Artykuły w czasopismach na temat „Humanities -> art -> modern art survey”

Arguably, art history has always had an interdisciplinary vocation, though this was at times underplayed during its establishment as an academic subject. Recent intellectual trends have tended to work in the opposite sense, encouraging art historians to highlight the relationship between visual art and a range of cultural and economic discourses. This has often involved discussion of specifically urban contexts, since cities have been the principal sites for the production, distribution and interpretation of works of art, and their fabric a means by which cultural practices have been allied to political, class and gender interests in modern society. The language and approaches currently adopted for this enterprise are often deeply marked by excursions into literary theory, psychoanalysis, anthropology and urban history and geography.

With the rapid development in communication technology nowadays, humanities disciplines have become closer and interconnected, which led to the flourishing of interdisciplinary fields. This paper attempts to survey the relationship between modern literary criticism and communication theories; it can be said that the progress that modern linguistics have witnessed in considering the poetic function among other communication functions has contributed to frame a literary theory based on the fundamental acts of communication. The works of Arab critic Mur?d Mabr?k could serve as a good example in this matter; he has been, in his hundred books and papers, interested in literary communication theory, which he thinks could be a comprehensive framework for the critics to analyse literary works, in regard to the texts, and in regard to their creators and readers. Mabr?k’s interest in this theory began in the early years of the current AD century, as he published several books and articles trying to draw a clear image of literary communication theory. He traces the roots of the theory in ancient Greek philosophy, classical Arabic criticism and rhetorics. He also follows the theory’s dimensions and concepts in other fields such as Anthropology, Sociology, and Information Science. Not only that, but Mabr?k suggests his own reading strategy of literary works, applying it on classical and modern poems, novels, and even commercial adds. It is the aim of this research to study Mabr?k’s project in order to understand the nature of the relationship between concepts of communication and modern critical theories.

Using technology to support learning is a major trend in the development of modern education. In the face of COVID-19, online courses play an important role. During the COVID-19 pandemic, a large number of online art design courses have been developed in China. Art design courses involve many practical investigation and skill operation links, which is a challenge of online learning. In order to explore the influencing factors of online course learning intention of art and design majors, this study compiled a questionnaire, conducted an online survey on 1,057 Chinese art and design majors through the Wenjuanxing questionnaire survey platform, and conducted structural equation analysis and hierarchical regression analysis on the sample data by using SPSS and AMOS analysis software. Based on Information Technology Acceptance Model and immersion theory, this study focuses on the relationship between information characteristics, immersion experience and learning intention of art and design online courses. The results show that the antecedent variables such as professionalism, interactivity, interest, and ease of use of online courses have a positive impact on College Students’ user immersion experience and learning intention; Immersion experience positively affects learning intention; Immersion experience plays a mediating role between online course information characteristics and learning intention.

ABSTRACT:Paris is renowned for artistic neighbourhoods like Montmartre and Montparnasse in the nineteenth and twentieth centuries. But for earlier periods, the art-historical picture is much vaguer. Where did artists live and work in the eighteenth century? Which neighbourhoods formed the cultural geography of the early modern art world? Drawing on data from a large-scale digital mapping project locating the addresses of hundreds of eighteenth-century artists, this article answers these crucial questions of urban art history. Following an overview of the digital project, the article explores three different mappings of the city's art worlds: a century long survey of the neighbourhoods inhabited by the Academy's artists; a comparison of where the Guild's artists were living in a single year and a wider world view of Parisian artists abroad. Through its new cartographic models of Paris's art worlds, this article brings the city to the foreground of eighteenth-century French art.

AbstractThe article surveys the views of Pashtun military-administrative elite on governance in the works of Khushḥāl Khān Khaṫak (d. 1689) and Afżal Khān Khaṫak (d. circa 1740). The texts under discussion pertain to the universal literary genre of “Mirrors for Princes”(naṣīḥat al-mulūk)and include the Khaṫak chieftains’ didactical writings in prose and verse, as well as still poorly studied documents on real politics from Afżal Khān's historiographical compilation “The Ornamented History”(Tārīkh-i muraṣṣaʿ). Rooted in the medieval Persian classics, early modern Pashto “mirrors” are distinguished by local ethnocultural peculiarities which manifest in shifting the very subject from statesmanship to chieftaincy and declaring regulations of the Pashtun unwritten Code of Honour. The study proves that the outlook and behavioural patterns of Pashtun tribal rulers stemmed from a combination, partly eclectic and contradictory, of Islamic precepts, feudal ideologies of the Mughal administrative system, and norms of the Pashtun customary law(Pashtunwali).

The paper presents a brief overview of three conferences organized by the Department of Australia, Oceania and Indonesia of the Museum of Anthropology and Ethnography (Kunstkamera) of the RAS, St. Petersburg, in 2021–2023, Maclay Readings 2021 and 2022 and a panel on ethnobotany at the Radlov Readings 2023. Fieldwork in the countries of Southeast Asia and Oceania is the main focus of our Department. However, since Covid restrictions reduced our possibilities for travel during that period, ethnobotany, another topic traditional for our studies, was chosen as the main theme of the conference. Also, a number of papers dealt with the history, art, traditional and modern culture of the South of Asia and Oceania, as well as Austronesian and Austroasiatic languages.

Traditional arts that have high artistic value must always be preserved from extinction. In order to maintain the popularity of traditional art in Indonesia, it is necessary that artists, teachers, and society understand it deeply. Every fine arts artist, teacher, and community must have a sense of nationalism towards traditional art in order to be able to maintain and become a stronghold of traditional art itself. This study aims to rediscover the values of traditional culture that are spread in several regions in Indonesia with the hope that it can be absorbed into modern art so that the value of traditional art is not completely eroded. This research uses Spradley's qualitative research method or ethnographic qualitative research with the aim of systematically describing deeper cultural characteristics. This research produces a description of the characteristics of traditional culture contained in several traditional arts and crafts spread across Indonesia, each region has cultural characteristics that are different from other regions which are influenced by several diverse factors. The characteristics of each artistic value are maintained and absorbed into modern art for maintained and taught in the world of education so that art saviors are born who are able to transform traditional arts into modern artistic values. As art saviors, artists need awareness of a sense of "nationalism" in each of them which is obtained through an understanding of these traditional arts.Keywords: high art, education, culture, nationalism. AbstrakKesenian tradisional yang memiliki nilai seni tinggi harus selalu dilestarikan dari kepunahan. Untuk mempertahankan popularitas seni tradisional di Indonesia, diperlukan seniman, guru, dan masyarakat yang memahaminya secara mendalam. Setiap seniman seni rupa, guru dan masyarakat harus memiliki rasa nasionalisme terhadap seni tradisional agar mampu menjaga dan menjadi benteng kesenian tradisional itu sendiri. Penelitian ini bertujuan untuk menemukan kembali nilai nilai kebudayaan tradisional yang tersebar di dibeberapa daerah di Indonesia dengan harapan dapat dilakukan penyerapan kedalam seni modern agar nilai dari kesenian tradisional tidak terkikis sepenuhnya. Penelitian ini menggunakan metode penelitian kualitatif Spradley atau penelitian kualitatif etnografi dengan tujuan mendeskripsikan karakteristik kultural lebih mendalam secara sistematis. Penelitian ini menghasilkan deskripsi karakteristik kebudayaan tardisional yang terkandung dari beberapa kerajinan seni tradisional yang tersebar di wilayah Indonesia, setiap daerah memiliki karakterstik kebudayaan yang berbeda dari daerah lain yang dipengaruhi oleh beberapa factor yang beragam, Karakteristik dari setiap nilai kesenian dipertahankan dan diserap kedalam kesenian modern untuk dipertahankan dan diajarkan dalam dunia Pendidikan agar terlahir penyelamat kesenian yang mampu melakukan transformasi seni tradisional menjadi nilai seni modern. Sebagai penyelamat seni, seniman membutuhkan kesadaran akan rasa “Nasionalisme” pada diri masing-masing yang diperoleh melalu pemahaman akan kesenian tradisional tersebut.Kata Kunci: seni tinggi, pendidikan, budaya, nasionalisme. Authors:Budiwirman : Universitas Negeri PadangSyeilendra : Universitas Negeri PadangAry Ramadhan : Universitas Negeri PadangSyafei : Universitas Negeri Padang References:Yoeti, O. K. 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The purpose of the paper was to study the physique of highly qualified martial art athletes engaged in different types of wrestling, and to perform a retrospective analysis of the morphological characteristics of wrestlers examined since the early 1920s. The materials of the anthropometric survey of 48 athletes engaged in different types of wrestling with qualification from the candidate for master of sports and above were used for this purpose and compared to the "control group" of young men (N = 97) who were not engaged in sports (similar to the group of athletes by age, ethnicity and percentage of individuals with different weight categories). A set of morphological traits was established that contributed to the successful achievements in sports. When comparing the physique of modern athletes with that of the wrestlers surveyed in the early and mid-20th century (the 1920s and 1960s), it has been shown that the secular trend towards increase in height typical for modern population, was expressed in athletes to a much lesser extent. Striking similarities were revealed for absolute and relative dimensions characterizing the skeletal body proportions of the wrestlers, which pointed to the secular stability of this sports morphotype. The obtained results can be used as additional morphological criteria for sports selection, professional orientation and prediction of competitive success.

It is by no means unknown, in Middle-Eastern art-music traditions, to find claims that a given rhythmic cycle was invented on a particular occasion by a particular musician, the most obvious and reliable instance being provided by ‘Abd al-Qādir al-Marāġī (d. 1435), who tells us that he was commissioned to create a new cycle to commemorate a victory. With frenkçin, then, a cycle where the very name clearly suggests some form of western derivation or inflection, it was perhaps only to be expected that we should encounter a similar narrative that pinpointed its origin, associating its creation with the impulse provided by a particular cultural encounter with the West. It has to be said, though, that no such account appears as a standard feature of the contemporary theoretical discourse surrounding Turkish art music: works that deal with the rhythmic cycles tend to be expository catalogues unconcerned with origins and derivations, and it is only in one major modern reference work that we come across the notion of western inspiration, together with a tentative suggestion as to the period during which frenkçin emerged. The detailed narrative of origin certainly first appears in a text by an eminent Turkish scholar, but it is one written in French—the comprehensive survey article by Rauf Yekta Bey published in 1922—and possibly in consequence it has so far been relayed primarily in western languages. The discussion by Kösemihal, the one significant Turkish scholar to have accepted this account, appears to have had little impact, and it remains to be seen whether the relatively recent translation of Rauf Yekta Bey's article into Turkish will stimulate renewed interest in this version in Turkey itself.

Preparing students for work in the field of education contributes to the development of school education. The basis for teaching students is made up of techniques, methods, and forms of learning by practical activity and the implementation of professional actions. The use of information and communication technology (ICT) in higher education contributes to the disclosure, preservation, and development of individual interests; the motivation; the desire for self-improvement and self-realization of students; ensuring the complexity of studying the phenomena of reality, the inextricability of the relationship between science, technology, the humanities, and art; a constant dynamic update of the content, means, forms, and methods of training and education. This study aimed to identify the level of future chemistry teachers through ICT competence development. A survey was conducted among 24 teachers of general professional and subject-vocational training, who taught “Chemical Technology” to their students. The questionnaire was targeted; the questionnaires were used both in electronic format (Google form) and in print. The article shows how information competence for future chemistry teachers is developed. The practical significance of the study is determined by the need to match the level of school education with modern technological trends. It is shown that there is a necessity for the motivation of students in scientific activity. It was established that the acquisition of competencies and the experience in open training systems, according to all respondents, is a prerequisite for the implementation of further effective educational, cognitive, and professional activities. The ascertaining stage of the pedagogical experiment established the need to choose and introduce the disciplines of mobile, computer, and cloud technologies into the curriculum for solving professionally-oriented problems. The novelty of the study is determined by the necessity to increase the competence of the pedagogical university students in training how to teach chemical disciplines.

THE POETRY AND MUSIC OF SCIENCE: Comparing Creativity in Science and Art by Tom McLeish. New York: Oxford University Press, 2022. 414 pages. Paperback; $16.95. ISBN: 9780192845375. *In this tour-de-force book, British physicist Tom McLeish finally comprehensively argues, in one dense volume, what so many scientists have been claiming piecemeal for centuries: that doing science often looks and feels like doing art. That is a broad, amorphous statement, of course, and scientists have not done a very good job of fully understanding this idea or selling it to the rest of the world. This carefully crafted volume must be the most exhaustive work in this area, treating the notion that the creative work of scientists and artists is extraordinarily similar, in that they both fundamentally involve an intimate passion for describing and representing the world around us. *This is not a book about beauty or wonder in science, but rather it examines how scientific ideas and theories come to a scientist's mind and find fruition as publishable science. The entire book juxtaposes literature and art with science and mathematics to help understand the creative process. One important impetus for writing the book, according to McLeish, was recent evidence that smart, capable high schoolers in England were choosing not to go into science because they believed it would not be nearly as fulfilling, creatively, when compared to work in the arts or humanities. McLeish, a Christian, succeeds in this book in showing that not only is creative thinking and experimenting necessary and "part of the chase" in science, but that it is also a natural fulfillment of our creative mandate as human beings made in the image of God. McLeish is also careful to give examples of "more-regular" science, rather than relying solely on the popular accounts of the creativity of exceptional geniuses; he trys to show that all scientists participate in this artistic-like creativity no matter what they are studying. *The first two chapters introduce the concepts of creativity and inspiration in science. McLeish begins an interaction with several important works that he draws on throughout the book: William Beveridge's The Art of Scientific Investigation from 1950, Henry James's The Art of the Novel, and Howard Gardner's 1993 work Creating Minds (one of many surveys of particularly creative individuals). Chapter 3, "Seeing the Unseen," is about visual imagination and its role in theory creation, artistic design, and general problem solving. Visual imagination is seeing things in the mind's eye, but it is obviously linked to actual sight and seeing the world, too. Surveying the history of thought in this area, McLeish ranges from Plato to Gregory of Nyssa, to the thirteenth-century polymath Robert Grosseteste, to the Italian painter Giotto, to Einstein, who said his theory creation and problem solving started with visual images in his mind, which often led to his famous gedanken experiments. Grosseteste is one of the main interlocutors for McLeish throughout the book, being an exemplar of someone having a broad view of thought and creative exploration, not just compartmentalizing a premodern understanding of the physical world from his theological and philosophical commitments. *Chapters 4 through 6 sequentially juxtapose each of the three main areas of scientific work (experiment, theory, and mathematics) with their natural counterpart in literature and music. Experimental science is akin to writing a novel (!?) in that both set up artificial worlds that are tested against the real world and help illuminate the real world. Theoretical science is akin to writing poetry, in that both re-imagine the universe within fixed constraints: poetry within a certain shaping but constraining form, and theoretical visions of what goes on "under" the natural world constrained by a necessary conformity to that world. Chapter 6 compares mathematical creativity with composing and listening to music--the two "wordless" human endeavors in the world of the abstract. *The book is ultimately a treatise on creativity, and as such applies not just to science and art, but to all human endeavors that require creativity. In the final two chapters (7 and 8), McLeish develops what he describes as an "Ur-narrative of creative experience." Starting with a four-step creative process taken from Graham Wallas's 1926 work The Art of Thought, he adds in three more important stages that emerge from his analyses. The seven steps are: vision, desire, industry, constraint, incubation, illumination, and verification. (McLeish has added in desire, industry, and constraint, along with switching Wallas's ideation to vision.) Chapter 7 deals with emotion and drive in scientific creation, and chapter 8 ponders the purpose of human creativity, the telos that ultimately drives scientists and artists to such great lengths in pursuing their creative work. McLeish brings the imago Dei front and center, drawing on the two great hymns in the Book of Job, "Voice from the Whirlwind" (Job 38-42) and "Hymn to Wisdom" (Job 28), as guides to understanding the creative impulse to understand creation. In this he draws on his previous volume with Oxford, Faith and Wisdom in Science. *I believe that listing all the scientific works that McLeish describes in detail with regard to the creative elements behind the works is a good way to convey the magisterial scope of this intellectually rich book. Topics that get 2-10 pages each of description include Feynman's theory of beta decay, McLeish's own considerable contribution to viscous flow in branched polymer melts and his idea of entropically based allostery in biology, Belgian scientist Jan Vermant's work in mesoscale properties of "living matter" (which involves cellular-based material science), "collective phenomenon" and its original invocation by Pierre Weiss in 1907 to explain ferromagnetism, the centuries-long premodern controversy over the nature of sight (intromissive vs. extramissive, etc.), the recent evidence of a star being destroyed by a black hole, Boyle's contributions to the founding of modern experimental science, Alexander von Humboldt's important contributions to the value of a wholistic, multilevel vision of nature and science, Emmy Noether's astonishing discovery of the theoretical origin of conservation laws in physics, the discovery of the all-important fluctuation-dissipation theorem over 30 years (inaugurated by Einstein in 1905, applied to electrical noise by Nyquist in 1928, and fully generalized by Callen and Welton in 1951), the recent development at Caltech of a jet fuel polymer additive that greatly inhibits explosions of jet fuel (motivated in part by the horror of the fuel explosions on 9/11), and finally the full discovery of what causes rainbows by Theodoric in ca. 1310. The descriptions of these historic achievements are each fascinating in their own right and very readable--they alone, for me, would justify an investment in this book. When they are paired with a similar creative work from art, poetry, or fiction, the juxtaposition is extremely fruitful, though the philosophical/psychological analyses get much denser. *Many other discoveries are given much shorter treatment (less than one page), including Andrew Wile's solution to Fermat's Last Theorem, Dirac's mathematical discovery of spin and anti-matter, Poincaré's discovery of a new class of Fuchsian functions, Royer's recent proof of the Gaussian Correlation Inequality in statistics, and Heisenberg on discovering quantum matrix mechanics. The explorations into artistic and literary creativity are typically much shorter, but are nearly as numerous; they include a painting conceptually representing a string-quartet performance by English artist Graeme Willson, Virginia Woolf's To the Lighthouse, Robert Schumann's orchestral work Konzertstück, and Picasso's masterpiece Guernica. *At nearly four hundred pages, this is not light reading and takes some patience and time to get through. It is written at a very high level of sophistication, and therefore one is often "bogged down" trying to make complete sense of what one is reading. (However, if one is not writing a review of the book, one need not spend quite so much time disentangling every dense sentence to get the main gist of the passages.) Also difficult are the many references to previous parts of the book. While these references are entirely appropriate, they are quite demanding of the reader given the sheer number of names and amount of material covered. I had to do quite a bit of flipping back and forth, checking the index to remember exactly what so-and-so said that is now being referenced 100 pages later. In other words, this is a thoroughly academic text. *This is a revised edition of the book, which was first published in 2019. The overwhelming positive response, according to the new preface, prompted the author to immediately answer some of the initial reviews and friendly critiques, which I believe made the book quite a bit better (initially there was not nearly as much about poetry; the comparison of poetry with theoretical science now became a separate chapter, enabling McLeish to more logically and thoroughly cover the territory he had staked out). McLeish sadly died very recently (February 2023) at age 60, while holding the newly created chair in Natural Philosophy at University of York. He was a lay preacher in the Anglican Church and a Fellow of the Royal Society. *Reviewed by Peter Walhout, Chemistry Department, Wheaton College, Wheaton, IL. 60187.

Introduction. Modernization of modern higher education determines new requirements to the structure of university learning environment as a part of educational space and social environment of students and updates its humanitarian component. The strategy of training humane centered individual is documented in the fundamental documents of the world's leading universities and presupposes an adequate mechanism for assessing the quality of this environment and its key subjects. At the same time, in the context of the implementation of the concept of academic leadership, national ideas in the field of science and education, a special role in the organization of monitoring the quality of education is assigned to the regions in order to maximize the effective realization of their human, intellectual and cultural capital.Materials and Methods. In accordance with the goals and objectives of the article, the research methodology is represented by a group of theoretical (analysis and generalization of scientific literature, synthesis of the obtained information) and empirical methods (survey, questionnaire, observation). The methodological basis was shaped by research in the field of humanization of universities learning environment, quality of higher education and monitoring of higher education. The author also proceeds from the understanding of the development of the regional system of higher educational as a highly organized multilateral interactions of various participants, the main among which include governing bodies, civil society institutions, employers, students, administration of educational institutions, teaching and academic staff.Results. Performance assessment and performance monitoring of universities represent one of the main open information sources for full-scale studies of the educational process and analysis of the current state of the learning environment of universities of different levels and focus. The paper discusses approaches of Russian and foreign researchers to genesis and structure of learning environment and humanitarian learning environment, describes the content of such key terms as «monitoring», «monitoring in education», «management in education». The main monitoring indicators proposed are the students' satisfaction with the main parameters of the educational process (learning activities, extracurricular activities, research activities), assessment of the spatial-semantic component of the university, employers' satisfaction with the quality of graduates' training.Discussion and Conclusions. Management of the quality of education in a modern university is directly related to the systematic monitoring of the quality of its learning environment. The author comes to the conclusion that the diversity of targets of monitoring the quality of higher education determines the plurality of approaches to the procedure of its implementation. The accumulation of monitoring data makes it possible to formulate a scientifically grounded judgment about the quality of the university learning environment as a whole and identify promising directions for further development. The obtained data confirmed the need to expand the fundamental humanitarian component of higher education as the basis for a holistic and systemic perception of the world, which, in turn, implies the modernization of the principles of selection and systematization of knowledge, the search for new forms of their synthesis, as well as the active interaction of science, art, natural sciences and humanities.

Mosaics have not fared well in the hands of classical archaeologists. Modern viewers have traditionally treated them as panel-paintings laid out on the floor: consider how mosaics are frequently displayed on museum walls, for example, or how book reproductions perpetuate the ideal of a ‘vertical’ bird's-eye view. Scholars, too, have been quick to identify mythological subjects, homing in on ‘figurative’ motifs. But we still lack an adequate framework for approaching more ‘ornamental’ components – or for challenging that segregation in the first place.

I am no doubt showing my prejudice, but I didn't expect a book on Greek acroteria to make for such exciting lockdown reading. Because of their position high up on temple buildings, extant sculpted materials tend to be fragmentary – and hence pushed to the literal and metaphorical corners of modern-day museums. Look to scholarly publications, moreover, and there is a tendency towards classificatory catalogues, markedly less in the way of theoretical discussion (whether about architectural and cultic framing, for example, historical aesthetics, or the intersection between ‘ornamental’ and ‘figurative’ representational modes).

For many, the era of COVID-19 has been short of colour. All the more reason, perhaps, to welcome this round-up's starter for ten: a multihued survey of polychromy in Roman portraiture. Facing the Colours of Roman Portraiture is a book that really does lend itself to being judged by its cover: as we turn the volume from back to front, a marble portrait magically metamorphoses between battered original and technicolour reconstruction.

We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

Abstract This article outlines a narratological study of art history, discussing how to tell the story of art while telling the story. With this twofold purpose in mind, the author in this article draws the grande ligne of a narrative model on the one hand and proposes a historical argument about modern Chinese art on the other. The former aims at breaking down the boundary between intrinsic and extrinsic studies of art history, whereas the latter aims at proposing a main thesis about modern Chinese art. For the main thesis, the author argues that the development of Chinese art in the twentieth and the early twenty-first centuries is primarily determined by the interaction between the influence of Western art and the Chinese responses to the influence, and the response is driven by the Chinese anxiety of cultural identity over the last one hundred years. Although the topic of this article is centralized around modern Chinese art, the theorization of the methodological approach is to generalize the narrative model for the study of not only art history but also visual culture, critical theory, and relevant disciplines in the humanities.

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

This speculative submission tries to delineate the possible existence of a clash between fulfilling a mission towards developing the cognitive and intellectual abilities of learners via reading and the introduction of mobile technology or M-Learning techniques into university education along with a survey of the possible forces that act to bring this about and how these trends follow the general tendency of intellectual and habitual behaviour in modern society. Whether they are in harmony or whether they run against them.

Abstract This article examines the idea of an embodied art in A. S. Byatt’s short story ‘Body Art’. In order to contextualize this concept, the essay begins with a survey of Byatt’s earlier explorations of the link between mind and body, as well as an analysis of the small amount of secondary material relating to ‘Body Art’, a text that has received little critical attention. The article then explores the story’s ties to Dutch vanitas painting, a tradition that is intimately linked to the study of anatomy. The vanitas tradition shows how medicine and art were once a unified field, and explores the consequences of their modern division. This leads to a consideration of the influence of theological debates about mind and body and their effect, in particular, on Renaissance humanist art. The next section examines the shifting meaning of the archival collection, particularly in its significance for modern formations of subjectivity. This idea is particularly important in the context of the story’s allusions to Joseph Beuys, who views the artist’s body as a locus of creativity. Like Beuys, Byatt is interested in art that draws on the imaginative power of religious storytelling and imagery while rejecting its supernatural elements. Byatt draws together all of these elements in her story in order to articulate her vision of an embodied art, one that draws together the conceptual and the physical.

The “art of nursing” was the culminating assignment for student group reflection and gained insight about their assigned vulnerable population as represented in a quilt block created. To learn about their assigned vulnerable population, the students begin with a windshield survey. The windshield survey results were recorded in a blog where the similarities and differences are discussed. The blog provides the basis for a group Wiki paper describing the challenges and opportunities of each of the vulnerable populations. Art can play a significant role in the modern caring sciences. It can touch thousands of people.

Abstract Although Victor D'Amico's pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D'Amico's key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art educators and museum educators as requiring different kinds of foundational work and an acknowledgment of the importance of the museum as a context for art education.

Objectives: This research aims to trace the history and techniques of decoupage art as a medium in contemporary Egyptian painting. It explores how decoupage enhances tactile values and achieves visual richness in artworks. Additionally, it examines the tactile qualities of decoupage in Egyptian pictorial works through descriptive analysis of selected pieces by contemporary artists. The hypothesis suggests that the use of decoupage art enriches visual and tactile experiences in contemporary Egyptian figurative painting. The significance of this study lies in shedding light on a novel approach that enhances the surface texture of contemporary Egyptian painting, specifically the decoupage technique. It also explores diverse technical approaches through artistic experimentation. Methods: The researcher adopts a historical approach to examine the emergence of decoupage art and utilizes a descriptive and analytical approach to study samples of contemporary Egyptian artists' works that incorporate decoupage techniques. Results: The research confirms the hypothesis that the use of decoupage in contemporary Egyptian artworks enhances visual richness and artistic value. The technique achieves color and linear diversity through the decorative elements of the decoupage paper. Conclusions: Based on these findings, the researcher presents recommendations and proposals. These include encouraging experimentation with various materials and interdisciplinary approaches to enrich contemporary artistic work. It advocates for the development of an educational curriculum that allows art students to enhance their visual and aesthetic experiences. Furthermore, it emphasizes the importance for artists to pay attention to the materials available in their local environment and utilize their aesthetic components to the fullest extent.

In 2013, within the framework of the internal university research (Art. 64, Art. 65a, Art. 90 and Art. 91 of the Law on Higher Education, in accordance with Regulation 9 / 08.08.2003, Art. Rilski" in Blagoevgrad was conducted a survey of small and medium-sized companies in the South-West planning region. The aim was to analyze the entrepreneurial attitudes and assessments of entrepreneurs and other respondents with regard to the "Small and Medium Business" sector on the effectiveness of the policy for its support. Data in 246 of the over 300 surveys distributed were assessed as representative. Further, both a summary of the results of the empirical data collected and a general overview of the very notion of "SME policies" as it is understood in most EU Member States with a tradition and experience in supporting these businesses as an important factor for the viability of a modern market economy were provided.

The introductory article reveals the principles of forming a science direction, dedicated to the theory and history of arts, for the journal of the Siberian Federal University «Humanities & Social Sciences». To analyze the topical problems of regional scientific schools of contemporary Russian art history, several principles were chosen: geographical (when studies are presented by regions where the corresponding scientific schools are developing), historical (in accordance with the problems characteristic of one or another significant era in the history of world and domestic art), conceptual (in accordance with the basic ideas, theories, concepts that are shared by the authors), thematic (uniting scientists dealing with similar art history issues). The main approaches of the authors, the topics of their articles, art history ideas and theories that they develop are presented. At this point the schools of Russian art history are associated with the cities of Moscow, St. Petersburg, Chelyabinsk and Krasnoyarsk

Until recently, modern Chinese art attracted little scholarly attention, either in China or in the West. Western art historians might occasionally glance at the more traditional kinds of painting in the twentieth century, but their serious publications were on the great periods of Chinese art, Ming or before. The contemporary China-watchers—social scientists and modern period historians—trained their gaze on the harder stuff of politics and economics, ideology and organization. In the United States and the West in general, art seemed to slip through the crack between ACLS- and SSRC-funded research projects. In China, anything on the twentieth century, even art, was too sensitive politically for safe handling. The result was that throughout the Maoist years modern Chinese art could occasionally pique the interest of collectors or dealers outside China or draw carefully calculated praise from critics and publicists within, but it was not a promising area for critical scholarship. Michael Sullivan's pioneering survey, Chinese Art in the Twentieth Century, London and Berkeley, 1959—strong on developments in the later Guomindang period when he was in China, but understandably rather out of touch with the main currents in the People's Republic—remained for almost thirty years the sole monument in a neglected field.

Visitors to modern Istanbul struggle to imagine how the city as created by Constantine appeared. But the elongated promenade now usually indicated as Sultan Ahmet Parki, but also known as the At-meidam (‘Horse-Square’), is vaguely conceivable as the ancient Hippodrome, the centre of public life in imperial Constantinople; and of the numerous monuments that once adorned this area, a trio persists along the site of the ‘spine’ of the ancient racetrack. Two obelisks are still conspicuous; between them lurks the ‘Serpent Column’, which was already a piece of antiquity when Constantine had it removed from Delphi. Of all bronzes to survive from the classical world it is perhaps the most deserving of its own ‘cultural biography’. This is what Paul Stephenson offers with The Serpent Column. He starts in the broadest possible terms – mankind's general phobia of snakes – and then guides the reader through two and a half millennia of the vicissitudes endured by a sacred object wrenched from its ‘pagan’ purpose and somehow accorded special status within first Christian and then Muslim theocracies. Several times damaged, but never destroyed, the structure originally erected to mark the Greek victory over the Persians at Plataia in 479 bc now serves as a sort of talisman against snakebites. Stephenson calls upon some esoteric sources to inform its symbolic genesis – though disappointingly attempts no reconstruction of how it originally supported a tripod with cauldron – and shows how that symbolism could be adapted in biblical terms. Constantine's motives for relocating the monument remain obscure; nonetheless, we can surely dismiss Gibbon's conclusion that the emperor reveals merely ‘the rapacious vanity of a despot’. Recall the tradition that in his new forum he buried, beneath a pillar, an ensemble of relics comprising the Trojan-Roman Palladium, Noah's axe, Mary Magdalene's ointment jar, the crosses of the two thieves, and twelve baskets used by the apostles at the feeding of the five thousand. Superstitious he may have been; yet, by his choice of objects, Constantine also shows a fine sense of cumulative tradition at the juncture of Europe and Asia.

The growing popularity of comics in Ukraine and worldwide increases scientific attention to this type of information product. The article is devoted to generalising the leading tendencies in the Comics Study and researching comics in modern humanities. Based on the study devoted to comics professional publications, profile resources of world comics research centres and the current state of understanding the phenomenon of comics magazines and Internet resources, application of review-analytical, historical-chronological, dialectical, socio-communication, and content analysis methods has been detected that the syncretic nature of comics made them a research subject in various sciences and programme subject areas: literary studies, linguistics, cultural study, art history, history, political science, and others. Leading research centres of Comics Study are the International Comic Art Forum, the British Consortium of Comic Researchers, the Comics Research Hub of the University of the Arts, the Canadian Society for the Study of Comics, the Society for Comics Researchers (USA). The educational direction of Comics Studies has been represented by bachelor’s, master’s, and doctoral (doctor of philosophy) educational programs in higher education institutions of different countries: the University of Florida, University of Toronto, University of California Santa Cruz, University of Portland, West University, University Dundee, Teesside University, Lancaster University (UK), Kyoto Seika University (Japan). The growth of scientific knowledge in Comics Study, on the one hand, and on the other hand - the predominance of interdisciplinary approach in the studies necessitated the establishment of special scientific journals dedicated to comics, such as the Journal of Graphic Novels and Comics, Studies in Comics, European Comic Art. In Ukraine, the study of comics at the dissertation level took place in the dimension of pedagogy and philology. However, some scientific research on comics is available in journalism, press studies, publishing, political science, literature, journalism, and social communications. It has been found that as a multifunctional and unique information product and object of library activity, comics have not yet become the subject of study for bibliologists and librarians. The prospects of separating the corresponding research direction in bibliology and library science are substantiated.

The article discloses the problem of younger teenagers’ aggressiveness prevention in current challengeable times. The purpose of the article is to determine the benefits of using art therapy during a crisis period, as well as highlight using art techniques in the prevention of aggressiveness among younger teenagers in general secondary education institutions. Theoretical (analysis, synthesis, systematization, generalization) and empirical (survey of children aged 11-12) methods were used to prepare the article.The prevention of aggressiveness among younger teenagers is defined as a direction of socio-pedagogical activity, which involves a set of measures aimed at preventing, limiting, and localizing the phenomenon of aggressiveness among younger teenage children in the social environment. According to the results of the survey, the causes of aggressive behavior of teenagers were revealed (injustice; unpleasant situations and circumstances that provoke them; bullying, insults from classmates; comments from elders, teachers, parents, etc.). Methods of teenagers self-control in cases of strong angry emotions (such as conflict avoidance, communication with friends who keep spirits up, wishful thinking, relaxation, breathing techniques, constructive expression of resentment, etc.) are summarized.It is substantiated that art techniques is an effective method of preventing rising aggression in younger teenagers. It is noted that art therapy is a multifaceted technological tool that is attractive to children and easy to use. The key advantages of using art therapy during and after armed conflicts are highlighted. It was determined that such types of art therapy as video therapy, music therapy, photo therapy, etc., have particular importance now. The specified types are characterized, the advantages of their use in war conditions are outlined. Key considerations of art therapy application in institutions of general secondary education are disclosed.

Since Walter Houghton’s influential 1942 article, the English virtuoso has played a large role in the early modern histories of art, of science, and of relationships between them. This emphasis has obscured alternatives, such as the “lover.” This essay challenges the historiographical predominance of the Royal Society virtuoso through a brief survey of the relative uses of virtuoso and “lover” (also liefhebber, Liebhaber and amator) in England in the first half of the seventeenth century. It then offers the counterpoint of the socially and disciplinarily inclusive concept of philomathia developed by Jena Professor Erhard Weigel (1625–1699) in his school of “Art and Virtue” and his proposed College of Art Advisors, a model which raises challenging questions for the Restoration virtuoso.

Present day Slovenia has inherited a number of historic libraries and collections, one of which provided the foundations of the National and University Library at Ljubljana, the major library for arts and humanities. There are also a number of specialised art libraries within and outside the University of Ljubljana, including the library of the University’s Department of Art History, the Library of the Academy of Fine Arts, and the libraries of the National Museum, the Museum of Modern Art, and the Museum of Architecture, all in Ljubljana. Slovenian libraries have been or are being automated and linked together through the COBISS network; most of the academic libraries are connected to the Internet. Library training programmes are available at degree level, and students can study another subject, such as art history, as well. More art librarians are needed, as is an association of art libraries and art librarians.

The article examines the status of art in the digital space that is based on the study of technologically determined changes in the three main vectors of the system: production, consumption and circulation of art. In this context, the research task related to the definition of aspects of transformation and diversification of the art system in the formation of digital culture of modern society is relevant and scientifically determined, which ultimately gives us an understanding of the status of art in modern digital space. The multifaceted nature of the proposed research topic foresees the use of approaches of a number of humanities disciplines, first of all art history, culturology, social communications and philosophy. The authors found out how the process of artistic creation, the nature of artistic communication, the means of presentation and promotion of an artistic product, and the mechanisms of its consumption are changing in the conditions of society digitalization.

‘And verily so excellent he was in this perspective, that a man would say, his even, plaine, and flat picture were embossed and raised work.’ Philemon Holland's endearing 1601 translation of Pliny's Natural History (35.50) is one of the earliest documented references in English to ‘perspective’, understood as ‘the art of delineating solid objects upon a plane surface so that the drawing produces the same impression of apparent relative positions and magnitudes, or of distance, as do the actual objects when viewed from a particular point’ (OED). The passage relates to a Sicyonian painter called Pausias, whose penchant for representing oxen front-on, and yet conveying all their bulk and size, clearly impresses Pliny. But in a sour footnote, the Loeb edition comments: ‘there is no proof that perspective is meant’. It is true that the established text of Pliny does not support Holland's claim that Pausias ‘had a singular gift to work by perspective’. With the benefit of Renaissance expositions, Holland presumably knew what perspective was. But did Pliny know – or indeed did any other ancient writer or artist understand the basic principle of a vanishing point? Modern scholarship has been frustratingly incapable of answering that question, with authorities such as Panofsky and Richter concluding that the geometrical know-how existed, but was not applied, and others (e.g. John White) content to accept that artists understood the principle without needing its formal articulation. Given this aporia, one seizes Rocco Sinisgalli's monograph, Perspective in the Visual Culture of Classical Antiquity, with an eager hope that we may resolve the issue. It is a slim volume, and promises that ‘key concepts…are clarified and enhanced by detailed illustrations’ (cover). Alas, the diagrams rarely clarify or enhance the somewhat staccato text; and the central claim of the book, that ‘ancient theories of perspective were based primarily on the study of objects in mirrors, rather than on the study of optics and the workings of the human eye’ (cover), remains (appropriately, it may be) speculative. If read in a certain way, texts of Euclid and Ptolemy imply the use of mirrors by painters. But one has only to glance at the surviving text of Ptolemy's Optics, as translated from Arabic into Latin by a twelfth-century Sicilian admiral (sic) of Byzantine Greek origin, to see that it is the stuff of a very sadistic Latin Unseen; and that even if Ptolemy's terms meta (‘destination’) or nutus (‘sign’) be sympathetically understood as ‘principal vanishing point’, we could wish that Ptolemy – and indeed the other authors deployed by Sinisgalli, such as Lucretius and Vitruvius – had expatiated upon the utilization of a vanishing point by artists. The trompe-l'oeil trick of linear recession is played often enough in Roman wall-paintings – but that is not quite the same thing, and painters seem not to have been concerned about creating a complete illusion. Sinisgalli imagines Augustus at home on the Palatine, in the Room of the Masks: it is proposed that if the emperor was wearing slippers, with an eye-level at 1.48 metres, and in shadowy light, he would share in a unified ‘perspective’. But I fear we are still unsure.

The purpose of this study was to determine the application of the Language Art Exhibition event at Modern Islamic Boarding School Darussalam Gontor for Girls First Campus and the effect of the Language Art Exhibition event on the speaking skills of grade 2. This type of research is quantitative research with a survey method at Modern Islamic Boarding School Darussalam Gontor for Girls First Campus. Researchers want to know the effect of Language Art Exhibition as variable X on Arabic speaking skills as variable Y. Based on the data generated, it can be concluded that this event has an effect on self-improvement and development as well as vocabulary development with its direct application and there is an influence on Language Art Exhibition (X) on Arabic speaking skills (Y) in grade 2 of Modern Islamic Boarding School Darussalam Gontor for Girls First Campus.