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1
Eogan, George. "Megalithic Art and Society". Proceedings of the Prehistoric Society 65 (1999): 415–46. http://dx.doi.org/10.1017/s0079497x00002073.
Testo completoAbstract (sommario):
Megalithic art is associated with passage tombs in Atlantic Europe. But it is not found in all areas, rather it has a restricted distribution. In those areas where it occurs it is very often associated with large and, therefore, prestigious tombs. These tombs have a confined distribution within defined areas. It can be argued that such areas indicate tribal regions within which elite societies existed and where cohesion was provided by a leader, possibly in the form of a chief.
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Silver, Larry, e Richard Cohen. "Jewish Icons: Art and Society in Modern Europe". Jewish Quarterly Review 89, n. 1/2 (luglio 1998): 241. http://dx.doi.org/10.2307/1455312.
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Hyman, Paula E., e Richard I. Cohen. "Jewish Icons: Art and Society in Modern Europe". American Historical Review 104, n. 3 (giugno 1999): 979. http://dx.doi.org/10.2307/2651113.
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VELYCHKO, Oksana. "MUSICAL ART IN MIRROR OF ENLIGHTENMENT IDEAS". Bulletin of the Lviv University. Series of Arts Studies 109, n. 21 (2023): 11–15. http://dx.doi.org/10.30970/vas.21.2023.12125.
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The article is devoted to the establishment of music – performing activities in the first half of the XVIII century. Developing pedagogy and music education received support educated society and royalty, which was an effective factor in the development of European performance. The subsequent capitalization of Europe laid the foundations for the process of specialization and division of labor in all spheres of human activity, in particular the differentiation of professions in art. Gradually there was a distinction between the professions of composer, performer and teacher.
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Levy, Jane. "JEWISH ICONS: ART AND SOCIETY IN MODERN EUROPE. Richard I. Cohen". Art Documentation: Journal of the Art Libraries Society of North America 18, n. 1 (aprile 1999): 56–57. http://dx.doi.org/10.1086/adx.18.1.27949007.
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Sorensen Zapalac, Kristin Eldyss. "Jewish Icons: Art and Society in Modern Europe (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 18, n. 2 (2000): 118–20. http://dx.doi.org/10.1353/sho.2000.0043.
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Esanu, Octavian. "What was Contemporary Art?" ARTMargins 1, n. 1 (febbraio 2012): 5–28. http://dx.doi.org/10.1162/artm_a_00003.
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This article contributes to a recent debate around the question “What Is Contemporary Art?” It brings into discussion certain key aspects of the activities of the Soros Centers for Contemporary Art (SCCA)—a network of contemporary art centers established by the Open Society Institute in Eastern Europe during the 1990s. The author draws upon distinctions between this new type of art institution and the Union of Artists (the organizations which represented the interests of artists under socialism), highlighting distinct artistic, aesthetic and economic characteristics of each institutional model.
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Glišić, Jelena. "Educational Policies and the Labour Market in the Visual Arts – the Paradigm Shift". AM Journal of Art and Media Studies, n. 9 (15 aprile 2016): 145–56. http://dx.doi.org/10.25038/am.v0i9.124.
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This paper presents the key findings of an extensive research into the role of university-level visual art education in the preparation of visual artists for the successful transition from the academic environment to the art ‘labour market’. Starting from an assumption that higher visual arts education may be a significant factor in redefining the career paths of the visual arts graduates in Serbia, it reviews the recent changes in concepts and programs of university-level visual arts education in Europe and in Serbia. Education policies increasingly foresee the necessity of conscious compliance of education with society as a whole, bearing in mind the wide range of social roles that visual art and professionals from this field may assume. This is especially important for Serbia, since culture is considered one of the country’s most important assets in re-positioning itself on a mental map of Europe. In this paper I will map the main issues, briefly present the historical development of art school programs in Europe and in Serbia, and I will present the concept of the Management in Fine Arts course designed for the BA level at the Fine Art Schools which was designed to endow students with the opportunity to attain basic ‘labour market skills’, and provide them with knowledge and skills necessary to direct their professional development in such manner to enable them to easily find their place in various areas of contemporary society.
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Bolognini, Maurizio. "Globalization, art and the art system". Ekistics and The New Habitat 73, n. 436-441 (1 dicembre 2006): 191–95. http://dx.doi.org/10.53910/26531313-e200673436-441115.
Testo completoAbstract (sommario):
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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long, xingyang. "Chinoiserie in European painting of the XVII-XVIII centuries". Философия и культура, n. 5 (maggio 2023): 1–10. http://dx.doi.org/10.7256/2454-0757.2023.5.40630.
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After 1604, Chinese art through Chinese goods rapidly and widely penetrated into European society and had a profound impact on European art and aesthetics.During the century of the popularity of everything Chinese in Europe, it was Chinese goods represented by porcelain and flowing silk that were most directly related to people's lives. From the second half of the XVII century to the second half of the XVIII century, European culture and art experienced a boom in Oriental art. A number of innovative artists began to change their traditional interests and methods of painting, creating many masterpieces with a Chinese flavor. Thus, a new page was opened in the history of Eastern and Western painting. China and Europe, two advanced human civilizations.It took quite a long time before the fog of myths and legends that enveloped China and Europe, the two highest civilizations of mankind, dissipated, until the true nature of China was revealed in the XVIII century. This work is divided into the following three parts: The emergence of Chinoiserie; Rococo and Watteau painting; The decline of Chinoiserie. Documentary studies, comparative analysis and case studies are used to study the phenomenon of China's popularity, which has engulfed Europe as a direct consequence of the spread of Chinese culture in the West.
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Dietze, Horst. "Kunstverleih - Warum?" Art Libraries Journal 12, n. 3 (1987): 19–24. http://dx.doi.org/10.1017/s0307472200005253.
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The loan and hire of contemporary original works of art has a long but littleresearched history. Its recent development, in and outside public libraries (particularly in the USA, Canada, Europe, and Israel) began essentially after 1945. Its nature and scope is strongly influenced by contemporary art. Art loans are worth promoting because art plays a lesser role in our cultural life compared to music and literature, because of the gulf between contemporary art and the public at large, as a means of securing and developing the role of the artist in society, and to foster discrimination and visual literacy in an age dominated by images of all kinds.
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Zdioruk, Serhiy. "Etno-confessional features of Ukraines integration into the united Europe". Religious Freedom, n. 20 (7 marzo 2017): 107–19. http://dx.doi.org/10.32420/rs.2017.20.873.
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In all societies, at least prior to the Enlightenment, religion served as a basis for formation of ideology determining the existence of culture. All important areas of society and its institutions were determined by the religious legitimacy this way or the other. Today they are separated from the order of life and culture specified for the society as a whole by the religion and have the status of independent subsystems. However, in fact, religion has become one of the spheres of social life. Now it coexists with the art, philosophy, science, politics, economics and so on. According to the differentiation and specialization of society the individual acquires the status of free and autonomous entity: he is not required to submit to the power of the religious tradition. He is free to use the opportunities to choose any branch of knowledge opening prospects for his capacities. Man has the right to profess any religion or profess none being limited to purely secular activities.
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Luhovska, Anna. "Ontological Foundations of Conceptualization of Art Institutions". Artistic Culture. Topical Issues, n. 17(1) (8 giugno 2021): 171–76. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235252.
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The article describes the stages of formation and the main reasons for the transformation of the current art institutional system. Its characteristics, conventional to Europe at the end of the 18th century, became common to most countries by the second half of the 19th century. Globalization processes that accompany the entire history of the previous century are the key factor of the rapid changes in society, including the art sphere. The role of global economic changes with the orientation on the society of consumption, on the growing importance of art market, commercialization of culture in general, emergence of new technologies and changes in attitudes to contemporary art in all its manifestations were observed. The reasons for shifting the emphasis and rethinking the role of artist, curator and spectator in the modern mode of existence of art institutions were analyzed. The conditions for updating existing and new forms of art representation, as well as expanding the concept of an artwork and the difference in understanding its value in historical and commercial terms that do not always coincide, were described.
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Rountree, Clarke. "The Origins of the Kenneth Burke Society". Literature of the Americas, n. 9 (2020): 195–207. http://dx.doi.org/10.22455/2541-7894-2020-9-195-207.
Testo completoAbstract (sommario):
The Kenneth Burke Society was founded during Burke’s lifetime by scholars in communication, literature, sociology, and other fields to promote the study and application of Burke’s copious works and fertile ideas. Burke had become the leading writer on rhetorical theory in the twentieth century, as well as a notable literary critic, fiction writer, poet, and translator. His century of scholarly publication—including posthumous works twenty-five years after his death in 1993—have provided plenty for members of the Society to analyze, debate, and elaborate upon. The Society has sponsored triennial conferences in the United States since 1990, featuring notable keynote speakers, seminars in various topics led by Burke scholars, and social events, including music performances by Burke’s talented family. The Society also has supported an online journal, a number of edited books drawn from its conferences, a listserv, and a newsletter (now discontinued). It is affiliated with a half-dozen other scholarly organizations. Most members of the Society are in the United States and Canada, where the study of rhetoric has grown in importance particularly during the latter part of the twentieth century (with Burke’s help) and up until the present. Recently, interest in rhetoric and in Burke has returned to Europe, which developed rhetorical theory and made it a central art in public education for more than 2000 years. The first “Burke” conference in Europe was held in 2013. The Kenneth Burke Society has made outreach to Europe a central goal in its future development.
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Shelepnytska-Govorun, Natalia. "PERIODIZATION OF VOCAL CULTURE DEVELOPMENT OF MUSIC ART SPECIALISTS IN EUROPE". Academic Notes Series Pedagogical Science 1, n. 195 (2021): 49–52. http://dx.doi.org/10.36550/2415-7988-2021-1-195-49-52.
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The article shows the periods of vocal development culture of music specialists in Europe. The article considered preconditions for the development of vocal culture of music art specialists in Europe. The table «Evolution of the development of vocal culture of music professionals in Europe during different stages» is presented in the article. It shows a brief description of the epoch and period. The article gave in more detail the features of formation of vocal culture of musical art specialists are determined, and also their characteristic in the European countries, such as: Italy, Germany, Great Britain, France, Austria, Poland. The emphasis of vocal culture, one of the most important components of the professional culture of music artists, is due to the specifics of his vocal and pedagogical activities, which is aimed at forming a personality capable of reproducing and enriching the culture of society in the future. The culture of future specialists in the art of music has undergone certain periods in the process of socio-cultural development. It, as a phenomenon of pedagogical practice, has always existed, but had different social and professional purposes depending on the influence of various factors: the political situation; moral relations that developed in society; dominant religion; type of education. Of course, knowledge of the origins, knowledge of the periods of origin and development of musical art, which took place over the centuries, is important for understanding both the current challenges of vocal culture and to determine its further development. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe.
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Cano Sanchiz, Juan Manuel. "Spaces and roles of contemporary art in industrial and technological ruins". Arte, Individuo y Sociedad 34, n. 1 (10 gennaio 2022): 85–107. http://dx.doi.org/10.5209/aris.72669.
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This article proposes some potential contributions of contemporary art to industrial and technological heritage discussions. The paper analyses the relations among art, industrial ruins, technological trash, heritage, and society from an archaeological perspective, although this standpoint is compared to and complemented with those of art and art history. First, the text presents how industrial sites and technological artefacts from the recent past are transformed for/by the artists. In doing so, it offers a preliminary basic typology of art-obsolescence relations illustrated with cases from Europe, Asia and the Americas. Four major kinds of interactions are introduced: the conversion of abandoned industrial buildings into art galleries and museums; the transformation of larger obsolete industrial/technological areas into creative hubs; the intervention of artists in industrial ruins; and the creative recycling of technological waste. Second, the text infers from the examples provided in the typology three possible functions of art regarding heritage: revelation/addition of value; mediation between the public and dark heritages; and recognition in technological and industrial history. In the end, the paper defends the role of art in the making of industrial and technological heritages, as well as in reconnecting them to society.
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Vereshchahina-Biliavska, Olena, Nataliia Mozgalova, Iryna Baranovska, Yuliia Moskvichova e Olesia Cherkashyna. "ANTHROPOLOGICAL DIMENSIONS OF THE MODERN MUSICAL ART OF EASTERN EUROPE". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (28 maggio 2021): 716–26. http://dx.doi.org/10.17770/sie2021vol4.6331.
Testo completoAbstract (sommario):
The peculiarities of the world model and the human model in the Eastern European music art of the postmodern era were revealed. The research is based on a hermeneutical analysis of the contemporary Russian and Ukrainian composers’ works. The research method builds on the systematic and historical approaches. It allows to consider the individual musical text as a subsystem of a higher order system. The sociocultural context was considered. The scientific novelty consists in revealing the specifics of the Eastern European artists’ worldview of the last third of the XX and beginning of the XXI centuries. It is the consequence of studying their creativity in an anthropological dimension. The anthropological essence of the music of contemporary Ukrainian and Russian composers lies in a certain inconsistent polarity. The polarity is represented by the ironic and fragmented worldview combined with the religious quest. The awareness of the chaos and apocalyptic culture is combined with the religious support in its various manifestations. Therefore, the character in modern music has a dual essence. He is both marginal and a personality with strong spiritual support. In the works of contemporary Russian and Ukrainian composers, two postmodern worldview poles are organically combined: a destructive worldview and a desire for harmony. This polarity is caused by the crisis mentality of the modern post-totalitarian society.
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Scuderi, Giuliana. "Retrofit of Residential Buildings in Europe". Designs 3, n. 1 (24 gennaio 2019): 8. http://dx.doi.org/10.3390/designs3010008.
Testo completoAbstract (sommario):
Recently, many cities in Europe are encouraging the recovery of the existing residential heritage. To maximize the benefits of these campaigns, a multi-purpose campaign of architectural, functional, and structural retrofit is essential. Additionally, a fast-changing society requires new living criteria; new models need to be developed to respond to the developing requirements of communities and markets. This paper proposes a method of analysis for 49 residential retrofit projects, a range of “best practices” presented through the definition of strategies, and actions and thematic packages, aiming at reassuming, in a systematic way, the complex panorama of the state of the art in Europe. Each project was analyzed using a data sheet, while synoptic views and tables provided key interpretations and a panorama of strategies and approaches. The analysis of the state of the art showed that lightweight interventions achieved using dry stratified construction technologies of structure/cladding/finishing are a widespread approach to renovation and requalification both for superficial/two-dimensional actions and volumetric/spatial actions. The study also highlights the leading role of the envelope within retrofit interventions. The retrofit approaches appear to reach the greatest efficiency when reversible, because only in this way do they ensure environmentally friendly actions with the possibility of dismantling. The intervention should improve the flexibility of the existing construction with a correct balance between planning for the present and planning for the future.
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Sreberny-Mohammadi, Leili. "Art at the Border: Sanctions and the Visual Arts of Iran". Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, n. 2 (giugno 2023): 280–92. http://dx.doi.org/10.1353/hum.2023.a917001.
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Abstract: This article enumerates the myriad direct and indirect consequences of sanctions on the visual arts. The author draws on ten years of research on the circulation of Iranian art through international exhibitions and the global art market, particularly in the geographies of the United Arab Emirates, Europe and the USA, a time period that encompasses both the Obama-era sanctions on Iran as well as the Trump-era sanctions. Technically, artworks fall under the category of "information and informational materials" and are not under sanction. Yet, given how U.S. sanctions ban any institutions from engaging in financial transactions with Iran, the trade and/or exhibition of art is sanctioned in practice. The idea that art is an exceptional field of life that should be protected evolves quite directly from the philosophy of Emmanuel Kant. In simple terms, his ideas about the role of art in society underpin Western ideals of art and the value system embedded within the sanctions. For Kant, art is as a vehicle for expressing both truth and beauty. Unpolluted by either the political or economic, art should occupy its own autonomous sphere. When "Art" embodies these ideas, it is frequently imagined as a salve, a balm to the ills of society, or a mirror to its problems. The artist is a special genius, both a voice and savior for society. The Iranian artist specifically is then savior of the nation. What happens to these voices and their art when sanctions designed to strangle a nation are deployed? What obstacles do they create for this vehicle of salvation?
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Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery". Art Libraries Journal 20, n. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.
Testo completoAbstract (sommario):
Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SANG) Library collection are made accessible in the widest possible sense and that museum library information programmes should be directed externally, as well as internally to the museum staff.
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Vasileva, Svetlana. "THE GOSPEL OF LUTHER". Studia Humanitatis 20, n. 3 (novembre 2021): 42–47. http://dx.doi.org/10.15393/j12.art.2021.3765.
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The article deals with the main Reformation ideas of Martin Luther that later influenced the building and formation of the fundamental humanitarian values in Europe and further on in the whole world. The main of them are freedom, justice, autonomy, fairness and responsibility, as well as the value foundations of personal identification, which are closely connected with the problem of free will and choice. They were forged in the process of shaping principles of a new faith by Martin Luther, whereon the new Protestant Church was built with its new ethic dissolving all life spheres of its adepts and building a new type of European rationality. Luther is considered a personality that embodies a significant era in the development of Europe: he did not only demonstrate with his own example what the real faith meant, he set a new direction for the development of society based on the new principles of the Protestant Church. The author of the article analyzes social and geopolitical circumstances under which Luther the Great Reformer lived and formed a new Protestant theology.
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Tramonti, Michela, Desislava Paneva-Marinova e Radoslav Pavlov. "MATH AND ART CONVERGENCE FOR EDUCATION". CBU International Conference Proceedings 5 (23 settembre 2017): 851–54. http://dx.doi.org/10.12955/cbup.v5.1037.
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According to worldwide surveys (such as PISA and TIMSS), European students often lack both mathematical and key basic competencies in science and technology. The mean scores for mathematics obtained by students are below the Organisation for Economic Co-operation and Development average (OECD). The learning of the mathematics literacy enables students to contribute effectively in actual society, enhancing their employment prospects. This paper intends to describe an innovative learning and teaching approach, actually in the development phase, in the field of mathematics for 14-16 years old students through the combination of current approaches used in Europe (such as inquiry based learning and technology-enhanced learning) and the Asian one, the Singapore’s method based on three phases, concrete-pictorial-abstract, through the use of artworks. This intends to allow the development of a more effective educational and training environment for teachers and their students who will benefit from the use of more attractive and fun pedagogical tools in the study of mathematics.
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Gjonbalaj, Shpresa Tolaj, e Rregjina Gokaj. "Common and Special Features of the First School of Drawing in Albania and the First School of Applicative Arts in Kosovo". Journal of Educational and Social Research 9, n. 1 (1 gennaio 2019): 45–52. http://dx.doi.org/10.2478/jesr-2019-0005.
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Abstract This article tries to give a vivid frame of the historical background of the development of figurative art in both sides of Albanian boarders, thus that of Kosovo and Albania, as a unique belonging of the same national features. It is represented through a historical and theoretical background so that to show the roots and the layers of the development of art in Europe, which is in all senses the impact Albanian art, but not only has taken from. Pure and concrete examples of Albanian painters of the very first generation and as an inspiration to what follows later, are given to demonstrate the will and need of Albanian society to cultivate artistic tastes.
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Chesters, Graeme, e David Smith. "The Neglected Art of Hitch-Hiking: Risk, Trust and Sustainability". Sociological Research Online 6, n. 3 (novembre 2001): 63–71. http://dx.doi.org/10.5153/sro.605.
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This article explores the sociologically neglected practice of hitch-hiking. It demonstrates the paucity of research on what is potentially a fascinating instance of social interaction and it argues that hitch-hiking provides an interesting test case for the applicability of recent social theories of risk and trust. The reasons for the relative decline in hitch-hiking in Britain are discussed and comparisons are made with continental Europe and the U.S.. The article suggests that despite the increasingly risk-averse nature of public bodies, attention to this subject could provide interesting possibilities for policy makers concerned with the development of sustainable modes of transport, as well as for those concerned with the re-vitalisation of civil society.
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Sabev, Mitko. "Grayson Perry. Has Ceramic Art Achieved its Renaissance?" Visual Studies 6, n. 3 (13 dicembre 2022): 278–84. http://dx.doi.org/10.54664/piaf8576.
Testo completoAbstract (sommario):
In 2003, the prestigious Turner Prize for Contemporary Art of the Tate Britain Museum was awarded to the artist Grayson Perry for his painted ceramic vases. This award has been described by many institutions across Europe as a positive reappreciation of the ceramic material in the contemporary art world, and Grayson Perry has been seen as a precursor of the long-awaited ‘renaissance’ of ceramics. When compared to contemporary artworks executed in other materials, contemporary works using or entirely executed in ceramics show no thematic or expressive limitations conditioned by the specific qualities of the ceramic material. However, ceramics still has a very limited presence on the contemporary art stage. Historically layered cultural classification prejudices in society and the difficult specificity of the ceramic metalanguage are cited as the main reasons for the undervaluation of this material.
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Rodrigues, Rejane Lopes. "CORPO E AUTOEXPERIMENTAÇÃO: UMA LEITURA DA ARTCHARNELDE ORLAN A PARTIR DO PENSAMENTO PÓS-FEMINISTA DE PAUL B. PRECIADO / Body and self-experimentation: a reading of ORLAN's artcharnel from Paul B. Preciado's post-feminist thinking". arte e ensaios 26, n. 39 (15 agosto 2020): 93–105. http://dx.doi.org/10.37235/ae.n39.8.
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A partir da década de 1960 teve início na Europa e nos EUA um novo movimento artístico conhecido como arte performativa. ORLAN, artista plástica francesa, insere-se neste movimento através de obras que incluem intervenções cirúrgicas em seu próprio corpo com o objetivo de questionar o status do corpo feminino na sociedade ocidental contemporânea. Diante disso, propomos no presente artigo, uma análise do seu trabalho a partir das considerações teóricas do filósofo e escritor transgênero Paul B. Preciado.Palavras-chave: Arte performativa; ORLAN; Gênero; Feminismo; Paul. B. Preciado.AbstractFrom the 1960s, a new artistic movement known as performative art began in Europe and the USA. ORLAN, a French artist, is part of this movement through works that include surgical interventions on her own body in order to question the status of the female body in contemporary Western society. Therefore, in this article, we propose an analysis of his work based on the theoretical considerations of the transgender philosopher and writer Paul B. Preciado.Keywords: Performative art; ORLAN; Genre; Feminism; Paul B. Preciado.
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Balikić, Lucija, John Paul Newman e Vojtěch Pojar. "Introduction: The Sokol Movement between State and Society in Interwar East Central and Southeastern Europe". East Central Europe 50, n. 2-3 (9 ottobre 2023): 143–54. http://dx.doi.org/10.30965/18763308-50020001.
Testo completoAbstract (sommario):
Abstract This special issue is the result of the three year-long collaboration between the contributors and a larger group of scholars on the topic of Sokol and analogous organizations and phenomena mainly in East Central Europe in the modern era. Our goal was to examine such organizations from multiple perspectives, including the history of political thought, the history of knowledge production, military history, art history, youth history, urban history, the history of religion, history of sports, as well as the history of medicine and eugenics. To that end, we organized three events whereby we identified key themes and workshopped the contributions to the prospective special issue, as well as situated our findings within broader disciplinary and theoretical frameworks.
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Štroblová, Kateřina. "Whose Nostalgia is Ostalgia? Post – Communist Nostalgia in Central-European Contemporary Art". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, n. 2 (10 luglio 2020): 249–64. http://dx.doi.org/10.36770/bp.481.
Testo completoAbstract (sommario):
The paper is focused on a particular group of visual artists from Poland, Hungary, and the Czech and Slovak republics dealing with the issue of memory, history and nostalgia in their work. A common feature of their art is the perception of local space in its historical connotations, the exploration of historical content, causality reception, and the time-space orientation of man. Using space, with its physical and symbolic expression, is their strategy; a specific interest is the process of searching, changing or losing the identity in a historically complicated area of Central Europe. The article examines relations between collective memory, identity and nostalgia, captured in the artistic reflection and thus mirroring the actual state of a society.
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Wells, Peter S. "Visually Complex Objects, Ontology of Space and Political Dynamics". Cambridge Archaeological Journal 27, n. 4 (7 settembre 2017): 617–30. http://dx.doi.org/10.1017/s0959774317000658.
Testo completoAbstract (sommario):
Humans have been producing ‘art’ for at least 75,000 years. But the word ‘art’ is problematic when applied to archaeology. This paper explores the use of the concept of ‘visually complex object’ to designate a very specific kind of what is generally known as ‘art’. I argue for the application of this concept to the analysis of both the design of objects and their arrangement in cultural spaces, to gain new perspectives on social and political change in a prehistoric complex society. The focus here is on visually enchanting objects and changes in the ways that such objects were used and arranged in relation to larger changes in cultural circumstances. I contrast two visual orders in Iron Age Europe—the mid final millennium bc, when the visual order of ‘princely graves’ and the eye-fixing qualities of objects focused attention on the persons of individuals competing for leadership positions; and the second and final centuries bc, when a new visual order emerged to focus attention on large, publicly deployed objects that directed attention in open spaces to create collective experiences. The principles developed from these examples from late prehistoric Europe can be applied to changes in other complex societies worldwide.
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Raiswell (book editor), Richard, Peter Dendle (book editor) e Stuart Clark (review author). "The Devil in Society in Premodern Europe". Renaissance and Reformation 36, n. 1 (22 agosto 2013): 189–91. http://dx.doi.org/10.33137/rr.v36i1.20037.
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Hoak, Dale. "Art, Culture, and Mentality in Renaissance Society: The Meaning of Hans Baldung Grien's Bewitched Groom (1544)". Renaissance Quarterly 38, n. 3 (1985): 488–510. http://dx.doi.org/10.2307/2861081.
Testo completoAbstract (sommario):
For the study of early modern society, Renaissance art often provides an extraordinary means of exploring visually the values and assumptions, attitudes, and modes of perception of those who inhabited, mentally and materially, the world of traditional, preindustrial Europe. The work of Hans Baldung dit Grien (1484/85-1545), a Swabian painter, illustrator, and designer of stained glass, illuminates one of the most familiar and yet least understood aspects of this world, the mentality of those who believed that some women were capable of influencing a man's sexual nature by means of witchcraft.In a series of prints and drawings executed between 1510 and 1544, Baldung portrayed various aspects of the alleged activities of witches. As contributions to the iconography of witchcraft, these Hexenbilder were without artistic precedent.
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Manco, Altay, e Spyros Amoranitis. "“Faiths and Social cohesion” Establishing social participation with religious differences: local Muslim communities in Europe". MIGRATION LETTERS 2, n. 3 (9 dicembre 2005): 182–88. http://dx.doi.org/10.33182/ml.v2i3.35.
Testo completoAbstract (sommario):
The action entitled “Faiths and Social Cohesion” the resultsof which are presented in this volume is supported by theEuropean Commission Directorate- General for Employmentand Social Affairs within the framework of the EuropeanProgramme against discrimination and in favour offundamental social rights and the civil society (Art 13 of thetreaty of the Union). This is an action for identification, validation and transnational exchanges “good practices” and information against discrimination coordinated by the Institutefor Research, Training and Action on Migrations (IRFAM).This action is carried out at the transnational level with sixsets of partners hailing from various countries.
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Esa, Sulaiman. "Islam as the source of inspiration for my art". Art Libraries Journal 44, n. 3 (12 giugno 2019): 108–18. http://dx.doi.org/10.1017/alj.2019.15.
Testo completoAbstract (sommario):
After six years of formal art training in Europe, I returned home in the late 1960s very much influenced by modern western art and its secular utopian worldview. However, when viewed from a religious perspective, modern art evidenced the process of secularization and humanization. Local scholars lamented such art could led to the gradual loss of the nation's tradition which is steeped in spirituality. To them, Western-trained Malaysian artists’ works are a reflection of a captive mentality glorifying art that is spiritually debilitating, sociologically alienating and psychologically corrupting. Concerned with such phenomenon in Malaysia's post-Independence period, the government convened the National Cultural Congress (1971), to harness the cultural power in fostering unity in her multicultural society. Among the three resolutions recommended, one was Islam, as Malaysia's official religion, it would play a vital role in the formulation of a national cultural identity. In view of this historic event, I made a u-turn denouncing modern art, ingrained in me for decades, and made Islam as the raison d‘être of my art by responding to the challenges of NCC. This paper therefore, will extrapolate my five-decade artistic trajectory from Western-centric art period to Malay-Islamic art from 1970s -2018.
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Sokyrko, Oleksii. "East Europe and the «military revolution» concept: the historiographic remarks". European Historical Studies, n. 9 (2018): 127–44. http://dx.doi.org/10.17721/2524-048x.2018.09.127-144.
Testo completoAbstract (sommario):
The concept of a «military revolution» was formulated in the British historiography in the mid-XXth century (The term «military revolution» for a designation of this overturn has been entered by the British historian M.Roberts in 1955). It includes the emergence of the large permanent professional armies with a predominance of infantry and artillery, new forms of organization, combat training and methods of warfare. The fire-arms wide circulation has led to the revolution in the art of war. It has caused serious changes in the political, economic, social spheres at first in the West European society, and then in the neighbor states. This concept had an extremely strong influence on the development of the research of the nature of the army, society and the state of Early Modern times. Studies discovering the development of military institutes in different regions of Europe, their influence on the formation of centralized states and the transcontinental expansion of European civilization have led to a series of heated discussions that continued till today. The problems of the influence of the «military revolution» on the historical fate of the countries of Eastern Europe and the peculiarities of its evolution hold a specific place. The article reflects the basic trends of studying of a concept of military revolution in Eastern Europe region and a present condition of a problem contemporary historiography.
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Deka, Aditi, e Dr Raj Kumar Mazinder. "Reaching the Unreached: An Analysis of Neelpawan Baruah's Three Selected Paintings on the Influence of Human and Animals on Contemporary Art". Journal of Humanities,Music and Dance, n. 32 (24 marzo 2023): 21–31. http://dx.doi.org/10.55529/jhmd.32.21.31.
Testo completoAbstract (sommario):
Contemporary art is alive with ideas and spirits. Human psychology, society, history, and other broad subjects are its main areas of study. People who are rich in philosophical thought are frequently contemporary artists. They ought to be taught to pay close attention to the world around them and use their artistic expression to share their opinions. We can better grasp our world and its meaning thanks to art. Empathy for art enhances our quality of life and elevates our mood, as demonstrated by scientific research. We become happier, more adept at solving problems, and more receptive to new ideas when we produce art. Animals have always been important in art, acting as symbols that evoke strong feelings and deeper meanings. They can even act as antitheses to people and our personal connections at times. Several cherished creatures can be seen frequently in our art gallery. Animal style art refers to a decorative style that originated in Ordos culture and spread to Northern Europe during the early Iron Age. It is associated with the Migration Period's barbarian art and is distinguished by its focus on animal images. There are more species than we can possibly imagine living among us on a daily basis. We can learn more about how we engage with nature, our pets, and the local wildlife by looking at animal representations in artwork. In the field of worldview, Assamese artist Neelpawan Baruah experiments with painting human and animal viewpoints on huge canvases. The present paper examines three chosen paintings by well-known Assamese visual artist Neelpawan Baruah and explores how he incorporates animal and human perspectives into his contemporary work.
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Camenisch, Ch, e Ch Rohr. "The research of climate impacts on society and economy during the Little Ice Age in Europe. An overview". Cuadernos de Investigación Geográfica 44, n. 1 (20 febbraio 2018): 99. http://dx.doi.org/10.18172/cig.3395.
Testo completoAbstract (sommario):
This paper focusses on historical climate impact research, one of the branches of historical climatology with an emphasis on the Little Ice Age. It provides examples of the theoretical concepts, models, and further structuring considerations that are used in historical climate impact research, which are especially fitting to the examined period. We distinguish between the impact of climate on society by time-scale in long-term, conjunctural or medium-term, and short-term impacts. Moreover, a simplified climate-society interaction model developed by Daniel Krämer is presented, as well as the concept of the Little Ice Age-type Impact (LIATIMP) by Christian Pfister and the vulnerability concept regarding climatic variability and extreme weather events. Furthermore, the paper includes a state-of-the-art application of the historical climate impact research and discussion of research gaps.
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Slieptsov, Oleh, Mykola Dyomin e Olena Kozakova. "THE INFLUENCE OF CHINA AND JAPAN ON EUROPEAN ARCHITECTURE AND ART AT THE END OF THE 19TH AND EARLY 20TH CENTURIES". Spatial development, n. 5 (24 novembre 2023): 103–9. http://dx.doi.org/10.32347/2786-7269.2023.5.103-109.
Testo completoAbstract (sommario):
Europe turned to Eastern cultures at the stage of oversaturation with its own traditions or at the stage of finding ways out of the crisis in the cultural and artistic life of society. Obviously, the fascination with Chinese cultural traditions - first at the mundane level, and later at the level of art and architecture - during the Baroque and Rococo period testified to the oversaturation that gradually grew in the Baroque and Rococo styles, and therefore the appeal to China became a hidden attempt to find something fundamentally new, non-standard. It is quite clear that without a deep understanding of the foundations of ancient Chinese culture, such citation of Chinese motifs in art and in the architecture of country palaces and park pavilions turned them into simplified theatrical scenery.
In the same way, the same fascination with Japanese culture in the second half of the 19th and early 20th centuries took place against the background of increasing crisis phenomena in society, when the processes of secularization intensified against the background of the industrial revolutions and the rise to the forefront of the bourgeois class, and that is why Japanese culture with its philosophy of Taoism and Buddhism, which penetrated into all spheres of social life, into art and architecture, was perceived as a desirable way out of stagnation. At the same time, once again, external forms were copied, which were transformed on local soil without a deep understanding of the philosophical and religious background.
It should be noted the impact on European culture of the opening in 1897 of the unique temple complex of Dunhuang. As a result of the unstable situation in China during the reign of the Qing Dynasty, many unique artifacts from the Dunhuang sanctuaries were bought for nothing by Europeans and ended up in museums in Europe. This caused another stage of interest in Chinese culture and architecture. The use of aesthetic properties of traditional Chinese and Japanese culture made it possible to enrich the figurative concept of European Art Nouveau. The painting techniques of Art Nouveau period originate from the characteristic painting techniques of China and Japan. However, there is a difference in the influence of Eastern cultures on the art and architecture of Art Nouveau period: if in art such analogies can be traced quite clearly, in architecture at the end of the 19th and the beginning of the 20th centuries, this influence was a much more complex phenomenon than the "Chinoiserie" style of the 18th century: Art Nouveau architects did not literally reproduce Chinese and Japanese buildings, but instead creatively rethought the principles of their formation, layout, function and decoration.
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Debarberis, L., G. Fulli, C. Alecu e F. Gangale. "DEVELOPMENT OF ELECTRIC NETWORK IN EUROPE: THE CURRENT SITUATION AND PERSPECTIVES". Strategic decisions and risk management, n. 2 (17 febbraio 2015): 60–67. http://dx.doi.org/10.17747/2078-8886-2010-2-60-67.
Testo completoAbstract (sommario):
Maintaining and improving reliable, efficient grids is vital for a modern society. The European transmission and distribution networks are ageing and they are faced with different challenges that may push them to evolve following different trends and conflicting drivers. The present paper aims therefore at assessing the current situation and at evaluating the possible future evolution of the electricity grids in Europe. It analyses technological state of the art and the expected deployment of advanced technology in transmission and distribution. The study highlights the main barriers hindering the development of the present grids and the design of future electricity networks and tries to identify a possible way forward. The paper also focuses on possible synergies with other sectors. Many actions still need to be taken, both at European and national level, to develop the future electricity networks.
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Filho, Marcílio Toscano Franca. "Westphalia: a Paradigm? A Dialogue between Law, Art and Philosophy of Science". German Law Journal 8, n. 10 (1 ottobre 2007): 955–75. http://dx.doi.org/10.1017/s2071832200006118.
Testo completoAbstract (sommario):
On 23rd June 2007, after three years of uncertainty, European Union leaders agreed on relaunching the old idea of a Magna Charta for Europe (now called “the Reform Treaty”), a normative structure based on the old ideas of deference to national identities, sovereignty and equality. To many authors, the first time that juridical equality between states was solemnly stated was in the aftermath of the Thirty Years’ War (1618-1648), in the Westphalia Peace Treaties, representing the beginning of modern international society established in a system of states, and at the same time, “the plain affirmation of the statement of absolute independence of the different state orders.” In fact, under an Eurocentric conception of political ideas (which envisages England as an isolated island and Iberia as Maghreb, north of Africa), the modern state emerges with the Westphalia Peace Treaties. However, under a broader conception, the modern nation-state (under the form of absolute monarchy) emerged long before the Westphalia Peace Treaties, in Iberia and England. Nevertheless, it is in these documents which lies the “birth certificate” of the modern sovereignty nation-state, base of the present democratic state, and “founding moment” of the international political system. Far beyond this merely formal aspect, the importance of the Westphalia Peace Treaties is so great to the understanding of the notion of state that Roland Mousnier, in describing the 16th and 17th centuries in the General History of the Civilizations, organized by Maurice Crouzet, asserts that those treaties symbolized a real “constitution of the new Europe,” a multifarious Europe, plural and very distant from the religious unit of Christianity, from the political unit of the Holy Roman Empire, and from the economical unit of the feudal system. Constitutions are especially important because they establish the rules for the political authority, they determine who governs and how they govern: “[I]n codifying and legitimating the principle of sovereign statehood, the Westphalian constitution gave birth to the modern states-system.”
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Sancho Querol, Lorena, e Cláudia Pato Carvalho. ""Cultural participation as the essence of life" - an interview with Milena Šešić". Conjunctions. Transdisciplinary Journal of Cultural Participation 5, n. 1 (24 maggio 2018): 1–7. http://dx.doi.org/10.7146/tjcp.v5i1.105294.
Testo completoAbstract (sommario):
Milena Dragićević Šešić is former President of the University of Arts in Belgrade and the Head of UNESCO Chair in Interculturalism, Art Management and Mediation. She lectures at various European universities in the areas of cultural policy and cultural management, cultural studies and media studies. Milena has been President of the Board of the European Diploma in Cultural Project Management and, in recent years, President of the Cultural Policy Research Award at the European Cultural Foundation.Born in Croatia in 1954, Milena is a prominent researcher in the fields of cultural studies and cultural policies. She has devoted her attention to both academic and research work as well as to social activism in Europe, the Arab States, Central Asia and the Caucasus region, where she has been strongly involved in civil society and anti-war groups, particularly in the former Yugoslavia.Milena also serves as a consultant on strategy building and organization reform to cultural institutions and third-sector organizations and has published a vast diversity of essays and books, among them: “Culture: management, animation, marketing”, “Neofolk culture”, “Art and alternative”, “Horizons of reading”, “Art management in turbulent times” and “Intercultural mediation in the Balkans”.These are only some of the reasons why we decided to invite her to speak with us about cultural participation. Milena provides us with an alternative and complementary approach to the theme of this present issue – an approach that derives from Eastern Europe, Eastern theory and action research. In this interview, she shares with us a challenging way of understanding and practicing cultural participation in political contexts and societies that also matters to a Europe in construction – or, shall we say, to a never finished European project?Her contribution helps us reflect on the urgency of building more democratic, open minded and inclusive societies. Her experience instructs us on other possibilities of giving life to cultural participation, or to actively participate in cultural life. Possibilities that come from another Europe.
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Mitterauer, Michael. "Shroud and Portrait of a Medieval Ruler". Balkanistic Forum 29, n. 3 (1 novembre 2020): 197–223. http://dx.doi.org/10.37708/bf.swu.v29i3.10.
Testo completoAbstract (sommario):
The research is concerning two unusual evidences of the late Medieval art, which could be seen in the Museum of the cathedral St. Stephan in Vienna. Both of them are related to Herzog Rudolf IV of Austria (1358 - 1365). One artefact in the museum is his silk gold woven shroud elaborated with especial mastership from Chinese silk in Tabriz, a city in present Iran. Especially important for this fabric is that thanks to the interwoven name of the ruler it could be dated precisely. The road of this Near East fabric to Europe and to the tomb of the Herzog in Vienna could be reconstructed. Rudolf IV died suddenly during the visit to his relative Bernabo Visconti in Milano who was one of the richest men in Europe by that time. Probably the fabric was brought across the Silk Road to Constantinople and further across the sea to Genova and to the city of silk Lucca and then to Milano. Such gold woven fabrics from the Islamic world could be found not rarely in the European ruler’s tombs. The second unusual object in the cathedral museum is a portrait of the Herzog. So far this portrait was attributed to a Prague artist. But it could be proved that it originated from Upper Italy and probably was painted by an artist from Verona who was associated to the society around the great humanist Francesco Petrarca. This portrait rises the question about the emergence of early ruler's portraits in Eu-rope and in this aspect is also related to achievements of the „Palaeologus Renaissance“ art in South – East Europe. The two objects are considered as expression forms of the ruler’s funeral culture of the late Medieval age. In the context formed by the comparative approach new possibilities for analysis are created which cross over the traditional methodology of History of Art.
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Dubrovnyi, T. M. "To sources of polysematics Kitch (on the example of the “spiritual song” of the XVII–XVIII centuries)". Culture of Ukraine, n. 75 (21 marzo 2022): 78–84. http://dx.doi.org/10.31516/2410-5325.075.10.
Testo completoAbstract (sommario):
The article proposes a consideration of the phenomenon of Kitch in the context of the development of the culture of Western Europe, the flow of cultural processes of which was significantly different from the processes that occurred in the culture of the colonized part of Ukraine in the 17–19th centuries. The main reason for such differences was primarily in aristocratic imperatives and educational tendencies, which aggregately contributed to the development of art in the whole Europe. During this period, Ukraine was at the crossroards of Metropoles and, as a result of historical circumstances, was not able to develop similarly to Western European conditions. The lack of dominant role in society, and, in particular, the absence of universities, concentrated creative progress within church art and imitation of western samples, as well as the development of amateur art, which will form a whole layer of “Grassroots” culture. In fact, in the Baroque period in Ukraine only polyphony was introduced into the liturgical rite and a party concert on the Western model was staged. At the same time, the musically educated intelligentsia, which was concentrated at Kyiv-Mohyla Academy, composed chants, spiritual songs and brought them to the lower strata of society. Since all this was closely connected with the church rite, over time, the leading place in society was taken by the spiritual aristocracy, which gradually took over the educational mission of the people. The introduction of the practice of salons in Ukraine in the 19th century, the tradition of home music, in fact, had no resistance, because this tradition was nurtured mainly in the families of priests, who at that time had an authoritative influence on the processes taking place in society. On this basis, the use of means of “Kitch” was detected long before this term appeared with internal polysemantic characteristics in Germany of the XIX century. We believe that kitsch in music appeared when the society intuitively needed it, even in periods when this term did not yet exist, but the principles and methods that later became the basis of definition, and formed the basis of the conceptual structure of kitsch, had already been in existence. In essence, kitsch was a measure that balanced culture within different social strata and social needs, as well as disseminated it. Differences in the functioning of the kitsch phenomenon were observed: in European countries kitsch had negative semantics, in Ukraine, on the contrary, the most relevant examples of European cultural achievements were spread and interpreted in their own way. This blurred the border between “low” and “high” culture. Apparently, this is the main reason that the phenomenon of “kitsch” in Ukrainian culture played a positive role, helped to supplement the missing links and relieved tension in the confrontation between “an original” and “a copy”. This prepared a solid foundation for the emergence of Ukrainian professional art in the twentieth century.
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Sullivan, Charles R. "Religions and Society in Modern Europe by René Rémond". Catholic Historical Review 86, n. 2 (2000): 343–44. http://dx.doi.org/10.1353/cat.2000.0197.
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Nikumbh, Prasad Sunil, e Saroj K. Sarkar. "Mapping the Pattern and Development of Printmaking Art: Its Sociological Impacts". ECS Transactions 107, n. 1 (24 aprile 2022): 9149–58. http://dx.doi.org/10.1149/10701.9149ecst.
Testo completoAbstract (sommario):
A world without printed matter is hard to envision. Onlookers of printmaking may observe the kernel of printed material and its consequences moving around books, magazines, papers, prints of renowned artworks, and ordinary things, for example, theatre programs, official handouts, journals, ads, and film banners. Printed text, pictures, news, and public discussion all influence the lives of art-enthusiastic people to understand the chronological development of print on paper. Remembering the fact that researchers of printmaking frequently neglect to recall that there was a period before printed material, our universe of print is everywhere. It will enable art researchers to analyze the improvement of print in this part, beginning with its initiation in East Asia and later investigating its development in Europe and India, and the effect of the spread of innovation on the way of life and social connection of mankind. The present study is based on an observation of the print inventions and a critical analysis of print techniques by the painter and printmaker Raja Ravi Varma and his lithograph and oleograph prints and their impacts on society.
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Konrad, A., R. Steurer, M. E. Langer e André Martinuzzi. "Empirical Findings on Business–Society Relations in Europe". Journal of Business Ethics 63, n. 1 (gennaio 2006): 89–105. http://dx.doi.org/10.1007/s10551-005-7055-z.
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Calcagno, Julian. "The value of weoro: A historical sociological analysis of honour in Anglo-Saxon society". Journal of the Australian Early Medieval Association 17, n. 1 (2021): 43–65. http://dx.doi.org/10.35253/jaema.2021.1.3.
Testo completoAbstract (sommario):
The values that underpin the Anglo-Saxon concept of honour changed at the beginning of the sixth century. During this period, Anglo-Saxon kingdoms enshrined a new era of cultural and religious fervour, inculcating new practices of honour among the new Christianised Anglo-Saxon elite. This paper demonstrates the transition from pagan to Christian honour systems. Historians have often examined honour through concepts based on comparisons or 'terms of art', for example 'Bushido' in Japan, 'Futuwwa' in Islam, and 'chivalry' in Christianised later-medieval Europe. This paper emulates these examples by examining honour in Anglo-Saxon society through use of the Old English term weoro, an under-studied phenomenon. Unlike Bushido or chivalry, weoro does not imply a mandated way of living. Weoro is instead pervasive, encompassing many modes of Anglo-Saxon life: poetry, giving- and -receiving, burial, kin, and bestowing honours. This paper combines sociological analysis with historical evidence.
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Earley, Áine, Angela O'Dea, Caoimhe Madden, Paul O'Connor, Dara Byrne, Andrew W. Murphy e Sinéad Lydon. "A scoping review of infertility research conducted in the Republic Of Ireland". HRB Open Research 7 (24 aprile 2024): 20. http://dx.doi.org/10.12688/hrbopenres.13877.1.
Testo completoAbstract (sommario):
Background Approximately 25 million citizens in Europe experience infertility. Until September 2023, the Republic of Ireland (RoI) was the only state in the European Union that did not offer any state-funded access to Assisted Reproductive Technology (ART). As research supports the understanding, and improvement, of care delivery, and research activity is associated with healthcare performance, it seems timely to develop an understanding of infertility research to-date in RoI. The aim of this scoping review was to examine the extent and nature of research on infertility conducted in RoI. Methods A protocol for this scoping review was published through the Open Science Framework (https://doi.org/10.17605/OSF.IO/H8F4Y) in March 2023. The search strategy was comprised of electronic searches, review of reference lists, grey literature searches, and screening of publications from the European Society of Human Reproduction and Embryology and the International Committee for Monitoring Assisted Reproductive Technologies. Studies focused on infertility or infertility care that were conducted in RoI were included. Deductive content analysis was used to cluster studies. Results In total, 105 studies were included and published between 1951 and 2023, with a marked increase from 2010. Studies most frequently considered Success Rates of ART (31.4%), Service Description and Evaluation (12.4%), and Optimising Treatment Regimes or Protocols (11.4%). Conclusions The sizable body of research is congruent with the increasing burden of infertility. However, the literature is limited by a predominant focus on ART success rates, a dearth of qualitative studies, limited engagement with healthcare providers, and limited exploration of the quality of care provision. This review may offer a useful model for researchers in other countries. The variability in availability, and outcomes, of ART across Europe conveys the necessity of understanding and advancing research within individual countries and health systems as well as internationally.
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Bekh, Yuliya, Liliya Romankova, Viktor Vashkevych, Alla Yaroshenko e Mykola Lipin. "Artistic Aspects of Embodiment of Postmodern Theater Practices in the Context of COVID-19 Pandemic". Postmodern Openings 12, n. 1Sup1 (29 aprile 2021): 313–22. http://dx.doi.org/10.18662/po/12.1sup1/287.
Testo completoAbstract (sommario):
At the turn of the 20th and 21st centuries. When integrated into the European art space, the countries of Eastern Europe take the path of creating a new model of cultural development in a post-pandemic society. Added to the world of theater innovations and, in particular, post-modern theater practices, it makes it necessary to search for new types of communication with the audience, creating such a balance between the actor and the audience that would meet new historical realities, shape its cultural landmarks, moral values, and provide meaning for current events. Consequently, the new historical realities require theatrical culture to change the artistic trajectories of development and at the same time determine the cultural reflection on its place and role. In culturological and art studies, the theater, as a rule, is considered as a system component of the cultural space. This corresponds to the generally accepted approach: the definition of culture as a set of spheres, each of which has its own specifics. These areas are combined by certain socially significant factors (worldview, way of being, set of values), according to which they must coordinate their way of existence. Now, in a post-pandemic society, there is not enough research that examines the latest formations at the place of origin and is perceived as the products of the local experience of the individual and the society to which he belongs.
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Schlüter, Urs, Jessica Meyer, Andreas Ahrens, Francesca Borghi, Frédéric Clerc, Christiaan Delmaar, Antonio Di Guardo et al. "Exposure modelling in Europe: how to pave the road for the future as part of the European Exposure Science Strategy 2020–2030". Journal of Exposure Science & Environmental Epidemiology 32, n. 4 (luglio 2022): 499–512. http://dx.doi.org/10.1038/s41370-022-00455-4.
Testo completoAbstract (sommario):
AbstractExposure models are essential in almost all relevant contexts for exposure science. To address the numerous challenges and gaps that exist, exposure modelling is one of the priority areas of the European Exposure Science Strategy developed by the European Chapter of the International Society of Exposure Science (ISES Europe). A strategy was developed for the priority area of exposure modelling in Europe with four strategic objectives. These objectives are (1) improvement of models and tools, (2) development of new methodologies and support for understudied fields, (3) improvement of model use and (4) regulatory needs for modelling. In a bottom-up approach, exposure modellers from different European countries and institutions who are active in the fields of occupational, population and environmental exposure science pooled their expertise under the umbrella of the ISES Europe Working Group on exposure models. This working group assessed the state-of-the-art of exposure modelling in Europe by developing an inventory of exposure models used in Europe and reviewing the existing literature on pitfalls for exposure modelling, in order to identify crucial modelling-related strategy elements. Decisive actions were defined for ISES Europe stakeholders, including collecting available models and accompanying information in a living document curated and published by ISES Europe, as well as a long-term goal of developing a best-practices handbook. Alongside these actions, recommendations were developed and addressed to stakeholders outside of ISES Europe. Four strategic objectives were identified with an associated action plan and roadmap for the implementation of the European Exposure Science Strategy for exposure modelling. This strategic plan will foster a common understanding of modelling-related methodology, terminology and future research in Europe, and have a broader impact on strategic considerations globally.
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Scott, Philip J., Ronald Cornet, Colin McCowan, Niels Peek, Paolo Fraccaro, Nophar Geifman, Wouter T. Gude, William Hulme, Glen P. Martin e Richard Williams. "Informatics for Health 2017: Advancing both science and practice". Journal of Innovation in Health Informatics 24, n. 1 (21 aprile 2017): 1. http://dx.doi.org/10.14236/jhi.v24i1.939.
Testo completoAbstract (sommario):
Introduction: The Informatics for Health congress, 24-26 April 2017, in Manchester, UK, brought together the Medical Informatics Europe (MIE) conference and the Farr Institute International Conference. This special issue of the Journal of Innovation in Health Informatics contains 113 presentation abstracts and 149 poster abstracts from the congress.Discussion: The twin programmes of “Big Data” and “Digital Health” are not always joined up by coherent policy and investment priorities. Substantial global investment in health IT and data science has led to sound progress but highly variable outcomes. Society needs an approach that brings together the science and the practice of health informatics. The goal is multi-level Learning Health Systems that consume and intelligently act upon both patient data and organizational intervention outcomes.Conclusions: Informatics for Health demonstrated the art of the possible, seen in the breadth and depth of our contributions. We call upon policy makers, research funders and programme leaders to learn from this joined-up approach.