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Artykuły w czasopismach na temat „Death in art”

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Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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1

Dunne, John, Maurice Leitch i Michael Carson. "Death Imitates Art". Books Ireland, nr 212 (1998): 92. http://dx.doi.org/10.2307/20623588.

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Malpede, Karen, i Elizabeth Prelinger. "Death-Defying Art". Women's Review of Books 10, nr 3 (grudzień 1992): 5. http://dx.doi.org/10.2307/4021475.

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Martin, Colin. "Death becomes art". Lancet 385, nr 9983 (maj 2015): 2142. http://dx.doi.org/10.1016/s0140-6736(15)61011-x.

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Tam, Thomas. "The Death of Art". Graduate Faculty Philosophy Journal 26, nr 1 (2005): 161–72. http://dx.doi.org/10.5840/gfpj20052617.

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Hanson, Clare, i Janet Todd. "Gender, Art and Death". Modern Language Review 90, nr 2 (kwiecień 1995): 401. http://dx.doi.org/10.2307/3734553.

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Srn, Avis Halt. "The art of death". Nursing Standard 6, nr 24 (10.03.1992): 22–23. http://dx.doi.org/10.7748/ns.6.24.22.s37.

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Levinson, Nan. "The death of Art". Index on Censorship 21, nr 7 (lipiec 1992): 14–15. http://dx.doi.org/10.1080/03064229208535376.

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Irving, Andrew. "Ethnography, art, and death". Journal of the Royal Anthropological Institute 13, nr 1 (marzec 2007): 185–208. http://dx.doi.org/10.1111/j.1467-9655.2007.00420.x.

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Wadeson, Harriet. "Art, Death, and Transfiguration". Art Therapy 18, nr 1 (styczeń 2001): 56–60. http://dx.doi.org/10.1080/07421656.2001.10129448.

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Cossins, Daniel. "The art of death". New Scientist 233, nr 3118 (marzec 2017): 26–27. http://dx.doi.org/10.1016/s0262-4079(17)30575-4.

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East, Honey, i C. Andrew Brown. "The art of death". Lancet 364, nr 9440 (wrzesień 2004): 1118. http://dx.doi.org/10.1016/s0140-6736(04)17084-0.

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Kinsey, Caroline A. "The art of death". Lancet Oncology 18, nr 12 (grudzień 2017): 1576. http://dx.doi.org/10.1016/s1470-2045(17)30847-1.

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Crofts, Thomas H. "Malory’s Death Poem". Arthuriana 29, nr 1 (2019): 109–23. http://dx.doi.org/10.1353/art.2019.0008.

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Jahnke, Robert Hans George. "Picturing Death in Maori Art". International Journal of New Media, Technology and the Arts 7, nr 2 (2013): 21–38. http://dx.doi.org/10.18848/2326-9987/cgp/v07i02/36302.

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Sabatos, Terri. "Death and resurrection in art". Mortality 15, nr 2 (maj 2010): 175–76. http://dx.doi.org/10.1080/13576275.2010.482779.

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Cole, Herbert M., i Christopher Roy. "Art and Death in Africa". African Arts 22, nr 3 (maj 1989): 86. http://dx.doi.org/10.2307/3336790.

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Shepard, Joyce Wolf. "Art and Life: Art and Death. A Review Article". Comparative Studies in Society and History 27, nr 3 (lipiec 1985): 472–78. http://dx.doi.org/10.1017/s0010417500011531.

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Marcus, Aaron. "Birth/Death of information as art". Information Design Journal 11, nr 2-3 (31.12.2003): 246–51. http://dx.doi.org/10.1075/idj.11.2.21mar.

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Birth/Death of information as art: ‘BodyWorlds’ The author comments on the notorious exhibit of anatomical art, ‘BodyWorlds’ by Dr. Gunther von Hagens when it was on view in London (March 21st 2002 – February 9th 2003).
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Milcinski, Maja. "Zen and the Art of Death". Journal of the History of Ideas 60, nr 3 (1999): 385–97. http://dx.doi.org/10.1353/jhi.1999.0027.

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Smith, Fred T. "Death, Ritual, and Art in Africa". African Arts 21, nr 1 (listopad 1987): 28. http://dx.doi.org/10.2307/3336496.

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Ramakers, Bart, i Edward H. Wouk. "Art and death in the Netherlands". Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 72, nr 1 (14.11.2022): 6–21. http://dx.doi.org/10.1163/22145966-07201001.

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Bebell, Lisa M., Mark J. Siedner, Nicholas Musinguzi, Yap Boum, Bosco M. Bwana, Winnie Muyindike, Peter W. Hunt, Jeffrey N. Martin i David R. Bangsberg. "Trends in one-year cumulative incidence of death between 2005 and 2013 among patients initiating antiretroviral therapy in Uganda". International Journal of STD & AIDS 28, nr 8 (20.09.2016): 800–807. http://dx.doi.org/10.1177/0956462416671431.

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Recent ecological data demonstrate improving outcomes for HIV-infected people in sub-Saharan Africa. Recently, Uganda has experienced a resurgence in HIV incidence and prevalence, but trends in HIV-related deaths have not been well described. Data were collected through the Uganda AIDS Rural Treatment Outcomes (UARTO) Study, an observational longitudinal cohort of Ugandan adults initiating antiretroviral therapy (ART) between 2005 and 2013. We calculated cumulative incidence of death within one year of ART initiation, and fit Poisson models with robust variance estimators to estimate the effect enrollment period on one-year risk of death and loss to follow-up. Of 760 persons in UARTO who started ART, 30 deaths occurred within one year of ART initiation (cumulative incidence 3.9%, 95% confidence interval [CI] 2.7–5.6%). Risk of death was highest for those starting ART in 2005 (13.0%, 95% CI 6.0–24.0%), decreased in 2006–2007 to 4% (95% CI 2.0–6.0%), and did not change thereafter ( P = 0.61). These results were robust to adjustment for age, sex, CD4 cell count, viral load, asset wealth, baseline depression, and body mass index. Here, we demonstrate that one-year cumulative incidence of death was high just after free ART rollout, decreased the following year, and remained low thereafter. Once established, ART programs in President’s Emergency Fund for AIDS Relief-supported countries can maintain high quality care.
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23

Jang, Seonmi. "Constitutional Review of Human Dignified Life and Death: Focusing on the Act on the Prevention and Management of Lonely Death". Korean Constitutional Law Association 28, nr 2 (30.06.2022): 183–218. http://dx.doi.org/10.35901/kjcl.2022.28.2.183.

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Different individuals have different preferences for the quality of their death, and it is possible for the state to respect these preferences on an individual basis. For instance, some individuals voluntarily choose a lifestyle (and death) of solitude of their own accord and without legal permission to do so. The state cannot intervene or interfere with the choice to live and/or die in solitude. This is markedly differentiable from death in social exclusion or isolation, which is not the choice of the affected individual. In these latter cases, the death is an involuntarily “lonely” death. Last year, the Act on the Prevention and Management of Lonely Death was passed to reduce the number of lonely deaths. The act defines and targets “lonely death” in which a person living alone, disconnected from people around him or her, such as family, relatives and neighbors, dies alone from suicide, disease, etc. and his or her corpse is discovered after a certain period of time. Defining “lonely death” in these terms and as something irreconcilable with the quality of death guaranteed by the constitution necessitates state intervention. This study seeks to determine the constitutional basis for state intervention in lonely deaths and to identify the conditions required to justify such intervention. It confirms that the constitutional basis for state intervention in lonely death does not exist if the economic, social, and cultural conditions of humane living are derived from the basic constitutional right to a life worth of human beings (Art. 34), to health (Art. 36(3)), and to human dignity (Art. 10). In particular, it highlights that in order to guarantee dignity in death by preventing lonely death, the state must prevent the deterioration of the conditions of dignified life (which is a path to lonely death) by actively guaranteeing individual economic stability and health. The traditional, freedom-centered interpretation of basic rights makes it difficult to establish a constitutional basis for the prevention of loneliness by the state. An interpretation which justifies state intervention requires that the state be obligated to expand freedom and guarantee social rights. Considering that social isolation must necessarily involve “self-neglect”, the limitations of this traditional view become even clearer. The Act on the Prevention and Management of Lonely Death does not prescribe intervention in the exercise of an individual's self-determination, but rather aims to intervene when the conditions enabling self-determination are not met. In other words, the active realization of social rights in the constitutional law should be stipulated in the Act on the Prevention and Management of Lonely Death . Namely, the state can protect individuals from the risk of dying alone by actively guaranteeing the right to live humanly under constitutional rights including Article 34 of the Constitution and the right to health under Article 36 (3) of the Constitution.
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Pollard, K. Michael. "Cell death, autoantigen cleavage, and autoimmunity". Arthritis & Rheumatism 46, nr 7 (lipiec 2002): 1699–702. http://dx.doi.org/10.1002/art.10415.

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Veras, Maria Amelia de Sousa Mascena, Manoel C. A. Ribeiro, Leda Fátima Jamal, Willi McFarland, Francisco Inácio Bastos, Karina Braga Ribeiro, Rita Barradas Barata, José Cassio de Moraes i Arthur L. Reingold. "The "AMA-Brazil" cooperative project: a nation-wide assessment of the clinical and epidemiological profile of AIDS-related deaths in Brazil in the antiretroviral treatment era". Cadernos de Saúde Pública 27, suppl 1 (2011): s104—s113. http://dx.doi.org/10.1590/s0102-311x2011001300011.

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The objective of this study was to assess the profile of AIDS-related deaths in the post antiretroviral therapy (ART) scale up period in Brazil. A case-control study was conducted including a nationally probabilistic sample of AIDS deaths and living controls. Data were abstracted from medical records and nation-wide databases of AIDS cases, mortality, ART care, and laboratory testing. Interrupted (adjusted odds ratio - AOR 4.35, 95%CI: 3.15-6.00) or no use of ART (AOR 2.39, 95%CI: 1.57-3.65) was the strongest predictor of death, followed by late diagnosis (AOR 3.95, 95%CI: 2.68-5.82). Criterion other than CD4 < 350 had a higher likelihood of death (AOR 1.65, 95%CI: 1.14-2.40). Not receiving recommended vaccines (AOR, 1.76, 95%CI: 1.21-2.56), presenting AIDS-related diseases (AOR 2.19, 95%CI: 1.22-3.93) and tuberculosis (AOR 1.50, 95%CI: 1.14-1.97) had higher odds of death. Being an injecting drug user (IDU) had a borderline association with higher odds of death, while homo/bisexual exposure showed a protective effect. Despite remarkable successes, Brazilians continue to die of AIDS in the post-ART scale up period. Many factors contributing to continued mortality are preventable
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26

Setegn, Tesfaye, Abulie Takele, Tesfaye Gizaw, Dabere Nigatu i Demewoz Haile. "Predictors of Mortality among Adult Antiretroviral Therapy Users in Southeastern Ethiopia: Retrospective Cohort Study". AIDS Research and Treatment 2015 (2015): 1–8. http://dx.doi.org/10.1155/2015/148769.

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Background. Although efforts have been made to reduce AIDS-related mortality by providing antiretroviral therapy (ART) services, still people are dying while they are on treatment due to several factors. This study aimed to investigate the predictors of mortality among adult antiretroviral therapy (ART) users in Goba Hospital, Southeast Ethiopia.Methods. The medical records of 2036 ART users who enrolled at Goba Hospital between 2007 and 2012 were reviewed and sociodemographic, clinical, and ART-related data were collected. Multivariable Cox proportional hazards regression model was used to measure risk of death and identify the independent predictors of mortality.Results. The overall mortality incidence rate was 20.3 deaths per 1000 person-years. Male, bedridden, overweight/obese, and HIV clients infected with TB and other infectious diseases had higher odds of death compared with their respective counterparts. On the other hand, ART clients with primary and secondary educational level and early and less advanced WHO clinical stage had lower odds of death compared to their counterparts.Conclusion. The overall mortality incidence rate was high and majority of the death had occurred in the first year of ART initiation. Intensifying and strengthening early ART initiation, improving nutritional status, prevention and control of TB, and other opportunistic infections are recommended interventions.
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王曉華, 王曉華. "視死若死：論波東斯基作品中的記憶創造". 藝術評論 44, nr 44 (styczeń 2023): 149–73. http://dx.doi.org/10.53106/101562402023010044005.

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<p>比起將波東斯基作品中的各種「死亡」具體化地圍繞在納粹大屠殺及其受難者身上，死亡此一主題在這位藝術家的創作裡，更直接關乎的或許是如何面對死亡本身。於是，若總是需要有點什麼東西才能供人以茲悼念，在波東斯基的作品裡面所憑藉的恐怕不再是被悼念者的生平種種與言行事蹟，它甚至毋須一個名字或姓氏。相反的，本文嘗試指出，正因為波東斯基不曾企圖將死亡視為死亡以外的其他之物，在其與死亡有關的每一件作品中，死亡遂不僅成為他緬懷記憶已逝者的起點，並且也是在記憶中唯一被記下來的事物。而根據記憶唯有能在以死亡哀悼死亡之時，方得以創生所開展的論述中軸，本文則將進一步論證，波東斯基如何透過一句簡單的話語自我判死，進而要求作為波東斯基後死者們的觀眾，如同他以其極富個人色彩的祭悼所親自示範的那樣，必得亦將他作品當中的死亡，也化成為自己的記憶。</p> <p>&nbsp;</p><p>The late French artist Christian Boltanski&rsquo;s works, with their suggestions of countless deaths, were often said to evoke the Holocaust and the Jewish victims of Nazi persecution. Yet his installations dealt with the theme of death were surprisingly more directly about how do people face death in itself. Therefore, if people always need something to offer their condolences, it is probably no longer via the life stories, words and actions of the dead from Boltanski&rsquo;s work. Grieving doesn’t even need a first name or a surname. On the contrary, this article attempts to prove that Boltanski does not intend to see death as something else other than death itself. Death does not only become the starting point for his memory of the deceased in each of his works related to the theme of death but also the only thing that is remembered in his memory. According to the core thought of the discourse that memory can only be created while mourning the death as death itself, this article continues to argue that how Boltanski sentenced himself to death through a concise statement and then asked all the after-dead of him must also turn the death in into their own memory and eulogy, just as he demonstrated with his extremely personal manner of mourning in his work.</p> <p>&nbsp;</p>
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Davis, Ms Bob. "Glamour, Drag, and Death". TSQ: Transgender Studies Quarterly 8, nr 1 (1.02.2021): 113–20. http://dx.doi.org/10.1215/23289252-8749638.

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Abstract In the art of three San Francisco drag queen painters we find their highly personal responses to HIV/AIDS and their own mortality. Doris Fish's commitment to glamour wouldn't allow the disease to intrude on her paintings, though she was able to write about her illness's progress in her weekly newspaper column. Jerome Caja made art from the disease's horror by incorporating the ashes of deceased artist Charles Sexton, who died of AIDS, into her works, her way of mastering the carnage. Miss Kitty confronted the disease in an even more personal way, creating art from her own illness by incorporating her prescription for Prozac into one painting and using her emaciated, AIDS-ravaged body as the subject of a photographic portrait by Daniel Nicoletta in which her physical body fades, white on white, into an angel with wings.
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Augusta, Holly. "Art and the Art of Nursing". Journal of the American Psychiatric Nurses Association 1, nr 2 (kwiecień 1995): 39–41. http://dx.doi.org/10.1177/107839039500100202.

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As nursing education and clinical practice begin to embrace more than the natural, physical, and social sciences, art can function as a shortcut to insight and empathy. Paintings wordlessly illustrate the artist's response to illness, disability, death, and healing. They can serve as useful teaching tools and maps of subjective experience for psychiatric nurses. (JAM PSYCHIATR NURSES Assoc (1995].1, 39-41)
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Knápek, Pavel. "Love, Guilt, Death and Art in Ibsen’s When We Dead Awaken". European Journal of Scandinavian Studies 45, nr 1 (1.04.2015): 1–15. http://dx.doi.org/10.1515/ejss-2015-0001.

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Abstract This article presents an original interpretation of Henrik Ibsen’s work When We Dead Awaken by advancing a hypothesis which explains Rubek and Irene’s path into death as an act of atonement. The analysis encompasses reflections on the meaning of terms such as love, life, art and guilt in the context of the work. The article emphasises the importance of children’s education, which proves itself to be the only effective way to contribute to mankind’s refinement – something very important in the main character’s view. In its last part the article seeks causes of the altered behaviour of the main characters immediately before their deaths (especially their feeling of attraction to death).
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Wood, Jessica. "The art of dying in Trionfo della morte". Forum Italicum: A Journal of Italian Studies 51, nr 2 (16.03.2017): 469–87. http://dx.doi.org/10.1177/0014585817698405.

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This article argues that Gabriele D’Annunzio’s protagonist in Trionfo della morte fails to become the superuomo because he pursues beauty in death rather than in life. While Giorgio Aurispa aspires to follow the teachings of Nietzsche and affirm life, his psychological weakness and sick will render him unable to do this. Any energy and willpower that Giorgio does possess is channelled into a morbid direction, alienating him from life and those around him. Giorgio becomes fixated on the ‘beautiful’ deaths of several figures (including Percy Bysshe Shelley and his uncle, who committed suicide) and, rather than imitating Zarathustra’s affirmative attitude towards life, aspires to create an end for himself that matches the beauty of the deaths of these macabre role models. It is Wagner’s Tristan and Isolde that provides the most beautiful – and fatal – model for death, however, and after hearing Wagner’s music D’Annunzio’s protagonist becomes obsessed with recreating a Liebestod. Instead of applying creativity to his life, Giorgio channels his (ebbing) energies into making a work of art of his death; but even here his creativity fails, and his intended Liebestod becomes a desperate suicide and brutal murder.
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Itaya, Jun-ichi, i Heinrich W. Ursprung. "Price and death: modeling the death effect in art price formation". Research in Economics 70, nr 3 (wrzesień 2016): 431–45. http://dx.doi.org/10.1016/j.rie.2016.07.005.

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Vercellone, Federico. "MENAS ATĖJUS JO PABAIGAI. PASTABOS APIE MENO MIRTĮ ŠIANDIEN". Religija ir kultūra 8 (1.01.2011): 52–630. http://dx.doi.org/10.15388/relig.2011.0.2754.

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Besitęsiantis ginčas apie meno „pabaigą“ arba „mirtį“ trunka jau apie du šimtmečius. Žinoma, čia turime reikalą su simboline mirtimi, mirčių (ar nužudymų) rūšimi, labai dažna XIX amžiuje. Šalia „meno mirties“ galime paminėti „žmogaus mirtį“ (Maxas Stirneris, Fiodoras Dostojevskis) ir „Dievo mirtį“ (Friedrichas Nietzsche). Šios simbolinės mirtys pasižymi tuo, kad sukelia velionio prisikėlimą. Pavyzdžiui, po Georgo Wilhelmo Friedricho Hegelio paskelbtos „meno pabaigos“ diagnozės prasidėjo du meninės kūrybos gausa trykštantys amžiai. O apie mūsų laikus netgi galima kalbėti kaip apie epochą, kurioje vyrauja (at)vaizdas.Straipsnio autorius teigimu, skelbdamas „meno mirtį“ Hegelis galėjęs matyti tik problemos dalį. Autorius pritaria Hegeliui, kai šis pagrįstai kalba apie „meno pabaigą“ turėdamas omenyje „estetinį“ meną, jo galimybę veikti dabarties kultūrą. Vis dėlto, anot straipsnio autoriaus, turime pripažinti, kad šiandieną nauja technika atveria naują šansą meno esačiai mūsų gyvenime. Atsižvelgdami į šį meninės technikos atsiradimą, galime kalbėti apie „viešojo meno“, meno, įtraukto į mūsų kasdienį egzistavimą, sugrįžimą.Pagrindiniai žodžiai: Hegelis, meno pabaiga, pasaulio estetizavimas, technika.ART AFTER ITS END: NOTES ON THE “DEATH OF ART” TODAYFederico Vercellone SummaryThe on-going debate on the “end” or the “death” of art has continued for almost two centuries. The death we are dealing with in this case is, certainly, a symbolical one, a kind of death (or of murder) that is very frequent in the 19th century. Besides the “death of art”, the ones to mention are also the “death of man” (Max Stirner, Fiodor Dostojevskij) and the “death of God” (Friedrich Nietzsche). These symbolical deaths are very particular as they produce the resurrection of the deceased. For example, after the Hegelian diagnosis of the “end of art”, two very plentiful centuries of artistic production have begun. One can even speak about our time as an epoch dominated by image. Our thesis is that Georg Wilhelm Friedrich Hegel could have seen only a part of the problem. We agree with him as he had spoken reasonably about the “end of art” in relation to the “aesthetic” art, in relation to its possibility to dominate the culture of the present. Nevertheless, we have to recognize that today the new technologies open a new chance for the presence of art in our life. Considering this emergence, we can speak of a return of the “public art”, of the art that is inserted in our daily existence.Keywords: Hegel, the death of art, aesthetization of world, technology, public art.
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Elkon, Keith B. "Review: Cell Death, Nucleic Acids, and Immunity". Arthritis & Rheumatology 70, nr 6 (18.04.2018): 805–16. http://dx.doi.org/10.1002/art.40452.

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Chappell, Phylliss M. "Departing: Death and the Art of Dying". Journal of Palliative Medicine 24, nr 5 (1.05.2021): 801. http://dx.doi.org/10.1089/jpm.2020.0663.

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Prentice, Trisha M. "Art of accepting the ‘least bad’ death". Journal of Medical Ethics 47, nr 4 (15.03.2021): 225–26. http://dx.doi.org/10.1136/medethics-2021-107268.

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Mišić, Marija. "DeLillo's Body artist, Ego death - art reborn". Reci, Beograd 11, nr 1 (2019): 82–99. http://dx.doi.org/10.5937/reci1912082m.

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Bates, Daniel G. "KINDRED: Neanderthal Life, Love, Death and Art". Human Ecology 49, nr 1 (16.01.2021): 107–8. http://dx.doi.org/10.1007/s10745-021-00213-4.

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Woolf, Felicity. "The Art of Death: Aileen MacKeogh's 'House'". Circa, nr 61 (1992): 34. http://dx.doi.org/10.2307/25557694.

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Ming, Victor Tiong Kung. "The death of the art of writing". Ubiquity 2004, March (marzec 2004): 2. http://dx.doi.org/10.1145/985616.985618.

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Ming, Victor Tiong Kung. "The death of the art of writing". Ubiquity 2004, March (marzec 2004): 2. http://dx.doi.org/10.1145/985619.985618.

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Andrews, Alice. "Enduring Death: Hauntings of Literature and Art". Parallax 17, nr 4 (listopad 2011): 124–27. http://dx.doi.org/10.1080/13534645.2011.605586.

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Shapiro, Gary. "GADAMER, HABERMAS AND THE DEATH OF ART". British Journal of Aesthetics 26, nr 1 (1986): 39–47. http://dx.doi.org/10.1093/bjaesthetics/26.1.39.

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Ross, Stephanie. "PHILOSOPHY, LITERATURE, AND THE DEATH OF ART". Philosophical Papers 18, nr 1 (maj 1989): 95–115. http://dx.doi.org/10.1080/05568648909506312.

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Dutton, Denis. "The Somewhat Exaggerated Death of Primitive Art". Philosophy and Literature 23, nr 1 (1999): 243–55. http://dx.doi.org/10.1353/phl.1999.0013.

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Helmreich, Anne. "The Death of the Victorian Art Periodical". Visual Resources 26, nr 3 (wrzesień 2010): 242–53. http://dx.doi.org/10.1080/01973762.2010.499646.

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Smith, Robert. "Art, Death and the Perfection of Error". Angelaki 7, nr 2 (sierpień 2002): 143–59. http://dx.doi.org/10.1080/0969725022000046233.

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Bearn, Gordon C. F. "Aestheticide: Architecture and the Death of Art". Journal of Aesthetic Education 31, nr 1 (1997): 87. http://dx.doi.org/10.2307/3333474.

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Fein, Susanna. "The Poetic Art of Death and Life". Yearbook of Langland Studies 02 (styczeń 1988): 103–23. http://dx.doi.org/10.1484/j.yls.2.302953.

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Wilson, Laurie. "Love, Death, and Art: Are They Normal?" Contemporary Psychology: A Journal of Reviews 42, nr 2 (luty 1997): 146–47. http://dx.doi.org/10.1037/000598.

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