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Опубліковано: 27 липня 2024
Оновлено: 30 липня 2024

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Статті в журналах з теми "Humanities -> art -> american art survey"

1

Martinez, Katharine. "The Research Libraries Group: new initiatives to improve access to art and architecture information." Art Libraries Journal 23, no. 1 (1998): 30–37. http://dx.doi.org/10.1017/s0307472200010798.

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Анотація:
This survey of the achievements of the Research Libraries Group (RLG) and its Art and Architecture Group shows the effectiveness of a collaborative approach in developing best practices and standards, and implementing new methodologies and technologies, to benefit the international art library and research communities. RLG members in Europe, North America and Australia include many of the major art research libraries. RLG offers services such as the RLIN bibliographic database and the MARCADIA retrospective conversion service in conjunction with projects documenting sales catalogue records (SCIPIO), preserving serials (the Art Serials Preservation Project) and facilitating the interloan of material between members. More recently the partnership between the RLG and the Getty Information Institute has made available an enormous range of art documentation work carried out by the Getty: standards and authority control work such as the Art & Architecture Thesaurus, the Union List of Artists’ Names and the Thesaurus of Geographic Names. In the 1980s the RLG conducted a survey identifying information needs in the humanities, which has led to resources such as the Bibliography of the History of Art becoming widely accessible, with the Provenance Index to follow shortly. This partnership is now active in the museum field, attempting to bridge the gap between the domains of secondary and primary materials in the field of art research. The REACH project (Record Export for Art and Cultural Heritage) is experimenting with the export of existing machine-readable data from heterogeneous museum collection systems, and testing the feasibility of designing a common interface for access which will complement RLG’s other resources.
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2

WHITE, HARRY. "American Musicology and “The Archives of Eden”." Journal of American Studies 32, no. 1 (April 1998): 1–18. http://dx.doi.org/10.1017/s0021875898005775.

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In his T. S. Eliot Memorial Lectures delivered at the University of Kent in March, 1971, and subsequently published as In Bluebeard's Castle or Some Notes Towards A Re-definition of Culture, George Steiner apostrophized the condition of American culture in the following way:America is the representative and premonitory example [of the democratization of high culture]. Nowhere has the debilitation of genuine literacy gone further (consider the recent surveys of reading-comprehension and recognition in American high schools). But nowhere, also, have the conservation and learned scrutiny of the art or literature of the past been pursued with more generous authority. American libraries, universities, archives, museums, centres for advanced study, are now the indispensable record and treasure-house of civilization. It is here that the European artist and scholar must come to see the cherished after-glow of his culture. Though often obsessed with the future, the United States is now, certainly in regard to the humanities, the active watchman of the classic past.So far, so good. But Steiner's encomium (notwithstanding that second sentence) carried with it a conditional scrutiny which was less attractive in its implications.
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3

KOWALSKI, PHILIP J. "From Memory to Memorial: Representative Men in the Sculpture of Daniel Chester French." Journal of American Studies 41, no. 1 (March 8, 2007): 49–66. http://dx.doi.org/10.1017/s002187580600274x.

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The civilized and genteel tone of art critic Adeline Adams captures a fading historical and cultural moment that she recovers in this memory of American beaux-arts sculpture, fitfully described in a contemporary exhibition brochure as employing “the classical or Renaissance figural type, stripped of idealization and infused with baroque exuberance in composition,” and “combined with a purely nineteenth-century insistence on accuracy in surface detail.” Despite this sculptural syncretism, Adams's assessment evokes the high civic and didactic role that American public sculpture played toward the end of the nineteenth century, and her memory is even more poignant given the fact that Daniel Chester French, born in 1850, would be dead within two years of her commentary. A modest and contemporary survey of his sculpture thus might help us understand the totalizing effect that the City Beautiful Movement held for a short time in terms of aesthetic urban planning. French ranked among Frederick Law Olmstead, Augustus Saint-Gaudens, and other architects and artists “to influence the heart, mind, and purse of the citizen,” as William H. Wilson simply puts it. Confronted by industry, urbanization, and immigrants, those harried and long-time residents of Adeline Adams's American urbs were reminded as they rounded street corners and ascended the steps of civic institutions that a kind of classical beauty and simplicity still existed, and that a small corps of artists and urban planners wanted to keep it that way.
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4

Ahsani, S. A. H. "The State of Research on Islamic Spain." American Journal of Islam and Society 9, no. 4 (January 1, 1992): 556–62. http://dx.doi.org/10.35632/ajis.v9i4.2541.

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The era of Muslim rule in Spain (711-1491 CE) witnessed great contributionsin many areas of knowledge and learning. Rapid strides weremade in such diverse fields as art and architecture, agriculture and handicrafts,linguistics and literature, humanities and Social studies, music andpoetry, and the physical and mechanical sciences. In fact, Islamic Spain,known to the Muslim world as al Andalus, served as a bridge for thetransfer of the knowledge and wisdom of Classical Greece to Europe, aprocess that eventually led to the European Renaissance.The achievements of al Andalus will not be discussed in this paper.Rather, a survey of current research activities focusing on al Andaluswill be presented. The areas covered are Europe, North America, NorthAfrica, and parts of Asia. Latin American activities have not been surveyeddue to the nonavailability of sources.EuropeEurope has been the center of research on al Andalus. Various periodicalshave served as major sources of information: Al-Andalus (Madrid1933), Hesperis (Paris 1921-59), Hesperis-Tamuda (Rabat 1960), Miscellanceade Estudios Arabes y Hebraicos (Granda 1952), Revista de InstitutoEgypcio de Studios Islamicos (Madrid 1953), Revue de la OccidentMusulman et la Mediterranee (Aix-en-Provence 1966), Boletin de laAssociation Espaniola de Orientalistas (Madrid 1965), and Cuadernos dela Alhambra (Granada 1965).Certain important books have also appeared, such as Peres: la PoisieAndalousie, which includes a history of that period. Introductions to editionsof texts and translations relate important infonnation about al Andalusunder the al Murabitun and the al Mu’ahhidun dynasties. Hourani(1961) has written an excellent book: Averroes: On the Harmony of Religionand Philosophy. Memorial volumes in honor of E. Levi-Provencal,G. and W. Marcais, Menendes Pidal, Millas Vallicrosa y Parya, A. H. andR. Basset, H. A. R. Gibb and H. Wehr also contain much valuable data.Mention must be made of translations by institutes devoted to thestudy of al Andalus: Dar al Thaqafah (Beirut) has published valuablebooks, as have several Spanish and North African organizations (i.e.,Conjeyo Superior de Investigaciones Cientificas Madrid], Instituto deStudios Islambs [Madrid], Institute des Haut-Etudes Marocaines Paris ...
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5

Peng, Z. Ellen, Sebastian Waz, Emily Buss, Yi Shen, Virginia Richards, Hari Bharadwaj, G. Christopher Stecker, et al. "FORUM: Remote testing for psychological and physiological acoustics." Journal of the Acoustical Society of America 151, no. 5 (May 2022): 3116–28. http://dx.doi.org/10.1121/10.0010422.

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Acoustics research involving human participants typically takes place in specialized laboratory settings. Listening studies, for example, may present controlled sounds using calibrated transducers in sound-attenuating or anechoic chambers. In contrast, remote testing takes place outside of the laboratory in everyday settings (e.g., participants' homes). Remote testing could provide greater access to participants, larger sample sizes, and opportunities to characterize performance in typical listening environments at the cost of reduced control of environmental conditions, less precise calibration, and inconsistency in attentional state and/or response behaviors from relatively smaller sample sizes and unintuitive experimental tasks. The Acoustical Society of America Technical Committee on Psychological and Physiological Acoustics launched the Task Force on Remote Testing ( https://tcppasa.org/remotetesting/ ) in May 2020 with goals of surveying approaches and platforms available to support remote testing and identifying challenges and considerations for prospective investigators. The results of this task force survey were made available online in the form of a set of Wiki pages and summarized in this report. This report outlines the state-of-the-art of remote testing in auditory-related research as of August 2021, which is based on the Wiki and a literature search of papers published in this area since 2020, and provides three case studies to demonstrate feasibility during practice.
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6

Efland, Arthur, and Peter Smith. "The History of American Art Education: Learning about Art in American Schools." Journal of Aesthetic Education 32, no. 3 (1998): 117. http://dx.doi.org/10.2307/3333315.

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7

Borgatti, Jean M., Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections: Survey 1989." International Journal of African Historical Studies 23, no. 4 (1990): 730. http://dx.doi.org/10.2307/219528.

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Abiodun, Rowland, Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections: Survey 1989." African Arts 24, no. 4 (October 1991): 28. http://dx.doi.org/10.2307/3337040.

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9

MUNSON, MARIT. ":Discovering North American Rock Art." American Anthropologist 109, no. 4 (December 2007): 772–73. http://dx.doi.org/10.1525/aa.2007.109.4.772.

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Richardson, John Adkins. "Art Watch: The American Grain, Crosscut." Journal of Aesthetic Education 21, no. 4 (1987): 145. http://dx.doi.org/10.2307/3332838.

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Дисертації з теми "Humanities -> art -> american art survey"

1

Cardwell, Robert Ewell. "A Survey of 21st Century Gay-Themed American Art Songs for Baritone." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703289/.

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The majority of repertoire catalogs for singers, printed and digital, often list works by voice type, language, and/or genre. The 21st century has seen an emergence of online classical music catalogs where the user can seek repertoire by searching composers from underrepresented communities (i.e., women, Black, LGBTQ, Latinx). What does not currently exist is a resource that catalogs songs for solo voice dealing specifically with gay subject matter. This dissertation surveys seventeen 21st century gay-themed art songs by four living American composers: David Del Tredici, Ben Moore, Clint Borzoni, and Gary Schocker. Each chapter introduces a different composer and a select representation of their gay-themed art songs. Each entry includes text analysis based on the composer's and author's intentions and a brief analysis to determine pedagogical and musical difficulty. It is my intent that this document will facilitate a much-needed resource and encourage further study, promotion, and performance of voice works with gay themes. Moreover, I hope that it will serve as a tool for the applied voice teacher to assist in the vocal and artistic development of their students through broader repertoire choices.
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2

Koch, William. "Opening a World From Categorial Intuition to Art." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002574.

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3

Ehmann, Christina. "American Splendor." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4102.

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Artist Statement My photographs and paintings are reflective of a simpler and slower paced, rural life. This focus is in high contrast to what contemporary urban life often requires. I depict scenes of tranquil landscapes, farm animals, old barns, fields of grasses, and growing crops. I alter my digital photographic images with computer software. I use various filters that transform color, clarity, and value to give the photographs of nature an intentionally peaceful mood. These photographs are a basis for my paintings where I soften nature’s contours and emphasize tranquility. My desire is that viewers will look at my work and take a moment to stop, think, and breathe. Like myself, I want them to slow down and take in the simplicity and beauty of country life.
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4

Wells, Robert Allen. "David Diamond as Song Composer: A Survey of Selected Vocal Works of David Diamond With a Theoretical and Stylistic Analysis of Six Early Songs, The Midnight Meditation, and Hebrew Melodies." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163480150.

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5

Gerhold, Emily. "American Beauties: The Cult of the Bosom in Early Republican Art and Society." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/353.

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This interdisciplinary project offers new research to introduce the American cult of the bosom, which emerged in the years following the Revolutionary War and helped shape the discourse around women’s roles in the early republic. The cult of the bosom sought to shift the way in which the female body, and especially the bosom, was regarded and represented by identifying it as the locus of a number of positive qualities associated with women, including virtue, modesty, beauty, and grace. This shift constituted, in the minds of citizens, a significant way in which American culture honored and celebrated women. Additionally, the cult of the bosom tied the bosom’s privileged status to a broader patriotic rhetoric that celebrated the special differences of America’s women and American culture as a whole, and insisted that, while most citizens of the world saw its potential to gratify lust, Americans were sufficiently enlightened to consider and celebrate the bosom’s ‘true’ function as a signifier of sacred womanhood. Through a variety of cultural materials, this project traces the points at which beauty, virtue, femininity, and the female body intersected in the early republic and the implications of these intersections for the political and social status of women. The study consists of five thematic chapters, which address textual foundations for the discourse on the bosom and female modesty in early republican America and examine female portraits of the period in order to identify the visual codes that represented patriotic ideology and signified the bosom.
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Dalton, Karen Jeanne. "Kitsch and Southwest hybridity in the art of Ted De Grazia." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001924.

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7

Talbott, Christy Jo. "The French art song style in selected songs by Charles Ives." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000455.

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Sanders, J'aimé L. "The art of existentialism: F. Scott Fitzgerald, Ernest Hemingway, Norman Mailer and the American existential tradition." Scholar Commons, 2007. http://scholarcommons.usf.edu/etd/2350.

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The purpose of my research is to examine the philosophic influences on three literary works: F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's Death in the Afternoon, and Norman Mailer's An American Dream. Through an investigation of biographical, historical, cultural, and textual evidence, I will argue for the influence of several European philosophers---Friedrich Nietzsche, Søren Kierkegaard, and Martin Heidegger---on these authors and on the structures and messages of their works. I will discuss how the specific works I have selected not only reveal each author's apt understanding of the existential-philosophical crises facing the individual in the twentieth century, but also reveal these authors' attempt to disseminate philosophic instruction on the "art of living" to their post-war American readers. I will argue that Fitzgerald, Hemingway, and Mailer address what they see as the universal philosophical crises of their generations in the form of literary art by appropriating and translating the existential concerns of existence to American interests and concerns. I will argue that Fitzgerald, Hemingway, and Mailer's emphasis on the individual's personal responsibility to first become self-aware and then to strive to see the world more clearly and truly reflects their own sense of responsibility as authors and artists of their generations, a point of view that repositions these authors as prophets, seers, healers, so to speak, of their times. Finally, I will discuss how, in An American Dream, Mailer builds on the Americanized existential foundations laid by Fitzgerald and Hemingway through his explicit invocation of and subtle references to the art and ideas of his literary-philosophic predecessors---Fitzgerald and Hemingway.
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Pedraza, Jennifer E. A. "Assessment of “Community Stepping Stones,” a Community-Based Youth Art Education Program." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3613.

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Community Stepping Stones is an art education program whose objective is to “provide education, mentor children and adolescents, enhance the community economics, and enrich the quality of life in the community” (Community Steppping Stones [CSS], 2009a). Community art education programs, particularly for youth, have become increasingly popular as a way to address and prevent delinquent behavior. However, art education programs have proven challenging to evaluate and sustain. The goal of my thesis was to explore how Community Stepping Stones implemented and evaluated a community-based youth arts education program compared to other, similar programs and how the organization could make the program more effective and more sustainable long-term. As part of an internship with Community Stepping Stones, I conducted participant observation, document review, and interviews with individuals affiliated with Community Stepping Stones and other art education programs in the community. Data was collected between February 2009 and September 2010.Community Stepping Stones has grown significantly during my involvement with the organization, expanding funding, programming, and staff. Current efforts to reinforce evaluation measures and secure additional funding sources will help make the program more sustainable in the future. Additional efforts towards collaboration with other community and government organizations, increased community involvement, and better program organization will also be beneficial towards sustainability efforts. At this time, published evaluations of community-based youth art education programs and organizational impact on youth and community are limited. Although not a comprehensive assessment, I hope my research can help bolster the literature in this area.
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Getty, Karen Berisford. "Searching for the Transatlantic Freedom: The Art of Valerie Maynard." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/847.

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This thesis focuses on an African-American female artist, Valerie Maynard, examining how she synthesizes African and American elements in her works. It provides detailed formal and iconographical analyses, revealing concealed meanings and paying special attention to those works with which the artist mirrors the Black experience in the United States and Africa on the other side of the Atlantic. In the process, the thesis sheds new light on the significance of Valerie Maynard's work and how she has used some of them to embody the Black quest for freedom and social justice during the Civil Rights struggle of the 1960s and 1970s and beyond.
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Книги з теми "Humanities -> art -> american art survey"

1

Robbins, Warren M. African art in American collections, survey 1989. Washington: Smithsonian Institution Press, 1989.

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2

Mathey, François. American realism: A pictorial survey from the early eighteenth century to the 1970s. New York: Portland House, 1987.

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3

Mathey, François. American realism: A pictorial survey from theearly eighteenth century to the 1970's. New York: Portland House, 1986.

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4

1949-, Crist Jacqueline S., and Idaho Commission on the Arts., eds. The Contemporary Idaho artist: A selected survey. Boise: Idaho Commission on the Arts, 1991.

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5

Sporre, Dennis J. Perceiving the arts: An introduction to the humanities. 3rd ed. Englewood Cliffs, N.J: Prentice-Hall, 1989.

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6

1936-, Ayres Anne, Schimmel Paul, and Newport Harbor Art Museum, eds. Chris Burden: A twenty-year survey. Newport Beach, CA: Newport Harbor Art Museum, 1988.

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7

Les, Krantz, and Facts on File Inc, eds. American artists: An illustrated survey of leading contemporary Americans. New York, NY: Facts on File Publications, 1985.

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8

Chiu, A'misa. Eyeball burp: Clip or copy : a survey of collage art. Portland, Oregon: Eyeball Burp Press, 2013.

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9

Sporre, Dennis J. Perceiving the arts: An introduction to the humanities. 5th ed. Upper Saddle River, N.J: Prentice Hall, 1997.

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10

League, Huntsville Art, and Huntsville Museum of Art, eds. The red clay survey: Fourth biennial exhibition of contemporary southern art, August 28-October 9, 1994. [Huntsville, Ala.]: Huntsville Museum of Art, 1994.

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Частини книг з теми "Humanities -> art -> american art survey"

1

Diraviam, Domenica, and Viviana Pezzullo. "DISCOVERING ITALIAN AMERICAN CULTURE THROUGH DIGITAL HUMANITIES:." In The Art of Teaching Italian, 41–59. Georgetown University Press, 2024. http://dx.doi.org/10.2307/jj.8816158.7.

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2

McDuffie, Dwayne. "Our Heroes: African American Artists and Images in the American Comic Book." In Comic Art in Museums, 175–77. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0019.

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This chapter contains a 1992 exhibition catalog essay for Black Ink: African American Cartoonist Showcase at the Cartoon Art Museum (San Francisco), written by the late comics and television writer Dwayne McDuffie (Ben 10, Justice League Unlimited, Milestone Media), who shares a heartfelt childhood story of his discovery of the world of the Black Panther and the citizens of Wakanda, and the importance of racial representation in both life and art. Black Ink was a survey show curated by Rochon Perry, featuring work by over fifty African American cartoonists with a spotlight on Jackie Ormes’s comic Torchy Brown.
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3

"Expanding Views of Comic Art: Topics and Display." In Comic Art in Museums, edited by Kim A. Munson, 167–69. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0017.

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This is a brief interstitial introduction by art historian Kim A. Munson explaining how the period of rediscovery and large survey shows of comic art were followed by specialized shows exploring comics by a multitude of topics that were previously ignored or taboo, including shows of work by feminist comic artists, by alternative comic artists, by African American comic artists, erotic comics, and experimental shows of ‘gallery comics.’ The Western style of exhibiting comic art replicated internationally to Manga Museums in Japan and to the Cartoon Museum in the United Arab Emirates.
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4

Brooks, Tisha M. "Merging Print and Digital Literacies in the African American Literature Classroom." In Teaching with Digital Humanities, 228–44. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042232.003.0015.

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Tisha Brooks writes about a digital anthology assignment in her 200-level African American literature survey in which students act as “knowledge curators.” Brooks’s assignments use literary and visual texts to “bridge multiple literacies and historical gaps,” and to encourage students to think critically about representations of violence against black bodies. Student work culminates in a group digital anthology project that helps them “move from mere consumers of knowledge to critical thinkers who use the archive to make meaning of its artifacts and the history and literature connected to them.” By selecting multimedia artifacts across periods, students become adept at representing the historical continuities between past and present.
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"II.2.1–II.2.7 A SURVEY: WHAT SHOULD AMERICAN ART BE? (1928–29)." In Resisting Categories: Latin American and/or Latino?, 373–74. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300187151-064.

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Murray, Derek Conrad. "Post-Black Art and the Resurrection of African American Satire." In Post-Soul Satire. University Press of Mississippi, 2014. http://dx.doi.org/10.14325/mississippi/9781617039973.003.0001.

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This chapter undertakes a critical survey of a number of the most prominent African American visual artists whose satirical work engages with the “Post-Black” designation coined by Thelma Golden and Glenn Ligon for the 2001 Freestyle show at the Studio Museum in Harlem. This chapter argues that “Post-Black” artists represent a generational shift in subject matter, style, and rhetoric, separating these artists from those of the Civil Rights period. Key to this generational shift are the frustrations that accompany notions of identity and belongingness that contemporary artists find to be stifling and exclusionary.
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Bernstein, Charles. "What’s Art Got to Do with It? The Status of the Subject of the Humanities in the Age of Cultural Studies." In The American Literary History Reader, 370–88. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195095043.003.0017.

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Abstract The gradual shift from literary studies to cultural and multicultural studies is probably the most useful change to have occurred within the American academy in the past decade. The literary studies approach, to the humanities tended to make a clear-cut distinction between works of art and works of mass or popular culture. Works of art were the primary field of study for the critic, whose secondary role was to explicate or illuminate these art objects. Yet it is difficult to provide a rule for distinguishing great art from cultural artifact, and the ideological biases of much of the prevailing literary and art connoisseurship have served literary studies poorly. In contrast, the cultural studies approach seems both more reasonable and more malleable. We start not with art and its others but with a variety of signifying practices. The field of possible attention is vast and might just as well include film comedies of the thirties as Dickens’s novels, Kewpie dolls as much as Picassos, although, for practical purposes, the focus of any given study will be narrowed. The shift to poststructuralist cultural studies has been precipitated by an intriguing variety of frames of interpretation theoretical, historical, psychological, and sociological-and within each of these frames there are a number of distinct, and competing, methodologies. The present crisis of cultural studies results from the seeming autonomy of the frames of interpretation from what they are to interpret; we have less objects of study than what Stanley Fish calls “interpretive communities.”
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8

Monmonier, Mark, and Robert B. McMaster. "Cartography." In Geography in America at the Dawn of the 21st Century. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780198233923.003.0038.

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Summarizing a decade of cartographic research in a short chapter is difficult: bias is inevitable, randomness is indefensible, breadth is tricky, and coherence is essential. Rather than attempt a broad, shallow survey, we chose to focus on some of the period’s significant conceptual frameworks, and relate each model to one or more related research papers published since A. Jon Kimerling (1989) summarized cartographic research for the first volume of Geography in America. This has been a transition period in which the discipline has witnessed several significant changes, including: (1) the nearly complete automation of the cartographic process and a proliferation of maps produced by desktop mapping systems and GISs; (2) the inclusion of significant amounts of core cartographic research—such as terrain modeling, geographic data structures, generalization, and interpolation—within the growing discipline of GIS; and (3) the wide adoption of the term “geographic visualization” to describe the dynamic, interactive component of cartography. These developments and the migration of more and more cartographic interests into the newly created discipline of GIS have raised concern about whether our discipline would survive. These doubts are offset by growing recognition that research and education on representational issues in GIS is critical, and that research in map design, symbolization, and generalization cannot be neglected. Cartography remains an independent discipline. Our two journals, Cartography and Geographic Information Science (recently renamed with Science replacing Systems) and Cartographic Perspectives, are thriving. American cartographic researchers also publish their work in Cartographica, GeoInfo Systems, GIS World, and the International Journal of Geographic Information Science. The Mapping Science Committee of the National Academy of Sciences and the recently formed Committee on Geography represent our interests at the national level, as do the Cartography and Geographic Information Society (a member organization of the American Congress on Surveying and Mapping), the North American Cartographic Information Society, the University Consortium for Geographic Information Science, and the AAG’s Cartography Specialty Group. During the decade our educators, researchers, and essayists have published many textbooks and monographs, including the sixth edition of Elements of Cartography (Robinson et al. 1995); several new editions of Borden Dent’s Cartography: Thematic Map Design (most recently 1999); Terry Slocum’s Thematic Cartography and Visualization (1999); John Snyder’s (1993) seminal work on projections, Flattening the Earth: Two Thousand Years of Map Projections; Alan MacEachren’s How Maps Work (1995); Denis Wood’s (1992) social critique of cartography, The Power of Maps; and a series of books by Mark Monmonier, including Maps with the News: The Development of American Journalistic Cartography (1989b), How to Lie with Maps (1991, rev. 1996), Mapping it Out: Expository Cartography for the Humanities and Social Sciences (1993), Drawing the Line: Tales of Maps and Cartocontroversy (1995), Cartographies of Danger: Mapping Hazards in America (1997), and Air Apparent: How Meteorologists Learned to Map, Predict, and Dramatize the Weather (1999).
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9

Weinstein, Arnold. "Hawthorne’s ‘‘Wakefield’’ and the Art of Self-Possession." In Nobody’s Home, 13–26. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195074932.003.0002.

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Abstract To ground a view of the self in American letters on Hawthorne’s slight, wispy story “Wakefield” may seem to be a foolhardy enterprise. This odd parable of a man walking out on his wife after ten years of marriage, then settling down in a flat one block away in order to survey—for some twenty years—the effect he is having, finally to return to his hearth, is a distinct oddball in the Hawthorne corpus, a kind of radiant metaphoric narrative for which no sure key is provided.1 Mainstream Hawthorne criticism has, by and large, regarded “Wakefield” as either minor or flawed, and we are therefore justified in looking abroad, in the direction of Borges, for the revisionist reading that begins to take the measure of this strange tale. Borges, it will be recalled, singles out “Wakefield” for his highest praise, rating it above The Scarlet Letter and savoring in it the modernist concerns with identity and enigma that we associate with Gide, Kafka, and Pirandello.
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10

Forsgren, Frida. "Re-Enacting Beat Art: An Aesthetic and Pedagogical Approach to Re-Living History." In Views on Early Music as Representation, 177–97. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.157.ch7.

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The chapter presents the pedagogical strategies in a 10-credit course dedicated to the teaching of American Beat culture at the Faculty of Humanities and Pedagogy at the University of Agder. The course combines artistic work with an academic curriculum. It does not pretend to be an art course, but it uses an artistic way of thinking and working to enrich and expand the academic and the historical. It does history through art and is inspired by the hands-on learning-by-doing pedagogy of John Dewey. The text proposes that this method may be applicable to early modern studies as a pedagogical method for presenting, enacting, re-enacting, living, re-living and fantasising a historical past.
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Тези доповідей конференцій з теми "Humanities -> art -> american art survey"

1

Ozola, Diana. "SIBERIAN CULTURE AND LIFESTYLE IN THE RECEPTION OF CONTEMPORARY NORTH AMERICAN AND LATVIAN TRAVEL WRITERS." In 7th SWS International Scientific Conference on ART and HUMANITIES - ISCAH 2020 Proceedings. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.2020.7.1/s25.18.

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2

Nie, Huifen. "The Problems of the Integration of Chinese and American Education and Moral Education in College Art Education are Explored." In 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211220.065.

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3

Slamova, Karolina. "THE SEARCH FOR AN APPROACH TO CZECH LITERARY HISTORY IN IGOR HAJEK�S CONCEPT." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.22.

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This paper focuses on the field of literary history in order to show what approach to the historiography of Czech literature was taken by the representative of Czech exile literary criticism, Igor Hajek. The context which Hajek entered during his study stays in the USA and Great Britain, and later in exile, was the reception horizon of the late 1960s, when the events of the �Prague Spring� attracted the attention of the West and turned attention to the Czech liberalisation movement, in which literature played a significant role. Hajek assumed the role of a mediator of the fundamental values of Czech literary production to the Western audience from the position of an expert in the Anglo-American cultural environment and Czech and foreign literary approaches. The specificity of his perspective is due to the fact that he tried to present the image of Czech national literature with respect to a non-Czech reader and that he aimed to clarify the main features of the development of Czech literature to international students and readers. The paper presents the conclusions of the analysis of Hajek�s literary-historical essays, which show that Igor Hajek relied mainly on the views of Arne Novak, a Czech literary historian and critic. The paper further assumes that Igor Hajek, due to his background in English studies, methodologically drew on some of the approaches that were being promoted in the West in his time and notes the connections between Hajek�s methods and the methodologies these approaches are based on.
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4

Skender, Lana. "Visual culture as new educational socio-technological paradigm." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.12149s.

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Digital technology has enabled the predominance of visual communication and rapid and simultaneous image transmission beyond the original context. In the “culture of the image,” communication, identity formation, and social patterns are transmitted by image. Under such conditions, visual literacy is considered as elementary literacy and goes towards the critical reading of visual content messages. This situation has also prompted a reflection on the art education paradigm turn towards the broader concept of visual culture as a new socio-technological paradigm. The Croatian results of the Delphi method survey showed that most experts see the paradigm turn, from fine art to visual culture, because of technological changes in society. Technological developments manifested through the Internet, mass media, and social networks affect new generations testing and understanding the world in new ways, most often through technology. It is essential to change the content, practices, and teaching methods.
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5

Marculescu, Corina. "INSPIRE, CONNECT, PERSUADE: MIX TECHNOLOGY AND ART IN TEACHING PRESENTATION SKILLS." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-011.

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Do what you love. Inspire your audience. Have fun. These are some of the secrets behind the power and the success of Steve Jobs's presentations. As Communication Coach Carmine Gallo points out, while most presenters simply convey information, Jobs inspires; his presentations inform, engage, astound and electrify the audiences. My paper, too, was inspired by Steve Jobs, one of the most extraordinary speakers of our time, as were my EFL seminars and my students (Business and Engineering majors) when watching his videotaped 2007 speech unveiling the iPhone and his famous, memorable Commencement Speech at Stanford in 2005 (one of the greatest reflections on life we have ever heard). Using Steve Jobs's 2007 iPhone launch as a case study, the present paper proposes a humanistic approach of the technology-enhanced teaching of presentation skills, a more humanistic philosophy of teaching in general. Steve Jobs himself strongly believed that the best ideas emerge from the intersection of technology and the humanities. In fact, in today's postmodern world, the boundaries between technology and art are no longer clearly defined. In other words I will show that technology allows a humanistic approach to teaching and that the success of a presentation resides first of all in the human element. It is the passion of the teacher/speaker about the subject, their own personality and naturalness infused into the presentation that inspires the audience. It is the presenter's capacity to make it simple for the audience and to give them a show instead of simply delivering information that engages the audience. Moreover, inspiring presenters like Steve Jobs do not sell a product; they sell an experience, something to enrich people's life. All these are ways of emotionally connecting with the audience; winning the audience over ensures the success of the presentation. Multimedia and Internet technologies allow the teacher to present more information more effectively; students can see and hear things, events, demonstrations, etc. that otherwise would only have been described or explained in a lecture or textbook. However, as shown above, good teaching involves much more than the simple transfer of material or specific skills. In teaching, the major challenge is to convey excitement, to incite curiosity and to provide the students with the psychological incentives they need to work hard. The paper also highlights another significant aspect, namely the analogy between Steve Jobs's technology-aided presentations, building up to a memorable moment, and the art of story-telling. Like Steve Jobs who treats every slide as if it were a piece of poetry, American writer and graphic designer Nancy Duarte knows that it is not about the slides, but about the power of the story. In her book Resonate: Present Visual Stories that Transform Audiences (2010), Duarte assimilates the presentation with a screenplay, using tension, conflict and resolution to connect with the audience, creating, like Steve Jobs, what she calls a STAR moment: "Something They'll Always Remember".
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6

Yang, Yunjie, Robert X. Gao, Zhaoyan Fan, Jinjiang Wang, and Lihui Wang. "Cloud-Based Prognosis: Perspective and Challenge." In ASME 2014 International Manufacturing Science and Engineering Conference collocated with the JSME 2014 International Conference on Materials and Processing and the 42nd North American Manufacturing Research Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/msec2014-4155.

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Comprehensive acquisition, distribution, and utilization of information about machine equipment and/or processes across spatial boundaries for improved productivity and decision have increasingly become the hallmark of advanced manufacturing. The emergence of cloud computing has created ample opportunities to achieve this goal. This paper presents a review of the state-of-the-art of prognosis technique for manufacturing and its future development motivated by the cloud infrastructure. Prevailing methods of prognosis are summarized, and their respective performance is comparatively evaluated. Basic principles and recent advances in cloud computing, as well as its application to cloud manufacturing, are introduced. Based on the survey, the concept of cloud-based prognosis is proposed, and its architecture as well as associated challenges are discussed.
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Звіти організацій з теми "Humanities -> art -> american art survey"

1

Maron, Nancy, and Peter Potter. TOME Stakeholder Value Assessment: Final Report. Association of American Universities, Association of Research Libraries, and Association of University Presses, August 2023. http://dx.doi.org/10.29242/report.tome2023.

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The Association of American Universities, the Association of Research Libraries, and the Association of University Presses have published a final report assessing the success of their five-year pilot project to encourage sustainable digital publication of and public access to scholarly books. The associations launched the Toward an Open Monograph Ecosystem (TOME) project in 2018 to publish humanities and social science scholarship on the internet, where these peer-reviewed works can be fully integrated into the larger network of scholarly and scientific research. The project engaged a network of more than 60 university presses and ultimately produced more than 150 open-access scholarly works. The books cover a wide range of topics in many disciplines, including philosophy, history, political science, sociology, and gender and ethnic studies. The pilot was designed to last five years, and the sponsoring associations committed to assessing its value to its target audience at the end of that period. The report analyzes whether the community of authors, institutions, libraries, and presses that participated in the pilot found it helpful. Author Nancy Maron of BlueSky to BluePrint surveyed and interviewed authors and TOME contacts at participating institutions to assess how each benefited from the pilot—from increased global readership to stronger relationships among libraries, research deans, and faculty.
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2

Our Voices, Our Images: A Celebration of Hispanic Heritage Month. Inter-American Development Bank, August 2003. http://dx.doi.org/10.18235/0008242.

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Presents an exhibition that celebrates and recognizes the abundance of extraordinary artistic talent in Washington, D.C. and its metropolitan area was open to the public on August 18, 2003 at the Art Gallery of the Inter-American Development Bank¿s Cultural Center. The exhibition was a initiative of the IDB Cultural Center and the D.C. Commission on the Arts and Humanities.
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3

My Generation: An Essay Competition for Residents of the District of Columbia. Inter-American Development Bank, September 2010. http://dx.doi.org/10.18235/0005927.

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On March 22, 2010, the Director of the Inter-American Development Bank Cultural Center, Mr. Felix Angel, received a grant as part of the Mayor¿s Award for Visionary Leadership in the Arts. Organized by the District of Columbia Commission on the Arts and Humanities, the Mayor¿s Art Awards are the highest honors the City confers upon individuals and organizations which distinguish themselves for contributing significantly to the cultural activity of the city. The purpose of the grants is to help foster the arts in Washington, DC. The Grant was used to implement My Generation Essay Competition among Washington D.C. writers, in partnership with the Cultural Center of the Inter American Development Bank.
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