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Gregorić, Marina, Margareta Nađ y Martina Gregorić. "Potential of Congress Tourism in the Republic of Croatia in Comparison to Neighboring Destinations". Acta Economica Et Turistica 2, n.º 2 (1 de diciembre de 2016): 195–209. http://dx.doi.org/10.1515/aet-2016-0017.
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AbstractThe phenomenon of globalization has led to the development of various selective forms of tourism. One of them is MICE tourism known in Croatia as a business form of tourism. Business tourism is still a relatively new concept and covers all aspects of business travel. The development of business travel has led to the development of congress tourism as a separate form of business tourism which is the focus of this paper. Congress tourism is a lucrative segment of the tourist offer that often takes place out of the tourist season. It requires quality congress facilities which can meet the needs of the participants and organizers of the congress. The main role of congress tourism is to gather participants from different countries and promote different products, services, training, education and many other fields of business while at the same time it promotes the hosting destination and its tourism attractions. The aim of this paper is to research and determine the current situation, supply and demand of the Croatian meetings and congress industry in comparison with the neighbouring destinations, the Republic of Slovenia and the Republic of Serbia. The study and comparison between three destinations imply changes that need to take place to improve the congress offer, to detect what the competitive position of the Republic of Croatia is, which marketing activities to improve so that the Republic of Croatia can become a competitive destination in the region and Europe. Congress tourism as a form of business tourism in Croatia is growing. The most prominent cities in this form of tourism are Zagreb, Dubrovnik and Opatija. The objectives pursued in Croatian congress offer are: the number of participants in congresses, strengthening the quality of congress offer and infrastructure, ensuring coordinated actions of stakeholders and increasing the recognition and awareness of Croatia as a congress destination. Since joining the EU, Slovenia has become an interesting destination for other members of the EU. Congress activity in Slovenia is booming, with a growing number of modern equipped convention venues with modern facilities for implementation of convention events. Slovenia has three major congress destinations; Ljubljana, Portorož and Bled that meet the conditions for organizing congresses. The Republic of Serbia with its tourism development strategy, presented business tourism as a potential selective form of tourism that can contribute to increasing tourist traffic of local and foreign tourists. Congress destinations that represent an ideal destination for congresses are: Belgrade, Novi Sad and Zlatibor. The application of sustainable development in the area of congress tourism plays an important role in form of preservation of resources and environmental protection. Therefore, congress tourism should be managed in a way to meet economic, social, ecological and aesthetic needs of a destination. Methodology used in this research paper consists of desk research, descriptive method, historical method, method of analysis, synthesis and comparative method. Beside secondary data analysis through literature review data are induced from Central Bureau of Statistics, the Institute for Tourism, Zagreb Tourist Board, Tourist Board of Opatija, The Dubrovnik Tourist Board, Serbian Convention Bureau and Research as well as from available published articles, books and internet data related to Slovenian business tourism. This research paper contributes to further scientific research and improvements needed in order to continuously develop and increase the size and quality of business tourism.
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Sabău, Nicolae. "„Sok szíves üdvözlettel régi barátos…”. Colegamenti di amicizia di Coriolan Petranu con storici magiari". Studia Universitatis Babeș-Bolyai Historia Artium 65, n.º 1 (31 de diciembre de 2020): 107–26. http://dx.doi.org/10.24193/subbhistart.2020.06.
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"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "
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Bolognini, Maurizio. "Globalization, art and the art system". Ekistics and The New Habitat 73, n.º 436-441 (1 de diciembre de 2006): 191–95. http://dx.doi.org/10.53910/26531313-e200673436-441115.
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The author's research interests are: art, technology and democracy. On this latter subject he has published several essays and a book entitled Democrazia elettronica (Carocci, Rome, 2001). As an artist he has worked with digital technologies since the 1980s. One of his best-known works is Computer sigillati (Sealed Computers, 1992): more than 200 machines which are programmed to produce flows of random images and then left to work indefinitely, usually without monitors. His works have been exhibited widely in Europe and the USA. He has put on shows, presentations and performances in Paris, New York , Los Angeles, San Francisco, Sydney. His latest one-man shows include: Museo Laboratorio di Arte Contemporanea (Rome, 2003), WilliamsburgArt& Historical Center (New York, 2003), Museo di Arte ContemporaneaVilla Croce (Genoa, 2005). Latest books on his work: D. Scudero (ed.),Maurizio Bolognini: Installazioni, disegni, azioni (on/off line), (Lithos,2003); and S. Solimano (ed.), Maurizio Bolognini: Infinity out of Control(Neos, 2005). The text that follows was made available to the participants of the international symposion on "Globalization and Local Identity, " organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005, which the author was finally unable to attend.
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Esquivel, Patricia. "Art Narratives and Globalization". Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, n.º 2 (2011): 135–44. http://dx.doi.org/10.28937/1000106178.
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Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.
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Sansi, Roger. "Art, anthropology, and globalization". Journal of the Royal Anthropological Institute 22, n.º 1 (25 de enero de 2016): 204–6. http://dx.doi.org/10.1111/1467-9655.12341.
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Hallam, Huw. "Confronting Globalization". ARTMargins 3, n.º 1 (febrero de 2014): 87–101. http://dx.doi.org/10.1162/artm_r_00071.
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This article reviews Pamela M. Lee's Forgetting the Art World (2012) and TJ Demos's Return to the Postcolony (2013). Reviewer examines the texts' shared concern with self-reflexive art practices that in different ways work to expose their own conditions of existence with respect to globalization. Both authors, according to the review, engage with art as a privileged medium that is capable of materializing knowledge about globalization and that thereby holds some potential to shape, mediate, or confront its trajectory. After appraising both the originality and limitations of Lee's and Demos's approaches, reviewer concludes with an outline of the core issues and challenges that globalization poses for art-historical methods.
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Browning, Barbara. "Global Dance and Globalization: Emerging Perspectives". Dance Research Journal 34, n.º 2 (2002): 12–13. http://dx.doi.org/10.1017/s0149767700006811.
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Listening to the work presented at the 2001 meeting of the Congress on Research in Dance, “Transmigratory Moves,” one could not help noticing that both established and emerging dance scholars were in the process of attempting to find a fuller and more accurate way of understanding the relationship between global political and economic forces and movement praxis. The following articles (all extended versions of work presented at the conference) exemplify different aspects of these new initiatives in our field. As Shanti Pillai points out in her piece, the term “globalization” has tended to provoke two kinds of responses: either panic over the global imposition of American corporate culture, or else celebration of cultural hybridity and the resilience of indigenous forms. Both of these responses can often present a reductive view of what are, in fact, highly complex phenomena. All three of the articles presented here attempt a more nuanced narrative of the effects of traveling choreographic and movement practices.
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Khandekar, Nisha. "GLOBALIZATION AND WARLI TRIBAL ART". International Journal of Research -GRANTHAALAYAH 7, n.º 11 (30 de noviembre de 2019): 116–21. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3718.
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The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because of the Industrial Revolution and modernization tribal art is a dying activity, now survives only in isolated areas whose inhabitants have a proud tradition of art and making things for themselves. Significance of the art has changed, earlier it used to be a social and religious tradition and ritual for women and everyday life, now it is a source of livelihood and exploration of individual creativity and a symbol of cultural and artistic pride. Introduction of the new modern motif of airplane, car, school building, factory are not necessarily a conscious effort to make art more commercial but rather a reflection of the changing world of the artists and to make painting more consumer- related.
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Prokopowicz, Dariusz y Jan Rakowski. "REPORT ON THE 5TH CONGRESS OF MODERN ECONOMY ORGANIZED BY KPH OIG ON NOVEMBER 22, 2017: POSTULATED LEGISLATIVE CHANGES AND DRAFT LAWS". International Journal of Legal Studies ( IJOLS ) 2, n.º 2 (29 de diciembre de 2017): 363–89. http://dx.doi.org/10.5604/01.3001.0012.2259.
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As part of its activities, the Industrial and Commercial Congregation of the Polish Chamber of Commerce organizes periodically implemented meetings, conferences and congresses, during which debates regarding the need for systemic improvement of economic, normative, fiscal, etc. conditions are made to small and medium-sized companies in the trade sector operating in Poland. The main events integrating entrepreneurs, local government, economists, people of art and politicians organized periodically by the Industrial and Commercial Congregation of the Polish Chamber of Commerce include the Congresses of Polish Economy and the Congresses of Modern Economy. One of the last events of this type was organized by KPH OIG on November 22, 2017. The 5th Congress of Modern Economy. The issues discussed at the Congress debates continued the previous topics from the other KPH OIG congresses. Also draft laws and legislative changes were presented in the close connection with the legal regulations on the commercial business entities of the SME sector in Poland.
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Omarova, A. K., A. Zh Kaztuganova y D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY". BULLETIN 384, n.º 2 (15 de abril de 2020): 216–21. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.61.
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The interpretation of the category “genre” which is presented based on the classification of makom, due to its internal nature, causes disagreement among the scholars, and difficulties due to its designation of a specific type of work and/or national art form. In particular, the emphasis on circumstances related to the centuries-old, extended, regional, situational development in line with the oral tradition and in the frame of improvisational art, and the definition of the national type of musical art as a “genre” lead to disproportionate indicators in theoretical issues. In this regard, the reasons for the incorrect use of the category “genre” in the studies of the Kazakh kuy art were commented: in one case, it is correlated as a whole with the “kuy” phenomenon, in the other, it is used in relation to certain phenomena arising from the study of its internal distinctive nature. The “Triad of factors” – multivariance, cyclicity and locality – which formed the basis for conceptual generalizations of the famous musicologist T.B. Gafurbekov in the works revealing its system-forming nature in monodic culture is shown in conjunction with principles that reflect the genre specificity of instrumental music of the Kazakhs. The groups of macrovolume can include “Akzhelen”, “Kosbasar”, “Nauayi”, the microvolume barnch by Kurmangazy “Kisen ashkan”, “Kobіk shashkan”, “Turmeden kashkan” etc. The regional kuys with the same name by Kurmangazy, Dauletkerey, Dina “Zhiger” can be cited as an example. The situational kuys include “Kenes”, “16-zhyl” etc. As a final conclusion, the importance of considering the art of the Kazakh kuy in the system of monodic cultures and a new “clarification” of its inner nature is emphasized. From this point of view, the theoretical concept of T.B. Gafurbekov is updated as capable of forming a common scientific platform for studying the traditions of the Turkic-speaking peoples based on improvisation.
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Widodo, Wahyu. "HAL YANG RUMPANG DAN TIMPANG DALAM KEBIJAKAN PERENCANAAN BAHASA JAWA". Linguistik Indonesia 35, n.º 1 (25 de febrero de 2017): 33–52. http://dx.doi.org/10.26499/li.v35i1.54.
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There have been five congresses on Javanese language from 1991 to 2011. This indicates that there has been an effort to strengthen the Javanese identity through language engineering programs. There is an assumption that the Javanese people, especially the younger generation, nowadays tend to be monolingual than bilingual (Cohn & Ravindranath, 2014). Is Javanese language internally unable to face globalization challenges, and as a result it suffers from “impotence” and “complication”? (Djatmika, 2010). This article attempts to address the following question: What are the obstacles faced by Javanese language during its process of development? This article is based on the argument that the Javanese language planning through the language engineering program does not incorporate the ‘collective dream’ of its native speakers. The sources of data for this article come from the documents of Javanese congresses I-V and language policy documents pertaining to Javanese language preservation.
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ULUSOY, Demet. "ART IN THE CULTURAL GLOBALIZATION PROCESS". Ekonomik Yaklasim 9, n.º 30 (1998): 77. http://dx.doi.org/10.5455/ey.10295.
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Velthuis, Olav. "GLOBALIZATION OF MARKETS FOR CONTEMPORARY ART". European Societies 15, n.º 2 (mayo de 2013): 290–308. http://dx.doi.org/10.1080/14616696.2013.767929.
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CARROLL, NOËL. "Art and Globalization: Then and Now". Journal of Aesthetics and Art Criticism 65, n.º 1 (enero de 2007): 131–43. http://dx.doi.org/10.1111/j.1540-594x.2007.00244.x.
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Erjavec, Aleš. "International aesthetics and its congresses". SAJ - Serbian Architectural Journal 11, n.º 2 (2019): 263–72. http://dx.doi.org/10.5937/saj1902263e.
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In recent decades international congresses of aesthetics have been and remain the most visible and influential aesthetics gatherings in the world. At such congresses their participants strengthen their identification with aesthetics and separate themselves from it at the same time: they cover the broad and undefined territory called 'theory'. By taking place in different geographical and thereby specific cultural and historical localities, aesthetics congresses not only bring together foreign participants, but also bring domestic audiences into contact with global authors, themes, issues and methods. The themes, issues and methods mediated through art and philosophy help make aesthetics a relevant theoretic activity. This is true concerning some noteworthy recent events: the rise and decline of postmodernism; the reintegration of the former Eastern Europe into global culture; and a similar but also profoundly different transformation of aesthetics in China, where a new revival of aesthetics, often with Chinese colours, is intensively present. These are, I would claim, three historic events that have emerged in aesthetics over the past three decades. They are still with us today and thus remain crucial to understanding our reality. Exceptions exist too, proving that novel philosophical aesthetic theories are rare today but not impossible; such as that of Jacques Rancière, for example. These will be some of the main issues of this paper.
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DIDENKO, I. y O. FILATOVA. "AESTHETIC EDUCATION IN THE CONTEXT OF PEDAGOGICAL CONGRESSES OF 1862 - 1919". ТHE SOURCES OF PEDAGOGICAL SKILLS, n.º 27 (13 de diciembre de 2021): 92–96. http://dx.doi.org/10.33989/2075-146x.2021.27.247051.
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Current research is a historic and pedagogical study. It uncovers the problem of aesthetic education in the context of such a meaningful phenomenon of the education of the late 19th century and the early 20th century as pedagogical congresses. The study has proved that the issues of the aesthetic education were considered during almost every pedagogical congress from 1862 till 1919. This type of education was recognized as the necessary part of comprehensive and harmonious development of the child’s personality. Under different political conditions aesthetic education was discussed during the pedagogical congresses either as a separate issue or as an element of other types of education: labor, ethical, national and even physical ones. The main methods and means of the aesthetic education considered by the participants of the pedagogical congresses were the following ones: familiarizing with the works of the prominent foreign and national authors, excursions, getting to know the native land, national traditions, creative labor, different forms of recreation and entertainment, art and musical events, taking care of your appearance. For supporting pedagogical councils, the delegates of the congresses suggested to create aesthetic committees and professional councils. To cut the long story short, the participants of the pedagogical congresses were very attentive to the issues of the aesthetic education and considered it as one of the necessary elements of harmonious development of the personality What remained uncovered was the degree of implementation of the solutions and recommendations of the participants of the pedagogical congresses in the educational process of the schools, namely, what ideas were introduced and what left just on the paper.
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Muhtarom, Herdin, Ilham Arsandi, Dora Kurniasih, Nida Widia y Sulaeman Sulaeman. "PERUBAHAN BUDAYA JAKARTA: LUNTURNYA NILAI-NILAI KESENIAN ONDEL-ONDEL BETAWI DI ERA GLOBALISASI". ETNOREFLIKA: Jurnal Sosial dan Budaya 10, n.º 2 (30 de junio de 2021): 172–82. http://dx.doi.org/10.33772/etnoreflika.v10i2.1136.
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The times, especially in globalization era, will have an impact, one of which is on cultural changes in Indonesia. Similarly, the change occurs in Jakarta's culture, particularly Jakarta Ondel-ondel art which has changed in the term of its values. This research is intended to find out related cultural changes occurring in Jakarta, especially in Ondel-ondel art, in which the values of the ondel-ondel art begins to fade gradually due to deviations in the use of ondel-ondel in globalization era as a means of earning living through busking. In this study, we used a qualitative research approach through the library research method. The results of study indicate that in globalization era era, Jakarta people do not understand the meaning contained in the art of Ondel-ondel Jakarta, therefore a strategy is needed to maintain and develop Jakarta's Ondel-ondel art in globalization era and to restore the values contained in the art.
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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization". Arts and the Market 8, n.º 2 (1 de octubre de 2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.
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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.
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Potdar, Mahendra Jayprakash y Mukta Avachat-Shirke. "The Impact of Globalization and Economic Growth of Dhokra ART - Chhattisgarh- India". ECS Transactions 107, n.º 1 (24 de abril de 2022): 6261–72. http://dx.doi.org/10.1149/10701.6261ecst.
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Dhokra art is an example of Indian tribal art. This is a highly popular style all across the world. This style was initially known as "tribal," but it developed with time. In the beginning, it was limited to the Bastar region, but after some time, this region began to progress because of this art and globalization. Globalization had an impact on art and the society of Bastar. So this art is a major part of the Bastar economy. Its exports expanded not just within the country but also internationally, allowing these families to prosper financially. As a result, globalization has benefited both this art form and its economy. It plays a significant role in rural industries and the survival of rural people. Therefore, the art market is developing globally. Today, this art is an important source of employment in the Bastar region.
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Carter, Curtis. "Globalization and Cultural Identity of Art Works". Monitor ISH 19, n.º 2 (4 de diciembre de 2017): 81–110. http://dx.doi.org/10.33700/1580-7118.19.2.81-110(2017).
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Works of art are properly characterized as cultural objects, as opposed to being merely physical or perceptual objects. As cultural objects, works of art can be embodied in physical objects, but they require properties that physical objects do not necessarily possess, such as being intentionally composed in some artistic medium in a particular historic context informed by ideas, values, and technical skills and means offered by the culture. Works of art retain their identity in important respects, but may also undergo change when transferred from one culture to another. The identity of a work may be enriched and expanded to incorporate features acquired as a result of its being interpreted in a new cultural setting. An expanded and clarified account of culture is required to give a fuller characterization of the cultural properties that comprise works of art and to support the view that cultural identity in some sense transcends a culture of origin. Culture is a multi-phased concept involving at least three related elements. First, there are the particular art cultures consisting of art-making and their attending strategies of interpretation found in the art worlds of various societies. Secondly, the culture of a people consists of the broader societal, political, economic, religious, ideological, and other practices that define a culture. An additional element is world or global culture consisting of the features of art that enable people from diverse cultures to interpret and appreciate art from other cultures. Within these frameworks, the identity of art works is open and cumulative, with the result that they continuously acquire new properties over the duration of their existence.
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Mikaere, Anahera, Tamati Nikora, Hemi Nīkau y Roimata Paora. "The Impact of Globalization on Indigenous Art and Craft Industries: A Case Study of Maori Art in New Zealand". Studies in Art and Architecture 2, n.º 4 (diciembre de 2023): 26–33. http://dx.doi.org/10.56397/saa.2023.12.04.
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This comprehensive review explores the intricate relationship between Maori art, globalization, and cultural preservation. Tracing the historical evolution of Maori artistic expressions against the backdrop of globalization, the study delves into the contemporary significance of Maori art in preserving cultural identity. Global currents and their impact on Maori art are analyzed, covering economic dynamics, challenges, and opportunities presented by international demand. Strategies employed to safeguard and transmit traditional Maori artistic heritage are scrutinized, alongside governmental initiatives and institutional collaborations. The synthesis section recognizes achievements and challenges in integrating Maori art into the global arena, identifying the impact of globalization on traditional Maori art paradigms. Looking ahead, the study envisions a sustainable future for Maori art, proposing strategies for sustaining its vitality in an interconnected world.
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Taylor, Nora A. y Pamela N. Corey. "Đổi Mới and the Globalization of Vietnamese Art". Journal of Vietnamese Studies 14, n.º 1 (2019): 1–34. http://dx.doi.org/10.1525/vs.2019.14.1.1.
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Đổi Mới reforms triggered significant changes in the Vietnamese art world, including new institutional spaces, platforms for critical discourse, and growing artistic mobility. However, it is important to question the ways in which the use of Đổi Mới as a blanket indicator of artistic reform has further constructed a homogeneous representation of “Vietnamese contemporary art.” The authors consider the relationship of Đổi Mới to the “globalization” of Vietnamese art with attention to questions of art historiography (the coining of such terms as “post-Đổi Mới Vietnamese art”) and variations in regional developments (positing local art histories against the national narrative).
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Moscaluk, Marina V. "CHALLENGES OF GLOBALIZATION IN THE EURASIAN SPACE: ART AND NON-ART". Culture in the Eurasian Space, n.º 2 (2018): 102–6. http://dx.doi.org/10.32340/2541-772x-2018-1-102-106.
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Holii, Roman. "The phaleristic items (1919–1939) which are collected in the Institute of Research of Library’s Art Resources of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv". Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, n.º 11(27) (2019): 516–30. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-22.
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The library holds 87 phaleristic awards 1919–1939, from Austria, Great Britain, Canada, Czech Republic, France, Germany, Hungary, Poland, Serbia, Sweden, Ukraine, USA. Among these awards we can conditionally distinguish the following thematic groups: Ukrainian and Ukrainian related awards, foreign phaleristic, international professional congresses. In these groups it is possible to distinguish subgroups representing different individual aspects of social life in Ukraine and in other countries in 1919–1939. Ukrainian and Ukrainian related honors include: Ukrainian-language honors made in Ukraine; honors of the Ukrainian Diaspora; non-Ukrainian-language honors made on Ukrainian lands. Foreign phaleristics are represented by thematic subgroups: state distinctions (Serbian Order of Saint Sava, Polish medals, etc.); non-state public awards; phalleristics of public organizations (the Red Cross, associations of librarians, doctors, electricians, technicians and others); German and Polish phaleristics on the occasion of a plebiscite in Silesia in 1921; monuments of cultural and artistic events; business awards (ASEA, Leica, Germany) and more. Distinctions of international professional congresses concern mainly medical organizations: I General Congress of Slavic Physicians in Warsaw 1927; The 1st, 2nd and 3rd Congresses of the Union of Slavic Dermatologists (in Warsaw in 1929, in Belgorod in 1931 and in Prague in 1934); The Third International Pediatricians Congress, London, 1933; IX International Congress of Dermatologists in Budapest 1935. Available in the library’s collection a memorial award of the International Congress of the World Union of Electricity Producers and Distributors in Paris, 1928 (two variants of decoration with different mounting methods). Keywords: phaleristics, awards, international professional congresses.
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Ivonina, Liudmila. "Iconography of Peace Сongresses during the Formation of the Westphallian System". Eikon / Imago 10 (8 de febrero de 2021): 349–54. http://dx.doi.org/10.5209/eiko.74157.
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The formation of the first state system in Europe took place from the conclusion of the Peace of Westphalia in 1648, as a result of the Thirty Years’ War (1618-1648), to the Utrecht (1713), Rastatt-Baden (1714) and Nystad Congresses (1721) which finished the end of the war of the Spanish Succession and the Northern war. The legal fixation of the Westphallian system was accompanied by its public perception and acceptance. First of all, this was demonstrated by International Congresses, which were not only a common negotiation process, but also a place of representation of the significance and culture of each state. In fact, the European Congress was a carefully designed triumph of Рeace within the continent, which required considerable funds, was widely covered in the press and glorified in celebrations, paintings, plastic art, release of commemorative medals, poetry and even fashion. The article presents the most striking examples of iconography of Peace Congresses. The author believes that their performative nature and iconography, emphasizing the European character of Peace and the protopatriotic moods that it evoked, made a significant contribution to the civilization heritage of Europe.
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Smith, Terry y Saloni Mathur. "Contemporary Art: World Currents in Transition Beyond Globalization". Contemporaneity: Historical Presence in Visual Culture 3 (5 de junio de 2014): 163–73. http://dx.doi.org/10.5195/contemp.2014.112.
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An edited transcript of a colloquium between Terry Smith, Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, and Saloni Mathur, Associate Professor of the History of Art, University of California, Los Angeles, held at the Department of the History of Art and Architecture, University of Pittsburgh, on October 17, 2012.
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AP, Moreno. "Brazilian Contemporary Art in the International Art Market". World Journal of Social Science Research 10, n.º 4 (14 de octubre de 2023): p74. http://dx.doi.org/10.22158/wjssr.v10n4p74.
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With changes in the art world, the Brazilian Contemporary art becomes an interesting subject to be analyzed in its relationship to the art market dynamics. The international art market has been growing since late 90s thanks to globalization. In this sense, the problematization of the research lies in an economical perspective of the art market to understand Brazilian Contemporary art internationalization through art fairs, biennials, art galleries and auction houses. With this analysis, the objective is to present an opinion about the panorama of Brazilian Contemporary art and its international market insertion.
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Sharma, Archana. "IMPACT OF GLOBALIZATION ON PAINTING". International Journal of Research -GRANTHAALAYAH 2, n.º 3SE (31 de diciembre de 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3642.
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Art plays an important role in the development of any country. Art is considered a medium for realizing beauty or prosperity. Architecture, sculpture, painting and music have been considered under fine arts. Both painting or poetry is a means of expressing the inner feelings of man. Today in painting, it is possible that even if color does not make sense, it can reach the mind directly and make you feel happy. Art is said to be a response to the realization of truth. By combining Rupo in pictures, the eyes get satiety. Through the eyes, there is a cook in different minds in the mind of the audience.
किसी भी देष के विकास में कला का महत्वपुर्ण योगदान होता है। कला को सोन्दर्य अथवा समृद्वि को साकार करने का माध्यम माना गया है। वास्तुकला, मूर्ति कला, चित्रकला तथा संगीत को ललित कला के अन्तर्गत माना गया है। चित्रकला हो या कविता दोनो ही मनुष्य की आंतरिक भावनाओं को व्यक्त करने का एक माध्यम है। चित्रकला में आज ऐसा संभव है कि रंग का अर्थ न निकले फिर भी वह सीधे मन तक पहुॅच कर रसानुभूति करा सकता है। कला को सत्य की अनुभूति की अनुक्रति कहा गया है। चित्रो में रूपो के संयोजन से नेत्रो को तृप्ति मिलती है। आंखो के माध्यम से दर्षक के मन में विभिन्न भावो से रसोदे्रक होता है।
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Mota-Gutiérrez, Cecilia Guadalupe, Edgar Omar Reséndiz-Flores y Yadira Iracema Reyes-Carlos. "Mahalanobis-Taguchi system: state of the art". International Journal of Quality & Reliability Management 35, n.º 3 (5 de marzo de 2018): 596–613. http://dx.doi.org/10.1108/ijqrm-10-2016-0174.
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Purpose The purpose of this paper is to show a bibliographical review of the applications of the MTS throughout the time and the different fields. Design/methodology/approach The Mahalanobis-Taguchi system (MTS) is an analytical method used for the diagnosis and/or pattern recognition of multivariate data for quantitative decision making. Findings Its scope is very broad, ranging from engineering, medicine, education, and manufacturing, among others. This work presents a classification of the literature in the following areas of the MTS: introduction of the method, cases of study/application, comparison with other methods, integration and development of the MTS with other methods, construction of Mahalanobis space, dimensional reduction and threshold establishment. It realized a wide search of the publications in magazines and congresses. Originality/value This paper is a summary of the main applications, contributions and changes to MTS.
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Samoraj, Mariusz. "Współpraca Zakładu Teorii Wychowania Estetycznego z INSEA. Historia i współczesność". Kwartalnik Pedagogiczny 62, n.º 4 (246) (7 de febrero de 2018): 139–51. http://dx.doi.org/10.5604/01.3001.0010.8431.
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This article deals with the co-operation of the Unit of Theory of Aesthetic Education with the International Society for Education through Art (INSEA) in historical and contemporary perspectives. It also reflects upon the role of art education in contemporary educational movement. The reflection is based on the analysis of contemporary trends in this field, including the reports from selected INSEA congresses. The collected material allows us to present important theoretical contexts of art education and to explore practical solutions in this area of education. The remarks refer to more than fifty years of cooperation of the Department of Theory of Aesthetic Education with INSEA and concern various forms of cooperation of an international organisation with European institutions.
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Fleming, Alison C. "Jesuit Visual Culture: Communication, Globalization, and Relationships". Journal of Jesuit Studies 6, n.º 2 (21 de junio de 2019): 187–95. http://dx.doi.org/10.1163/22141332-00602001.
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The visual arts are a powerful tool of communication, a fact recognized and utilized by the Jesuits from the foundation of the order. The Society of Jesus has long used imagery, works of art and architecture, and other aspects of visual and material culture for varied purposes, and the five articles in this issue of the Journal of Jesuit Studies explore how the art they commissioned exemplifies the ideals, goals, desires, and accomplishments of the Society. In particular, these five scholars examine a wide array of images and ideas to consider myriad relationships between the Society and works of art in the early modern period, and the implications of their increasingly global footprint.
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Shatilov, Vadim Vadimovich. "The impact of globalization on the art market and national art cultures". Философия и культура, n.º 8 (agosto de 2023): 36–45. http://dx.doi.org/10.7256/2454-0757.2023.8.43782.
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The object of the study is the process of globalization, the subject of the study is its impact on the structure of the art market and national artistic cultures. Based on the idea of a dialogical cultural model, which was adhered to by V. Bybler and M. Bakhtin, the author justifies the use of the term "dialogue of cultures" to characterize the processes taking place in the space of the modern art market. Special attention in the study is paid to the analysis of its structural transformations: according to the author, inclusivity, which primarily consists in the decentralization of the internal structure of the art market, is a key characteristic that allows to periodize its development into classical and modern stages. A special contribution of the author of the study is an in-depth analysis of exhibition projects: "Magicians of the Earth" by J.-Y. Martin, as well as "Cities in Motion" by H.-W. Obrist and H. Hanru. It is established how these projects aroused the interest of Western collectors in the exotic and changed the share of representation in the art market of non-European art. The main conclusion is that the process of globalization of the art market acutely poses the problem of deformation of the perception of cultural heritage: the appeal of the Western world to traditional cultures in the forms of cultural and art tourism leads to fragmentation and differentiation of once integral national artistic cultures.
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Messell, Tania. "Globalization and Design Institutionalization: ICSID’s XIth Congress and the Formation of ALADI, 1979". Journal of Design History 32, n.º 1 (19 de octubre de 2018): 88–104. http://dx.doi.org/10.1093/jdh/epy040.
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Abstract The International Council of Societies of Industrial Design (ICSID) was founded in London in 1957 to raise the professional status of designers and to establish international standards for the profession. By the 1970s the Council had expanded its attempts to rationalize local production processes in developing countries and spur their entry into international markets, in line with the United Nations Industrial Development Organization’s (UNIDO) programme. As this article reveals, Latin America represented a crucial zone of intervention for the ICSID, whose efforts culminated in a congress held in Mexico City in 1979, organized around the theme ‘Industrial Design and Human Development’. The event nevertheless exposed heightened concerns about ICSID’s development policies and centralized structure, alongside the creation of the Latin American design organization ALADI by a circle of Latin American designers, who promulgated the benefits of place-based design practice and regional cooperation towards Latin America’s economic and cultural independence. Mapping ICSID’s initiatives in the region in the 1970s and examining the multifarious reception of the Council’s design precepts by Latin American design circles, this article highlights how processes of translation shaped their interactions, ultimately countering a ‘diffusionist’ model of cross-cultural exchanges.
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Gaskell, I. "Spilt Ink: Aesthetic Globalization and Contemporary Chinese Art". British Journal of Aesthetics 52, n.º 1 (1 de enero de 2012): 1–16. http://dx.doi.org/10.1093/aesthj/ayr052.
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Harris, Jonathan. "Introduction: The ABC of Globalization and Contemporary Art". Third Text 27, n.º 4 (julio de 2013): 439–41. http://dx.doi.org/10.1080/09528822.2013.816585.
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Xie, Wenqian. "On Chinese feminist art from the perspective of globalization". BCP Education & Psychology 6 (25 de agosto de 2022): 152–63. http://dx.doi.org/10.54691/bcpep.v6i.1784.
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In comparison with the expression of feminist art during the second wave of the feminism movement in the United States, Chinese feminist art embodies similar development paths but with different pursuits. Immigrant countries determine that feminist art in the United States has different aims on account of artists of different races and nationalities, such as black women discussing racial discrimination and immigration; European immigrants criticize patriarchy from the perspective of Western art history; and LGBT people are oppressed by society. However, Chinese feminist art also has its own unique artistic expression objects and goals in the development and evolution of feminist theory. Aiming at the prevalent problem of preference for boys over girls and gender inequality, Chinese female artists criticize the hidden gender discrimination in society in a particular way.
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TSAGARELI, Tamar. "Problems of Th eatrical art in the XXI century". Arta 31, n.º 2 (enero de 2023): 84–86. http://dx.doi.org/10.52603/arta.2022.31-2.12.
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From the last decades of the XX century to the present, the overall processes of integration have a total character in all spheres of human activity. In general, the cosmic quickness of development of technologies and especially information technologies have long removed the borders between different countries and civilizations. This triumphal move of globalization on our planet is a quite difficult process full of resistances. Its ongoing process is far ahead of comprehensive deliberation and assessing of possible positive and negative consequences raised by this occurrence. Despite the fact that historically globalization is a fully natural process, which certainly has not started only in the last decades of the XX century; some people consider the renaissance epoch as its beginning. There are people who think that this process originates from ancient times alongside with the development of mankind’s traditional cultures. However, subsequently in later history, it goes beyond the traditional boundaries of culture and often plays a destructive role towards it. During the discussions around globalization, there often appear catastrophic and apocalyptic visions. On the one side are those who consider globalization as historically inevitable and a progressive comprehensive occasion, while others emphasize the dangerous nature of this occasion for distinctiveness and development of different cultures and civilizations.
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Urošević, Marija, Marina Stanojević y Dejan Đorđević. "Urban Tourism Destinations in the World". Economic Themes 61, n.º 3 (1 de septiembre de 2023): 343–64. http://dx.doi.org/10.2478/ethemes-2023-0018.
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Abstract In recent decades, cities have faced numerous problems related to the accelerated process of urbanization, which leads to ecological, spatial and social consequences. At the same time, globalization destroyed productive activities and created structural problems related to unemployment. For these reasons, cities are trying to attract new and growing industries that will provide jobs and enable the physical and economic regeneration of cities. One of the activities that increases employment and enables the urban regeneration of certain city zones is tourism. Urban tourism at the end of the 20th and beginning of the 21st century, with the process of globalization and the use of shorter vacations by tourists, experienced an expansion in the number of visitors, as well as the number of urban destinations. Urban destinations, as powerful financial, traffic, political, trade, etc. centers, in addition to cultural, architectural, construction, artistic, historical and environmental heritage, provide diversity and quality of tourist offer, completed by organizing congresses, professional gatherings, sports fairs, etc. Large world agglomerations, as the most important destinations of urban tourism, are visited annually by several million tourists.
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Obszyński, Michał. "Autour des congrès des écrivains et artistes noirs et des festivals panafricains – entretien avec Sarah Frioux-Salgas". Cahiers ERTA, n.º 35 (30 de septiembre de 2023): 125–48. http://dx.doi.org/10.4467/23538953ce.23.027.18477.
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Black Writers’ and Artists’ Congresses and Pan-African Festivals - values and issues of intellectual debates and artistic events from the 1950s to today - interview with Sarah Frioux-Salgas Focusing on the major intellectual debates surrounding the Black and African Renaissance, the interview with Sarah Frioux-Salgas, head of archives and collections’ resources at the Musée du quai Branly-Jacques Chirac media library, covers topics such as the role of Black writers’ and artists’ congresses and art festivals in the cultural reaffirmation of Black people during the decolonization era of the 1950s-60s, the place of literature in the shaping of Black pan-African and transcontinental solidarity, the figure of the Black intellectual, particularly that of Léopold Sédar Senghor, and the networks of ideological affinities and antagonisms formed by Black writers, artists and activists. The interview aims to highlight the complexity of the socio-political and aesthetic issues at stake, all too often summed up in simplified definitions of projects such as negritude or Pan-Africanism.
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Zolfalipour, Leila. "Threads of Tradition and Global Expression: Persian Rugs Unraveled through Paintings and Globalization". Crossings: An Undergraduate Arts Journal 4, n.º 1 (7 de julio de 2024): 39–43. http://dx.doi.org/10.29173/crossings253.
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Abstract: Unravelling Persian Rugs: Art, Tradition and Globalization This study investigates the dynamic relationship between Persian rugs, art, and globalization, following their transformation from functional objects to powerful symbols of identity. The study examines representations in paintings from various historical periods, highlighting the nuanced interplay between these textiles and global influences. Persian rugs have served as conduits for cross-cultural communication throughout history, from luxury in the Renaissance to modernistic interpretations in the twentieth. Through case studies, the paper delves into narratives that connect tradition and transformation, contributing to a better understanding of art, culture, and our shared human journey.
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Tavares, Paula, Maria João Félix y Pedro Mota Teixeira. "Mapping Culture and Compromised Art in the Era of Globalization". International Journal of E-Politics 3, n.º 1 (enero de 2012): 42–53. http://dx.doi.org/10.4018/jep.2012010104.
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This work presents an analysis of the cultural and artistic field, positively compromised with social and political questions. The authors start with the categorization of the idea of culture and move to vindication art movements. These movements, which followed the first vanguards and worked from the compromise with “otherness”, are at the origin of the contemporary denomination of political art. In this context, the authors approach the origins of activist art, referring to issues of gender, multiculturalism, globalization, and poverty. The different forms of presenting content are also an object of analysis: from art tradition to the contamination of daily life, from local to global, from street contact to digital.
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Wah Man, Eva Kit. "About Nature: Discourses on the Boundaries of East and West in Curtis Carter’s Concern over Contemporary Chinese Art". AM Journal of Art and Media Studies, n.º 22 (15 de septiembre de 2020): 43–53. http://dx.doi.org/10.25038/am.v0i22.383.
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American aesthetician Curtis Carter demonstrates genuine concern for the subject of nature in contemporary Chinese art and its representations. He correctly points out that the Chinese tradition of featuring nature in the arts represents an imaginary paradise grounded in an idealized nature. Carter’s concern regarding China’s entry into a state of globalization is the impact of Westernizing globalization on the place of nature in Chinese art. Before discussing his concern, this article provides a review of the meaning of nature in traditional Chinese art and revisits ink painter Shitao’s notion of nature in his most representative painting notes, Hua-pu. Curtis also mentions the Chinese garden, stating that gardens in urban settings are supposed to maintain the presence of nature, and exemplifying them as symbolic presentations of nature. In addressing Carter’s concern, a review of the aesthetic experience of visiting a Chinese garden is provided for background. Carter also suggests examining the practices of contemporary Chinese experimental art versus the practices of traditional art to determine whether nature will retain a significant place in today’s Chinese art practices under the strong influences of globalization. This article examines the contemporary ink landscape scene and suggests that new Chinese art involves the invention of new paradigms in art creation, the resources of which are now available globally, and that representations of nature and reality are transforming. Article received: April 30, 2020; Article accepted: June 25, 2020; Published online: September 15, 2020; Review article
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Prokopowicz, Dariusz y Jan Rakowski. "JUBILEE'S REPORT OF THE 14TH CONGRESS OF THE POLISH ECONOMY FOR THE 15TH ANNUAL OF THE COMMERCIAL INDUSTRY CONGREGATION OF THE POLISH CHAMBER OF COMMUNITY". International Journal of New Economics and Social Sciences 6, n.º 2 (22 de diciembre de 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.7650.
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The key factor for the effective development of business entities in market conditions is the issue of activating innovation and entrepreneurship, because in this way it is possible to significantly increase the economic efficiency of a given entity, improve the financial situation and, consequently, increase tax revenues to the state budget. In addition, the improvement of business and social relations between enterprises and state and self-government authorities is also particularly important. In connection with the above, the importance of chambers of commerce acting as the integrators of the business community, self-government and state authority institutions and other public entities is growing. One of such chambers of commerce is the Industrial and Commercial Congregation of the Polish Chamber of Commerce, which also integrates the business community with the institutions of locally operating local government units and the regional economic chambers cooperating with them, which mainly associate locally operating entrepreneurs. As part of its activities, the Industrial and Commercial Congregation of the Polish Chamber of Commerce organizes periodically implemented meetings, conferences and congresses, during which debates regarding the need for systemic improvement of economic, normative, fiscal, etc. conditions are made to small and medium-sized companies in the trade sector operating in Poland. The main events integrating entrepreneurs, local government, economists, people of art and politicians organized periodically by the Polish-American Chamber of Commerce and Industry are the Congresses of Polish Economy and the Congresses of Modern Economy. One of the last events of this type was the Jubilee XIV Congress of Polish Economy organized on June 21, 2017 in Warsaw on the occasion of the 15th anniversary of the Polish-Ukrainian Chamber of Commerce and Industry. This Congress, which is the subject of the next chapter of this study, continued the problems raised during debates taking place during previous KPH OIG Congresses.
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Burke, Peter. "The Jesuits and the Globalization of the Renaissance". Cultural History 9, n.º 2 (octubre de 2020): 156–70. http://dx.doi.org/10.3366/cult.2020.0219.
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Following a brief discussion of comparative and entangled history, and of the extension of studies of the Renaissance to the world beyond Europe, this article focusses on the Jesuits as carriers of the ideas and forms of the European Renaissance to their mission stations in Asia and the Americas. In their attempts to adapt or ‘accommodate’ Christianity to the cultures of the peoples that they were attempting to convert, Jesuit missionaries made use of Renaissance humanism, rhetoric, grammar and the concern with manners and customs that was later known as ethnography. The missionaries also made use of art and architecture in the Renaissance style to reinforce the Christian message. Their use of local craftsmen had the unintended consequence of introducing new elements into this western style, producing a hybrid art. However, without wanting it or even knowing it, the Jesuits prepared the way for the later reception of western art in India, China and Japan.
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de la Fuente, Eduardo. "Book Review: Complex Entanglements: Art, Globalization and Cultural Difference". Thesis Eleven 81, n.º 1 (mayo de 2005): 137–41. http://dx.doi.org/10.1177/072551360508100115.
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Wilson, Bronwen y Angela Vanhaelen. "Introduction: Making Worlds: Art, Materiality, and Early Modern Globalization". Journal of Early Modern History 23, n.º 2-3 (28 de mayo de 2019): 103–20. http://dx.doi.org/10.1163/15700658-12342631.
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Abstract Willem Janszoon Blaeu’s engraved wall map of America is used to introduce some of the potential for imaginative forms that resulted from the confrontation between early modern global forces and the mobility of materials and artisanal practices. Cartographic lines, pictorial forms, and texts comingle on the printed page, sometimes working together towards a totalizing document of lands and peoples, but also giving rise, through calligraphic inventions and ornamentation, to detours and unpredictable movements. These tensions, and concomitant social and political implications, are considered in relation to terms, notably globalization and mondialisation, and evolving historiographic questions and arguments. Through the concept of cosmopolitan spaces, we highlight the volume’s focus on connectivity. Together, the Introduction and the essays make a case for the global as an approach as much as an archive, an approach that is attentive to the migrations and heuristic value of visual and material evidence.
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Eichengreen, Barry. "The Art of Adaptation: Globalization and the European Model". Current History 105, n.º 695 (1 de diciembre de 2006): 430–34. http://dx.doi.org/10.1525/curh.2006.105.695.430.
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However well the European economy may have performed in the past, there are reasons to worry about whether it can keep pace in a world of accelerating technical change and global competition led by the rise of India and China.
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Lawton, Brianne y John Nauright. "Globalization of the traditional Okinawan art of Shotokan karate". Sport in Society 22, n.º 11 (25 de mayo de 2019): 1762–68. http://dx.doi.org/10.1080/17430437.2019.1617506.
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Barra, Monica Patrice. "Re-imagining the city: art, globalization, and urban spaces". Journal of Cultural Geography 31, n.º 2 (4 de mayo de 2014): 250–52. http://dx.doi.org/10.1080/08873631.2014.918366.
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Holmes, Ros. "Experimental Beijing: gender and globalization in Chinese contemporary art". Journal of Gender Studies 28, n.º 5 (20 de mayo de 2019): 620–21. http://dx.doi.org/10.1080/09589236.2019.1617965.
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