista Series, Vol 3). Steiner Books, 1998.

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Mystical landscapes: From Vincent van Gogh to Emily Carr. 2016.

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Book chapters on the topic "Theosophy and art"

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"Abstract Art as “By-Product of Astral Manifestation”: The Influence of Theosophy on Modern Art in Europe." In Handbook of the Theosophical Current, 429–51. BRILL, 2013. http://dx.doi.org/10.1163/9789004235977_021.

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Hardiman, Louise. "3. ‘The Loving Labourer through Space and Time’: Aleksandra Pogosskaia, Theosophy, and Russian Arts and Crafts, c. 1900–1917." In Modernism and the Spiritual in Russian Art: New Perspectives, 69–90. Open Book Publishers, 2017. http://dx.doi.org/10.11647/obp.0115.03.

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"Re-imagining Theosophy through Canadian Art: Indian Theosophical Influences on the Painting and Writing of Lawren Harris." In Re-imagining South Asian Religions, 193–220. BRILL, 2013. http://dx.doi.org/10.1163/9789004242371_011.

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Johnson, Dominic. "Impossible things." In Unlimited action, 124–54. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9780719091605.003.0005.

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Since the late 1960s, Anne Bean’s performances, public interventions, drawings, videos and writings have been actively pursued as a ‘continuum’, and she strives to diminish the distinctiveness or iconicity of each in favour of a democracy of forms and effects. Bean’s pursuit of a continuum is discussed as a performance of extremity with regards to specific works of performance as well as her broader assault on critical and theoretical understandings of performance and art, in terms of the potential of performance art to blur the boundaries between art and life. The argument is channelled through the theosophy of G. I. Gurdjieff – a touchstone for Bean in the 1970s – and the dubious critical methods of magic and the occult, ending up at the persistence of her refusal to be fixed or found by history.
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Quereilhac, Soledad. "Modernismo, Spiritualism, and Science in Argentina at the Turn of the Twentieth Century." In Geopolitics, Culture, and the Scientific Imaginary in Latin America, 215–29. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401483.003.0011.

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This chapter analyzes the uses and appropriations of scientific discourse in Argentine magazines from the fin de siècle: a period in which literary modernism coincided with the development of spiritualisms that aspired to the status of science (or “occult sciences”) like Spiritism and Theosophy. The aim is to examine concrete examples that relativize the sharp division between science, art, and spiritualism in the culture of this period. The main sources explored are La Quincena. Revista de letras (1893–1899), Philadelphia (1898–1902), La Verdad (1905–1911), and Constancia (1890–1905). In addition, the chapter focuses on how the astonishing growth of science in Argentina, as well as the social legitimation of scientific discourses, influenced other fields, giving shape to new literary expressions, beliefs, and utopian projections that synthesized the material and the spiritual.
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Strube, Julian. "Revivalism and Theosophy." In Global Tantra, 149–62. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197627112.003.0006.

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This chapter demonstrates that demarcations between reformism and revivalism are anything but clear, and indeed often are more misleading than helpful. The focus rests on the ambiguous role of Theosophy within “Hindu revivalism,” as contemporaries perceived the Society as part of the “revivalist” camp, while it clearly harbored “typically reformist” ideas. The chapter opens a diachronic perspective on this ambiguity by discussing the Mahānirvāṇa Tantra and its reception since the eighteenth century. This provides insights into why Tantra played such a prominent role in the debates about revival and reform: it was central to the debates about sanātana dharma and related struggles about Hindu identity. So-called orthodox efforts were usually decisively marked by reformist agendas, while reformists often shared the same notions of sanātana dharma and a revival of Aryan civilization. These debates, which had developed since the early colonial period, conditioned the activities of the Theosophical Society.
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Weir, David. "Theosophy and Modernism." In Imagining the East, 205–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190853884.003.0010.

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This chapter shows that even though the esotericism of Theosophy might seem far from modernist literature, modernist icons such as William Butler Yeats, Gertrude Stein, and T. S. Eliot, among others, took inspiration from Madame Blavatsky’s writings. The chapter argues that Blavatsky’s Koot Hoomi, for example, structurally is quite similar to Nietzsche’s Zarathustra. Blavatsky’s investigations of the Vedāntic tradition are also on par with the modernist tendency to reject Christianity or, in Eliot’s case, to employ Eastern theology as a means of revivifying Western religious traditions. Modernist Orientalism has many sources, but as this chapter argues, Theosophy must be counted as one of the more pertinent of such sources, since it was through Theosophy that a number of important modernist figures first became aware of Eastern traditions. Theosophy, as this chapter shows, provided a template for the modernist re-evaluation of religious tradition—Eastern tradition, especially—as rich material for new cultural production.
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Waters, Thomas. "Occultists Study Dark Arts." In Cursed Britain, 139–55. Yale University Press, 2019. http://dx.doi.org/10.12987/yale/9780300221404.003.0006.

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This chapter shows that witchcraft did not beguile only rustic simpletons during the Victorian era. In cities and suburbs, behind expensive curtains and in bay-windowed houses, avant-garde types experimented with new forms of occultism. Spiritualism, theosophy, Christian Science, and extremely complex ritual magic — these types of mysticism are often seen as positive, therapeutic, and emancipating. In many ways they were, but the late Victorian occult revival had dark sides too. Many occultists were intrigued by evil powers and some were absolutely obsessed with them. These characters, with their strange theories and esoteric investigations, helped to refresh the idea of witchcraft, rendering it in terms that befitted the modern age.
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Cheshire, Paul. "Introduction." In William Gilbert and Esoteric Romanticism, 1–14. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941206.003.0001.

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This chapter starts by describing the impact of Gilbert’s ‘strange poem’ The Hurricane on Gilbert’s friends and contemporaries: Coleridge, Southey, Wordsworth, and their circle in Bristol, and then follows its critical reception. Romanticist critics John Livingston Lowes, Paul Kaufman, John Beer, and Jonathan Wordsworth drew on the views of Gilbert’s contemporaries to assess The Hurricane. Later culturally based scholarship has brought wider perspectives on the 1790s radical underworld, and its population of visionaries, prophets, and millennialists. Marsha Keith Schuchard’s identification of Gilbert’s pseudonymous writings on magic and astrology has made possible a better-informed assessment of Gilbert’s use of esoteric traditions – Hermeticism, astrology, theosophy, Neoplatonism – that are brought to bear in The Hurricane.
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Coates, Ruth. "Deification and Creativity." In Deification in Russian Religious Thought, 110–39. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836230.003.0004.

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Chapter 4 analyses Nikolai Berdiaev’s first philosophical statement The Meaning of Creativity (1916) in the context of the theosophy of Jakob Boehme. It is shown how Berdiaev adopts the deification narrative primarily as expressed by Boehme rather than in the Orthodox theological tradition, and the ways in which the two narratives diverge are analysed. Berdiaev tends towards a Gnostic attitude to the material world and the body and an Origenistic view of the pre-existence of the soul. Most importantly, his reading of human–divine synergy in the task of transfiguring the universe emphasizes the superiority of human over divine agency after the Incarnation. The chapter goes on to set the work in the context of Berdiaev’s critique of the Russian Orthodox Church and of Russian Symbolism. His contemporaries’ response to the work is drawn on to suggest that Berdiaev’s Nietzschean persona opens him to the charge of illegitimate self-apotheosis.
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Conference papers on the topic "Theosophy and art"

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Uscinowicz, Jerzy. "INTRODUCTION INTO THEOSOPHY OF THE SACRED ART." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s14.042.

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Uscinowicz, Jerzy. "PRACTICAL THEOSOPHY OF THE CONTEMPORARY SACRED ART AND ARCHITECTURE - A TEMPLE AS A SYNTHESIS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s15.051.

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